Taken from the album Golden Doubt.

Melbourne-via-Tasmanian four-piece Quivers first released their 2018 debut We’ll Go Riding on the Hearses as hand-made cassettes. The album dealt with singer Sam Nicholson’s loss of his brother in a free-diving accident, and “trying to not think about that, and often coming back to ghosts, benders, water, and pissing in the snow.” When demand for the album grew, it received a vinyl release and led Quivers to tour the US, film a KEXP session, and be selected by NPR Music for both the Austin 100 SXSW preview and as a ’Slingshot’ artist to watch. Their life-damaged but hopeful jangle pop has only sharpened since then, and while 2021 follow-up Golden Doubt conjures up REM or The Clean there is a lyrical directness that sets this record apart as always its own.

Golden Doubt is carried by shimmering guitars and the harmonizing vocals of members Holly Thomas and Bella Quinlan. Elevated by the production of Matthew Redlich (Holy Holy, Husky, Ainslie Wills), the record explores what comes after grief, and how we throw ourselves back into love. As Nicholson explains, the album tries to bottle “the rush of feelings and fears when you give in to falling for someone. It’s also an album in love with other albums, and the other bands around us.” Before each take at Woodstock and The Aviary studios in Melbourne, Australia, the band would imagine a scene together (a waterhole for “Laughing Waters”, an overgrown carpark for “Videostores”) and then dive in to capture live group takes. 

Quivers need to get words on the page and sounds out to keep moving on. Both Sam and Holly lost their brothers in the same year, and through that shared vulnerability they all have together that runs deep. Golden Doubt is also a love letter to playing music as a band and processing it all together rather than just carrying it as a weight. The cancellation of a 21-date US tour they had slated for 2020 has left them undeterred; Quivers plans to continue being a band and get back out into the world as soon as it’s possible.

Of the title, Sam says: “Golden, because musically we daydream with the guitars of Teenage Fanclub and The Cure, the singing of The Roches’ sisters, the basslines of Another Sunny Day, and the drums of Lower Dens or Car Seat Headrest. Golden Doubt, because hitting your thirties
after losing people knocks you off balance for a while, but no longer caring what the world thinks is always a breakthrough feeling.” Quivers may have created the antidote to existential dread by embedding it in songs that feel so present and alive, we might not find firm ground, but there’s bliss in swinging from hook to hook as they sing “we stayed out ‘til there was glitter in our lungs.” Sooner or later you wake up and the doubt has long gone.

Quivers - Gutters Of Love

Taken from the album Golden Doubt.

Melbourne-via-Tasmanian four-piece Quivers first released their 2018 debut We’ll Go Riding on the Hearses as hand-made cassettes. The album dealt with singer Sam Nicholson’s loss of his brother in a free-diving accident, and “trying to not think about that, and often coming back to ghosts, benders, water, and pissing in the snow.” When demand for the album grew, it received a vinyl release and led Quivers to tour the US, film a KEXP session, and be selected by NPR Music for both the Austin 100 SXSW preview and as a ’Slingshot’ artist to watch. Their life-damaged but hopeful jangle pop has only sharpened since then, and while 2021 follow-up Golden Doubt conjures up REM or The Clean there is a lyrical directness that sets this record apart as always its own.

Golden Doubt is carried by shimmering guitars and the harmonizing vocals of members Holly Thomas and Bella Quinlan. Elevated by the production of Matthew Redlich (Holy Holy, Husky, Ainslie Wills), the record explores what comes after grief, and how we throw ourselves back into love. As Nicholson explains, the album tries to bottle “the rush of feelings and fears when you give in to falling for someone. It’s also an album in love with other albums, and the other bands around us.” Before each take at Woodstock and The Aviary studios in Melbourne, Australia, the band would imagine a scene together (a waterhole for “Laughing Waters”, an overgrown carpark for “Videostores”) and then dive in to capture live group takes.

