April 19 street date. Release from the New Haven, CT-based heavy metal quartet. Established in 2006 by drummer Opus who is also currently the touring U.S. drummer for Altitudes & Attitude (featuring David Ellefson of Megadeth & Frank Bello of Anthrax). DBW has released four full length albums and one EP including their current unique guest vocalist album Darkest of Angels. DBW gained a fierce loyal following through relentless touring supporting such artists as Shadows Fall, Flotsam & Jetsam, ICP, Raven, Jasta/Hatebreed, to name a few and have also played at both the Warped Tour and the Mayhem Festival.
June 24 street date. Wednesday Knudsen's fourth solo release, Soft Focus: Volumes One and Two. Follows Knudsen's releases on Feeding Tube as member of Viewer and Weeping Bong Band, and a pair of LPs in duo with Willie Lane. Wednesday displays her talents on woodwinds, guitar, keyboards, and vocals on an abstract and wistful set, loosely defined as ambient.
April 28 street date. Feeding Tube Records present the first half of Soft Focus, the recent solo CD by Wednesday Knudsen. Follows Knudsen's releases on Feeding Tube as a member of Viewer and Weeping Bong Band, and a pair of LPs in duo with Willie Lane. Wednesday displays her talents on woodwinds, guitar, keyboards, and vocals on an abstract and wistful set, loosely defined as ambient.
July 24 street date. "First issue in the Drowned Lands series, assembled by Jason Meagher , is the debut duo recording by Wednesday Knudsen and Willie Lane . Long Time 'Til Tomorrow is a gorgeous instrumental collaboration by guitarist Lane and multi-instrumentalist Knudsen that will knock your Smartwool socks off. Recorded at Meagher's Black Dirt Studio, the album documents the first time the pair played together. They are, of course, well known to Feeding Tube fans. Willie's first three Cord Art LPs have been reissued over the last two years (FTR413LP, FTR437LP, FTR438LP) and Wednesday's two albums with Weeping Bong Band (FTR313LP, FTR448LP) have slain stoned listeners across the globe. Wednesday is also one of the founding members of the great Pigeons , and if you don't know their music, you should correct that pronto. Anyway, Willie plays guitars, Wednesday plays electric guitar, alto saxophone, flute and even adds a little voice at one point if I'm not mistaken. And the blend is awesome. Gently improvised melodic nuggets that make me think of everyone from John Renbourn to Spires That in the Sunset Rise . The sounds flow so wonderfully it's hard to believe they haven't been playing together for a while. But hey, when a concept works. It just does. And this one works like a very strong pony! Long Time 'Til Tomorrow was originally released by Jason, in a cassette edition of 20, on his Microdose imprint. Now it's available to a wider audience. There will be more titles in the Drowned Land series coming soon. So keep your ears peeled." -- Byron Coley , 2020
April 7 street date. Wednesday's album "I Was Trying To Describe You To Someone" returns to vinyl! "I Was Trying To Describe You To Someone" is Wednesday's second full-length album and first as a full band. The Asheville, NC quintet maximizes the dark dissonance of a three guitar attack to highlight the emotionality of Karly Hartzman's bell-clear vocals and wisps of half-recalled memories and literary references that make up her lyrics. The album's eight songs meld elements of shoegaze, grunge, indie pop, and southern American culture into a uniquely personal style of modern rock music that resonates with power and tenderness. The ever-darkening and deepening of Wednesday's sound on "I Was Trying to Describe You To Someone" owes a debt of influence to The Swirlies, Arthur Russell, Red House Painters, Tenniscoats, Ana Roxanne, Acetone, and their continued collaboration with MJ Lenderman (who lends backing vocals to the songs "Billboard" and "November").
April 7 street date. Originally released in 2021, Wednesday's third album "Twin Plagues" returns to vinyl! "So much of these songs meditate on the past in far less romantic ways than I have found myself meditating on the past, and I was desperate for the recalibration that this album provided. But, even on top of all of this, on top of all the pleasures and the mercies that the sounds on this album might afford. I hope and think, too, that it will remind anyone who listens that we are a collection of many reflections. All of them deserving patience" - Hanif Abdurraqib.
