The Spinto Band - Moonwink [2008]

The Spinto Band aren’t a difficult band to want to love. Since they formed in 1996, they’ve consistently delivered a contagious celebration that is playfully puckish and totally bereft of pretension. Moonwink, remarkably the band’s sixth album proper, is their latest 11-track collection of sugary, woozy, cutesy three-minute pop ditties.

First single “Summer Grof” (in the band’s words “a vague tribute to the great comedienne Janeane Garofalo") captures this exuberance perfectly. Jaunty hand-claps give birth to saccharine keyboards and jangly guitars. Add an addictive chorus of “I won’t lie, I won’t lie, I won’t lie, I won’t lie, I won’t lie” and you’ve got a superb indie anthem. It’s a shame that it arrived in October and not July, because “Summer Grof” could truly have ruled the summer.

Since their days as Free Beer, the Spinto Band have made music that is at once outlandish, kinetic, and luminous, and this latest record is no different. Often there are flashes of brilliance (notably “Summer Grof”, “The Carnival”, and album closer “The Black Flag"), but vocalist Nick Krill, keyboard player Sam Hughes, and guitarists Jon Easton and Joey Hobson are so keen on repeating themselves that much of their work, and a lot of this album, often frustrates.

The two opening tracks, “Later On” and “Vivian, Don’t”, offer the same rich, textured guitars, unconventional orchestration, and multiple-part vocal harmonies that made 2006’s Nice and Nicely Done such a critically acclaimed and (comparatively) commercially successful album. The familiar hyperactivity continues through “Pumpkins and Paisley”, an irresistible, relentless, flat-out indie-pop tune that ramps up the keyboards and the “la la las” to become the most morish, adorable song on the album.

source

Moonwink [2008]

The Spinto Band / Oh Mandy (Live @ Night & Day Manchester)

Euros Childs - Cheer Gone [2008]

While Childs' former band, Gorky's Zygotic Mynci, managed to balance a debt to Canterbury scene legends like Kevin Ayers and Robert Wyatt (Childs appeared on Ayer's 2007 comeback album, Unfairground) with what some might call 'twee' folky cuteness, his solo work has shown a greater leaning towards to the USA. Last album, The Miracle Inn was filled with Beach Boys sunshine, and on this, album number six - he wheels in a hefty slice of pedal steel Americana. Mind you, the core of Cheer Gone still contains the mildly fey, winsome vocals and rather childlike worldview that all adds appeal.

As the title i mplies, some of this material is a little sad, Autumn Leaves (with the aforementioned pedal steel shining out) drips melancholy while My Love Is Gone is predictably maudlin too. But Childs' Welsh tones, a little like fellow countryman, Gruff Rhys of Super Furry Animals, always hold some positivity.

It's a minor pleasure maybe, but a pleasure nonetheless, and fans of his last release will be satified.

bbc.uk.

Cheer Gone [2008]

Euros Childs - Y Mwnci Drwg

Los Campesinos! - We Are Beautiful We Are Doomed [2008]

It's perhaps testament to the rich creative vein of form Los Campesinos! find themselves in. Bolstered by a growing army of devoted fans and a barrage of successful gigs, they're back - barely eight months since the release of the goosebump-donator of a debut, ...Hold On Now, Youngster.

For those yet unfamiliar with Los Campesinos!, the Cardiff-based seven-piece's cocktail of synths, violins and itchy guitars leap from the speakers to create indie jubilance, and near-perfect pop songs. No refined coyness here - these rascals are face-slappingly brazen.

Ways To Make It Through The Wall gets WAB, WAD out of the blocks with typical breakneck speed, with a tsunami of instruments, voices and melodies vying for position.

The opening plaudits however all belong to Miserabilia, which features beautiful, addictive guitar melodies, driven by an unrelenting, pounding synth line. The songs centrepiece is built around the most spine-tinglingly amazing violin outburst since before violins were even cool. Fact.

