Joseph Shabason // Aytche CD
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Joseph Shabason // Aytche CD
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This is an album released by Western Vinyl in 2017 by saxophonist Joseph Shabason from Toronto, Canada.
Contains 9 ambient jazz songs.
Labels and other worksplease use this form. ///Click here to see more Western Vinyl releases available at Tobira.
----------------------------
Tenor Saxophone, Alto Flute, Juno 60, Prophet 12, MS20, Samples:
Joseph Shabason
Western Vinyl:
"Saxophonist and composer Joseph Shabason's debut Aytche builds a bridge off of the precipice his forbears established, skirting jazz, ambient, and even new age with the same deliberate genre-ambiguity that made their work so interesting.
Aytche is a document of exploration both inward and outward. Every step taken in sound-design mirrors a stride in emotionality, as Shabason employs a variety of effect pedals to coax rich moody textures from his instrument. He explains, "I feel like robbing the sax of the ability to shred by effecting it and turning it into a dense chordal instrument really helps the instrument become something that it's not usually known for." Aytche deals with themes of degenerative illness and assisted suicide with eloquence that instrumental music rarely achieves regarding any subject, much less such difficult ones.
Album highlight "Westmeath" approaches Aytche's subject of inspiration head-on. Here, the album's only verbalization appears in the form of an interview with a man discussing his father's trauma and eventual suicide after surviving the holocaust. Though we only hear a few obscured words and phrases from the interview, the impact is powerful. For Shabason, whose grandparents survived the holocaust, this selection is anything but frivolous.
Artist: Joseph Shabason
Label: Western Vinyl
This is an album released by Western Vinyl in 2017 by saxophonist Joseph Shabason from Toronto, Canada.
Contains 9 ambient jazz songs.
Labels and other worksplease use this form. ///Click here to see more Western Vinyl releases available at Tobira.
----------------------------
Tenor Saxophone, Alto Flute, Juno 60, Prophet 12, MS20, Samples:
Joseph Shabason
Western Vinyl:
"Saxophonist and composer Joseph Shabason's debut Aytche builds a bridge off of the precipice his forbears established, skirting jazz, ambient, and even new age with the same deliberate genre-ambiguity that made their work so interesting.
Aytche is a document of exploration both inward and outward. Every step taken in sound-design mirrors a stride in emotionality, as Shabason employs a variety of effect pedals to coax rich moody textures from his instrument. He explains, "I feel like robbing the sax of the ability to shred by effecting it and turning it into a dense chordal instrument really helps the instrument become something that it's not usually known for." Aytche deals with themes of degenerative illness and assisted suicide with eloquence that instrumental music rarely achieves regarding any subject, much less such difficult ones.
Album highlight "Westmeath" approaches Aytche's subject of inspiration head-on. Here, the album's only verbalization appears in the form of an interview with a man discussing his father's trauma and eventual suicide after surviving the holocaust. Though we only hear a few obscured words and phrases from the interview, the impact is powerful. For Shabason, whose grandparents survived the holocaust, this selection is anything but frivolous.
Artist: Joseph Shabason
Label: Western Vinyl
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He's a soft machine with limitations, improvising and adapting, seeking balance and a sense of place, just like everyone else.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Lamplight\u003c\/p\u003e\n\u003cp\u003eLabel : Western Vinyl\u003c\/p\u003e\n\u003cp\u003eCAT No.: \u003cspan data-mce-fragment=\"1\"\u003eWV262\u003c\/span\u003e\u003c\/p\u003e","published_at":"2024-03-06T20:20:40+09:00","created_at":"2024-03-05T15:39:53+09:00","vendor":"Tobira Records","type":"","tags":["folk \/ left-field pop","lp","new","western vinyl"],"price":329000,"price_min":329000,"price_max":329000,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":45286226723066,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Lamplight \/\/ Lamplight LP","public_title":null,"options":["Default Title"],"price":329000,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/lam1_a31c68cb-e571-4bf1-b579-9dda31d5fa8c.jpg?v=1709620795","\/\/tobirarecords.com\/cdn\/shop\/files\/lam2.jpg?v=1709620794"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/lam1_a31c68cb-e571-4bf1-b579-9dda31d5fa8c.jpg?v=1709620795","options":["Title"],"media":[{"alt":null,"id":33307162935546,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/lam1_a31c68cb-e571-4bf1-b579-9dda31d5fa8c.jpg?v=1709620795"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/lam1_a31c68cb-e571-4bf1-b579-9dda31d5fa8c.jpg?v=1709620795","width":700},{"alt":null,"id":33307163001082,"position":2,"preview_image":{"aspect_ratio":1.412,"height":850,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/lam2.jpg?v=1709620794"},"aspect_ratio":1.412,"height":850,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/lam2.jpg?v=1709620794","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e\u003cspan\u003eアメリカ・バージニアのインディーフォーク作家Lamplightが、2024年3月に同国老舗レーベルWestern Vinylからリリースしたデビューレコードです。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eインディー・フォークロック9曲を収録。\u003c\/p\u003e\n\u003cp\u003e※デジタル音源をご希望の場合はお気軽にご連絡をお願いいたします\u003c\/p\u003e\n\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/A32ea6uaGIM?si=H8CidRkic_F9VLwf\" height=\"315\" width=\"560\" allowfullscreen=\"\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" frameborder=\"0\"\u003e\u003c\/iframe\u003e \u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/KhI_En3cGeI?si=aIznDR2bUWyPJvZb\" height=\"315\" width=\"560\" allowfullscreen=\"\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" frameborder=\"0\"\u003e\u003c\/iframe\u003e \u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1111231400\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/wevi\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/wevi\"\u003ehere\u003c\/a\u003e to see more Western Vinyl releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e----------------------------\u003c\/p\u003e\n\u003cp\u003e12\" black vinyl. Ask us for digital files.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003ePlay\u003c\/li\u003e\n\u003cli\u003eConfrontation 04:43\u003c\/li\u003e\n\u003cli\u003eStillness\u003c\/li\u003e\n\u003cli\u003eLamplight 02:48\u003c\/li\u003e\n\u003cli\u003eCall Your Mom 04:59\u003c\/li\u003e\n\u003cli\u003eHouse Rules 03:52\u003c\/li\u003e\n\u003cli\u003eSoft Blue\u003c\/li\u003e\n\u003cli\u003eEmpathy\u003c\/li\u003e\n\u003cli\u003eHoney\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003eText excerpt by Western Vinyl:\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e\"\u003cem\u003eIn the sway of a rural breeze, Ian Hatcher-Williams’ vocals soothe and enchant the listener on his self-titled debut album as Lamplight, which recounts his odyssey from a child raised in a Virginia cult, to a burned out tech worker in New York, and then back to Virginia, happily married to his childhood friend. 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This is the debut record by Lamplight, an indie folk artist from Virginia, USA, released on the country's long-established label Western Vinyl in March 2024. Contains 3 indie folk rock songs. *If you would like digital sound sources, please feel free to contact us. Click here to see more Western Vinyl releases available at Tobira. ...
