confused with ravens and the atomic yellow

UWR006: A Strange Day - Hollow Trees

Not to seem like a coward but I had to run.

Most Accidents Occur At Home

Year of Glad is an experimental drone-folk collaboration based in Montreal. In 2014, the band self-released a six song lo-fi epic entitled Old Growth. Despite very little promotion the album received critical acclaim from The Quietus ("Awe-inspiring. Keep an eye on these guys.") and Under the Radar ("A huge sound...ethereal cacophony.") The press piqued the interest of small UK label Vox Humana and a remixed and remastered Old Growth is to be released on deluxe colored vinyl and digital download in November. 

Year of Glad is the brainchild of A.P. Bergeron; conceived in solitude but brought up with the help of a veritable village of collaborators. Together, Bergeron and his shifting band of cronies have carved out a truly otherworldly sound—a shared fever dream at the intersection of folk, jazz, doom, and psychedelia. 

The project has drawn comparisons to Dirty Three, Amen Dunes and Sigur Rós, but Year of Glad’s vast and soaring anthems are equally indebted to the small town punk ethos in which many of it’s core members cut their teeth. Bergeron points to local post-rock pioneers Godspeed You! Black Emperor as having illuminated the potential for music that was both complex and beautiful while still maintaining a strong punk sensibility. “We were punk rockers growing up and Godspeed always had that punk spirit without the musical convention.” 

Bergeron wrote much of Old Growth in his childhood home of rural Nova Scotia. Seeking deep seclusion, Bergeron often retreated to the many derelict buildings that litter the province’s natural landscape. The balance of decay and new life found in these overgrown, abandoned homes and broken-down mills inspired a collection of songs dealing with the sublime, crushing mortality, and the universal connection between all living things.
credits
releases November 13, 2015 

year of glad is a.p. bergeron and friends. 

nick laugher - drums, electronics 
andre bendahan - bass on tracks 1 and 3 
patrick cruvellier - violin on track 3 
james goddard - saxophone on track 1 
aaron johnstone - guitar on tracks 1,3,4 and 6 

produced by year of glad 

additional engineering by edan scime stokell and brian chan 

vinyl-mastering by rinus hooning at record industry 

artwork by andrew rhodenizer 

sleeve design by mark welland – new media works
tags


06 Swim

05 Cañon

04 Blythe

03 Old Growth

02 Gorge

01 Deth

The Easy Way b/w Animals

Animals

Dog Money - Wilderness Of Mirrors

Post Club Frequencies and Rhythms

http://shop.ascetic.house

ASCETIC HOUSE
201∞

UBK "Drain"

Mini Blinds - Dust - Out September 1st 2018

Mini Blinds

Facebook https://www.facebook.com/miniblinds/
Instagram https://www.instagram.com/miniblindz/
Bandcamp https://miniblinds.bandcamp.com
Twitter https://twitter.com/miniblindsband
Spotify

Ashes

La Planète Inexplorée

Slift - Fearless Eye

Short-Chain:
Glen Biesiek
Laurence Diack
Catherine Ellis
Liam Pram

Recorded by Liam Pram, Tom Dennison & Joshua Lynn
Mixed and Mastered by Joshua Lynn

Short-Chain

Mouse Man

Pre-Order/Save Cursive's album "Vitriola" out October 5th: https://ffm.to/vitriola

Vitriola

Cursive - Life Savings

The Pink Elephants 2018 Interplanetary Reflections 

Peter McNestry: guitar,synth,drums
Art Pegis: guita/synth/vocals
Sophia Mammasi: vocals

Bubble Boy

For Berlin duo Medicine Boy, their melancholic noise pop is less about all-out-noise than it is about exploring the spaces in-between. Grinding organs and soft desolate piano sink beneath waves of guitar that are at times gentle and drifting, at others feral and unforgiving. All the while, Lucy and Andre’s voices remain entwined and intimate – sometimes discordant, yet always heavenly. The result is a truly remarkable sound that sits somewhere between PJ Harvey, Mazzy Star and TJ&MC, yet exists in a sombre world of its own. Laying out their mantra, the band explain: “The joy of working with noise is that you can take something that appears to be quite sweet and simple and expose the sordid parts of it. Or celebrate the sublime in it. Ideally a bit of both.” 

Originally hailing from Cape Town, South Africa, André Leo and Lucy Kruger founded the project back in 2014, self-releasing their debut EP to international appraise. By the time their debut full-length, Kinda Like Electricity, was released into the world their ever-growing fanbase had extended far beyond the confines of Africa, solidified further with two tours around Europe and the UK in 2015 and 2016. Now residing in Berlin, Medicine Boy are gearing up for the release of their incredible second album Lower on October 5th, due for release via London-based label Fuzz Club.

Uncertainty, fragility and the unknown all sit at the heart of this record. Even when Medicine Boy are at their most delicate and beautiful, things constantly feel like they’re teetering on the edge, ready to collapse at any given moment. And, like the calm before the storm, often it does - veering unexpectedly into a whirlwind of buzzsaw guitars, primal percussion and snarling vocals. That same gloomy ethereality constantly floating close to the surface. The band explain that this antagonistic relationship more than likely explains the aquatic theme through the album – ‘Bottom Of The Blue’ and ‘Water Girl’ being two stand-out tracks: “I don’t quite know why but the theme of water is all over this record. Something about the tranquillity and uncertainty, perhaps. The violence just beneath the surface. The potential for a sudden shift in tide.” 

With the relocation to Berlin and Fuzz Club signing, Lower marks an exciting new chapter in Medicine Boy’s story. From the beginning, this attempt to deconstruct our relationship with noise has been at the heart of the band but on this new effort, we see the band sounding better than ever, exploring that relationship even further and proving beyond any reasonable doubt why the band have been picking up such a buzz. As the band themselves put it: “Lower is a myriad of introspection and interpretation. There are wider themes, stranger worlds and deeper wells than before. It is some kind of attempt to draw comfort (however twisted) and companionship (however tainted) from chaos and confusion. It's our attempt to find beauty in the underworld.”

confused with ravens and the atomic yellow

art greasy