You will notice immediately that Cherry is a total departure from Rochinski's previous work in Quilt. Over the last few years, AFR realized pop was the most authentic vehicle for her and unites her varied musical influences under its expansive umbrella. As she puts it, “I lost interest in chord-based guitar music and constructed this record mostly from melodies and beats and bass lines, with guitar as an accessory rather than necessary ingredient”. Rochinski names several main influences, including Madonna, Can, "Midnite Vultures"-era Beck, Hungarian guitarist Gabor Szabo, and Robyn's 1995 debut. "I challenged myself to crack open all my habits and really live in a new world", she says.
There are changes in the lyrical approach as well. AFR sees Cherry as a second-wave, coming-of-age record. “It’s the most personal stuff I've ever written,” she says. “It's basically a break up album, but one that documents a time period ranging from the last few dying months of a six-year relationship and straight into the period following, when I was truly on my own for the first time in a very long time. A break up not just with a guy, but with an entire place and an entire life.” Rochinski began writing the record at the end of her tenure in a cottage in the Hudson Valley, and continued writing during the uncomfortable transition out of a stable life she had worked hard to achieve. "This record was written while I was shedding many things that were very precious to me, but I knew I couldn't keep". After a few stints on the west coast she ended up in NYC, without intending to stay long, but that is where she ultimately decided to nest, as work on Cherry began.
Cherry was recorded with Ava Luna's Carlos Hernandez and Julian Fader, who stepped up as co-producers to help organize and expand upon months of material.
Don Giovanni Records has announced the release of the sophomore album from ModernHut, the songwriting project from Don Giovanni's founder/owner/operator and Joe Steinhardt. The album - titled I Don't Want To Get Adjusted To This World - will be released on January 8, 2021. It was a collaboration with Marissa Paternoster of Screaming Females who co-produced the album and contributed guitar and vocals.
As for the video itself, Steinhardt and Paternoster wanted to document a very specific part of the outskirts of New Brunswick, NJ. The video was shot at the former location of two of their favorite stores on Route 1 North, "Kool Kidz Consignment" and a store that was called "Shoes, $, Items + More." The video itself was inspired by a William Ackerman music video and shot by Kate Sweeney and Brenda Leon.
Album Credits: Produced by Scott Stuckey + Marissa Paternoster Engineered by Scot Reynolds + Amos Pitsch Mixed by Amos Pitsch
Album Track list: 1. In Amongst The Millions 2. Proof And Prime 3. Ask The Dust 4. The Battle Cry Of Freedom 5. Broken Teeth 6. Out Of Touch 7. Silly And Self-Destructive 8. I Don't Want To Get Adjusted To This World
The Carrboro, NC supergroup Speed Stick has announced that their debut album - titled simply Volume One - will be released on January 22, 2021 via Don Giovanni Records. Today, they are releasing the debut single "Knots," featuring Kelley Deal (of The Breeders and R. Ring) on lead vocals, guitars, and bass.
"Knots" can be heard here, as well as on Bandcamp and on all digital streaming services.
Speed Stick is an ever-evolving project among a group of friends—Ash Bowie (Polvo), Charles Chace (The Paul Swest), Laura King (Bat Fangs), and Thomas Simpson (The Love Language)—whose musical achievements reach back as far as the 1990s. But as its live shows attest, the band does not want to rehearse old accomplishments. The songs for Volume One were created in unusual fashion over the course of a year. Initially, Speed Stick only consisted of two drummers. They distributed nine studio tracks and a single live track to select musicians. The musicians’ task was simple: draw inspiration from the beats in order to create music that spreads laterally and horizontally like a rhizome. Indeed, Volume One has utterly discarded the yoke of genre by instead tethering intricate, interlocking drums to myriad creative personalities: Mac McCaughan (Superchunk, Merge Records), Kelley Deal (The Breeders, R. Ring), Mike Montgomery (R. Ring), Stuart McLamb (The Love Language).
This approach of collaborative music making - outsourcing to multiple creative consciousnesses - lends itself to the content of the ten tracks that make up Volume One to be as varied and dynamic as the contributors themselves. The tracks range from Yoko Ono-esque noise sound collages, single chord drone, chant call and response, lyrically led hip hop, and four-on-the-floor melodically-driven indie pop. Drummer Laura King described the anticipation and excitement of receiving each individuals contributions to their percussion compositions, when reflecting on hearing Deal and Montgomery's arrangements to "Knots" for the first time:
We got the track "Knots" back from Kelley and Mike on the night of a show we were playing, so we all jammed in my car outside the venue and I hit play. Eyes widened and our jaws dropped, then we all laughed. It was a perfect moment to sit in. Nervous laughter and excitement. Time really did stand still, and knowing me I probably even teared up. It was perfect."
The genesis of the project of Speed Stick was King asking herself: How, as a drummer being the lead creative force, does one make a record? And furthermore as an improvised drum duo with Simpson, how could they translate their live experience to recorded document? She found inspiration for the multiple-collaborator approach from Minutemen bassist Mike Watt's seminal solo album Ball-Hog or Tugboat? and later, a kismet connection of King touring with Watt and his former fIREHOSE band member ed fROMOHIO Ed Crawford. It was seeing them play every night "that really sealed the deal on me realizing I could probably do whatever the fuck I wanted to do...just took some years, courage, experience, and getting to know and play with some really talented musicians."