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Ask us for digital files.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eEarly Signs of Rhythm 03:37\u003c\/li\u003e\n\u003cli\u003eIn CD\u003c\/li\u003e\n\u003cli\u003eTherapy at 3pm\u003c\/li\u003e\n\u003cli\u003eAll I Can Do 05:31\u003c\/li\u003e\n\u003cli\u003eHe Dances\u003c\/li\u003e\n\u003cli\u003ePassed Over 04:19\u003c\/li\u003e\n\u003cli\u003eChasing My Life\u003c\/li\u003e\n\u003cli\u003eDesperately Free 04:32\u003c\/li\u003e\n\u003cli\u003eI Do\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eWestern Vinyl:\u003c\/p\u003e\n\u003cp\u003e\"\u003cem\u003eUntil now, Art Feynman has strictly been a solo act, a way for Temple to explore surprising sonic landscapes without the burdens of identity. Slightly twisted takes on Kosmische musik, worldbeat, and art pop can be found scattered across the Art Feynman discography, but with Be Good The Crazy Boys, Temple fully immerses himself into pools of collective madness.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eAfter living in NYC for two decades, Luke Temple moved to a rural part of Northern California for six years in which the first two Art Feynman records were made. It served as a needed decompression. Due to some unexpected life changes, Temple moved to Los Angeles spawning a flurry of writing and wanted to play the new music live. Temple booked a residency at the Permanent Records Roadhouse which went better than expected and made very clear the music needed to be recorded.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eUnlike the first two Art Feynman albums, Be Good The Crazy Boys was recorded live in-studio with a full band. The result captures a spirit of restless anxiety, and recalls the most frenetic work by Talking Heads, or Oingo Boingo at their darkest. \"Sonically, I was inspired by records that were recorded at the late Compass Point Studios in the Bahamas such as Grace Jones' ‘Private\u003cspan class=\"bcTruncateMore\"\u003e Life,’ Lizzy Mercier Descloux's Mambo Nassau, and Talking Heads' Remain in Light.\" Despite these callbacks, Be Good The Crazy Boys remains firmly rooted in modern concerns, with songs about fearing the end of the world and struggling with FOMO — narratives that would be relatable if they didn’t sound so completely unhinged.\u003cbr\u003e\u003cbr\u003eWith Be Good The Crazy Boys, Art Feynman proves to be more than just a character. He represents the part of the modern, collective consciousness that’s struggling to maintain balance in a toxic, chaotic world. In less skilled hands, that concept could result in a very somber listen. Fortunately, when Art Feynman gets his hands on the chaos of the modern age, it simply makes you want to dance.\u003cbr\u003e\u003cbr\u003e“To me,” Temple explains, “there was a lot of energy that needed to be released as the result of living in isolation for six years. It also seems to speak to a general anxiety we’re all holding, but it’s expressed in a cathartic way.” It’s this acknowledgement of general anxiety that separates Feynman from the other fictional personas that have been cropping up in the music world lately. Feynman doesn’t sound suave, confident, or even heartbroken in these songs; it sounds like he’s on the verge of a panic attack.\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e\u003cem\u003e \"\u003c\/em\u003e\u003ca\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3 class=\"credits-label\"\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003cp\u003eArtist : Art Feynman\u003c\/p\u003e\n\u003cp\u003eLabel : Western Vinyl\u003c\/p\u003e","published_at":"2023-11-07T06:35:33+09:00","created_at":"2023-11-04T18:47:55+09:00","vendor":"Tobira Records","type":"","tags":["folk \/ left-field pop","lp","new","western vinyl"],"price":329000,"price_min":329000,"price_max":329000,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":44728761024762,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Art Feynman \/\/ Be Good The Crazy Boys LP [COLOR]","public_title":null,"options":["Default Title"],"price":329000,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/be1_6460df52-48c0-4bea-b6ff-b6aba98ae05a.jpg?v=1699091277","\/\/tobirarecords.com\/cdn\/shop\/files\/be2_1f40798a-3630-4cef-8dcd-1f2dfe95949a.jpg?v=1699091277"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/be1_6460df52-48c0-4bea-b6ff-b6aba98ae05a.jpg?v=1699091277","options":["Title"],"media":[{"alt":null,"id":32642199683322,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/be1_6460df52-48c0-4bea-b6ff-b6aba98ae05a.jpg?v=1699091277"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/be1_6460df52-48c0-4bea-b6ff-b6aba98ae05a.jpg?v=1699091277","width":700},{"alt":null,"id":32642199716090,"position":2,"preview_image":{"aspect_ratio":1.412,"height":850,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/be2_1f40798a-3630-4cef-8dcd-1f2dfe95949a.jpg?v=1699091277"},"aspect_ratio":1.412,"height":850,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/be2_1f40798a-3630-4cef-8dcd-1f2dfe95949a.jpg?v=1699091277","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e\u003cspan\u003eインディーロックバンドHere We Go Magicとしても活動していたアメリカ・カリフォルニアのポップ作家 Luke Temple aka Art Feynmanが、2023年11月に同国老舗レーベルWestern Vinylからリリースしたレコードです。