{"title":"Records","description":"","products":[{"product_id":"guma-a-list-of-sightings-lp","title":"Guma - A List of Sightings (LP)","description":"\u003cp\u003eWhen asked to describe Guma, the best that T.J. Masters can come up with is that it’s “a collaborative musical body.” A vague description, but to his credit, how else could you describe putting Chad Taylor (Chicago Underground Quartet, Iron \u0026amp; Wine), Danny Frankel (Fiona Apple, Brian Eno), and Ryan Jewell (Mosses, Ryley Walker)— all three drummers— in a room together for a single track, and then moving on to an entirely different ensemble for the next track?\u003c\/p\u003e\n\u003cp\u003eThe spirit of this collaborative roulette pervades the upcoming Guma LP, A List of Sightings, out February 18, 2022. Produced by Chris Schlarb (Psychic Temple, BIG EGO), A List of Sightings is a mind-bending half hour that trips through everything from James Gadsen-inspired breakbeat funk, to the lush sounds of 70s-era Brazilian MPB, to Coltrane played in reverse before ending on the Randy Newman-esque “List of Sightings.” Masters hosts a weekly freeform radio show on KOOP 91.7FM in Austin, TX, and his appetite for finding undiscovered or under-appreciated music is reflected in the variety of sonic touchstones in his own music that zip by in all directions yet never feel out of place.\u003c\/p\u003e\n\u003cp\u003eAll of it is narrated by Masters’s typically wry and sometimes dire train of thought. “As far as the ego comes \/ I have an ancient one,” he intones on “House Analogue,” the second track on the record and one that bustles with more than a hint of electric-era Miles Davis. “How does it feel to be bound \/ by the taste of an artist only recently found,” sings vocalist Heather Sommerhauser in a twinkling lead vocal feature on mid-album highlight “Song for a New Painting.” “I find I know too well,” is Masters's dry response. His lyrics flirt endlessly with the idea of time captured and released; time passing and passed; time circular and encircled.\u003c\/p\u003e\n\u003cp\u003eDuring a lunch date with a friend late on the album, he juggles intractable situations and solicits advice; “As far as he can tell, everything fits in the frame.” Taken for the menagerie of sounds, people, animals, places, foods, and visions that it is, A List of Sightings belies that T.J. Masters feels much the same way.\u003c\/p\u003e","brand":"T.J. 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It’s a quality meant for the stories told on Thieves.\u003cbr\u003e\u003cbr\u003eThese are stories about the Trump years, a span which coincided with Dupree’s own attempt to rebuild a life after divorce. It was a time for the painful ending of illusions, about himself and about the country. He was living between artist residencies, sublets, and storage units along I-10, and long hours spent on the highway soon found a form in the long lines of traditional folk ballads. Slowly, new songs began to emerge.\u003cbr\u003e\u003cbr\u003eProducer Michael Krassner’s experience arranging for film and his deep attention to songcraft set a perfect stage for Dupree’s lyrical storytelling. 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The five musicians took the energy historically reserved for tour and brought it into the studio, a pressure cooker not only for creativity, but newly, for existential contemplation. The result is two full albums, the first of which is The Beautiful Undead. It’s an uninhibited collection reflecting upon what it means to lose your sense of purpose. The Deer, amidst turbulent assessment, transformed a paralyzing void into an empowering surrender of ego—a rollicking submission to the immense unpredictability of existing. \u003c\/p\u003e\n\u003cp\u003eThroughout the album, The Deer maintain the modern folk flutter and Mazzy Star melodiousness they’re known for, but infuse those delicate bones with emotional tension, and indulge a new sonic edge. Enlivened by multi-dimensional instrumentation—synths, fiddle, mandolin, electric and acoustic guitars, slide guitar, piano, upright bass, and even mellotron populate the record—The Deer’s full arrangements shift their sound to an impressive pocket between Fleetwood Mac and Big Thief. The Beautiful Undead is luminous, boisterous, and invigorating; a free-spirited album fueled by hard-earned revelation. \u003c\/p\u003e\n\u003cp\u003eOn lead single “I Wouldn’t Recognize Me,” lyricist and front-woman Grace Rowland writes to a younger self. She shares, \"If I could go back and give my younger self some advice, she may not even realize it’s her. But I would tell her to care for herself like she does for the world, to take a stand for what she believes in, and to be ready for it all to change.” The song’s vibrant melody and commanding lyrics (All in all is falling upon us) accept the endlessness of change and evoke an energized readiness for it. Says Rowland, “The self is a collective of different versions of the same person, and it will always be up to that little girl - and every person she decides to be at every time in her life - to set her future self up for success, and to be kind to and forgive her past self.\"\u003c\/p\u003e\n\u003cp\u003eThis attention to personal growth pervades throughout the album. As its five members find themselves digging more deeply into commitments, songwriters Grace Rowland and Jesse Dalton shape odes to the profundity of refined love, as with “Bellwether.” The song shimmers with a gentle melodiousness reminiscent of Mazzy Star, mirroring the reeling feeling of falling in love. The lyrics are wise and haunting as the band submits to the cyclical nature of affection: While protecting my sanctity \/ My sanity \/ A canyon that’s eroding away \/ Down the alleys of my beliefs \/ A torrent sweeps \/ And carves its route around what I hide \/ I gave it time.