From the album, 'Avenue With Trees - a Second Language cornucopia' out 15th August 2020 on Second Language Music.  

Guitar - Franck Alba
Programming/production - Glen Johnson

Info/buy : https://secondlanguagemusic.bandcamp.com/album/avenue-with-trees-a-second-language-cornucopia-secondaries

Franck Alba - Frédéric

https://secondlanguagemusic.bandcamp.com/

Second Language Music November Bandcamp

ALTERNATIVE ROCK

A compilation of some of our favourite tracks since our inception in 2009.  Have we missed anything? 

www.secondlanguagemusic.com

Second Language Music 2009 - 2024 (work in progress)

From the album, 'I Lived In Trees,' out now on Second Language Music : 
http://www.secondlanguagemusic.com/


Mark Fry/The A Lords - Ruins Of Stone

Adieu À L'Écurie - D.Rothon

Tracklist:
Ben Frost - You Me And The End Of Everything 
Dead Ca Dance - The Writing On My Father's Hand 
Have A Nice Life - Telefony 
Death In June - Last Farewell 
Gérard Manset - Ou? l'horizon prend fin 
Neil Young - Rumblin' 
Mika Vainio - Mining 
Emptyset - Function 
Sol Invictus - The Devil's Steed

Radio Nova Mondkopf Mixtape

Future Conditional - Demolitions(feat. Bobby Wratten & Beth Arzy)


5/20/14
Haley Bonar
Last War

Haley Bonar is set to release her 5th full length record, Last War, on May 20th via Graveface Records. Bonar takes a darker sonic direction on the forthcoming album which envelopes her omnipotent songwriting in lush, brooding soundscapes that feature hard driving rhythm sections, soaring synths and snarling guitars. The record was recorded at Devils Workshop, April Base and 606 (Dave Grohl's personal studio in LA) The cherry on top: special guest Justin Vernon (Bon Iver, Volcano Choir) appears on two tracks adding his ethereal vocal harmonies to "From A Cage" and "Eat for Free".

Haley Bonar was discovered during an open mic event by one of her musical heroes, Alan Sparhawk of Low. The next day she quit school, crammed her Honda Civic full of gear with her drummer, and was opening for Low across the country she had barely seen. Haley was twenty years old. Since then, she has released four full length albums, several EPs, started a punk/new-wave side project (Gramma’s Boyfriend), had songs tapped for major motion pictures and has had the pleasure to tour from coast-to-coast playing some of the most amazing venues with some of the most talented artists in the world.


Haley Bonar - No Sensitive Man

GRAVE118 - Whirr 'Sway' out 9/23/14 on CD/LP/Tape/Digital (pre-order here: http://www.graveface.com/graveface-catalog.html)

When Sway begins, you might at first press pause, reaching for your headphone wire or peeking behind your speaker cables to make sure nothing has come undone. The blister of distorted guitar that opens the album comes only from the right channel, howling and hanging there in irascible isolation until it seems that something must be wrong.
But be patient: After a dozen seconds, the rest of Whirr—a five-piece of blanketing rock focus and comforting pop finesse—pours in from the left channel. They meet the guitar in the middle, together racing headlong into a short section that’s heavy as metal but pliable enough to be the springboard for the galloping shoegaze beauty that soon arrives.
For the next 36 minutes, you need not worry again about lost connections, split channels or anything else, really. More than any Whirr release to date, Sway creates a definitive sense of immersion, sculpting an environment that breathes you in instantly and breathes you out only when the record snaps into silence.
That bifurcated start is an appropriate image for Whirr in 2014. Last year, the band headlined a tour with the Philadelphia group and fellow admirers of heaviness and harmony, Nothing. Not only did the crews become fast friends, but their respective founders—Whirr’s Nick Bassett and Nothing’s Dominic Palermo—decided to start a group of their own, Death of Lovers. When the shared tour was finished, Bassett headed to Philadelphia for a month of writing and recording. He’s never really left. He calls Philadelphia home now, so Whirr has become a bicoastal band.
In Philadelphia, Bassett worked on Death of Lovers’ debut for Deathwish Inc., toured as the bassist for Nothing and steadily composed new material for the next Whirr album, their first full-length for Graveface. Back in Oakland, the rest of Whirr had committed to the project full-time, too, so the West Coast contingent wrote and rehearsed new material without Bassett. Joey Bautista took the lead on two songs, Loren Rivera on three.
Indeed, against most odds, Bassett’s move made for a more democratic Whirr. In their salad days, Bassett had written most of the material and built the bulk of the arrangements, too, using the support only to enrich and enliven them. After a slew of splits and singles and EPs, Sway is the second Whirr LP, but it is only the first to be rendered by a fully functional rock band, having shaped the songs slowly and over some distance.
Before the quintet entered Oakland’s Atomic Garden to work with longtime producer and collaborator Jack Shirley, they reworked the contributions of all three writers, massaging the material into a cohesive dynamo. Rivera, for instance, rewrote the words for Bassett’s material, folding his songs into the album’s presiding sense of dusky melancholy.
“It’s not conceptual, entirely, but it’s intended to ebb and flow in a certain way—one song being aggressive, then dropping out and being pretty but devastating,” Bassett says. “We tried to create an atmosphere, where you listen and get vibed into one tone. ”
That rhythm presides over Sway, tying its distinct parts into a seamless unit. The restless “Heavy” churns somewhere between Godflesh and Gish, its lumbering beat and foreboding guitar buoyed by a melody that feels like a secret hymn for which you’ve long searched. Gorgeous and sprawling, “Sway” floats through luxuriating guitars and pillowed vocals, offering an impressionistic but intoxicating inversion of Whirr’s typical propulsion. Even here, during the record’s prettiest moment, Whirr maintains a righteous minimalism, emblematic of members who met one another as skateboarding high-school kids.
“The aesthetic of the band is more aimed at mature punk rather than alternative rock,” Bassett confirms. “There are these more aggressive punk elements—noisy feedback, a snare roll that just goes into super-punchy, driving songs.”
“Clear” brilliantly paints its lyrical quest for lucid communication—“I want words/to understand you,” runs one plaintive, surging bit—in music that takes up the same challenge. Whirr pushes past a pastel instrumental haze into a hangdog march, with near-whispered vocals bruised by Devin Nunes’ drums and Eddie Saldago’s orotund bass line. But as the end approaches, the band builds together, the riffs and the rhythm colliding into one triumphant, redemptive crest.
And that’s the victory of Sway, too, an album written by five people on two coasts but executed with the force and splendor of, at last, a fully unified Whirr.
Graveface will release Sway on CD, LP and digitally September 23.

