benoit pioulard 'a shade of celadon'

Rafi Bookstaber
Late Summer
LP / Digital
Woodsist084

Release date: July 1, 2016

1. we can find a way
2. you get high
3. ocean above you
4. in the shade
5. the crystal fire
6. blue eyes crying in the rain
7. (gonna be a) late summer
8. make up yr mind

-produced by Rafi Bookstaber, Paul Grimes & M. Geddes Gengras.
-Limited to 300
-member of death chants, aswara, von himmel, mendocino


"we'd like to welcome back our old friend rafi bookstaber. it's all good…the immediate thing i felt when i jammed his "late summer" for the first time was wanting to hug life, cosmic love in the underground.
this is a diff kind of human digitata, it's sweet analog. you dig spring reverb, then maybe flesh it with sum RA-fi. pure jam. extended solos and explorations go from downtown woodland discord and eternal reverie to relatively clean rivers & beat earth poetics. pretty darlin' indeed...
what a vapor trail of music, very groovy to see folks finally catching up to this HEAD. dawn of a new vibration out of his occult pedigree in so many spaced out earth objects (death chants/aswara/von himmel/mendocino). bookstaber also logged golden hours with time-lag and that deep scene. the beginning of an ear and golden spirit juice. mined private press vision with his own azriel and humito imprints, shucked handmades -> there's also his groove & howl with the wolfpack in the MV/EE axis. oxide, preserves and records…rafi hummed the music of maidens. iron maiden this is not, shipbuilding it sails, four sail and many years ago i was there, so was rafi's FI. you dig apache? find some wampum, blow a journey, be here now for late summer eternal…"

- matt "mv" valentine

Rafi Bookstaber - We Can Find A Way

Marching Church, the onetime solo project and now bona fide big band formed by singer Elias Bender Rønnenfelt, has followed its leader’s muse everywhere from their early days of 4-track lo-fi tapes, to Sam Cooke-tinged soul on This World is Not Enough, to outré free jazz on their most recent Coming Down 12". For Telling It Like It Is, Rønnenfelt and his bandmates have foregone much of their past proclivity for wild stylistic swings in favor of thematically unified, complicated, but fundamentally cohesive song arrangements; the studio itself at times acting as an auxiliary band member. The result is the most focused vision of Marching Church yet, but one that has lost none of its swagger, and none of its power to enthrall. 

“We have here one world united under the sparks of one enormous disco ball hanging over us like the moon,” Rønnenfelt elaborates. “In one fleeting moment in the light of its mirrored surface we see human endurance, in the next we see doom.” The light and shade he finds in this worldview permeate the songs on Telling It Like It Is. 

Rønnenfelt describes the new work “an album which raises multiple flags,” and “the sound of individualism stuck in the center of the modern world, swimming with and against the current.” This never ending push-pull is eloquently stated in lead single “Heart of Life,” wherein Rønnenfelt sings, “my delusions vaguely resemble paradise,” and “Inner City Pigeon,” in which he surveys society from an avian perch and decides he’s “never coming down." This restlessness again is spotlessly reflected in youth anthem, “Up For Days." 

The band in 2016 comprises Rønnenfelt and his frequent collaborator and Iceage bandmate Johan S. Weith (on electric viola and guitar here), Lower’s rhythm section of Kristian Emdal and Anton Rothstein, trumpet player Jakob Emil Lamdahl, and Hand of Dust’s Bo Høyer Hansen. Augmenting these sessions are Maaike Van der Linde and Thora Sveinsdottir of the Stargaze Orchestra on flute and strings, and Sonja La Bianca of Choir of Young Believers on saxophone. The obvious chemistry among these players, coordinated with overall production by Escho’s  Nis Bysted, makes this the most cultivated  Marching Church album to date, unveiling the full spectrum of capabilities and musical dexterity of each player.  Telling It Like It Is taps into a debauched lunacy that teeters equally on the verge of exhaustion, and the charged sensuality rooted in our loins that keep us going. 

Telling It Like It Is

Let It Come Down

Completely Careless (2012-2015)

Silhouette

Written and composed by Maud Nadal. 
Produced by Maud Nadal and Maxime Le Guil at Studio Plus 30, Paris.
Drums recorded by Arno Van Colen and Axel Concato. 
Mixed by Angy Laperdrix at Solaris Studio, Paris. 
Mastered by Rémi Salvador at Climax.

Maud Nadal: vocals, guitars, keyboards. 
Axel Concato: bass, keyboards. 
François Desmoulins: drums.

BUY Du Pouvoir EP:
https://halomaud.bandcamp.com/releases

À La Fin

Berlin based post-punks The Underground Youth have been Fuzz Club favourites since before the label was even born. During a tour in support of their eighth LP ‘What Kind Of Dystopian Hellhole Is This?’ Fuzz Club brought Craig Dyer and co. to Lovebuzz Studio in London to be the next addition to our Fuzz Club Sessions series. Seeing as we’ve spent the last few years releasing or reissuing their entire back-catalogue, we figured it was about to time to drag them in for a session
As with all Fuzz Club Sessions, the LP was recorded live in one take and straight to 2” tape, using only the finest analogue equipment and see’s their beautifully haunting psychedelic post-punk sound even more raw and impassioned than before.

Secret Thread

Sacred Bones Records