Urq - This Dismal Village ( APPLE RED VINYL ) - VINYL LP
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Venturing into Incha limbo world between medieval tropes and modern-day decayInch, New Orleans musician Urq (half of art punk duo Spllit) returns with a new solo offering. Recorded over a single, intense month, This Dismal Village is a homespun document that sits somewhere between jittery punk, dreary psychedelia, and hooky bedroom pop. Recorded to 4-track, the record embraces limitation as a creative engine, resulting in a sound that is raw, unsettled, and deeply atmospheric. The album is set not in a fixed point in time or geography, but a liminal environment where dystopic visions and archaic fixtures exist side by side. In the dismal village, kings and witches share space with televisions, skyscrapers, and modern enterprise; organ fanfares echo down streets populated by disgruntled townsfolk and whispered gossip. It is simultaneously the dark ages, 1950s suburbia, and a 21st-century metropolis. Embracing anachronism was central to the project's identity, an attempt to collapse history into a single, uneasy present.Sonically and philosophically, the album sits firmly in the tradition of rough and raw cassette rock. Guided By Voices' Bee Thousand looms large as an influence, particularly it's ability to build an entire world through unpolished, first-take recordings. Robert Pollard's idea of the Inchfour P'sInch (psych, punk, prog, and pop) serves as a neat summary of the artist's musical instincts and each element can be traced right through the heart of This Dismal Village. Further inspiration comes from post-punk's so-called InchCalgary Sound,Inch a loose movement blending psych pop, post-punk, and math/prog elements with a home-recorded, unpretentious ethos. The result is an album that unrolls like a place wandered through, uneasy, occasionally familiar, and impossible to pin down in time. All captured on tape before it could disappear like an apparition, like a
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- GenreRockDescriptionVenturing into Incha limbo world between medieval tropes and modern-day decayInch, New Orleans musician Urq (half of art punk duo Spllit) returns with a new solo offering. Recorded over a single, intense month, This Dismal Village is a homespun document that sits somewhere between jittery punk, dreary psychedelia, and hooky bedroom pop. Recorded to 4-track, the record embraces limitation as a creative engine, resulting in a sound that is raw, unsettled, and deeply atmospheric. The album is set not in a fixed point in time or geography, but a liminal environment where dystopic visions and archaic fixtures exist side by side. In the dismal village, kings and witches share space with televisions, skyscrapers, and modern enterprise; organ fanfares echo down streets populated by disgruntled townsfolk and whispered gossip. It is simultaneously the dark ages, 1950s suburbia, and a 21st-century metropolis. Embracing anachronism was central to the project's identity, an attempt to collapse history into a single, uneasy present.Sonically and philosophically, the album sits firmly in the tradition of rough and raw cassette rock. Guided By Voices' Bee Thousand looms large as an influence, particularly it's ability to build an entire world through unpolished, first-take recordings. Robert Pollard's idea of the Inchfour P'sInch (psych, punk, prog, and pop) serves as a neat summary of the artist's musical instincts and each element can be traced right through the heart of This Dismal Village. Further inspiration comes from post-punk's so-called InchCalgary Sound,Inch a loose movement blending psych pop, post-punk, and math/prog elements with a home-recorded, unpretentious ethos. The result is an album that unrolls like a place wandered through, uneasy, occasionally familiar, and impossible to pin down in time. All captured on tape before it could disappear like an apparition, like aArtistUrqTitleThis Dismal Village ( APPLE RED VINYL )FormatVINYLLabelExploding in Sound
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Venturing into Incha limbo world between medieval tropes and modern-day decayInch, New Orleans musician Urq (half of art punk duo Spllit) returns with a new solo offering. Recorded over a single, intense month, This Dismal Village is a homespun document that sits somewhere between jittery punk, dreary psychedelia, and hooky bedroom pop. Recorded to 4-track, the record embraces limitation as a creative engine, resulting in a sound that is raw, unsettled, and deeply atmospheric. The album is set not in a fixed point in time or geography, but a liminal environment where dystopic visions and archaic fixtures exist side by side. In the dismal village, kings and witches share space with televisions, skyscrapers, and modern enterprise; organ fanfares echo down streets populated by disgruntled townsfolk and whispered gossip. It is simultaneously the dark ages, 1950s suburbia, and a 21st-century metropolis. Embracing anachronism was central to the project's identity, an attempt to collapse history into a single, uneasy present.Sonically and philosophically, the album sits firmly in the tradition of rough and raw cassette rock. Guided By Voices' Bee Thousand looms large as an influence, particularly it's ability to build an entire world through unpolished, first-take recordings. Robert Pollard's idea of the Inchfour P'sInch (psych, punk, prog, and pop) serves as a neat summary of the artist's musical instincts and each element can be traced right through the heart of This Dismal Village. Further inspiration comes from post-punk's so-called InchCalgary Sound,Inch a loose movement blending psych pop, post-punk, and math/prog elements with a home-recorded, unpretentious ethos. The result is an album that unrolls like a place wandered through, uneasy, occasionally familiar, and impossible to pin down in time. All captured on tape before it could disappear like an apparition, like a

Limited 180 gram vinyl LP pressing. Smokin' at the Half Note is the second collaboration jazz album recorded by Wes Montgomery and the Wynton Kelly Trio and released in 1965. It was recorded live in late June 1965 at the Half Note Club in New York City, and September 22, 1965 at Van Gelder Studios, Englewood Cliffs, New Jersey. The album combines guitarist Montgomery with the Miles Davis rhythm section from 1959-1963 of Wynton Kelly, Paul Chambers, and Jimmy Cobb. The album's versions of InchUnit 7Inch and InchFour on SixInch have helped to establish these songs as jazz standards, and remain important references for their interpretation. This is also the second live album by Wes Montgomery.

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