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eファンキーなインディーポップ〜ポストパンク9曲を収録。緑盤です。\u003c\/p\u003e\n\u003cp\u003e※デジタル音源をご希望の場合はお気軽にご連絡をお願いいたします\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1091076523\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/track=3365580285\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003e\u003ciframe style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem; border-width: 0px; border-style: initial; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1091076523\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\" seamless=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/wevi\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/wevi\"\u003ehere\u003c\/a\u003e to see more Western Vinyl releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e----------------------------\u003c\/p\u003e\n\u003cp\u003e12\" black vinyl. Ask us for digital files.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eEarly Signs of Rhythm 03:37\u003c\/li\u003e\n\u003cli\u003eIn CD\u003c\/li\u003e\n\u003cli\u003eTherapy at 3pm\u003c\/li\u003e\n\u003cli\u003eAll I Can Do 05:31\u003c\/li\u003e\n\u003cli\u003eHe Dances\u003c\/li\u003e\n\u003cli\u003ePassed Over 04:19\u003c\/li\u003e\n\u003cli\u003eChasing My Life\u003c\/li\u003e\n\u003cli\u003eDesperately Free 04:32\u003c\/li\u003e\n\u003cli\u003eI Do\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eWestern Vinyl:\u003c\/p\u003e\n\u003cp\u003e\"\u003cem\u003eUntil now, Art Feynman has strictly been a solo act, a way for Temple to explore surprising sonic landscapes without the burdens of identity. Slightly twisted takes on Kosmische musik, worldbeat, and art pop can be found scattered across the Art Feynman discography, but with Be Good The Crazy Boys, Temple fully immerses himself into pools of collective madness.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eAfter living in NYC for two decades, Luke Temple moved to a rural part of Northern California for six years in which the first two Art Feynman records were made. It served as a needed decompression. Due to some unexpected life changes, Temple moved to Los Angeles spawning a flurry of writing and wanted to play the new music live. Temple booked a residency at the Permanent Records Roadhouse which went better than expected and made very clear the music needed to be recorded.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eUnlike the first two Art Feynman albums, Be Good The Crazy Boys was recorded live in-studio with a full band. The result captures a spirit of restless anxiety, and recalls the most frenetic work by Talking Heads, or Oingo Boingo at their darkest. \"Sonically, I was inspired by records that were recorded at the late Compass Point Studios in the Bahamas such as Grace Jones' ‘Private\u003cspan class=\"bcTruncateMore\"\u003e Life,’ Lizzy Mercier Descloux's Mambo Nassau, and Talking Heads' Remain in Light.\" Despite these callbacks, Be Good The Crazy Boys remains firmly rooted in modern concerns, with songs about fearing the end of the world and struggling with FOMO — narratives that would be relatable if they didn’t sound so completely unhinged.\u003cbr\u003e\u003cbr\u003eWith Be Good The Crazy Boys, Art Feynman proves to be more than just a character. He represents the part of the modern, collective consciousness that’s struggling to maintain balance in a toxic, chaotic world. In less skilled hands, that concept could result in a very somber listen. Fortunately, when Art Feynman gets his hands on the chaos of the modern age, it simply makes you want to dance.\u003cbr\u003e\u003cbr\u003e“To me,” Temple explains, “there was a lot of energy that needed to be released as the result of living in isolation for six years. It also seems to speak to a general anxiety we’re all holding, but it’s expressed in a cathartic way.” It’s this acknowledgement of general anxiety that separates Feynman from the other fictional personas that have been cropping up in the music world lately. Feynman doesn’t sound suave, confident, or even heartbroken in these songs; it sounds like he’s on the verge of a panic attack.\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e\u003cem\u003e \"\u003c\/em\u003e\u003ca\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3 class=\"credits-label\"\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003cp\u003eArtist : Art Feynman\u003c\/p\u003e\n\u003cp\u003eLabel : Western Vinyl\u003c\/p\u003e"}
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This is a record released by Luke Temple aka Art Feynman, a pop artist from California, USA, who was also active as the indie rock band Here We Go Magic, on the country's long-established label Western Vinyl in November 2023.Contains 11 funky indie pop to post-punk songs.It's a green board. *If you would like a digital sound source, please feel free to contact us. Click here for labels and other works /// Click here to see...
