From 2010 to this day, 26-year-old Raoul Vignal has been playing authentic, modern folk music.
Forming the essence of his compositions, soothing vocals and delicate finger-picking played on alternate tunings are Vignal’s trademark. His music has often been described by audience as “evocative” and “mesmerising”.
Shortly after the birth of his solo project at the age of 20, Raoul Vignal started performing live in venues and festivals throughout France, giving him a strong stage experience as a solo musician, whether playing for a small audience in intimate venues or captivating a larger crowd.
In 2013, he left his hometown Lyon for a 2-year-long stay in Berlin, where he has been very active in the singer / songwriter scene, frequently performing in the numerous venues the city has to offer. After the release of his third EP in November 2014, recorded at Klangbird Studios (Berlin), Raoul Vignal composed the following year the original soundtrack to ‘Sweet Water of Memory’, a German-produced movie directed by Carlos Vin Lopes.
Recorded late 2015 at Klangbild Studios in Berlin, with sound engineer Martin J. Fielder, “The Silver Veil” is Raoul Vignal’s debut full-length. The 10 tracks featured on the LP demonstrate an intense acoustic style, carried by pared-down arrangements, with a slight nostalgic touch. Now back in Lyon, France, since 2016, the young musician is accompanied by a drummer and a double bass player: a trio formula which gives the repertoire a fuller and deeper sound.
"I first listened to The Gathering late in the day, late in the year – the year of Trump, of Brexit, of tides of darkness rising fast on all sides. And for a bright hour, Toby Hay’s music cast strong light, fought the shadows back a little.
The tracks of this album – quick-fingered, deep-felt – open landscapes in the mind’s eye. It feels, listening to them, as if they have a little of the power – the power that linguists call ‘illocutionary’ and magicians call ‘conjuring’ – to summon things into being, or bring pasts briefly back to life.
It came as no surprise to learn that Toby has sometimes hoped that the playing of 'Starlings' (in which the notes teem and swoop and swarm) might one day call up an actual murmuration. Place, memory, nature, loss and dreamed-of geographies are the subjects of this beautiful music: that gathering of feelings that go by the untranslatable Welsh word hiraeth.
There is a sadness at what has gone here, but not a nostalgia. The world’s dew gleams on this music, but the world’s dust swirls through it too." (Robert Macfarlane)
Daniel Bachman - Blind Al Blues (Alan Wilson) [Aquarium Drunkard Lagniappe Sessions: Second Session]
Dreamtime - River Sprites [Strange Pleasures]
Dead Sea Apes - The Map Is Not The Territory [Sixth Side Of The Pentagon]
Warp Transmission - Black Dots [Tamám Shud]
Cobra Family Picnic - Gilgamesh [Music For Lava Lamps]
Pontiak - We've Fucked This Up [Dialectic Of Ignorance]
J.R. Bohannon - Recôncavo [Recôncavo]
Windhand - Crypt Key [Grief's Infernal Flower]
Dead Sea Apes - Lo Res [Sixth Side Of The Pentagon]
Jim Ghedi - Home Is Where I Exist, Now To Live & Die [Home Is Where I Exist, Now To Live & Die]
Arbouretum - Woke Up On The Move [Song Of The Rose]
Warp Transmission - Cast Into The Process [Tamám Shud]
Raoul Vignal - One [The Silver Veil]
White Shape - Sky Burial [EP]
Dead Sea Apes - Rectifier [Sixth Side Of The Pentagon]
Toby Hay - Starlings [The Gathering]
Glitter Wizard - Sunlit Wolves / Big Sur [Hunting Gatherers]
Warp Transmission - Great Oceans In The Sky [Tamám Shud]
J.R. Bohannon - Fluctuation Pt.1 [Recôncavo]
Cardinal Fuzz and Sky Lantern Records are proud to present, Sixth Side Of The Pentagon, the new album from Dead Sea Apes.
Since their inception in 2009, Manchester’s Dead Sea Apes have ploughed a furrow that is decidedly psychedelic with regard to their penchant for expansive and consciousness-altering guitar/bass/drums work-outs. Yet DSA have always been decidedly non-conformist and experimental too, never easily fitting into a ‘psychedelic scene’ like so many of their contemporaries.