\u003c\/p\u003e\n\u003cp\u003eThe band’s expanding perspective reaches beyond the interpersonal. On “Columns,” zagging guitars precede vivid and startling images of climate change: There is a road \/ No one could cross after the ocean rose \/ Here lies a path \/ So overgrown I heard the forest laugh. On “Golden Broken Record,” the band fall altogether mournful, an achy fiddle intertwining with sizzling lines: Right or wrong \/ Will you know what side you're on \/ When it's gone. Rowland’s vocals wobble grief-stricken as she cautions: Maybe it don't feel like danger \/ When it is what it is \/ But it is. Says Rowland, “Our world is changing. 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So Far So Good finds Bond processing themes of addiction and loss, interpreting dreams, and discovering methods of release behind intertwining compositions of Americana, indie-pop and classic R\u0026amp;B.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eA Bay Area native, Bond started out as a music lover before picking up the guitar and learning the ropes through her high school jazz program. Eventually, Bond began writing her own songs. 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He visited countless small towns across Texas and beyond, in search of anything and everything that might be etched on vinyl.\u003c\/p\u003e\n\u003cp\u003eFrom mountains of material, he chose these fourteen forgotten odes and put them in an order that tells a story. Like Harry Smith’s visionary anthology of folk music, this selection of private press country music captures the joys and the sorrows of people who sang for themselves.\u003c\/p\u003e\n\u003cp\u003eThese songs speak directly to the concerns of real people, our experiences and dreams, and the gap between them. Of course, these musicians had also hoped to score on the charts, a desire that almost defines country music, but it didn’t happen that way. Now, 30, 40, 50 years after these records were handed to friends and mailed to local radio stations, perhaps country music is in for some definition expansion.\u003c\/p\u003e\n\u003cp\u003eMore than half of these raw and intimate songs came out of Texas, where there has always been a strong regional music tradition. As history recedes and country music shakes off the commercial dominance of the Nashville hit machine, Texas country music, with its straightforward, ‘take it or leave it’ sentiment and rugged, stripped down sound, will be known for its influence on all types of musicians and songwriters. 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Housed in a mirror board, gatefold sleeve and containing photos from the 1974 recording sessions as well as comprehensive song notes, this special edition is being pressed on double black vinyl with the first disc containing the best \/ most interesting take of each track and the second disc being every first full take.\u003c\/p\u003e","brand":"Plum Creek Records \u0026 Tapes","offers":[{"title":"Default Title","offer_id":45246226694379,"sku":"","price":54.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0668\/0310\/6027\/files\/418467271729_360.webp?v=1714594954"},{"product_id":"undermine-as-above-lp","title":"Undermine - As Above (LP)","description":"\u003cp\u003eSpreading music in Austin, Texas, the Undermine band took shape from the roots of Austin’s living legends such as The Dicks, The Huns, 13th-floor Elevators, Blaze, and Butthole Surfers.\u003c\/p\u003e\n\u003cp\u003eEclectically distorted and infected by reality, this band prefers to self-define themselves, as one that is nowhere near as good. 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Providence is the breakout effort from Single Lash, captivating audiences with a seductive embrace while offering an engaging and cathartic release.\u003c\/p\u003e\n\u003cp\u003eNadeau’s music, fashion and art aesthetic developed in early adolescence and left him at odds with the traditional surroundings of suburban San Antonio. Providence is a reference to his escape to art college in Rhode Island where he set out to craft his talent for painting and visual art. Nadeau did not anticipate the intense gravitational allure of the local noise and experimental music scenes which quickly inspired him to start playing guitar and writing songs. Nadeau naturally evolved a texture based approach to guitar, echoing the ubiquitous effects of the post-punk and industrial bands that first piqued his interest in music. Nadeau’s lyrics became the therapeutic outlet to navigate his lifelong feelings of isolation, adopting the moniker Single Lash from the outset. After releasing several solo demo tapes and relocating to Austin, Nadeau expanded Single Lash into a band, recruiting talented multi-instrumentalists such as Neil Lord of Thousand Foot Whale Claw and Future Museums. Single Lash is now fully realized and orchestrated, featuring a dynamic cast of accomplished musicians and innovative arrangements that broaden Nadeau’s songs into compelling and polished works.\u003c\/p\u003e\n\u003cp\u003eProvidence is Nadeau’s pursuit of genuine self-examination. There is an underlying confession throughout the album’s eight tracks, eloquently expressing the pain of regret with poetic and humble exposition. The charismatic lament of songs like “Broken Tongue” and “Unheard” is profoundly candid and broadly accessible emotional territory that carries a visceral and personal appeal. Gracefully embodying the true essence of the lyrics, Single Lash’s lush instrumentation vividly contextualizes the nuanced hues of Nadeau’s voice with intuitive reply. Acoustic 12-string guitar and piano on “Shredder Orpheus” and “Visitations” complement the sustained trails of fuzz and reverb while bass and drums hold down a smooth and catchy structural anchor. Single Lash’s dense subject matter is conveyed through unabashed pop melodies and irresistible hooks on “Frozen Honey” and “Come True” giving the listener immediate satisfaction while instrumentally descending into tone authorship. From powerful lyrics and meticulous musicianship to the ominous cover art by Nadeau himself, this album is the culminating effort of Single Lash to establish themselves as an important new voice in underground music.\u003c\/p\u003e\n\u003cp\u003eLike many great songwriters and performers who came before, Single Lash has ingeniously dialed into the tribulations of the human condition. 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