It's a fact almost upended by the arrival of the title track, where piercing, scything, racing strings punctuate gritty guitars and glittering glockenspiels. And while we're on the subject of violins, in a recent interview, Tom Campesinos! remarked "I think my favourite [song] is You'll Need Those Fingers For Crossing because it's got a great violin part" - he's not wrong; it's heart-warmingly beautiful.

source

We Are Beautiful We Are Doomed [2008]

'Knee Deep at ATP' by Los Campesinos! on QTV

Of Montreal - Skeletal Lamping + Id Engager EP [2008]

Kevin Barnes is a married white man whose alter ego is a black transsexual named Georgie Fruit. Transformations come easily to the Of Montreal frontman: Over the past 11 years, he's seamlessly morphed from low-fi indie rocker to quirky prog-pop star, and now on Skeletal Lamping he's a glam-funk warrior, drenched in the sounds and sexuality of Prince, Freddie Mercury and Ziggy Stardust-era David Bowie. ("We can do it soft-core if you want/But you should know that I go both ways," he trills on "For Our Elegant Caste.") A soulful romp through psychedelic melodies and sprawling noise-scapes, Skeletal is also a whimsical, Girl Talk-style pastiche, with 15 tracks that consist of a multitude of song fragments. The nine-part "Beware Our Nubile Miscreants" opens with peaceful strings before jolting into a tuneless vamp, then snapping into an echo-soaked wail. And Barnes' lyrics are just as seductively schizophrenic: "I want to ... make you paranoid and say the sweetest things," he sings on "Gallery Piece." And somewhere in the glorious friction between these contradictions, he's in ecstasy.

rollingstone

Skeletal Lamping [2008]

Id Engager EP [2008]

of Montreal - "Suffer for Fashion" Polyvinyl Records

Okkervil River - The Stand Ins [2008]

The Stand Ins CD / LP (JAG124, released: 09/09/08)

OKKERVIL RIVER's new full-length album The Stand Ins is the sequel to 2007's critically acclaimed The Stage Names, which Pitchfork praised as "...one of the year's best," with The New York Times proclaiming, "This band's musical arsenal keeps getting fuller."

The Stand Ins was recorded in Austin and produced by longtime collaborator Brian Beattie and Okkervil River. The album features 11 songs and includes the track "Lost Coastlines," on which Sheff and recently departed Jonathan Meiburg of Shearwater share a duet on the joys and hardships of trying to keep the band together. Of the process Will Sheff explains, "We had so many songs we were excited about that we briefly threw around the idea of just putting out a double record. Instead, we decided to take a group of songs that fit with each other and turn that into The Stage Names, setting the rest aside for a future release, a The Stage Names sequel." The Stand Ins is that sequel, part two of a staggered double album. Like artist William Schaff's embroidered artwork, which depicts what's happening underneath The Stage Names' front-cover quicksand hand,The Stand Ins picks up exactly where Part One left off but also delves deeper into the story and theme of The Stage Names. It is a full-length, fleshed-out, deeply ambitious labor of love.

"Sheff sings like he's on fire but writes like a novelist, reeling off memorable images with an ease that belies his craftsmanship." -- Harp

jagjaguwar

The Stand Ins [2008]

Lost Coastlines

Deerhunter - Microcastle [2008]

Deerhunter began in 2001 with the ambition of fusing the lulling hypnotic states induced by ambient and minimalist music with the klang and propulsion of garage rock. The band has weathered chaotic line-up changes, the death of a member, and much discouragement. Their live performances almost always leave audiences polarized. They are a five-piece based in Atlanta.

Atlanta-based Deerhunter are set to release Microcastle, the follow-up to 2007's Cryptograms on October 31, 2008. Microcastle will be released simultaneously on CD and LP via Kranky in North America and 4AD in Europe.

Microcastle was recorded over the course of a week at Rare Book Studios in Brooklyn, New York with Nicolas Verhes. The album was recorded as a four-piece consisting of Bradford Cox, Lockett Pundt, Joshua Fauver, and Moses Archuleta.

"Saved by Old Times" features a vocal collage by Cole Alexander of the Black Lips. The album also features two songs with lead vocals by guitarist Lockett Pundt: "Agoraphobia," and "Neither of Us, Uncertainly."

kranky

Microcastle [2008]

deerhunter, "hazel st"

Juana Molina - Un Día [2008]

Imagine if Tina Fey quit comedy and sang electronics-based folk songs. That's the path Juana Molina took more than 10 years ago in her native Argentina, leaving her job as a TV comedian to pursue experimental folk. Her fifth disc is her most adventurous, combining avant-garde vocals with the atmospherics of Portishead and My Bloody Valentine. With looped guitar, hypnotic percussion and a bit of feedback, the title track sounds like two songs playing at once. The centerpiece is a trio that includes "Los Hongos de Marosa," built on lopsided harmonies, coiling keyboards and Middle Eastern textures. But like Brian Wilson or Kevin Shields, Molina pulls off the most out-there material with melodies nearly as accessible as conventional pop.