Their new album, Sixth Side Of The Pentagon, sees this bent towards experimentation further examined and explored. Taking excerpts from the track Sixth Side Of The Pentagon from their previous album, Dead Sea Apes grew the ideas into fully formed dub cultures. Most possibly as a reflection of recent political and economic events, the mood has darkened like a carbon-stained post-industrial skyline - the basslines bubble over with a dub-frenzy of fluid proficiency, alienated shards of guitar sear into your cortex and disorientating notes of insectoid electronica float in and out of the mix.
Think ‘Metal Box’-era PIL and hints of early Cabaret Voltaire fused with the rolling liquid sound that DSA have made their own. The addition of guest vocals by Hannah Grasskamp from Jungfrau and the artist and writer Adam Stone add an extra dimension of theoretical engagement that is new to the work of DSA.
Straight out of Tampere Rock City - these Finnish fiends are the bastard children of Blue Cheer and Monster Magnet (McBain era natch!) - but do not panic, this is no retro show, they are not throwbacks or wimpy psych wannabe shoegazers - this record ROCKS and it ROCKS HARD!
Originally released on cassette, Creepy Crawl was totally blown away by it and we knew this had to come out on LP/CD - Tamam Shud is part live rehearsal recordings and the rest created at their own Kemian Laboratorio - 8 face melting freakouts with layers of effect laden guitars, spaced out organ and synth and thunderous bass and drums.
Remastered for reissue and cut loud…. This is unrelenting psyche-rock at its finest… setting up for a full length later in 2017 Warp Transmission is a freak accident, the weirdo process ultra, a travel void of reason. It's spaced out, stoner,psychedelic, wastoid, heavy 'n' heady ROCK.
It's about riding blind the primal urge, living the archetype, and always rocking out with an excess of noise, burning some bridges and crossing a couple abysses along the way.
Billy Torello - Notturno [Il Passato Ha Gli Zoccoli]
Bill Ryder-Jones - Seabirds [West Kirby County Primary]
Pontiak - Ignorance Makes Me High [Dialectic Of Ignorance]
Kikagaku Moyo/幾何学模様 - In A Coil [Stone Garden]
Causa Sui - Mondo Buzzo [Live in Copenhagen - Jazzhouse 29-04-2016]
Bees Made Honey In The Vein Tree - Burn The Sun [Medicine]
Pontiak - Easy Does It [Dialectic Of Ignorance]
Orange Revival - Lying In The Sand [Futurecent]
Magic Shoppe - Kill [Wonderland]
Shadow Band - Green Riverside [Wilderness Of Love]
Cathode Ray Eyes - Goodbye To Wonder [S/T]
Arbouretum - Song Of The Rose [Song Of The Rose]
The Black Ryder - All That We See [Buy The Ticket, Take The Ride]
Pete International Airport - New Eastern [S/T]
The Brian Jonestown Massacre - Groove Is In The Heart [Don't Get Lost]
Arbouretum - Call Upon The Fire [Song Of The Rose]
Danny Paul Grody - Mineral Springs [Sketch For Winter VI: Other States]
Dead Sea Apes - Low Resolution [Sixth Side Of The Pentagon]
Pontiak - Tomorrow Is Forgetting [Dialectic Of Ignorance]
Whereas Pontiak’s 2014 album Innocence tore through rowdy riffs and melancholic balladry in a neat half hour, it’s immediately clear from the reverb-heavy trip of opener “Easy Does It” that Dialectic of Ignorance is altogether a different beast. Euphorically defying spatial constraint, brothers Jennings, Van and Lain Carney instead opt to guide each song along its own cosmic trajectory: confident in the outcome, but even more excited to enjoy the ride.
Bloody-knuckled basslines bring a snarling Desert Session groove to “Ignorance Makes Me High” and “Herb Is My Next Door Neighbor,” whilst woozy Gilmour-esque vocal harmonies imbue “Hidden Prettiness” and “Youth and Age” with a psychoacoustic dose of cerebral inertia. Those who have seen the brothers perform live know of their ability to harmonize, but Dialectic of Ignorance is the first album in which this talent is showcased in every song. “We Fucked Up” is a pedal to the metal stoner-psych opus, while “Tomorrow Is Forgotten” burns hot and slow; potent from the first note whilst relentlessly cranking up the intensity.