Quivers need to get words on the page and sounds out to keep moving on. Both Sam and Holly lost their brothers in the same year, and through that shared vulnerability they all have together that runs deep. Golden Doubt is also a love letter to playing music as a band and processing it all together rather than just carrying it as a weight. The cancellation of a 21-date US tour they had slated for 2020 has left them undeterred; Quivers plans to continue being a band and get back out into the world as soon as it’s possible.

Of the title, Sam says: “Golden, because musically we daydream with the guitars of Teenage Fanclub and The Cure, the singing of The Roches’ sisters, the basslines of Another Sunny Day, and the drums of Lower Dens or Car Seat Headrest. Golden Doubt, because hitting your thirties
after losing people knocks you off balance for a while, but no longer caring what the world thinks is always a breakthrough feeling.” Quivers may have created the antidote to existential dread by embedding it in songs that feel so present and alive, we might not find firm ground, but there’s bliss in swinging from hook to hook as they sing “we stayed out ‘til there was glitter in our lungs.” Sooner or later you wake up and the doubt has long gone.

Quivers - Hold You Back

Quivers - Chinese Medicine

Taken from the album The Watchful Eye of the Stars.

One stormy night in Ireland, Adrian Crowley’s brother brought home a wounded crow. After taking care of it for a time, the crow flew away on its own, leaving an impression behind: Crowley wrote a story, which would later become the aptly titled “Crow Song” on his brand new record & ninth studio album The Watchful Eye of the Stars.

Suffused with a hazy and surreal quality, Crowley describes Watchful Eye’s poignant narratives as those which insisted themselves upon him. After the fact, it seemed these songs came to him more or less fully formed. “It’s a beautiful and mysterious thing,” he says. Perhaps it is a tendency to hold onto memories (“It’s taken me so long to write to you / Well I just couldn’t find a pen,” he laments in “Bread and Wine”), that allows him to unleash them lyrically in completion. For Crowley, the creative process is an organic event rather than a practice he feels compelled to regulate or control. He approaches lyrics much like he does short story writing. “The songs straddle the conscious and subconscious world and some are even psychedelic in my mind, but to me they are all at once true stories and born of another place,” he shares. 

In making the album, Crowley moved between studio and at home recording, while John Parish (Aldous Harding, PJ Harvey) produced. The pair worked from tracks made initially by Crowley on a charity shop ¾ size nylon string guitar or Mellotron: “In this way, John wanted to keep some of the magic of that first take”, says Crowley. Contradictions and complexities are left intact, initial recordings were limited to one or two takes, and the songs feel more like a dream recounted upon waking.

Adrian Crowley - Bread And Wine

Taken from the album Me And Ennui Are Friends, Baby.

Comprised entirely of minimal solo piano arrangements, Ennui is despondently clear-eyed and smirkingly self-deprecating, completing a trilogy of records that started with 'The Queen Who Stole The Sky' and her only outing to date featuring a full band, 'Please Daddy'. 

Each record has followed Chadwick’s internal processing after a traumatic event, with Chadwick’s zeal for psychoanalysis front and centre. On Ennui, Chadwick presents an exacting intensity with her choice to pare back to piano and vocals. It's in this stark setting that she focuses on the attempt she made on her life in 2019. 

Just weeks before the Ennui recordings in 2019, Chadwick endured the breakup of a long term relationship and attempted her own life. These events followed the deaths of her father and a close friend, and it’s from this weighty internal mire that Chadwick emerges throughout the trilogy. Imaginably, the result is staggeringly abject. 

However, the incandescent nature of her will, knack for reportage and searing dark humour sets fire to the world she describes over these 12 songs. Lead single “Every Loser Needs A Mother” offers a glimpse into this dark humour, as Chadwick describes an undesired need to take care of a dependant man: “Well I laid out his clothes // And I laughed at his jokes // And I stumbled around in // Heels and no clothes // And I went to his hell // And he kicked me out.” The track touches on all-too familiar tropes, Chadwick’s voice commanding and wryly confessional over piano. 