Review : Rolling Stone

Un Día [2008]

No es tan cierto : álbum "3 Cosas"

The Secret Machines [2008]

“The band has always been more than our individual egos; we’re no less The Secret Machines now than we’ve ever been,” says singer/bassist/keyboardist Brandon Curtis.

When his brother, co-founder/guitarist/vocalist Ben Curtis, left the band to focus on his band School of Seven Bells in early 2007, Brandon and drummer Josh Garza knew this didn’t mean the end. The energy and emotion that The Secret Machines fans responded to over the last decade, and continue to seek, was intact. Rather than pull the plug, they carried on with their towering third album, Secret Machines.

Longtime friend Phil Karnats, who played with Ben in the Polyphonic Spree precursor Tripping Daisy and filling in for Ben, was installed as permanent guitarist. “He’s an equal third member, musically,” says Josh, who says Karnats was a part of this record’s earliest sessions. “Ben is obviously irreplaceable,” adds Brandon , “but the transition to Phil has been very easy.”

Unfazed and undaunted, and in an industry where even the smallest task can prove Sisyphean, The Secret Machines carved its own destiny. “We didn’t know what was happening with Warner,” Josh says, “but we thought if we were going to go out, we might as well go out with a bang.” In June 2007, the trio went into Manhattan ’s The Magic Shop to record (and Electric Ladyland to mix). When Warner Bros. balked at getting behind a “new” band, The Secret Machines chose to self-release the new album in collaboration with World's Fair Label Group. Josh calls it the album they’ve “always wanted to make.”

Secret Machines also marks the first record on which the same core—Brandon Curtis, Josh, Karnats, and producer Brandon Mason—were used throughout the entire process, from the earliest demos to the final master. The continuity shows in the final results, in the expansive instrumental swells, in the hooks and phrasing, in the tracking itself. Opening with the disaffected, futuristic verse-chorus “Atomic Heels,” The Secret Machines embark on a journey where their appreciation for the Beatles, Zeppelin, and Krautrock is clear but not derivative or bromidic—and they crank up the volume.

Other influences bubble up as well: “Last Believer, Drop Dead” straddles the fence between Pink Floyd atmospheric philosophy and Manic Street Preachers glam-bratty Marxism; “Have I Run Out” sets the Floydian existentialist trip set to drone-y apocalypse; “Underneath the Concrete” marries Devo’s automaton quirk to the Psychedelic Furs’ fashionable introspection.

source

The Secret Machines [2008]

Secret Machines - Dreaming of Dreaming 2008

The Rough Guide to Asian Underground [2003]

The Rough Guide, a company better known for its guidebooks than for its ability to produce records has recently released a third South Asian themed album in its line of guides to international music. Following the release of the Rough Guide album to both Bollywood and Bhangra now comes the Rough Guide to the Asian Underground. Produced by the World Music Network in association with Rough Guides and New Internationalist, the Rough Guide to the Asian Underground is a 15-track compilation of both already released classics and other previously unreleased tunes from many of the pioneers of the Asian Underground genre.

Compiled by DJ Ritu, the famed British Asian DJ, who hosts her own show on the BBC's Asian Network entitled "In the Mix with DJ Ritu," the Rough Guide to the Asian Underground serves as an introduction to the sounds that have laid the foundation for the Asian Underground movement. For those interested in the history of the movement, DJ Ritu's experience and knowledge of the scene becomes clear as soon as one looks at the comprehensive liner notes available with the album. Chronicling her involvement with the movement beginning in 1990, the notes serve almost as a timeline of the major events discussing the various movers and shakers involved with the rise in popularity of these Indian classical and tabla infused electronic sounds.

source

The Rough Guide to Asian Underground [2003]
(part1/part2)

Haridwar

P a j o

David Pajo is an American alternative rock musician. He has, however, played a wide variety of music, loosely fitting into several other genres: hardcore, math-rock, post-rock, electronica, folk, and even indie-pop. Though a multi-instrumentalist (playing guitar, bass, banjo, drums, and possibly many more instruments), he is best known for his guitar work.

A native of Louisville, Kentucky, he played with three Louisville hardcore and hardcore-inflected bands in his early career. He got his start as guitarist for Maurice, but he first recorded with Solution Unknown. He rose to prominence, however, for work with the influential post-rock band Slint. Since its breakup, he has seldom held positions in other bands for very long, moving from one to the other quite often. As a result he has contributed to many lineups, playing and recording with Will Oldham, The For Carnation, Tortoise, Stereolab, Royal Trux, King Kong, Bush League, Zwan, and Peggy Honeywell.

