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Cat: DC 701CD. Rel: 27 Jun 25
Experimental/Electronic
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Bird On A Swing
Joker
I Love People
I Don't Believe You
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Final Frontier
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Bad Miracles
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On The Rocks
Final Frontier
Texas Weather
Bad Miracles
Old Policeman
On The Rocks
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Related releases...
Bird On A Swing
Joker
I Love People
I Don't Believe You
Santa Claus Is Coming Back To Town
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Bad Miracles
Old Policeman
On The Rocks
Pre-orders at Juno
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Review: The long-trusted trio of Oren Ambarchi, Johan Berthling and Andreas Werliin are now joined by Norwegian guitarist Fredrik Rasten, and Ghosted III hears them push their stripped-down interplay into freer, wispier terrain. Perhaps recalling well the metrically mystifying works of Burnt Friedman, the third instalment in their Ghosted series builds on thier renowned minimal but tactile approach, where tiny shifts in groove and timbre ripple and froth forth like tectonic events, and initial prog-jazz movements open out subtly to become knaps on plenums of post-rock. Ambarchi's decades of experimenting in electroacoustic drift, Berthling's grounding in Swedish jazz and improv, and Werliin's propulsive drumming (notably in Fire! and Wildbirds & Peacedrums) coalesce again, but Rasten's chiming acoustic textures add fresh tension to the group's hypnosis. Based between Sweden and Australia, these players deal in small-scale dynamics with massive effect.
… Read morePre-orders at Juno
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Our Exquisite Replica Of Eternity (8:05)
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Dry Bones In The Valley (I Saw The Light Come Shining 'round & 'round) (6:49)
Review: Gastr del Sol's 1996 pivot point gets a fresh double vinyl pressing via Drag City, nearly three decades on. Upgrade & Afterlife mapped out a more expansive terrain for David Grubbs and Jim O'Rourke, then deep in collaborative drift post-Bastro, Red Krayola, and Squirrel Bait. 'Our Exquisite Replica of "Eternity"' opens with abstract shimmer, while 'Rebecca Sylvester' filters gamelan-inflected structure through a soft-focus vocal haze. 'The Sea Incertain' winks at Crookt, Crackt, or Fly's 'The C in Cake' with scrambled electronics and wry abstraction. The closer reworks John Fahey via violin drone (Tony Conrad) and skeletal piano. With appearances from Tortoise's John McEntire, Mats Gustafsson and Ralf Wehowsky, this was their most briskly moving LP on release, wrapped in Roman Signer's 'Wasserstiefel' and stretched taut between clarity and collapse.
… Read morePre-orders at Juno
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If you also include in-stock items on your order, they’ll be charged and shipped within 24 hours as usual.est. release 26 Jun 25 $39.20
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Review: If you roll the clock back ten years and more you'd be made to think you're crazy for saying Ty Segall will release country-inflected soft rock one day. He was making the very best feral sweaty garage rock quite consistently. But you know what? The new look suits him well and his Warren Zevon-era is cool. 'Fantastic Tomb' is a string and horn-laden romp that will liven up any home that's lucky enough to have it played within its four walls. The fallout from this will most likely be that the curtain is closing on all the neo-psych and garage rock and more bands are likely to follow in line with this type of sound. This is at the forefront of a new wave of country/Americana-tinged alt-rock that started when Black Lips did it ironically but is now gaining momentum in more sincere, yet still flamboyant ways.
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Review: A second joining of forces from two celebrated Chicago acts, blending deep, organic rhythms with a minimalistic electronic pulse. With the novel but logical addition of Jason Stein on bass clarinet, the collaboration stretches even further, pulling together the spiritual fluidity of Natural Information Society and the electronic minimalism of Bitchin Bajas. The first single, 'Clock no Clock,' is a deep dive into hypnotic rhythms, with guimbri grooves intertwining seamlessly with electronic bursts, flutes and organs. The other three tracks are equally compelling, the music unfolding like a living organism, constantly shifting but always grounded. Expansive, intricately woven sonic delights.
… Read morePlayed by: Juno Recommends Rock/Indie
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Review: You might remember David Grubbs from Squirrel Bait, Bistro, or Gastr de Sol. Codeine, The Red Krayola, Bitch Magnet or The Wingdale Community Singers. New wave or punk. His own output or that of the label he runs, Blue Chopsticks. Whatever reference rings truest, the American composer, guitarist, pianist and vocalist is an enigma responsible for a broad back catalogue of credits, projects, experiments and other. Whistle From Above lands in February 2025 and immediately proves Grubbs' continued genius and refusal to sit still. According to the limited information we have, he began developing these new guitar pieces - best described as somewhere between Fender drone, ambient noise, and musique concrete - following "months of shutdown woodshedding" in which he became "reinvigorated". What resulted was a deep dive into some personal solo arrangements and opportunities to engage with fellow sonic explorers - Rhodri Davies, Andrea Belfi, Nikos Veliotis, Nate Wooley and Cleek Schrey.
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Review: Eiko Ishibashi, best known for her acclaimed soundtrack work, returns to original composition with this album named in honour of the feminist-facing, heroine from ancient Greek tragedelian Sophocles' Oedipus Trilogy. It's a world of shimmering jazz harmonies, pulsating electronica and ghostly musique concrete, 'October' opening with a haunting, alluring melody and the disjointed rhythms of 'Coma' creating a sense of disorientation. 'Antigone', the centerpiece, builds to a powerful and unsettling climax, but there's more than chilling soundscapes as Ishibashi injects moments of surprising warmth and beauty, like the delicate interplay between acoustic and electronic elements in 'Nothing As'. Comparisons with her soundtrack work will be made, but - not unlike Antigone herself - this stands alone as a work of bravery and strength.