The methods Chadwick employed on Ennui contrast those of her previous full-band record, which thrust her into a very different world of rehearsal, planning, restraint and control as a functional tool. The result, 2020’s critically acclaimed Please Daddy, was her most aching and engaging achievement to date: “a raw, often unnerving experience,” which “delivers compelling and uplifting catharsis” (Mojo). Recording Ennui shortly after the Please Daddy sessions, Chadwick concludes her trilogy by returning to the most immediate compositional process she can muster, doing it alone, with less between her and the microphone than ever before. Joined by long time production collaborators, Ennui was mastered by David Walker at Stepford Audio and mixed and recorded by Geoff O’Connor at Vanity Lair - both expertly bringing scale, subtlety and intangible ascendence to this recording. On Ennui, Chadwick is free, there is nowhere for her or us to run from the need to very presently and repeatedly articulate her trauma until it is simply, “articulated out.”

Sarah Mary Chadwick - At Your Leisure

Taken from the album Me And Ennui Are Friends, Baby.

Comprised entirely of minimal solo piano arrangements, Ennui is despondently clear-eyed and smirkingly self-deprecating, completing a trilogy of records that started with 'The Queen Who Stole The Sky' and her only outing to date featuring a full band, 'Please Daddy'.

Each record has followed Chadwick’s internal processing after a traumatic event, with Chadwick’s zeal for psychoanalysis front and centre. On Ennui, Chadwick presents an exacting intensity with her choice to pare back to piano and vocals. It's in this stark setting that she focuses on the attempt she made on her life in 2019.

Just weeks before the Ennui recordings in 2019, Chadwick endured the breakup of a long term relationship and attempted her own life. These events followed the deaths of her father and a close friend, and it’s from this weighty internal mire that Chadwick emerges throughout the trilogy. Imaginably, the result is staggeringly abject.

However, the incandescent nature of her will, knack for reportage and searing dark humour sets fire to the world she describes over these 12 songs. Lead single “Every Loser Needs A Mother” offers a glimpse into this dark humour, as Chadwick describes an undesired need to take care of a dependant man: “Well I laid out his clothes // And I laughed at his jokes // And I stumbled around in // Heels and no clothes // And I went to his hell // And he kicked me out.” The track touches on all-too familiar tropes, Chadwick’s voice commanding and wryly confessional over piano.

The methods Chadwick employed on Ennui contrast those of her previous full-band record, which thrust her into a very different world of rehearsal, planning, restraint and control as a functional tool. The result, 2020’s critically acclaimed Please Daddy, was her most aching and engaging achievement to date: “a raw, often unnerving experience,” which “delivers compelling and uplifting catharsis” (Mojo). Recording Ennui shortly after the Please Daddy sessions, Chadwick concludes her trilogy by returning to the most immediate compositional process she can muster, doing it alone, with less between her and the microphone than ever before. Joined by long time production collaborators, Ennui was mastered by David Walker at Stepford Audio and mixed and recorded by Geoff O’Connor at Vanity Lair - both expertly bringing scale, subtlety and intangible ascendence to this recording. On Ennui, Chadwick is free, there is nowhere for her or us to run from the need to very presently and repeatedly articulate her trauma until it is simply, “articulated out.”

Sarah Mary Chadwick - Full Mood

First single on Slothrust's debut record, Of Course You Do, on Ba Da Bing! Records this February 18, 2014. 

You can pre-order the CD / LP at http://www.badabingrecords.com/store/products/category/slothrust/ now!

Slothrust - Crockpot

Slothrust - Cubicle

Slothrust - The Couch Incident

Slothrust - No Eye Candy

Slothrust - Magnets Part 1

Slothrust - 7:30 AM

Slothrust - Homewreck Wifey

Slothrust - Magnets Part 2

Slothrust - Juice

From the upcoming Ora Iso record, Bathcat, on Ba Da Bing Records. Coming out October 14th, 2014.