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{"id":8028274524410,"title":"Joseph Shabason \/\/ Welcome To Hell LP","handle":"joseph-shabason-welcome-to-hell-lp","description":"\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e※4月下旬再入荷後発送します\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eカナダ・トロントのサックス奏者Joseph Shabasonが、2023年10月にアメリカの老舗レーベルWestern Vinylからリリースしたレコードです。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e1996年のスケートボード作品『Welcome To Hell』にインスパイアされたアンビエント・スピリチュアルジャズ10曲を収録。\u003c\/p\u003e\n\u003cp\u003e※デジタル音源をご希望の場合はお気軽にご連絡をお願いいたします\u003c\/p\u003e\n\u003cp\u003e以下、レーベルによる解説です。\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"地獄ってどんなところ？警察官、ビジネスマン、ファーストフード店の従業員の映像の上に星条旗が脈打つようにオーバーレイされた、トイマシンスケートボードの1996年の代表的なビデオ\u003cmeta charset=\"utf-8\"\u003e『\u003cmeta charset=\"utf-8\"\u003eWelcome To Hell 』のイントロは、地獄をアメリカの例外主義の蜃気楼として描いているように見えるだろう。外見上は火と硫黄のにおいはしないが、鼻を風に向けてみれば硫黄のにおいがするような、何世紀にもわたって続く非現実。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eこのシーンの後に登場するのは、そのような明らかな天罰の描写から生まれた、あるいはそれにもかかわらず、文化の試金石となるものだ。最高レベルで披露されるスケートボードは、この後何十年にもわたって観客に影響を与え、愛着を抱かせるような方法で構成され、展示される。\u003cmeta charset=\"utf-8\"\u003e『\u003cmeta charset=\"utf-8\"\u003eWelcome To Hell 』では、ユニークかつ先進的なスケートボーダーたちがパッチワークのように登場するが、そのほとんどが彼らの世界でアイコン的存在となり、現代のスケートボードビデオのあり方を再定義する一助となった。\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e若きJoseph Shabasonはその衝撃を感じていた。この高名なミュージシャンは、青春時代に『\u003cmeta charset=\"utf-8\"\u003eWelcome To Hell 』のVHSを何百回も巻き戻した。爽快で、即興的で、全身を使ったスケートボードの体験は、\u003cmeta charset=\"utf-8\"\u003eShabasonがジャズになぞらえたもので、ウィールと木管楽器の間には共通の言語が存在する。スケートボーダーとミュージシャンがその言語を使い分けることで、\"スタイル \"という気まぐれな概念に定義が加わる。スケーターとミュージシャンのアンサンブルは騒々しく、クリエイティブな集団だ。この関係性とトイマシンの名作を振り返ることで、\u003cmeta charset=\"utf-8\"\u003eShabasonは最終的に「地獄のサウンドとはどんなものか」と考えるようになる。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eその答えは、彼のこれまでのレコードと同様、パーソナルな世界に生きるコンセプトアルバムだった。スケートボードそのものがそうであるように、\"Welcome To Hell \"の再ソロ化という新しい試みに\u003cmeta charset=\"utf-8\"\u003eShabasonは挑戦することになる。このビデオのオリジナルサウンドトラックは、ミスフィッツ、ブラックサバス、ソニックユースといったバンドのアクティブでアグレッシブな楽曲をミックスしたもので、多くの人にとって音楽の目覚めとなった。\u003cmeta charset=\"utf-8\"\u003eShabasonは、この10曲のアルバムの中で、角ばった曲やアンビエントな曲と戯れ、画面上のアクションとともに前進する大編成のメロディーを探求し、このカルチャーを定義するスケートビデオと登場するスケートボーダーに対する私たちの理解を再構築するような、微妙かつ実質的な方法でムードを変化させている。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e\u003cmeta charset=\"utf-8\"\u003eシャバソンの本作は、27年前の名作に新たな畏敬の念を植え付ける挑発的な再映像化であり、オリジナルが最初に投げかけた「地獄が何度も戻りたくなる場所だとしたら？」という問いを示唆する。\"\u003c\/em\u003e\u003c\/p\u003e\n\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/8UmXG0e_PpU?si=ymNJAyFATYI3o-SO\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1031436541\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/track=3090220120\/transparent=true\/\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/wevi\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/wevi\"\u003ehere\u003c\/a\u003e to see more Western Vinyl releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e----------------------------\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eRed \u0026amp; Black LP. Ask us for digital files.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\u003c\/span\u003eWestern Vinyl:\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"\u003cmeta charset=\"utf-8\"\u003eWhat does hell look like? The introduction of Toy Machine skateboard's seminal 1996 video “Welcome To Hell,” with its pulsing overlay of the Stars and Stripes on top footage of police officers, businessmen, and fast food service workers, would appear to paint hell as the mirage of American exceptionalism. A thick, centuries-spanning unreality that may not outwardly trade in fire and brimstone, but if you turn your nose to the wind, you’ll smell sulphur.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eWhat comes after that scene, born of — or despite — those apparent depictions of damnation, would become a cultural touchstone: skateboarding performed at the highest level, composed and displayed in a fashion that would influence and endear audiences for decades to come. “Welcome To Hell” features a unique and progressive patchwork of skateboarders, most of which would become icons in their world, and helped redefine what the modern skateboarding video could be.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eA young Joseph Shabason felt that impact. The acclaimed musician hit rewind on his VHS copy of “Welcome To Hell” hundreds of times in his youth, each watch as thrilling as the last. That invigorating, improvisational, full-body experience of skateboarding is one that Shabason likens to jazz, where a shared language\u003cspan data-mce-fragment=\"1\" class=\"bcTruncateMore\"\u003e exists between the wheels and woodwinds. The way the skateboarder and musician command that language is what distinguishes them, adding definition to the mercurial concept of “style.” This connection becomes most apparent in collaboration; ensembles of skaters and musicians are a noisy, creative bunch. Reflecting on this relationship and the Toy Machine classic would ultimately lead Shabason to wonder: what does hell sound like?\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe answer was a concept album that, like his previous records, lives in the personal. One that, much like skateboarding itself, would push him to try something new: rescoring “Welcome To Hell.” The video’s original soundtrack served as a musical awakening for many — an active, aggressive mix of songs from bands like The Misfits, Black Sabbath, and Sonic Youth. Here, you’ll find that recontextualized, softened, yet no less energizing. Over the album’s ten songs, Shabason plays with the angular and ambient, exploring large group melodies that move forward with the on-screen action, shifting the mood in subtle and substantial ways that reframe our understanding of this culture-defining skate video and the skateboarders in it.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn Shabason’s “Hell,” quintessential “East Coast powerhouse,” Mike Maldonado is backed by a sharp, driving modal composition that calls back to 1970s Miles Davis, the melodic sensibilities of Azimuth, and stands as a fascinating complement to Maldonado’s hard-charging on-board approach. The debut of Elissa Steamer, a pioneer decades ahead of her time, is given fresh spirit with an off-kilter funk. Brian Anderson, whose virtuosic section was originally guided by a dour Pink Floyd track, now flies across the screen in jazzy fits and starts, punctuated by the joyous wail of Shabason’s saxophone. Nowhere does the fluid and improvisational intersection of skateboarding and jazz meet and swell than with Donny Barley. His easy, instinctual cool flecked with tinkling synths and bass lines that echo the natural power of Barley’s abilities.