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Automaginary (reissue) (LP in screen-printed sleeve)
Cat: DC 626LP. Rel: 01 Mar 23
Post Rock/Experimental
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Review: Ty Segall, one of the leading lights and most hard-working artists of America's west coast garage scene, perfectly balances quality and quantity with 'Freedom's Goblin', his tenth studio album under his own name (include his live records, aliases and collaborations, and the total body of work effectively doubles). Having seemingly ditched the songwriting rules he had set himself on previous albums, 'Freedom's Goblin' sees Ty Segall at his most explosive and full-throttle, inventively exploring the many avenues of sub-genres of rock and psychedelia. Consisting of 19 ironclad songs that clock in at nearly eighty minutes, this is an expansive and exhilarating album that never becomes tiring. The wild combination of flawless production (co-engineered by the legendary Nirvana producer Steve Albini) and Segall's balance of raw power and melodic sensibility, makes 'Freedom's Goblin' another astoundingly high-calibre addition to an already colossal catalogue.
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Played by: RED AXES
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Cat: DC 907. Rel: 21 Nov 24
Folk/Americana
Review: In December 2001, at Maida Vale Studios, Bill Callahan's Smog delivered a raw, haunting session for the BBC. Alongside bandmates Jessica Billey, Mike Saenz and Jim White, Callahan's performance embodied a Lynchian mood of U.S. darkness in the wake of 9/11, covering Stevie Nicks, Lou Reed, and Smog tracks with a sombre, tour-worn edge. Callahan reflects, "It's all live, no overdubs. The session felt encapsulatedisomething foreign, yet intimate." The band's reimagining of 'Beautiful Child' in a minor key, the fiery rendition of 'Cold Discovery', and the moving take on 'Jesus' highlight the raw, unfiltered essence of this live recording.
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Review: Sunn O)))'s drone overlord Stephen O'Malley first teamed up with Francois J. Bonnet in 2019 for the first volume of Cylene - a formidable exploration of sustained frequencies from a multitude of sources released on Editions Mego. Since then the pair have embarked on numerous concerts, installations and recordings, finally resulting in this sublime sequel. This is music to zoom in on, where the slow shifts in tone are sometimes imperceptible, but profound to those that hear them. Shot through with a certain longing, it's charged ambience for those who don't need the emotional content to be presented in obvious terms.
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Cat: DC 934. Rel: 11 Jul 24
Experimental/Electronic
Review: Prolific experimental musician Eiko Ishibashi and filmmaker Ryusuke Hamaguchi follow up their for-the-ages 2021 collaboration for the latter's film adaptation of Drive My Car, with a slick and bold proclamation in jazz, electronica and improv: Evil Does Not Exist. Indeed, only the enlightened among us know that the ills of the world largely boil down to misunderstandings - oversights contra insights - thereby rendering any recourse to real malice by bad actors null, even when they themselves think it true. Evil Does Not Exist once more appears as both an album and film; the former artist's soundtrack here is as sublime as the realisation itself, combining dense copses of brass and freeform drumming to produce a euphoric miasma.
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Review: Californian Jessica Pratt may have been born in the late-eighties, but On Your Own Again, her second album to date, is possessed of a strangely timeless quality, apparently beamed in from some alternate dimension where pastoral atmosphere sashays with ethereal quietude to beguiling effect. Somewhat redolent of the sleight-of-hand of Joni Mitchell and the otherworldly subtleties of Karen Dalton, Pratt's small-hours serenades are mostly comprised of merely her guitar and voice - and recorded all-analogue to four track - yet it's testimony to her talents that these simple ingredients weave a delicate spell over the course of these nine songs that is little short of mesmerising.
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Review: For all her otherworldly talents, even hardcore fans of Joanna Newsom will likely be relieved to hear that 'Divers' marks a very slight move back from the artistic brink compared to 2010's 'Have One On Me', an exhausting triple-album embarrassment of riches which few ever made it though in one go. Yet there's no hint of compromise on the deliriously thrilling 'Divers', despite its slightly more concise approach - the elegant yet baroque wordplay, ornate and innovative arrangements and Newsom's unique voice are all present and correct - yet more, these emotive and engaging ditties may mark the most accessible thing this iconoclastic and mercurial artist has thus far summoned from the ether.
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Review: Five years after the second life of Death was started with the release of their revelatory 1976 album, "For The Whole World To See", "III" slams the door on the vault with a powerful set of songs that bring equal amounts of rock and ethereal soul-searching, in high-fidelity, rich bottomed, studio-grade sound. Alongside songs from 1975, 1976 and 1980, "III" contains two songs from 1992, as the Hackney brothers reconvened nearly a decade after they'd stopped playing together. The album serves as a companion piece of sorts to the "A Band Called Death" documentary, tracking the band's movement from spiritual young rockers to older and wiser, bruised-but-undefeated brothers, in pure musical terms. David Hackney's visual representation of Death was a triangle, where "spiritual", "mental" and "physical" formed the three angles. With this in mind, "For The Whole World To See" is clearly the physical corner, with its undeniable proto-punk power; "Spiritual-Mental-Physical" explores the mental axis, with Death working through some of their influences including The Beatles, Jimi Hendrix, The Who and even ELO in their practice space. "III" is the spiritual end of the portrait, bookended by the dreamlike rock visions of David Hackney that created and propelled the band called Death.
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