Ora Iso

A 1972 track off Ba Da Bing’s upcoming "Jackson C. Frank: The Complete Recordings" - a 3xCD/6xLP (LP is split into 3 2xLP volumes) with 24 tracks never before heard. Everything completely remastered, including Jackson's classic debut album from 1965. Out August 4th, 2015.

Track listing: http://www.badabingrecords.com/jackson-c-frank-the-complete-recordings-track-listing/

Order: grapefruitrecordclub.com/t/jackson-c-frank

Released in conjunction with Jim Abbott’s book, Jackson C. Frank: The Clear Hard Light Of Genius, The Complete Recordings contains a total of 67 tracks. Every song has been mastered or remastered, many straight from the original, brittle reel-to-reels.
 A life plagued by tragedy with the most haunting music to show for it, Frank’s story can be heard through his music, which has been covered by the likes of Nick Drake, Simon & Garfunkel, Fairport Convention, Bert Jansch, John Renbourn, Robin Pecknold of Fleet Foxes, South Korean jazz singer Nah Youn Sun, French singer Graeme Allwright, sampled by Nas for “Undying Love.” While never gaining full recognition as one of the great musicians of the sixties, Jackson C. Frank clearly had his fans. Frank’s story is a cautionary tale for the dangerous pitfalls of a life lived. At the age of eleven, he was the victim of the infamous Cleveland Hill School Fire in a New York suburb, leaving him burned and disabled, and killing 15 of his classmates. He spent an agonizing eight months in the hospital, during which time he picked up a guitar for the first time. Scarred both physically and psychologically by the first, and left a shell of his former self, Frank would never fully recover from the wounds. His never-released second album was to include the song “Marlene”, which honors his childhood girlfriend lost in the fire. 
Jackson soon found himself making the rounds of the London folk clubs and rubbed shoulders with Bert Jansch, Roy Harper, John Renbourn, Dave Van Ronk, Tom Paxton, Mike Seeger and Sandy Denny (who became Jackson’s girlfriend and later wrote the somber song “Next Time Around” about him). Jackson’s music caught the interest of another young American songwriter in London named Paul Simon, who offered to record and produce his eponymous album Jackson C. Frank in 1965. 
After recording his album, however, Jackson’s health took a turn for the worse and the following years were unkind. He met future wife Elaine Sedgwick, cousin of Edie Sedgwick, at a London party, and when his money began to run out he left London for Woodstock, where they married. The relationship was marked by a miscarriage and the death of their first-born son to cystic fibrosis, and Jackson’s subsequent mental unraveling. Jackson was later diagnosed as paranoid schizophrenic and battled excessive weight gain from a thyroid problem developed after the fire. Additionally, he went through bouts of intermittent homelessness between stays at various upstate shelters.  One day, while Jackson waited in a park to be moved to a new facility, he was shot and blinded in his left eye by neighborhood children with a BB gun. The light from this period of his life came from Jim Abbott, who looked after Jackson C. Frank until his death in 1999. Jackson’s recordings span four decades of a hard-lived life, and every experience, every trial, is reflected in his voice.. If ever a person’s individual journey could be traced through his music, it’s Jackson C. Frank’s, and The Complete Recordings is nothing less than a representative map of his life’s high points and deepest, most shadowed valleys. 
While Frank’s album has enjoyed numerous (official and unofficial) reissues, an expanded double CD edition appeared in 2003 from Sanctuary, with 33 songs that had never appeared before. Jackson C Frank: The Complete Recordings contains a total of 67 tracks, including all the Sanctuary material, plus 24 more songs.