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eShabason then creates what could be rightly considered an audio portrait of Ed Templeton. The celebrated visual artist, photographer, and founder of Toy Machine cuts a distinct profile, which Shabason distills with a throbbing, slanted rhythm and an eerie layering of feedback and pressuring keys. The “curtains” section in “Welcome To Hell” belongs to Jamie Thomas, whose career-defining performance here would set the stage for a decades-spanning career and a level of influence in skateboarding that is still felt today. Shabason meets Thomas’ epic with a commanding, angular rhythm that builds and flows with the momentum of his skateboarding. Airy group melodies mingle with a wonked-out vibraphone and tight percussion that lets loose in florid bursts before devolving into a finishing sequence of muscular improvisation — a fittingly bold interpretation of the work of one of skateboarding’s most daring practitioners.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eFinally, as if ending with his thesis statement, the last song of Shabason’s “Welcome To Hell” is a calming vocal harmony that lies atop the video’s infamous “bail section.” A horrific collection of skateboarders falling and twisting themselves into agonizing, unnatural shapes — a Hieronymous Bosch captured on VHS. It’s the culmination of the unexpected made whole. Shabason’s album a provocative reimagining that instills a new sense of awe in the 27-year-old classic, prompting the question first posed by the original: what if hell was a place you wanted to return to again and again?\u003c\/span\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" class=\"bcTruncateMore\"\u003e\"\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Joseph Shabason\u003c\/p\u003e\n\u003cp\u003eLabel : Western Vinyl\u003c\/p\u003e","published_at":"2023-10-05T19:57:57+09:00","created_at":"2023-10-05T19:57:57+09:00","vendor":"Tobira Records","type":"","tags":["ambient","jazz","lp","new","recommended","western vinyl"],"price":394800,"price_min":394800,"price_max":394800,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":44741125472506,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Joseph Shabason \/\/ Welcome To Hell LP","public_title":null,"options":["Default Title"],"price":394800,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/a0615333572_16.jpg?v=1696504625"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/a0615333572_16.jpg?v=1696504625","options":["Title"],"media":[{"alt":null,"id":32526904164602,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/a0615333572_16.jpg?v=1696504625"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/a0615333572_16.jpg?v=1696504625","width":700}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e\u003cspan style=\"color: #ff2a00;\"\u003e※4月下旬再入荷後発送します\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eカナダ・トロントのサックス奏者Joseph Shabasonが、2023年10月にアメリカの老舗レーベルWestern Vinylからリリースしたレコードです。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e1996年のスケートボード作品『Welcome To Hell』にインスパイアされたアンビエント・スピリチュアルジャズ10曲を収録。\u003c\/p\u003e\n\u003cp\u003e※デジタル音源をご希望の場合はお気軽にご連絡をお願いいたします\u003c\/p\u003e\n\u003cp\u003e以下、レーベルによる解説です。\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"地獄ってどんなところ？警察官、ビジネスマン、ファーストフード店の従業員の映像の上に星条旗が脈打つようにオーバーレイされた、トイマシンスケートボードの1996年の代表的なビデオ\u003cmeta charset=\"utf-8\"\u003e『\u003cmeta charset=\"utf-8\"\u003eWelcome To Hell 』のイントロは、地獄をアメリカの例外主義の蜃気楼として描いているように見えるだろう。外見上は火と硫黄のにおいはしないが、鼻を風に向けてみれば硫黄のにおいがするような、何世紀にもわたって続く非現実。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eこのシーンの後に登場するのは、そのような明らかな天罰の描写から生まれた、あるいはそれにもかかわらず、文化の試金石となるものだ。最高レベルで披露されるスケートボードは、この後何十年にもわたって観客に影響を与え、愛着を抱かせるような方法で構成され、展示される。\u003cmeta charset=\"utf-8\"\u003e『\u003cmeta charset=\"utf-8\"\u003eWelcome To Hell 』では、ユニークかつ先進的なスケートボーダーたちがパッチワークのように登場するが、そのほとんどが彼らの世界でアイコン的存在となり、現代のスケートボードビデオのあり方を再定義する一助となった。\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e若きJoseph Shabasonはその衝撃を感じていた。この高名なミュージシャンは、青春時代に『\u003cmeta charset=\"utf-8\"\u003eWelcome To Hell 』のVHSを何百回も巻き戻した。爽快で、即興的で、全身を使ったスケートボードの体験は、\u003cmeta charset=\"utf-8\"\u003eShabasonがジャズになぞらえたもので、ウィールと木管楽器の間には共通の言語が存在する。スケートボーダーとミュージシャンがその言語を使い分けることで、\"スタイル \"という気まぐれな概念に定義が加わる。スケーターとミュージシャンのアンサンブルは騒々しく、クリエイティブな集団だ。この関係性とトイマシンの名作を振り返ることで、\u003cmeta charset=\"utf-8\"\u003eShabasonは最終的に「地獄のサウンドとはどんなものか」と考えるようになる。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eその答えは、彼のこれまでのレコードと同様、パーソナルな世界に生きるコンセプトアルバムだった。スケートボードそのものがそうであるように、\"Welcome To Hell \"の再ソロ化という新しい試みに\u003cmeta charset=\"utf-8\"\u003eShabasonは挑戦することになる。このビデオのオリジナルサウンドトラックは、ミスフィッツ、ブラックサバス、ソニックユースといったバンドのアクティブでアグレッシブな楽曲をミックスしたもので、多くの人にとって音楽の目覚めとなった。\u003cmeta charset=\"utf-8\"\u003eShabasonは、この10曲のアルバムの中で、角ばった曲やアンビエントな曲と戯れ、画面上のアクションとともに前進する大編成のメロディーを探求し、このカルチャーを定義するスケートビデオと登場するスケートボーダーに対する私たちの理解を再構築するような、微妙かつ実質的な方法でムードを変化させている。\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003e\u003cmeta charset=\"utf-8\"\u003eシャバソンの本作は、27年前の名作に新たな畏敬の念を植え付ける挑発的な再映像化であり、オリジナルが最初に投げかけた「地獄が何度も戻りたくなる場所だとしたら？」という問いを示唆する。\"\u003c\/em\u003e\u003c\/p\u003e\n\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/8UmXG0e_PpU?si=ymNJAyFATYI3o-SO\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1031436541\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/track=3090220120\/transparent=true\/\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/wevi\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/wevi\"\u003ehere\u003c\/a\u003e to see more Western Vinyl releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e----------------------------\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eRed \u0026amp; Black LP. Ask us for digital files.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\u003c\/span\u003eWestern Vinyl:\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"\u003cmeta charset=\"utf-8\"\u003eWhat does hell look like? The introduction of Toy Machine skateboard's seminal 1996 video “Welcome To Hell,” with its pulsing overlay of the Stars and Stripes on top footage of police officers, businessmen, and fast food service workers, would appear to paint hell as the mirage of American exceptionalism. A thick, centuries-spanning unreality that may not outwardly trade in fire and brimstone, but if you turn your nose to the wind, you’ll smell sulphur.