He has also released music as a solo artist using various monikers, as Aerial M, M, and most notably, Papa M. Among his many 7" and splits with various bands, he has released (as Aerial M) 1997's Aerial M, and (as Papa M) 1999's Live from a Shark Cage, 2001's Whatever, Mortal, and 2003's Hole of Burning Alms.

In February and March 2005 he joined his old friends from Slint, Britt Walford and Brian McMahan, for a reunion tour, and in April released his first solo album not bearing a pseudonym, simply entitled Pajo. The follow up to Pajo, entitled 1968, was released in August 2006.

Around the middle of 2005, he helped to form the band Dead Child, with Todd Cook (from Shipping News, Retsin, The For Carnation, and Aerial M—and who also played guitar on the 2005 Slint reunion tour), Michael McMahan (from The For Carnation, Starkiller, and Phantom Family Halo—and who also joined Slint on the reunion tour), and Tony Bailey (from Anomoanon, The Party Girls, Verktum, and Aerial M).

wiki.

Audrey & Pajo [2006]

1968 [2006]

David Pajo [2005]

papa m - Krusty

High Places - Self Title [2008]

High Places is Mary Pearson and Rob Barber. Mary and Rob met while Mary was completing a music degree in bassoon performance and Rob was working in visual art, teaching lithography and etching at an art school. Both were performing as solo musicians at the time. Mary relocated to New York from Michigan in late spring 2006, and the two soon after began collaborating under the name High Places. The name refers to a place where one has a better vantage point and can gain broader perspective; it references a love for mountains, rooftops, and of course metaphorical “high places.” The duo has an “exquisite corpse” style of songwriting where they exchange ideas back and forth, challenging one another’s expectations, pushing songs to new places, or more aptly, new heights. They began by releasing a number of singles as well as contributing songs to a few compilations. These early and varied works were collected and released in July of 2008 as 03/07-09/07 in advance of tours with Deerhunter and No Age.

Since its inception, High Places has created a signature sound out of using bass-heavy, yet crisp beats, lilting vocal melodies, syncopated rhythmic lines performed on folk percussion instruments, guitar duets turned into treated samples, and percussive lines created from the manipulation of household objects. The songwriting is expansive and fluid, all the while managing to be concise. Overall, the compositions are settled and assured. High Places gravitates toward the organic over the electronic, and that natural aesthetic adds warmth and intimacy to the recordings.

In a live setting, the band creates their layered recordings with Mary singing and simultaneously manipulating her vocals with various delay and reverb pedals, while playing some hand percussion, recorders, and creating and controlling various loops. Rob handles the drums triggering a variety of percussive sounds with his drum pads, as well as playing hand percussion, wooden blocks with contact mics, and singing some ambient vocals. High Places’ self-titled debut was recorded by Rob and Mary in their apartment in Brooklyn’s Fort Greene neighborhood between January and May of 2008. They employed a wide variety of instruments to make this album ranging from the more traditional: 12 string guitar, banjo, shakers and rattles, bass, bells and Kalimba, to the inventive: plastic bags, mixing bowls, wood blocks and other common household objects. The album has a contemplative and organic lyrical tone emphasized by the themes of goodness manifested in nature, hardship and wonder as necessities to human existence and growth. Additionally, the idea of maturation and development is further accented through the recurring mention of trees and their extending, enveloping branches. Rob created the High Places artwork by using photos taken by both band members. The images are drawn from nature but all have a subtle, mystical, “golden” motif, a fitting frame for the album’s recurring themes. This can best be summed up by the words to “Gold Coin,” a song that was inspired by Kahlil Gibran’s The Prophet:

The ocean is your god-self
The sun is your god-self
God as air
Part of you is man
Part of you is god-self
The rest is just stumbling in the mist.

thrilljockey

High Places [2008]

Bonus :

01 - High Places EP [2006]
02 - 03/07 - 09/07 [2008]


High Places - "New Grace"

B e i r u t

Beirut is the band of 22-year-old Santa Fe native Zach Condon. The band's first official release was assisted by Jeremy Barnes (Neutral Milk Hotel, A Hawk and a Hacksaw) and Heather Trost (A Hawk and a Hacksaw); it combines elements of Eastern European and folk sounds. Condon plays the trumpet and the ukulele as his main instruments, having been unable to play guitar because of a wrist injury that prevented his hand from reaching fully around the neck of a guitar.