China Blue by Jackson C. Frank

"Sun Tower" off Natural Snow Building's "Terror's Horns" out September 1st, 2015 on Ba Da Bing. Pre-order here: http://grapefruitrecordclub.com/products/copy-of-natural-snow-buildings-terror-s-horns-cd-pre-order

Sun Tower

Katie Von Schleicher - Baby Don't Go

"Steady Waves" off Cross Record's Wabi-Sabi, out January 29th, 2016 on Ba Da Bing Records. Pre-order info here:  http://www.badabingrecords.com/store/cross-record-wabi-sabi-pre-order

Cross Record "Steady Waves"

"High Rise" off the Cross Record album "Wabi-Sabi" out January 29th, 2016 on Ba Da Bing Records. 
See the video here:  http://www.stereogum.com/1843915/band-to-watch-cross-record/franchises/interview/     
Preorder here: http://www.badabingrecords.com/

Cross Record - "High Rise"


From Wabi-Sabi on Ba Da Bing. More info: http://www.badabingrecords.com/store/cross-record-wabi-sabi-pre-order

Cross Record "Basket"

First song off Kane Strang's "Blue Cheese" out February 26th on Ba Da Bing/Flying Nun. Preorder here: http://www.badabingrecords.com/store/kane-strang-blue-cheese-cdlp-pre-order

Kane Strang "Full Moon, Hungry Sun"

The second track from the upcoming record "Blue Cheese" available on Ba Da Bing/Flying Nun. Preorder here: http://www.badabingrecords.com/store/kane-strang-blue-cheese-cdlp-pre-order  Or if you're in New Zealand: http://flyingout.co.nz/products/kane-strang-blue-cheese

Kane Strang "Things Are Never Simple"

The new Kane Strang album "Blue Cheese" is out on Ba Da Bing Records on Friday 26th. More information available here: http://www.badabingrecords.com/store/kane-strang-blue-cheese-cdlp-pre-order

Full Moon, Hungry Sun

From the new David Nance record "Negative Boogie" out July 14th on Ba Da Bing Records. 

If you preorder before June 15th, include a note naming any album you like that you want Nance to cover. We will choose a submission at random and send all preorders a download of that covers record around album release. 

Preorder here: http://grapefruitrecordclub.com/products?keywords=negative+boogie

David Nance "Negative Boogie"

from 'Shitty Hits' - out 7/28 via Ba Da Bing Records & Full Time Hobby (UK/EU)

Shitty Hits 

Katie Von Schleicher - Midsummer

The first single from "Fall Asleep," the debut LP from ANMLPLNET (Leah Wellbaum and Mickey Vershbow), out 4/20 on Ba Da Bing Records. Preorder here: https://grapefruitrecordclub.com/t/anmlplnet

Fall Asleep

ANMLPLNET - I Was Fucked By A Cloud

"Glad To Be Here," a new single from Katie Von Schleicher (following last year's album 'Sh***y Hits'), out March 9th on Ba Da Bing. Out on 7" May 4th.

Glad To Be Here

Katie Von Schleicher - Glad To Be Here

"Landfall" off Roy Montgomery's album Suffuse, out August 22nd on Grapefruit Records. Preorder the LP/CD (as well as the Special Edition version) at  https://grapefruitrecordclub.com/products/montgomery-roy-suffuse-lp-with-bonus-second-lp-option-pre-order

Suffuse

"Landfall"

Roy Montgomery "Landfall" (with Liz Harris of Grouper)

from "Gave In Rest," Sarah Davachi's new album out September 14th, 2018, from Ba Da Bing Records, Preorder here:https://tinyurl.com/y93h4zbl

Gave In Rest

Pre-order

Sarah Davachi - Evensong

The new single off Olympic Girls, the upcoming record by Tiny Ruins on Ba Da Bing Records, out February 1, 2019

"Holograms" by Tiny Ruins off Olympic Girls (out Feb 1 2019)

New track from Lady Lamb the Beekeepers forthcoming album Ripely Pine out February 19 on Ba Da Bing Records! Pre-order here: http://www.badabingrecords.com/store/products/category/lady-lamb-the-beekeeper/

Lady Lamb the Beekeeper - Bird Balloons

One Day - Sharon Van Etten

Track off Lady Lamb The Beekeeper's new album, Ripely Pine.

Ba Da Bing Records/Grapefruit Records

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