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eWhat comes after that scene, born of — or despite — those apparent depictions of damnation, would become a cultural touchstone: skateboarding performed at the highest level, composed and displayed in a fashion that would influence and endear audiences for decades to come. “Welcome To Hell” features a unique and progressive patchwork of skateboarders, most of which would become icons in their world, and helped redefine what the modern skateboarding video could be.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eA young Joseph Shabason felt that impact. The acclaimed musician hit rewind on his VHS copy of “Welcome To Hell” hundreds of times in his youth, each watch as thrilling as the last. That invigorating, improvisational, full-body experience of skateboarding is one that Shabason likens to jazz, where a shared language\u003cspan data-mce-fragment=\"1\" class=\"bcTruncateMore\"\u003e exists between the wheels and woodwinds. The way the skateboarder and musician command that language is what distinguishes them, adding definition to the mercurial concept of “style.” This connection becomes most apparent in collaboration; ensembles of skaters and musicians are a noisy, creative bunch. Reflecting on this relationship and the Toy Machine classic would ultimately lead Shabason to wonder: what does hell sound like?\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe answer was a concept album that, like his previous records, lives in the personal. One that, much like skateboarding itself, would push him to try something new: rescoring “Welcome To Hell.” The video’s original soundtrack served as a musical awakening for many — an active, aggressive mix of songs from bands like The Misfits, Black Sabbath, and Sonic Youth. Here, you’ll find that recontextualized, softened, yet no less energizing. Over the album’s ten songs, Shabason plays with the angular and ambient, exploring large group melodies that move forward with the on-screen action, shifting the mood in subtle and substantial ways that reframe our understanding of this culture-defining skate video and the skateboarders in it.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn Shabason’s “Hell,” quintessential “East Coast powerhouse,” Mike Maldonado is backed by a sharp, driving modal composition that calls back to 1970s Miles Davis, the melodic sensibilities of Azimuth, and stands as a fascinating complement to Maldonado’s hard-charging on-board approach. The debut of Elissa Steamer, a pioneer decades ahead of her time, is given fresh spirit with an off-kilter funk. Brian Anderson, whose virtuosic section was originally guided by a dour Pink Floyd track, now flies across the screen in jazzy fits and starts, punctuated by the joyous wail of Shabason’s saxophone. Nowhere does the fluid and improvisational intersection of skateboarding and jazz meet and swell than with Donny Barley. His easy, instinctual cool flecked with tinkling synths and bass lines that echo the natural power of Barley’s abilities.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eShabason then creates what could be rightly considered an audio portrait of Ed Templeton. The celebrated visual artist, photographer, and founder of Toy Machine cuts a distinct profile, which Shabason distills with a throbbing, slanted rhythm and an eerie layering of feedback and pressuring keys. The “curtains” section in “Welcome To Hell” belongs to Jamie Thomas, whose career-defining performance here would set the stage for a decades-spanning career and a level of influence in skateboarding that is still felt today. Shabason meets Thomas’ epic with a commanding, angular rhythm that builds and flows with the momentum of his skateboarding. Airy group melodies mingle with a wonked-out vibraphone and tight percussion that lets loose in florid bursts before devolving into a finishing sequence of muscular improvisation — a fittingly bold interpretation of the work of one of skateboarding’s most daring practitioners.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eFinally, as if ending with his thesis statement, the last song of Shabason’s “Welcome To Hell” is a calming vocal harmony that lies atop the video’s infamous “bail section.” A horrific collection of skateboarders falling and twisting themselves into agonizing, unnatural shapes — a Hieronymous Bosch captured on VHS. It’s the culmination of the unexpected made whole. Shabason’s album a provocative reimagining that instills a new sense of awe in the 27-year-old classic, prompting the question first posed by the original: what if hell was a place you wanted to return to again and again?\u003c\/span\u003e \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" class=\"bcTruncateMore\"\u003e\"\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Joseph Shabason\u003c\/p\u003e\n\u003cp\u003eLabel : Western Vinyl\u003c\/p\u003e"}
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*Will be shipped after restocking in late April This is a record released by saxophonist Joseph Shabason from Toronto, Canada on the long-established American label Western Vinyl in October 4. Contains 2023 ambient spiritual jazz songs inspired by the 10 skateboard album "Welcome To Hell." *If you would like a digital sound source, please feel free to contact us. Below is an explanation by the label. "What kind of place is Hell?" Toy Machine Skateboards' 1996 signature video Welcome To Hell features a pulsating American flag overlaid over footage of police officers, businessmen, and fast-food workers. 's intro would seem to paint Hell as a mirage of American exceptionalism: outwardly it doesn't smell like fire and brimstone, but if you turn your nose to the wind you can smell brimstone. A centuries-old unreality. What follows this scene is a cultural touchstone born of, or despite, such an obvious depiction of damnation. Shown off at the highest level. Skateboarding is constructed and exhibited in ways that will influence and endear viewers for decades to come.Welcome To Hell features unique and forward-thinking skateboarders. appeared in a patchwork fashion, most of which went on to become icons in their world, helping to redefine modern skateboarding videos.