Pontiak grew up and live on farms in rural Virginia. Dialectic of Ignorance’s expansive structures echo the rugged, hazy climbs of this Blue Ridge Mountain setting but don’t be fooled; this is no mere collection of pastoral instrumental landscapes. Having opened their own brewery in August 2015, the Carney brothers have had the opportunity to reassess their creative process through brewing. The lessons learned from this experimentation have had a formative effect on the both the process underlying and subsequent sound of Dialectic of Ignorance.
“There’s a definite dovetail between brewing and music,” explains Pontiak guitarist and lead vocalist Van Carney. “Both are creative processes that are full of immediate possibility. In the studio you face logistical, technical and creative challenges that are constantly evolving; it’s on you as the creator to decide which path you want to take. Brewing is no different.”
An expanded awareness of process has emboldened Pontiak’s musical explorations on Dialectic of Ignorance. “There’s beauty and truth and goodness in all hardships, and it takes strength to see that,” Van adds. “We learned that there’s limitless opportunity ahead if you’re ready to pursue it.” Literary influence was also important, with particular inspiration drawn from Karl Ove Knausgård’s sprawling confessional style, and the expressive, highly visual approach mastered by writers such as Bohumil Hrabal and Leo Tolstoy.
With post-truth politics implementing lasting change through manufactured narratives, the creative ownership Pontiak display on Dialectic of Ignorance is both elevating and empowering. Still, “it’s not a political album,” Van asserts. “The message we want to get across is the importance of being present in the moment. Maybe everything is fucked. But you can do something about that.”
Dialectic of Ignorance was recorded between January and October 2016 in Pontiak’s own Studio A in Virginia. “Running the brewery definitely stretched the process out, but that was a good thing,” says Van. “It gave us time to think, mull over things, and throw stuff away when necessary. We’d come in to the brewery early each morning, put on what we’d recorded the previous day, listen to it while we worked, and shoot ideas at each other. It was a meditative, flowing process.”
Sagas - Dance Of The Killdeer [Red In The Hollow]
James Blackshaw - Summoning Suns [Summoning Suns]
Shadow Band - Daylight [Wilderness Of Love]
Anthony "Crystalline Roses" Pasquarosa with John "Sunburned" Moloney - For John, After Ali [My Pharoah, My King]
Three-Cornered Moon - Moon [S/T]
Allah-Las - Satisfied [Calico Review]
Shadow Band - Endless Night [Wilderness Of Love]
Sky Picnic - Most Of A Box Of Winter [Her Dawn Wardrobe]
The Works - Speak Your Mind [S/T]
Belles Will Ring - The One I Used To Know [Sideways Century EP]
Sundays & Cybele - Butterfly's Dream [Chaos & Systems]
Buried Feather - Mind Of The Swarm [Mind Of The Swarm]
Shadow Band - In The Shade [Wilderness Of Love]
Espers - Dead Queen [II]
Pontiak - Easy Does It [Dialectic Of Ignorance]
Tim Rutili (Califone) - In The Clearing... [The Hired Hands - A Tribute To Bruce Langhorne]
The Early Days - Shee [Contraries EP]
Shadow Band - Darksiders Blues [Wilderness Of Love]
Arbouretum - Comanche Moon [Song Of The Rose]
Shadow Band make sounds that move like foggy dreams from fantastical lands. Their patient but powerful songs set in motion a series of refracting echoes that call forth images of medieval battles, spirits unseen by human eyes and the gentle, constant pulsing of the universe.
The band formed organically around the songwriting of Mike Bruno, a quiet figure whose vibrant mental landscape is the center of the group’s orbit. Growing up in New Jersey, Bruno immersed himself in a self-made world of gloomy sonic alchemy, honing his songcraft as a solo act in New Brunswick’s small-but-dedicated freak scene. The early years saw Bruno attracting a rotating cast of area heads around his growing arsenal of songs and dubbing it Black Magic Family Band. The sprawling web of artists varied with every gig and recording session, but the roots of Shadow Band started here.
