Islands - Should I Remain - VINYL LP

There are very few albums in the psych / punk / hard rock /private presses strata that garner the sort of universal awe and accolades that Fraction's almighty Moonblood album does, and even fewer records in the world that could be dubbed InchChristian RockInch incur such fierce devotion. Indeed some records just meteorically lift themselves out any genre tag with brilliance and sheer defiance-and Moonblood is surely one of them.Based in LA, Fraction was a ragged collection of working-class musicians-the line-up was ringleader Jim Beach (vocals), Don Swanson (lead guitar), Curt Swanson (drums), Victor Hemme (bass), and Robert Meinel (rhythm guitar). Beach himself describes those early days InchThe guys met through various acquaintances that we had in LA. All of us had been in bands before, but were seeking something with more teeth. We had a small studio in an industrial complex in North Hollywood and started practicing sometimes as early as 4 30 AM. We all had day jobs, so we did what we could.Inch Amazingly the recording sessions for the album were recorded similarly on the fly, as Beach further states InchThe Moonblood recording took place at Whitney's Studio in Glendale, CA, early in 1971. On a strict budget, these songs were recorded in less than three hours-all of them Inchone takes.Inch We played, all five of us, simultaneously-there were no studio effects, no overdubbing or any additional sound effects added. Basically what you hear is considered 'old school' recording.InchThis workmanlike description in no way prepares one for the pure tortured genius the session wrought. Particularly noteworthy is Beach's vocals-as commonly stated, the spirit of Jim Morrison is conjured in his deep baritone, which gives way to unparalleled pained howls, at times bathed in delay which trails into the abyss. Fascinatingly enough, Beach cites the much punker Love as his fave L

Islands - What Occurs [VINYL LP] Colored Vinyl, Gold date 06/21/2024

*BACK IN PRINT!!! Sea Island is a collection of new material composed and recorded over the past two years. While many of these compositions were performed live extensively prior to recording, others were constructed in the studio and are being heard for the first time here. Musically, the album represents a range of compositional approaches. Murky, densely textured depths of sound are explored with subtle pulses and pings woven within, contrasted with composed or improvised moments of acoustic instrumentation making a move into the foreground. Certain tracks on Sea Island such as album opener InchAhulInchl make rhythm their focus by exploring subtle polyrhythms and investigating colliding moments of repetition and variation. Though staunchly electronic at it's core, instruments such as vibraphone and piano make appearances, and layers of live musicality, improvisation and detail appear in the looped and layered beds of manipulated sound recordings. A varied cast of players appear in the Loscil InchensembleInch, some familiar collaborators from the past such as JASON ZUMPANO on Rhodes and JOSH LINDSTROM on vibraphone, and others new to the mix such as FILEDHEAD's ELAINE REYNOLDS, who provides layered violin on InchCatalina 1943,Inch and ASHLEY PITRE contributing vocals on InchBleeding Ink.Inch Seattle pianist KELLY WYSE, who collaborated with Loscil on his 2013 edition of piano-centric reworks Intervalo, performs on the tracks InchSea Island MurdersInch and InchEn Masse.Inch