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{"id":7982963687674,"title":"Lightning Dust \/\/ Nostalgia Killer LP [COLOR]","handle":"lightning-dust-nostalgia-killer-lp-color","description":"\u003cp\u003eカナダ・バンクーバーのフォーク・ロックデュオLightning Dustが、2023年6月にアメリカの老舗インディーレーベルWestern Vinylからリリースしたレコードです。\u003c\/p\u003e\n\u003cp\u003eサイケ・フォーク〜フォーク・ロック10曲を収録。DLコード付属。黒マーブル盤です。 \u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1625704389\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/wevi\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/wevi\"\u003ehere\u003c\/a\u003e to see more Western Vinyl releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e----------------------------\u003c\/p\u003e\n\u003cp\u003e12\" 'COSMIC AMBER' color vinyl. Includes DL code.\u003c\/p\u003e\n\u003cp\u003eWestern Vinyl:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eIn 2019, Lightning Dust broke up. Not the band, but Amber Webber and Joshua Wells–the couple at the core of it–ended their longtime relationship. In the wake of the split, the two musicians realized that Lightning Dust was still important to them and decided to stay together as an artistic partnership. The experience made them think about nostalgia as a concept and how this sort of longing for the past can be destructive, cancerous, useless. Webber and Wells reconvened virtually in mid-2020 to work together again as creative comrades, sharing some new ideas by correspondence, stitching together their song fragments into the dramatic arrangements now heard across Lightning Dust’s forthcoming new album, Nostalgia Killer.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eNostalgia Killer. The title couldn’t set a more perfect expectation for what the album holds. Hearing those words together, one might anticipate something harder, more chilly and severe. But what happens is quite the opposite: listeners find themselves wandering into someplace warm, guided by familiar sounds and voices. Little do they know they’ll soon be flung into a climate unknown. Throw away the old coat–these songs signal a new season.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eLightning Dust have created a world unto itself with\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e Nostalgia Killer, one with depth and space, with its own light and air, a humidity you can move through–thick with emotion, sticky with unresolved, living feelings. There’s a sense of refusing to let the past engulf us, and yet there is still so much love for those layers of experience. This is a winding and moving album. Sensual, confessional, and free of fences. Each song builds with inexorable force, often pulling back to a whisper before washing over the listener completely. With their wealth of new imagery and the most incandescent flights, Lightning Dust sweeps you away from wherever you happen to be.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eRecorded over three sessions in tiny, self-made home studios in Vancouver (Webber) and Chicago (Wells), Nostalgia Killer churns with thick walls of synths and memorable bass lines that rise to chill-inducing heights. But the production also purposefully maintains space around Webber’s singular voice as she sings of loss, time, and romantic warfare like some kind of cosmic Stevie Nicks. The epic scope becomes instantly apparent on opener “Wrecked,” a song Webber says is about “self-destructing with a hope of landing on my feet,” and which kicks off with nearly a dozen bass tracks that overlap and stumble over each other before locking into a tight homage to “Driver’s Seat.” The first words you hear are her promise “I’m gonna wreck my mind but I’ll get it back in line,” her remarkable vocal performance laden with expertly-crafted harmonies and instant sing-along appeal. The band shifts gears on the lead single “Run,” a propulsive anthem that’s somehow arena-ready and devastatingly intimate all at once. “Hold me under, I’m on my own and numb,” Webber sings, as the track explodes into a dramatic bridge dripping with bombastic synth pads and electric guitar.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e“Rapids and Rivers” and the stunning “Different War” take an even more confessional tone, and are both so personal that Webber couldn’t bear to revisit them until a year after the demos were recorded. “They were both written as a form of therapy,” she explains, though her songwriting process is generally more conduit-like and less intentionally therapeutic. “But I began to think that they were a crucial part of the album’s story.” Wells’ masterful production and arrangement skills take center stage on songs like the multi-part “Feel That,” which–as one of the few tracks on Nostalgia Killer that isn’t entirely performed by him and Webber–boasts a thrilling orchestral section performed by Meredith Bates and electric guitar from Rob Butterfield (a Lightning Dust touring member). The closing track “Shadows of Verona” guides the listener into an entirely different realm, a sacred space born from a meditative piano piece of Wells and transformed into something dark but uplifting by Webber’s chant-like vocals and a droning organ.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAcross Nostalgia Killer, Lighting Dust introduces a sound that feels vaguely familiar while forming a mythology all of their own. Although this exact work may not have been created if it wasn’t for the duo’s separation, it would be wrong to simply call it a break-up album. The songs here don’t merely travel that well-trod landscape, they reinvent the scene altogether; after all, sometimes love needs reinventing. Nostalgia Killer is about something that affects us all, which is how we make sense of the world and each other over time and across borders. And far out as always, Lightning Dust is reinvented here magnificently.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Lightning Dust\u003c\/p\u003e\n\u003cp\u003eLabel : Western Vinyl\u003c\/p\u003e","published_at":"2023-06-09T09:42:24+09:00","created_at":"2023-06-08T21:50:16+09:00","vendor":"Tobira Records","type":"","tags":["folk \/ left-field pop","lp","new","western vinyl"],"price":339000,"price_min":339000,"price_max":339000,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":44271933325562,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Lightning Dust \/\/ Nostalgia Killer LP [COLOR]","public_title":null,"options":["Default Title"],"price":339000,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/ki1_f4de61bd-8b82-47fe-b9f1-4e9220449388.jpg?v=1686228619","\/\/tobirarecords.com\/cdn\/shop\/files\/ki2_8a080a3a-b727-4403-b54c-980212f75b70.jpg?v=1686228618","\/\/tobirarecords.com\/cdn\/shop\/files\/ki3_c5ee0ec4-adae-42c8-bec4-310aeea51767.jpg?v=1686228618"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/ki1_f4de61bd-8b82-47fe-b9f1-4e9220449388.jpg?v=1686228619","options":["Title"],"media":[{"alt":null,"id":32092903473402,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/ki1_f4de61bd-8b82-47fe-b9f1-4e9220449388.jpg?v=1686228619"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/ki1_f4de61bd-8b82-47fe-b9f1-4e9220449388.jpg?v=1686228619","width":700},{"alt":null,"id":32092903506170,"position":2,"preview_image":{"aspect_ratio":2.41,"height":498,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/ki2_8a080a3a-b727-4403-b54c-980212f75b70.jpg?v=1686228618"},"aspect_ratio":2.41,"height":498,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/ki2_8a080a3a-b727-4403-b54c-980212f75b70.jpg?v=1686228618","width":1200},{"alt":null,"id":32092903538938,"position":3,"preview_image":{"aspect_ratio":2.484,"height":483,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/ki3_c5ee0ec4-adae-42c8-bec4-310aeea51767.jpg?v=1686228618"},"aspect_ratio":2.484,"height":483,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/ki3_c5ee0ec4-adae-42c8-bec4-310aeea51767.jpg?v=1686228618","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eカナダ・バンクーバーのフォーク・ロックデュオLightning Dustが、2023年6月にアメリカの老舗インディーレーベルWestern Vinylからリリースしたレコードです。