Album Track list: 1. Protect Your Magic (featuring Ash Bowie/Charles Chace) 2. Knots (featuring Kelley Deal/Mike Montgomery) 3. Twin Collision (featuring Stuart McLamb) 4. Plants (featuring Ben Felton) 5. And Again (featuring Nora Rogers/Jenny Waters) 6. Lurk On Me (featuring Juan Huevos) 7. SS Grandmama (featuring Mac McCaughan) 8. Let It Shine (featuring Ryan Gustafson) 9. Pretty Sure (featuring Casey Cook/Laura King/Rob Liberti) 10. Spleed Splick (featuring Clarque Blomquist)
Today, Don Giovanni is releasing a new four song EP from Lee Bains + The Glory Fires titled "2 4 6 8 Motorway," which includes a cover of the Tom Robinson Band tune of the same name. Rounding out the EP are three new acoustic studio versions of Bains originals, previously released on his Youth Detention and Dereconstructed albums. The EP is available now on Bandcamp, and all digital streaming platforms.
In reflecting on the inspiration to record and release this EP, Lee Bains stated:
"Lately, I’ve been thinking a lot about Dr. Angela Davis’s statement that “freedom is a constant struggle.” The way people talk around elections sometimes, it can start to feel like freedom is a race with a finish line. What Dr. Davis and others’ work illustrates, though, is that freedom work is forever struggling, pushing forward, regenerating, and that it grows from the people, not from the powerful. No matter whether Trump wins or not (and dear Lord, let’s all do our best this Tuesday to make sure he doesn’t), the movements of, by, and for the people that we saw show themselves so powerfully this summer against white-supremacy, the carceral state and worker-exploitation will trudge onward, whether it’s to the gates of a Biden White House or a Trump White House.
To us, a rocker whose work has exemplified that long highway of freedom is Tom Robinson, whose Tom Robinson Band’s first album in 1978 gave British youth and punkers a vision of the UK for all the people: for LGBTQ people, working-class people, Black people, Muslim people, free people. Their song “2-4-6-8 Motorway” was not only an anthem of the open road, but a celebration of a nationalized infrastructure and of the seemingly endless horizons lying before a youth movement devoted to equality, justice, and freedom.
This is our version of “Motorway”—along with versions of “Whitewash,” “The Company Man,” and “Dirt Track” that I cut with just me and an acoustic guitar. We’ve been missing the interstate, the motorway, and all of y’all since being grounded in March, and look forward to the day we can pile in the van and kick out the jams. We’ll see each other down the road, and God willing, we’ll all be a little freer when we do."
Don Giovanni is excited to announce the signing and debut release from African-surrealist documentarian, educator, digital griot and blx ecstatix performance artist ọmọlólù. Today, she is releasing the EP titled laiii 222 rest ooo,available digitally and in a limited run cassette now.
laiii 222 rest ooo : blx ancestral sonix salves is medicine made for this moment of Black grief-stricken, pandemic-ridden isolation. In reflection on the content and origins of the release, ọmọlólù stated "it triangulates three points that ground me in the healing depths of Black sound by honoring my Yoruba, my Sotho-Tswana and my blx African ancestors in America. laiii 222 rest ooo excavates, celebrates, and reverberates three essential truths:
1) blx sonix healIN be an ancestral rite...
2) to pass thr(u) the grief of capture uuu must BE guided, uuu must BE moved, uuu must BE provoked...
A diasporic daughter of blx Southern migration ọmọlólù is in constant practice, reverence and searching for blx sound in all it’s haptic, visual, sonic, strategic, mobile, logical mutations. Using image, video, prose and sound she attempts to stun whiteness and create a divine glimmer of blx relief, a brief moment of sanctuary for folx to come home into. She believes that she is here as a grief worker using convoluted artistic gestures as a way to contract folks out into the wild, into the woods to be in a sacred space of blx revival together.Mixing acoustic and digital tones, soundscape field recordings, sung and spoken moments backed by ancient rhythms, this ambitious EP is the first ever released music by the artist, who has spent extensive time in the visual arts fields and in study of blx sound, thought, and life. The music is meant as ancestral blx medicine meant to move, guide and provoke blx breath. It is in the school of sista docta Alexis Pauline Gumbs and Sangodare’s, “Black feminist breathing chorus” -- it is a breath re-alignment tool.
Also released today is a music video for the second track on the EP titled "tr(u)(iii)" in which ọmọlólù performs a relinquishing ceremony for herself and her parents, to let go of grief she's held onto from her experience with institutionalized racism in academia. She reflected..."The video documents a relinquishing ceremony that I created for myself to let go of the grief I've been holding onto from my experience of white schooled institutionalization. while i was a student at the university of north carolina chapel hill I and fellow students organized around the legacies of white supremacy and anti blackness that founded the institution, were glorified in building names and confederate monuments on campus and reproduced through administrational violations against Blackness. this video shows me reclaiming my power, my image and my sanctity of peace."