April 7 street date. A Wednesday song is a quilt. A short story collection, a half-memory, a patchwork of portraits of the American south, disparate moments that somehow make sense as a whole. Karly Hartzman, the songwriter/vocalist/guitarist at the helm of the project, is a story collector as much as she is a storyteller: a scholar of people and one-liners. "Rat Saw God", the Asheville quintet's new (and best) record, is ekphrastic but autobiographical and above all, deeply empathetic. Across the album's ten tracks Hartzman, guitarist MJ Lenderman, bassist Margo Shultz, drummer Alan Miller, and lap/pedal steel player Xandy Chelmis build a shrine to minutiae. Half-funny, half-tragic dispatches from North Carolina unfurling somewhere between the wailing skuzz of 1990s shoegaze and classic country twang, that distorted lap steel and Hartzman's voice slicing through the din.
April 7 street date. A Wednesday song is a quilt. A short story collection, a half-memory, a patchwork of portraits of the American south, disparate moments that somehow make sense as a whole. Karly Hartzman, the songwriter/vocalist/guitarist at the helm of the project, is a story collector as much as she is a storyteller: a scholar of people and one-liners. "Rat Saw God", the Asheville quintet's new (and best) record, is ekphrastic but autobiographical and above all, deeply empathetic. Across the album's ten tracks Hartzman, guitarist MJ Lenderman, bassist Margo Shultz, drummer Alan Miller, and lap/pedal steel player Xandy Chelmis build a shrine to minutiae. Half-funny, half-tragic dispatches from North Carolina unfurling somewhere between the wailing skuzz of 1990s shoegaze and classic country twang, that distorted lap steel and Hartzman's voice slicing through the din.
April 7 street date. A Wednesday song is a quilt. A short story collection, a half-memory, a patchwork of portraits of the American south, disparate moments that somehow make sense as a whole. Karly Hartzman, the songwriter/vocalist/guitarist at the helm of the project, is a story collector as much as she is a storyteller: a scholar of people and one-liners. "Rat Saw God", the Asheville quintet's new (and best) record, is ekphrastic but autobiographical and above all, deeply empathetic. Across the album's ten tracks Hartzman, guitarist MJ Lenderman, bassist Margo Shultz, drummer Alan Miller, and lap/pedal steel player Xandy Chelmis build a shrine to minutiae. Half-funny, half-tragic dispatches from North Carolina unfurling somewhere between the wailing skuzz of 1990s shoegaze and classic country twang, that distorted lap steel and Hartzman's voice slicing through the din.
April 7 street date. A Wednesday song is a quilt. A short story collection, a half-memory, a patchwork of portraits of the American south, disparate moments that somehow make sense as a whole. Karly Hartzman, the songwriter/vocalist/guitarist at the helm of the project, is a story collector as much as she is a storyteller: a scholar of people and one-liners. "Rat Saw God", the Asheville quintet's new (and best) record, is ekphrastic but autobiographical and above all, deeply empathetic. Across the album's ten tracks Hartzman, guitarist MJ Lenderman, bassist Margo Shultz, drummer Alan Miller, and lap/pedal steel player Xandy Chelmis build a shrine to minutiae. Half-funny, half-tragic dispatches from North Carolina unfurling somewhere between the wailing skuzz of 1990s shoegaze and classic country twang, that distorted lap steel and Hartzman's voice slicing through the din.
September 25 street date. Electro-plated antipodean-chameleon Ash Wednesday’s deep catalogue of minimal-wave and early-electro compositions form an incredibly impressive and desperately under-acknowledged body of work. From the deliriously bouncy new wave pop of 1980’s "Love By Numbers" to the Elvis-armed-with-an-analog-synth bombast of 1983’s "Boom Boom Baby", Ash joined or created notable minimal-wave/experimental ensembles The Metronomes, Thealonian Music and Modern Jazz alongside solo work. Stark, dark, euphoric, snide and wonky yet joyous and accessible, these experimental/electro (sometimes rockabilly-tinged) sides have long been cherished by knowing collectors but are largely reissued here for the very first time. Remastered, in all their pristine synthetic glory, from the original mastertapes and presented with exclusive liner notes and rare photos. Ash would later join with both Nina Hagen and Einstürzende Neubauten. But that is another story.
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2023/04/07
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