Sasami - Squeeze - VINYL LP

Vinyl LP pressing. Sasami (aka Sasami Ashworth) has been making music in the Los Angeles area, in almost every way you can, for the last decade. From playing French horn in orchestras and studios and playing keys, bass, and guitar in local rock bands (Cherry Glazerr, Dirt Dress), to contributing vocals/string/horn arrangements to studio albums (Curtis Harding, Wild Nothing, Hand Habits) and producing on tracks for other respected artists (Soko), she has gained a reputation as an all-around musical badass. Sasami's self-titled debut album is playful, heartfelt and personal, chronicling the surprising ways that relationships - with lovers, with friends, with oneself - can shift in a single year. Sasami says, Inch'Not the Time' and 'Callous' are basically entries in the diary that is my first record of songs. Maybe it's a mix of a diary and a collection of letters; written but never sent, to people I've been intimately involved with in one way or another.Inch

Two Sasami's exist in harmony. First is Sasami Ashworth, the conservatory-trained classical French horn player, producer, and composer-an artist with a studious approach to craft. And then there is all-caps SASAMI, the fearless performer and protagonist of her three increasingly audacious albums. For Blood On the Silver Screen, these two sides fused for her most epic and realized music to date the all-out Sasami pop record.After establishing herself with the poised melancholia of her eponymous 2019 debut, Sasami embraced volume and control on 2022's Squeeze-touring with a metal band-but her goal on Blood On the Silver Screen was to speak her truth with conviction by singing. Working with co-producers Jenn Decilveo and Rostam, with Sasami as sole writer, each Blood On the Silver Screen track viscerally captures a different thread of love, S*x, power, and embodiment. InchPop music is like fuel,Inch Sasami says. InchIt's just invigorating.InchAcross Blood On the Silver Screen, Sasami's lyrics narrate the ecstasies and agonies of being Incha modern lover,Inch she says-writing about Inchbig city dating endeavorsInch even as she found herself relocating, on a whim, from Los Angeles to rural Northern California. The anthemic InchFor the WeekendInch explores Inchmodern intimacy, where you can get deep without the relationship being defined,Inch while the irrepressible InchJust Be FriendsInch bottles the dizzying longing that can overtake those in-betweens.InchI wanted to go all out with this album,Inch Sasami continues. InchI wanted to, in my tenderness and emotionality, have the bravery to undertake something as epic as making a pop record about love. I hope it makes people feel empowered and embodied, too. It's important to not box yourself in.Inch

Canada's Ian & Sylvia Tyson were leading lights in the 1960s folk world with songs like Four Strong Winds and Someday Soon, and they had pioneered the folk-rock fusion on their 'Great Speckled Bird' album. But by 1971 their marriage was on the rocks and their move towards a 'country rock' sound was alienating their folk fans. The fifteen 1971 Columbia recordings collected here were recorded variously in Nashville, Toronto, and New York. The titles include Everybody Has To Say Goodbye, as well as the Tyson standard Summer Wages, Bert Jansch's Needle Of Death (with Sylvia upfront), and an amusing cover of Mickey & Sylvia's Love Is Strange