After moving to Philly, a few blurry years passed and key players of the Family Band solidified into a steadfast lineup. Drummer Matt Marchesano and multi-instrumental zoner Sean Yenchick had both played with Mike for years in various formations, as had bassist James Christy. Also in the mix full time was Jacob Brunner, who’d been a long time part of the Weyes Blood crew. The ensemble was rounded out by Michigan-to-Philly transplants Jules Nehring and Morgan Morel. As this core membership developed, the group continued playing on, joined sometimes by auxiliary players when the situation called for it, but now less frequently.
Earlier iterations of the project were only captured on grainy, hiss-heavy four track cassette recordings during all night rituals, leaving a trail of fuzzy, rough-hewn small scale releases. In the beginning stages of working on music for a proper album, the Shadow cohorts entered a studio for the first time to capture a higher-end rendering of their incantations. This quickly proved impossible, and after only a few days, both the band and the label agreed to reverse course.
Progress was made by moving backwards; Brunner, Nehring, and Morel began capturing the sounds of the band as they retreated into their lair. Recording at home over the course of many moons and seasons, Morel gathered the sounds and wove an outpouring of songs that would make up the Shadow Band’s debut album Wilderness of Love.
The result is a fully congealed and creative wave that crests somewhere within the gentle vibrations of the natural world, an ominous psychedelic dream state and the world’s highest game of D&D. Shadow Band sets forth on a journey into the next world, taking their songs of golden sunrise folk and death-knell blues on tour and always cultivating new sounds in their self-made and seemingly limitless world.
Paul Metzger - Opening [v/a The Hired Hands - A Tribute To Bruce Langhorne]
Marissa Nadler - Bird On Your Grave [Songs III: Bird On The Water]
Greg Anton - Three Balls Blue (feat. Steve Kimock, Martin Fierro, Doug Harmon, Liam Hanrahan) [v/a The Hired Hands - A Tribute To Bruce Langhorne]
Marisa Anderson - The Golden West [Into The Light]
Belles Will Ring - Old Man Tomorrow [Concrete:A Collection Of B-Sides & Rarities]
Tess Parks & Anton Newcombe - German Tangerine [I Declare Nothing]
Laura Ortman - Spring [v/a The Hired Hands - A Tribute To Bruce Langhorne]
Jane Weaver - The Fallen By Watchbird [The Fallen By Watchbird]
Belles Will Ring - Seasons Fall [Sideways Century EP]
Kristin Thora Haraldsdottir - Current [VDSQ Solo Acoustic Vol.14]
Leah Senior - Temptress [Summer's On The Ground]
Dylan Golden Aycock - Lord It Over [Church Of Level Track]
Susan Alcorn - Hello Goodbye Hello [v/a The Hired Hands - A Tribute To Bruce Langhorne]
Mazzy Star - Spoon [Seasons Of Your Day]
Lake Mary - In The Garden (no further need) [v/a The Hired Hands - A Tribute To Bruce Langhorne]
Shadow Band - Indian Summer [Wilderness Of Love]
Allysen Callery - Sundown [The Song The Songbird Sings]
The Black Ryder - Throwing Stones [The Door Behind The Door]
C Joynes - No Further [v/a The Hired Hands - A Tribute To Bruce Langhorne]
The Baird Sisters - Spinning Wheel/ Rocket [Lonely Town]
Wes Tirey - Horsedreamer [v/a The Hired Hands - A Tribute To Bruce Langhorne]
Lee Ranaldo - Harry & Hannah [v/a The Hired Hands - A Tribute To Bruce Langhorne]
Compiled by - Dylan Golden Aycock, Loren Connors, Suzanne Langille
We would like to pay homage to one of the greatest and most infamous guitarists alive, Bruce Langhorne. His music has influenced and touched a lot of lives over the years, either through his soundtrack work with Peter Fonda or his studio work in the 1960's as the go to hired hand for musicians such as Bob Dylan, Joan Baez, Richie Havens, Odetta... and many others. If his name is new to you I suggest browsing his wikipedia page to acquaint yourself with the volume of work he accomplished throughout the 50's, 60's and 70's. Scissor Tail Editions was lucky enough to release Bruce's score to Peter Fonda's 1971 anti-western "The Hired Hand"on vinyl in 2012.
The goal here was to ask artists to cover or reinterpret a song of their choice from the soundtrack. No rules on whether the music should be derivative of a certain song, if the soundtrack inspires a mood, then the artists use their intuition.