\u003c\/p\u003e\n\u003cp\u003eサイケ・フォーク〜フォーク・ロック10曲を収録。DLコード付属。黒マーブル盤です。 \u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1625704389\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/wevi\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/wevi\"\u003ehere\u003c\/a\u003e to see more Western Vinyl releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e----------------------------\u003c\/p\u003e\n\u003cp\u003e12\" 'COSMIC AMBER' color vinyl. Includes DL code.\u003c\/p\u003e\n\u003cp\u003eWestern Vinyl:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eIn 2019, Lightning Dust broke up. Not the band, but Amber Webber and Joshua Wells–the couple at the core of it–ended their longtime relationship. In the wake of the split, the two musicians realized that Lightning Dust was still important to them and decided to stay together as an artistic partnership. The experience made them think about nostalgia as a concept and how this sort of longing for the past can be destructive, cancerous, useless. Webber and Wells reconvened virtually in mid-2020 to work together again as creative comrades, sharing some new ideas by correspondence, stitching together their song fragments into the dramatic arrangements now heard across Lightning Dust’s forthcoming new album, Nostalgia Killer.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eNostalgia Killer. The title couldn’t set a more perfect expectation for what the album holds. Hearing those words together, one might anticipate something harder, more chilly and severe. But what happens is quite the opposite: listeners find themselves wandering into someplace warm, guided by familiar sounds and voices. Little do they know they’ll soon be flung into a climate unknown. Throw away the old coat–these songs signal a new season.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eLightning Dust have created a world unto itself with\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e Nostalgia Killer, one with depth and space, with its own light and air, a humidity you can move through–thick with emotion, sticky with unresolved, living feelings. There’s a sense of refusing to let the past engulf us, and yet there is still so much love for those layers of experience. This is a winding and moving album. Sensual, confessional, and free of fences. Each song builds with inexorable force, often pulling back to a whisper before washing over the listener completely. With their wealth of new imagery and the most incandescent flights, Lightning Dust sweeps you away from wherever you happen to be.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eRecorded over three sessions in tiny, self-made home studios in Vancouver (Webber) and Chicago (Wells), Nostalgia Killer churns with thick walls of synths and memorable bass lines that rise to chill-inducing heights. But the production also purposefully maintains space around Webber’s singular voice as she sings of loss, time, and romantic warfare like some kind of cosmic Stevie Nicks. The epic scope becomes instantly apparent on opener “Wrecked,” a song Webber says is about “self-destructing with a hope of landing on my feet,” and which kicks off with nearly a dozen bass tracks that overlap and stumble over each other before locking into a tight homage to “Driver’s Seat.” The first words you hear are her promise “I’m gonna wreck my mind but I’ll get it back in line,” her remarkable vocal performance laden with expertly-crafted harmonies and instant sing-along appeal. The band shifts gears on the lead single “Run,” a propulsive anthem that’s somehow arena-ready and devastatingly intimate all at once. “Hold me under, I’m on my own and numb,” Webber sings, as the track explodes into a dramatic bridge dripping with bombastic synth pads and electric guitar.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e“Rapids and Rivers” and the stunning “Different War” take an even more confessional tone, and are both so personal that Webber couldn’t bear to revisit them until a year after the demos were recorded. “They were both written as a form of therapy,” she explains, though her songwriting process is generally more conduit-like and less intentionally therapeutic. “But I began to think that they were a crucial part of the album’s story.” Wells’ masterful production and arrangement skills take center stage on songs like the multi-part “Feel That,” which–as one of the few tracks on Nostalgia Killer that isn’t entirely performed by him and Webber–boasts a thrilling orchestral section performed by Meredith Bates and electric guitar from Rob Butterfield (a Lightning Dust touring member). The closing track “Shadows of Verona” guides the listener into an entirely different realm, a sacred space born from a meditative piano piece of Wells and transformed into something dark but uplifting by Webber’s chant-like vocals and a droning organ.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAcross Nostalgia Killer, Lighting Dust introduces a sound that feels vaguely familiar while forming a mythology all of their own. Although this exact work may not have been created if it wasn’t for the duo’s separation, it would be wrong to simply call it a break-up album. The songs here don’t merely travel that well-trod landscape, they reinvent the scene altogether; after all, sometimes love needs reinventing. Nostalgia Killer is about something that affects us all, which is how we make sense of the world and each other over time and across borders. And far out as always, Lightning Dust is reinvented here magnificently.\u003c\/span\u003e \"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Lightning Dust\u003c\/p\u003e\n\u003cp\u003eLabel : Western Vinyl\u003c\/p\u003e"}
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A record released by Vancouver, Canada's folk-rock duo Lightning Dust in June 2023 on the long-established American indie label Western Vinyl.Includes 6 songs from psychedelic folk to folk rock. Comes with DL code.It is a black marble disc.Click here for labels and other works /// Click here to see more Western Vinyl releases available at Tobira.
¥3,390