We are excited and honored to have a pre-order for the new Mountain Movers LP coming out on August 13th via Trouble In Mind Records. We’ll have a limited amount of purple copies with a bonus numbered print poster (12″x12″) of original Dan Greene art work (of the Mountain Movers) exclusive to Redscroll!
We’ll also have black copies of the LP and cassettes – without the extra print – available in the store on the release date, August 13th.
Tongue Depressor (New Haven, CT) is the duo of Zach Rowden and Henry Birdsey. They write, improvise, and perform drone-based music with fiddles, pedal steel, lap steel, contrabass, organ, and bells, usually involving microtonal tunings and re-arranged/re-tuned fragments of American church music.
“In another time, Tongue Depressor’s ethereal tunings set into motion an unstable peace. With their bows, the duo conjured spirits to settle serpents. In another time, it was enough. “In the Quarter Column” showcases Tongue Depressor’s progression into an exploratory and singular craft, balancing technical ability with discipline, and magnetism with precision.
“Everyone Was There” features Tongue Depressor’s first use of magnetic tape loops, with Rowden manipulating recordings of Birdsey’s playing while Birdsey bows his lap steel in accompaniment. The hypnotic piece delicately reminds us that what has come before will come again, bringing decay and dislocation. Warbly echoes of what is past are present. The duo’s preferred territory exists outside of time.
On the B side, “A Singing,” Birdsey’s resolute playing of a microtonal organ merges with the moans and sighs of Rowden’s bass to illustrate a fresh lucidity that is patient and attentive. Demystification has disconnected the doors.
Grasping sound and experience from within, “In the Quarter Column” builds an apparitional world for the listener to inhabit. Once again, Tongue Depressor offers anyone with the ability and will to listen a very generous gift.” – Jason Filer (Crazy Doberman, Doberman, Gateway)
This is an edition of 312 records pressed at Burlington Record Plant on Black Smog vinyl (appears black until held up to the light).
The official release date is June 4th. Pre-orders ship well in advance of release.
We’ve got a pre-order for the Mountain Blast color version of the “Copycat Killer” 12″ record from Phoebe Bridgers from Dead Oceans records. Go here to order.
Release Date: May 14th, 2021
Copycat Killer is a 12″ featuring 4 exclusive new versions of songs from Phoebe Bridgers’ wildly acclaimed Punisher album. Collaborating with arranger Rob Moose (Sufjan Stevens, The National, Bon Iver, Vampire Weekend, Jay-Z), these are brand new orchestral arrangements of the songs Kyoto, Savior Complex, Chinese Satellite and Punisher, all given a luscious revamp that is sure to delight any fans of Phoebe’s album and serve as perfect gateway for new listeners into what makes her one of the most special artists of 2020 and beyond.
The Amber Cloud color variant of the Fiddlehead “Between the Richness” LP on Run for Cover Records.
Release Date: May 21, 2021
Fiddlehead wasn’t supposed to make a second record. But, if we’re being totally honest, they weren’t supposed to make their first record either. Formed in what singer Pat Flynn describes as “a deeply, deeply, laughably depressing part of my life,” Fiddlehead was born with modest intentions. Flynn and his then-roommate, guitarist Alex Dow, decided to work on some songs, and with Basement having just broken up, guitarist Alex Henery entered the fold. Drummer Shawn Costa and bassist Adam Gonsalves—who has since been replaced by Casey Nealon—linked up with them and, all together, they wrote what would become the Out Of The Bloom EP. Those five songs established what Fiddlehead would be, a band that merged elements of post-hardcore, post-punk, and classic ‘80s emo into something that felt distinctly theirs.
After the release of their debut album Springtime & Blind, the band did some weekend-long tours, and saw that their music was hitting people harder than they ever expected. “Kids were singing along in a very desperate way and we realized it wasn’t just resonating with us, it was resonating with these people in a really meaningful way,” says Flynn. Springtime & Blind was a hit for many reasons, but chief among them was Flynn’s open-hearted exploration of his father’s passing, which saw him use his lyrics as a means of relating to and understanding his mother’s grief. So when it came time for Fiddlehead to work on a second record, people weren’t just curious what the songs would sound like, they were curious what they’d even be about.
Between The Richness effectively picks up where Springtime & Blind left off, as Flynn dives headfirst into that same subject. But astute listeners will notice a major difference this time: Flynn is singing about himself. “These massive things happened in my life between the first record and this record. It just so happened that I ended up getting married, I had a child, and it was around the 10-year anniversary of my father’s passing. So what if I want to write another record about how I feel about the loss of my father? Will people be like, ‘Pick another topic, dude.’ So, the opening track is called ‘Grief Motif’ because it’s the idea that this is an eternal struggle that will never go away. Take it or leave it, but it will be part of this dude as long as he’s got a pen in the hand.”
Between The Richness explodes with an energy that usurps that of Springtime & Blind. The guitar riffs of Dow and Henery are their most anthemic and combustive yet, making songs like “The Years,” “Get My Mind Right,” and “Down University” not just serve as the backbone for Flynn’s personal ruminations, but empathetic, emotional musical stabs that hit the listener just as hard. Meanwhile, Costa and Nealon give the songs a propulsive heft, allowing a track like “Million Times” to dart into unexpected territories without ever feeling alien.
But at the center if it all is Flynn. He’s a different person than he was on Springtime & Blind, because he’s now a father himself. And that experience colors the journey he goes on throughout the album. “My son’s name is Richard and my father’s name is Richard, so it’s literally between the two of them. But it’s also the richness of life and the richness of death. It was important for me to capture that perfectly paradoxical feeling,” says Flynn. “We started writing this record two weeks after my son was born, and it’s a really great way for him when he’s older—and when I’m gone—to say, ‘My father wrote this in the first year of my life. What does that mean?’” It’s an attempt to put words to that strange place we all exist in, that place between the richness.
• Grief Motif
• The Years
• Million Times
• Eternal You
• Down University
• Get My Mind Right
• Life Notice
• Heart to Heart
We’re doing an in-store pre-order for the new Godspeed You! Black Emperor album. Come on by and get yourself down for it!
(LP & CD Formats Available)
GodspeedYou! Black Emperor (GYBE) returns with its first single LP-length release since the group’s earliest days in 1997-99. ‘Asunder, Sweet And Other Distress’ clocks in at a succinct 40:23 and is arguably the most focused and best-sounding recording of the band’s career. Following Godspeed‘s return from a long hiatus at the end of 2010 to begin playing live shows again, and with the hugely acclaimed ‘Allelujah! Don’t Bend! Ascend!’ release in 2012 marking their first new release in a decade, the group slowly and steadily put the new album together through late 2013 and 2014. This mighty slab of superlative sonics is shot through with all the band’s inimitable signposts and touchstones: huge unison riffage, savage noise/drone, oscillating overtones, guitar vs. string counterpoint, inexorable crescendos and scorched-earth transitions. ‘Asunder, Sweet And Other Distress’ finds Godspeed in top form; a sterling celebration of the band’s awesome dialectic, where composition, emotion and ‘note-choice’ is inextricable from an exacting focus on tone, timbre, resonance and the sheer materiality of sound.