Bruce has come on hard times in recent years, having suffered a stroke that prevents him from playing the guitar. He's currently in hospice care awaiting his final curtain call. A large percentage of profit go to Bruce and his family.
An Introduction to Bruce Langhorne.
Greil Marcus has often written about the “secret histories” of music. The idea is to bypass the generally acknowledged masters of any genre, looking instead for the songs, thoughts and artists behind them; the true form innovators and innovations whose presence and example provided the template and inspiration for these better-known musicians to extend their work into previously unmapped territory. One of these key “secret” figures is Bruce Langhorne. Everyone who has ever worked with Bruce describes him as a person whose very presence changes the atmosphere of a recording studio. Besides the genius of his musical approach, Bruce possesses the ineffable it that really matters.
Bruce Langhorne was born in Tallahassee Florida in 1938, where his father headed the English Department at Florida Agricultural & Mechanical College for Negroes (as it was then called). When his parents separated in 1942, he moved to Spanish Harlem with his mother, where she ran the Harlem Library System. Bruce went to Horace Mann and was reportedly on his way to becoming a world-class violin player, when he blew off parts of his right hand screwing around with a homemade rocket at the age of 12. This ended his violin career, but he eventually picked up the acoustic guitar and began playing on the street in Provincetown, MA in the late 1950s. The gig was with a caricaturist, who would do quick sketches of the strollers who stopped to listen to Bruce's playing. Because of his accident -- he lost his thumb, index and half of the middle finger -- Bruce developed a style with precise note placement and subtle harmonic voicing. Not that any of the tourists would have noticed.
When Langhorne drifted back to NYC, a friend introduced him to Brother John Sellers, a gospel and folk singer who recorded for Vanguard. Sellers was also about to start working as an emcee at Gerde's Folk City. This was 1960, and Sellers was impressed enough with Bruce's playing to enlist him as his accompanist for the gig. Folk City quickly became the nexus of the Greenwich Village music scene, and Bruce was in the center of it. Everybody came to Gerde's, and as that included label heads like Maynard Solomon and A&R guys like John Hammond, Langhorne began getting session work as soon as the folk recording boom began in earnest.
Langhorne's first sessions seem to have been with The Clancy Brothers and Tommy Makem, a group of Irish ex-pats whose traditional song style had a big influence on the early Village scene. More important, however, was Langhorne's Autumn 1961 work on Carolyn Hester's eponymous third LP, her first for Columbia. A yet-to-be-signed Bob Dylan also played on the session, and Langhorne struck up a friendship with Hester's then husband, Richard Farina, who was working on his novel Been Down So Long It Feels Like Up to Me. Bruce played on other sessions, for Casey Anderson, Chad Mitchell and various folkies, before he was asked to sit in on Bob Dylan's second album the acoustic Freewheelin', and the semi-electric promo single that came out with it, “Mixed Up Confusion.” In retrospect this was an important if curious session. But it was one of many.
More notable was Langhorne's work on Richard and Mimi Farina's two Vanguard LPs, recorded after Farina had met Joan Baez's younger sister Mimi on a trip to Europe. Breaking with Hester, the pair formed a musical union that lasted until Richard's death in 1966. Richard was a very unorthodox dulcimer player, and the sound of his instrument played against Langhorne's electric guitar is incredible. Under the influence of his Village pal, Sandy Bull, Langhorne would clamp a soundhole pickup to his 1923 Martin 1-21, and run it through Bull's Fender Twin Reverb, which he regularly borrowed. Through Sandy, Bruce had become a fan of Roebuck “Pops” Staples' heavily rhythmic tremolo guitar sound, and the results were sublime. Bruce would also pull out his gigantic Turkish tambourine and do percussion licks when called upon. This was used to excellent effect on the Farina sessions, and also inspired Dylan to write the song, “Mr. Tambourine Man,” for his Bringing It All Back Home album, another session on which Langhorne made brilliant additions (albeit, uncredited at the time). Although Bruce was usually most comfortable playing a supporting role as a guitarist, he played the great electric lead parts on “Subterranean Homesick Blues” and a bunch more.