Though young, Condon has already released a few albums. He recorded under the name The Real People when he was 15, making The Joys of Losing Weight, which is a lo-fi electronic record (ie, generally in the style of 'Scenic World' on Gulag Orkestar) fashioned consciously after The Magnetic Fields. At 16, he recorded an entire doo-wop album that was inspired by Frankie Lymon & the Teenagers. Zach also released a three-song EP titled "Small Time American Bats" under the name 1971. The album was recorded in 2001-2002 and has never been officially released. Condon attended Santa Fe High School, where he was a student until he dropped out at the age of 16 to travel Europe (with his brother Ryan Condon) where he was first exposed to Balkan gypsy music, notably including the Boban Marković Orchestra and Goran Bregović.

Live, Beirut's shifting roster generally consists of Condon accompanied by Perrin Cloutier (cello/accordion), Jason Poranski (guitar/mandolin/ukulele), Nick Petree (drums), Kristin Ferebee (violin), Paul Collins (organ/keys/tambourine/ukulele), Jon Natchez (baritone sax/mandolin/glockenspiel), and Kelly Pratt (trumpet/euphonium).

History

In 2006, Beirut released two Balkan-inspired recordings through Ba Da Bing, Gulag Orkestar and Lon Gisland, both also available as an expanded version of Gulag Orkestar LP through the UK label 4AD. Beirut has also released other individual songs, three available on Pompeii EP, and the one on a split with Calexico, and one on a compilation for The Believer magazine. While living in Brooklyn, Condon also shot a video for "Scenic World" at the Sweet'N Low factory, and performed several venues in New York and Europe.

Zach appeared in the June/July 2007 issue of The Believer, with a song entitled "Venice".

His first official music video was for the song "Elephant Gun". The video was directed by Alma Har'el. The second video, which was for the song "Postcards from Italy", was also directed by Alma Har'el, and was released later. Lauren Tafuri was the costume designer for both of these videos.

In June 2007 they played the Glastonbury Festival's Jazz World Stage. Later in 2007, Zach appeared as a guest trumpeter on the second album from Get Him Eat Him, titled Arms Down. He has also appeared as a guest trumpeter on A Hawk and a Hacksaw's album The Way the Wind Blows, a band founded by former Beirut members Jeremy Barnes and Heather Trost.

Beirut's second album, The Flying Club Cup, was leaked onto the Internet August 25, 2007 then subsequently released in shops and on Internet music sites on October 9, 2007.

On April 3rd, 2008, Beirut cancelled a previously announced summer European tour. Condon explained the cancellations in a post on the official Beirut website, stating that he wanted to put the effort into ensuring that any shows would be "as good as humanly possible". Soon after, The Stranger reported that Condon is working on a third album tentatively scheduled for a fall release.

wiki.

Eps :

01 - Lon Gisland [2007]
02 - The Flying Club Cup [2007]
03 - Elephant Gun [2007]

Album Discography :

The Flying Club Cup [2007]

Gulag Orkestar [2006]

Elephant Gun :

Psychedelic Horseshit

I never thought I would find the courage to disgrace a complete scene of music, but shitgaze really is abysmal. Another of these silhouettes of shite is ’Psychedelic Horseshit’, I mean seriously which member of the band was drunk when that name was conjured up. ’New Wave Hippies’ sounds like a toddler playing with something that has thousands of buttons. The guitars are scratchy, and deliberately out of tune. It’s almost as if this band has gone out of its way to completely undermine every musical convention every proposed. This band is either a load of idiots on speed who suddenly thought they could play music while tripping, and sounds like a very massive pile of utter drunken shit, or it’s just some very clever chimpanzee’s who’ve evolved and suddenly realise they ’might’ be able to play some music. In one song, ’Bad Vibrations’ the vocalist literally says over and over again ’ahhoooowaaaooo oooo oooo oooooooo’. I’ve actually given up on summing up this utterly pointless way of life. I would rather shave all of the hair off on my body and commit myself to a life of celibacy and become a neo-Nazi. My flat mate has put this review out of its misery and very kindly summed up this entire music scene in two words, ’utter bollocks’.

www.myspace.com/psychedelichorshit
www.myspace.com/blackoutfest

























Discography:

01 - Who Let the Dogs Out? 7" [2006]
02 - Summertime Suicide EP [2006]
03 - Magic Flowers Droned [2007]
04 - Blackout Fest Live - 4-19-07
05 - Appears on:Split EP [Times New Viking / Psychedelic Horseshit] (2007)



Psychedelic Horseshit - Live at Blackoutfest XII

Cyann & Ben - Spring / Happy Like An Autum Tree / Sweet Beliefs [2003 / 2004 / 2006]