Whirr - Mumble

Cédric Pin/Glen Johnson - Prick

Halo

Cálculos y oráculos

Piano Magic - Exile

From the forthcoming album, 'I Feel Nothing Most Days,' out 26th April 2019 on Second Language Music.  Pre-order here : https://olivercherer.bandcamp.com/

Oliver Cherer - Weight Of The Water

From the album, 'I Hunt Alone,' out now on Second Language Music : http://www.secondlanguagemusic.com/SL020.html



Directorsound - I Hunt Alone

Telekinesis is both a band and a person. It’s taken Michael Benjamin Lerner, now a wizened, grizzled 26-year-old, four years to come to terms with this and understand what responsibilities it does and does not entail, although one would not, from listening to its/his previous two albums, 2009’s self-titled debut and 2011’s 12 Desperate Straight Lines, detect any hint of confusion or self-doubt, aside from the songs that were directly about confusion or self-doubt. His third album, Dormarion, is, then, in ways both practical and profound, the sound of a man figuring out exactly who he is. Also, it’s a total fucking hoot.
Lerner wrote the 12 songs that comprise Dormarion in early 2012—half at his home in West Seattle and half at his family’s house in the San Juan Islands—with the original intention of recording the album completely on his own. Instead, he road-tripped over the summer and made the record in two weeks with Spoon drummer Jim Eno in his Austin, TX studio, Public Hi-Fi. On Dormarion Lane, to be specific. “It’s a beautiful-sounding word, and if you Google it, nothing but this one tiny street comes up,” says Lerner, although this is obviously about to change. “No origin, no description. I can’t tell you what the word means. It’s like something from Lost.”
So there’s two drummers, and no one else, collaborating shoulder-to-shoulder on a musically adventurous album containing two centerpiece songs on which there are no drums whatsoever. The breakthrough, musically and otherwise, came with the eighth song written for the record, “Ghosts and Creatures,” a keyboard-driven, spacey, and darn near Goth turn that marks a conscious departure from his guitar-bass-drums power-pop racket. “That was the most unlike-me song I’d ever written.”
When you see Telekinesis perform this year, Lerner will be backed by Erik Walters of The Globes on guitar, Say Hi’s Eric Elbogen on bass, and Rebecca Cole of Wild Flag and The Minders on keyboards.

Telekinesis: Ghosts And Creatures

From the album, 'Anything bright or startling?' out now : http://www.secondlanguagemusic.com/SL022.html


Áine O Dwyer - Falcon

This one has been a long time coming.  In 2014, debut album in the can, Silver Servants, a loose collective of Second Language artists, commenced work on a Winter-themed recording.  For one reason or another, what was meant to be one, gapless sonic tapestry, never made it to full fruition but you can hear the fruits it did produce, here on ‘Drifts & Flurries.’  With the creative success of the ‘Avenue With Trees’ album, we decided to take those Silver Servants tracks as a starting point for a new compilation, inviting old ghosts and new friends to contribute.

Mark Brend aka Ghostwriter, was one of the very first artists to release something on Second Language – ‘The Continuing Adventures Of The Strange Sound Association album,’ came out in 2010, when we were less than a year old.  His specially-commissioned work here forms pillars throughout this record, accompanied by Katie English (Isnaj Dui, Littlebow, Silver Servants).  The Declining Winter featured on our first ‘Music & Migration’ compilation from the same year.  Here, in true ‘Servants style, they collaborate with Clay Pipe fellow, David Rothon and Glen Johnson, a Servant, himself.

ISAN first featured on a Second Language compilation in 2011, if only for a minute (‘Minute Papillon’).  You can also find them on our second ‘Music & Migration’ compilation and the duo’s Robin Saville released his solo album, ‘Public Flowers,’ on the label in 2013.

Oliver Cherer (in his Dollboy guise) was also an early 2L attendee.  He’s omnipresent here, voicing Ghostwriter tracks, moonlighting as a Silver Servant and offering an icy take on Nico’s ‘Frozen Warnings.’  Newer to our fold are the London-based Japanese composer, Yumi Mashiki and Paul Tornbohm’s Alter Later project, voiced here (on a splendid Yazoo cover) by Amanda Butterworth of Mücha.  The French field recordist, Marc Namblard, exposes the secret sounds of frozen lakes, Scot electronicists P60 team up with Finnish guitarist, J. Luneburg for a secular dance and Sea Glass, formed from the ribs of The Leaf Library and Firestations, take on Movietone’s ‘Blank Like Snow.’ David Rothon offers a beautiful paean to the Welsh hill and battleground, Bryn Glas.  

‘Drifts & Flurries’ includes a bonus disc, ‘The Frosted Pane,’ by Johnson and the Bulgarian violist, Raisa Zapryanova.

This is SL042.

www.secondlanguagemusic.com

Sea Glass -  Blank Like Snow

Independent record label based in London.  2009 - present day.