Langhorne also performed live with various people -- a one shot with Dylan on the Les Crane Show and regularly with the Farinas -- and he was omnipresent at sessions by big names like Odetta and Joan Baez, as well as cult faves like Fred Neil, Pat Kilroy's New Age Trio, Tommy Flanders, Peter Walker, Penny Nichols, John Braden and Mel Lyman. He was even enlisted to produce Ramblin' Jack Elliott's Reprise LP, Young Brigham. Bruce was also doing a lot more percussion as time went on, and he became friends with South African ex-pat trumpet player, Hugh Masekela. Masekela had guested on the Byrds' fourth album, Younger Than Yesterday, and through them had met Peter Fonda. Hugh wanted to do an album with Fonda on his own Chisa label, and hired Bruce to work with Peter on an LP to be called Got to Get You Into My Life. Only one single, the cool “November Night,” was ever issued from the sessions, but Fonda was amazed by Langhorne's musicianship.
When Fonda was given an opportunity to direct his own film, following the success of Easy Rider, he chose Langhorne to create the soundtrack to his beautiful, atmospheric 1971 Western, The Hired Hand. The solo guitar, fiddle and banjo instrumentals are exquisite, perfectly suited to the film, and just gorgeous on their own. Crazily, a soundtrack of the film was not released on its own until Blast First did it on CD in 2004 (followed by Scissor Tail's vinyl version in 2012). But the few people who were lucky enough to see this remarkable film in the meantime were uniformly haunted by the music as much as by the images. It was Langhorne's first solo album, and it was a true subliminal hit.
As the '70s unwound, Langhorne focused largely on co-running Blue Dolphin Studio with Morgan Cavett, and doing film scores. Fonda chose Bruce again to his second film, the dystopian hippie time travel saga, Idaho Transfer. This is another really interesting flick, and Langhorne's work expands to include synthesizer and other keys. In '76 he did Bob Rafelson's Stay Hungry and Jonathan Demme's Fighting Mad (staring Fonda). Langhorne worked again with Fonda on Outlaw Blues and Demme on Melvin and Howard. He actually did Demme's Swing Shift too, but most of Langhorne's music was scrapped when Warner Bros. took the project away from Demme. Soon after, in 1980, Bruce shucked Hollywood and moved to Hawaii to raise and harvest macadamia nuts. This proved to be a better concept than a lifestyle, so Langhorne moved back to Southern California in '85, playing percussion with ex-pat Nigerian drummer, Babatunde Olatunji, and others. He also did some more soundtrack work, generally using keyboards. But as the '90s moved along he began to have health problems.
First he was diagnosed with Type II Diabetes, which inspired him to found a healthy hot sauce company. A stroke followed a few years later. And he had to give up guitar, although he did record a solo album, Mr. Tambourine Man, on keys and percussion. Bruce's health has continued to fade, but his legend and reputation grow ever brighter, especially as the music from The Hired Hand becomes more widely available and the playing he did for Dylan is officially acknowledged.
This album is a celebration of the incredible influence his largely secret trajectory has cast over a wide variety of musicians. By itself it's a great collection of music, as a tribute to Langhorne I think it's even more amazing than that. (Byron Coley)
Andy McLeod - There Is No Time For That Now [In The Light Of The Day]
Meg Baird - Stars Unwinding [Don't Weigh Down The Light]
Sundays & Cybele - Tell Me The Name Of That Flower [Chaos & Systems]
Shadow Band - Moonshine [Eagle Unseen 7"]
Doug Tuttle - Turn This Love [S/T]
Kikagaku Moyo - Trad [House In The Tall Grass]
Sundays & Cybele - Paradise Come [Chaos & Systems]
The Chemistry Set - A House Is Not A Motel (Love) [v/a 7 & 7 Is]
Six Organs Of Admittance - Burning The Threshold [Taken By Ascent]
Buried Feather - Mind Of The Swarm [Mind Of The Swarm]
Talk West - Riding Thru The Rain [v/a The Hired Hands: A Tribute To Bruce Langhorne]
Heron Oblivion - Beneath Fields [S/T]
Titan - Annals Of The Former World [A Raining Sun Of Light & love]
Hills - Death 1 [S/T]
Causa Sui - Red Sun In June [Summer Sessions Vol.1]
Sundays & Cybele - Butterfly's Dream [Chaos & Systems]