Taken from the c62 "Heliosheath" (Lmgrovllum #5) - more info here: http://lmgrovllum.org

Recorded live to tape with x0xb0x and MFB-533. Overdubs recorded with Moog LP + Arturia Minibrute. Digitally mixed and re-edited.

Max Redux

Introducing one quarter of San Francisco’s Cool Ghouls, Pat Thomas! He’s the tall dude who plays the bass.  He also writes one third of the Ghouls' songs.  Coasters Riding in the Air is a collection of songs written, performed and recorded by Pat Thomas.
 
The Cool Ghouls have made a name for themselves. Their soulful tunes and energetic live set have earned the band back-to-back slots with toast of the coast acts like Sonny and the Sunsets, Thee Oh Sees, The Fresh and Onlys, Mikal Cronin, Fuzz, Magic Trick and Shannon and the Clams etc., and they have no plans to slow their role.  It has been less than a year since Cool Ghouls released their self-titled debut with Empty Cellar and Burger Records, and a new full-length album (recorded by Sonny Smith) is already in the can.  The above in mind, one might guess that the Ghouls have their hands full; but like label-mate and fellow San Franciscan, Tim Cohen… Pat has more songs than any one band is prepared to handle.
 
So as the Ghouls keep on truckin’, Thomas is offering this batch of solo material, Coasters Riding in the Air.  He wants to keep the songs flowing; to convey another corner of the musical realm that he and Cool Ghouls inhabit; but mostly, because he recorded ‘em and he’d like to share ‘em.  Pat laid these tracks at a leisurely pace, coming back to them whenever he could.  He plays everything on the album, except for some saxophone and trombone lines played by Ryan Wong and Richard Harkins.  The result is an ear-pleasing contemporary take on classic west coast rock ‘n’ roll. These songs were seen through for their own sake and good thing, because they are great.  They are infectious all-around-rad tunes; and now that they are here in the world with us, they’re free to go and do what they please.
 
Coasters Riding in the Air will see a limited label-only release on November 26 (with a December 3rd wide-release) via digital download on Empty Cellar and on cassette from Burger Records.

Pat Thomas (Cool Ghouls) - Not Right Now

Second mp3 single from Protomartyr's Under Color of Official Right, out now on Hardly Art records.

Purchase the album
iTunes: https://itunes.apple.com/us/album/under-color-of-official-right/id826845501
Amazon: http://amzn.com/B00IIH71UY
Hardly Art: http://www.hardlyart.com/shop/protomartyr.html
Sub Pop: https://megamart.subpop.com/releases/protomartyr/under_color_of_official_right

Like Protomartyr on Facebook: https://www.facebook.com/protomartyr
Protomartyr on tour: http://www.hardlyart.com/tour.html


Under Color of Official Right

Come & See

Protomartyr - "Come & See"

So Cow - The Long Con
104GONE
Release Date: September 16, 2014

After years of recording as one man in several sheds, The Long Con is the first full-on, full-band recording from Ireland's So Cow. Brian Kelly is this time joined by long-time foil Jonny White on bass and the pride of Dublin, Peter O'Shea, on drums. It's also the first album to be recorded in a studio and, if that isn't enough, has an honest-to-goodness producer involved, namely Deerhoof's Greg Saunier. Recorded live over the course of four or so days, the album is an attempt to capture So Cow's live sound, as opposed to the overdub-happy chaos that marked the debut LPs, 2009's best-of-up-to-then compilation So Cow and 2010's Meaningless Friendly.

The album was recorded in Ballyheigue in County Kerry, hitherto and probably-now-still most famous for being the birthplace of the guy who coined the term 'entreprenuer'. Saunier and the band ran through the process at a fairly spectacular pace, most likely inspired by the wi-fi being out of order. The Deerhoof man himself makes an appearance on the track "Say Hello", a pretty-much-improvised final day runabout. The Long Con follows on from the varied enough style of Meaningless Friendly and their half of Out Of Season, a split LP with Dublin's Squarehead, in that it zips around various styles in a way that, to this day, makes their friends find them "hard to describe".

The band themselves are of the mind that they sound like The Chills or McLusky, but they've lost all perspective at this stage so you shouldn't go taking their word for it. Similarly, lyrics telling of joyriding local politicians, John Deacon's post-Queen level of contentment, and the terror of turning 30 can probably now be interpreted any number of ways. So Cow are currently planning a quick September trek of the US, culminating in an appearance at Gonerfest 11 in Memphis.

The Long Con Tracklist
1. Get Up Off That Thing
2. Science Fiction
3. Sugar Factory
4. Operating at a Loss
5. I Want Out
6. Vigilanti Cura
7. Say Hello
8. Turning Into You
9. To Be Confirmed
10. Guess Who's Dead
11. The Other One
12. Second Last Line of the National Anthem
13. Barry Richardson

SO COW ON FACEBOOK
www.facebook.com/socowmusic

GONER ON FACEBOOK
www.facebook.com/pages/Goner-Records/73295355242
ONLINE STORE
www.goner-records.com
FOLLOW US
www.goner-records.tumblr.com

So Cow "Science Fiction" // 'The Long Con' Out Now On Goner Records

U Need Me

From "Intensity Ghost" out October 28th or CD and LP. Pre-order at www.noquarter.net

Chris Forsyth & The Solar Motel Band "I Ain't Waiting"

'Sound of The Machine' is the lead single off our new album.

The new album is called 'The Dawn' and will release through Fuzz Club Records on November 3rd, 2014 followed by 7 weeks of touring UK and Europe. 

Buy the single here:
http://getyourasstomars.tictail.com/product/soundofthemachine-digital-download

Read more on www.thewands.eu

Sound of The Machine

Here's a lil demo of a song Leah wrote for our other band, See Gulls.  

Recorded by Duncan Webster


Boss Hog (demo)

This piece is based on variations on time syncing.  A single note was sequenced and processed through a time-sequenced LFO on a Microbrute which was patched to the synth's filter.  I believe the seemingly random changes heard are due to very slight time variations between the sequenced note and the synchronized filter.  Towards the end of the piece, I reduced the synced midi tempo in a somewhat linear fashion, but you can hear that synchronization between the clock source (a DD-500) and the sequenced note fall off a few times.

The phasing that occurs in the middle of the piece is due to routing the lfo to manipulate the oscillator's waveshape, I think.

Sound-wise, the only thing used is the microbrute (albeit routed through an interface and a bunch of turned off pedals and split into 4 mostly identical signals which are then mixed in stereo).

Time

I make songs play in @lesswestern work with computers get on twitter

Time

john_mitchell