..> CYANN & BEN release their first album for Ever Records on September 11th. SWEET BELIEFS is an epic and yet intimate album that gives the space rock template a Gallic makeover by adding a much needed romantic grandeur. CYANN & BENs Paris is not the one you see in Amelie its dirty, dark and stressful as much as beautiful and SWEET BELIEFS, with its multi-layered and ambitious sweep, sounds as unsettling as it is irresistible. "a slow motion hurricane ripping apart your temporal lobe" Magnet /// "...a rare strain of "epic" music, where bravado does not exceed the composition, but remains at all times within it. Cyann & Ben are masters of this subtlety." Pitchfork /// "Chaude et froide a la fois, [la musique de Cyann et Ben] est sublime parce que fiévreuse, effrayante parce que toujours sur la sellette, lumineuse et sombre, tendue et limpide ... " Les Inrockuptibles /// "...toujours intelligente mais pas hautaine, évidente et unique en même temps. " Rock Sound /// "douce rêverie éveillée, cotonneuse et poignante. " Magic /// "un ailleurs elegiaque et mysterieux" Teknikart ///

myspace

Sweet Beliefs (2006) (part1/part2)

Happy Like An Autum Tree (2004)

Spring (2003)

Cyann & Ben - Sparks of Love

VA * Rare Book Room Record - Living Bridge [2008]

When I drove intoxicated, to listening to this marvel of disc, light compiled, entering astral spaces of constant flows that activate the human sparkles of coexisting close to the animal spirituality, reflections and autonomous movements that travel in perpetual harmony of love, woman and man are the conditions of his dual genre, for distances of experimentation indie that reflects a work it authenticates for this year, initiative of the Rare Book Room Record, in union of beings mutating under the warm Sun of aggressive summer, to calm the continuous surge that crosses your passive interior with extracted arguments one to one, and with a lot of care of the beautiful complexes in your refuge home where there can sleep the secret windows hidden in the distance of a leaf of the tree prohibited by God, where the places were shining to your conscience, and your form of comet will give a new son king of the jungle, my dear Paula pronounces with a smile in future.

Cuando conduje ebrio, a escuchar esta maravilla de disco, lumbrera compilado, entrar en espacios siderales de flujos constantes que activan los destellos humanos de convivir junto a la espiritualidad animal, reflejos y movimientos autónomos que viajan en armonía perpetua de amor, mujer y hombre son los estados de su genero dual, por trayectos de experimentación indie que refleja una obra autentica para este año, iniciativa de la Rare Book Room Record, en unión de seres mutando bajo el caluroso sol de verano agresivo, para calmar el continuo oleaje que recorre tu interior pasivo con argumentos extraídos uno a uno, y con mucho cuidado de los hermosos complejos en tu refugio hogar donde pueden dormir las ventanas secretas escondidas en la lejanía de una hoja del árbol prohibido por Dios, donde los lugares brillaran a tu conciencia, y tu forma de cometa dará un nuevo hijo rey de la selva, mi amada Paula sentencia con una sonrisa en futuro.

Tracklist :

Disc One

01. Avey Tare - I'm Your Eagle Kisser
02..Telepathe - I Can't Stand It
03. Palms - Der Koening
04. Black Dice - Pigpen
05. Tara Jane O'Neil - Sunday Song
06. Samara Lubelski - Ego Blossoms
07. Blood on the Wall - Lightning Song
08. Silver Jews - Self Ignition
09. Charles Gansa - Charlene
10. The Naysayer - The Shell
11. TK Webb - The Devil's a Dork (The Sea Told Me)
12. Lia Ices - Reason in Remain

Disc Two

01. Theo Angell - Byegone
02. Rings - RIPease
03. Deerhunter - After Class
04. Enon - Ashish
05. Fischerspooner - Amuse Bouche
06. John Wolfington - Grace
07. La Lus - Contendo
08. Doldrums - Not a Slave
09. Silent City - Prussian Leather
10. Sam Jayne & The Simpson Sound System - Darker Still
11. Tomorrow's Friend - Hats Vs. Headbands
12. Kapow - Flying Kites/The Pop International
13. The Jewish - Fantasy Stalker

*myspace
*rare book room records

VA * Rare Book Room Record - Living Bridge [2008]

Part. 1 / Part. 2 / Part. 3

Tara Jane O'Neil - Touch and Go 25th Anniversary

t h e n e w n o 2

myspace


You Are Here [2008]


EP001 [2006]




thenewno2: Another John Doe