Moonwood is very pleased to announce their inclusion on the Why So Cold In Your (he)Art compilation by Jeunesse Cosmique.
The exclusive track is called “Second Hand Coat” and was recorded specially for this project.
Download the whole 20 track album for free here.
Physical copies available too from the same link.
We have some great stuff planned for release beginning in January of the new year!
Jakobsons, Espvall, Szelag — A really very special set from an amazing cello trio featuring Helena Espvall and the ladies from the fabulous Myrmyr. To call the music merely beautiful or mesmerizing would be to imply it doesn’t somehow grab your heart in both hands and give it a spiritual friction burn. Naturally, we’re doing some special packaging for this one.
Moonwood — TBD. The follow up/companion album to the River Ghosts LP. A further trip into rural Americana by way of Asian psych-funk and lunar space-rock. Mostly instrumental, all the “proper” recordings Jakob has done leading up to the birth of the “Moonwood mark II” duo (featuring vocalist/percussionist/flutist Jacqueline Noire) which should also see a proper release of some sort later in 2012.
9/10: Khôra / Nick Kuepfer — From what I understand, the boys are going to cross-pollinate each other’s sides on this split. So is it a really a split? We’ll see. Like chocolate and peanut butter or wine and cheese or romance and comedy, it’s going to be an awesome combination.
11/12: Silent Land Time Machine / Jeremy Kelly — The cross pollination continues as Khôra and Kuepfer show up on one of the tracks on SLTM’s side—angelic drones and wicked noises. Jeremy’s set is a magical journey into a post-apocalyptic folk wasteland. Like a version of the movie, The Road, but starring Bob Dylan and filmed on super-8.
13/14: Elfin Choirs (Colin Fisher)/ Aaron Lumley — Two of Toronto’s freakiest avant-jazz giants. Aaron’s solo stand-up bass sets have been one of the highlights of 2011, we’re hoping to capture some of that magic for posterity here. Colin has been vague about the material he has recorded (but has yet to mix down) for his side. But the words “guitar” and “drums” and “saxophone” have been out forward, which can old mean good things.
Moonwood – A krautrock EP called Trans Lunar Express is slated for release on the Bandcamp site.
Also a digital “box set” compilation/clearing house of all of Moonwood’s Heavy Moon space rock albums and EPs recorded since 2007, including some new material, will be available here.
Black Friday 2 White Christmas – The Ice Cubist‘s holiday jam for 2011.
Since 11 minutes of icy shopping mall ambiance probably isn’t quite enough to chill you out after braving the mad rush of the sales, we’ve made all eight The Ice Cubist electro-holiday albums released between 2001-2011 available in two download bundles (results may vary):
- Vol. 1 2001-2005 (Hinterlands; Winter Holiday; To: Username, From: The Ice Cubist; White Rain)
- Vol. 2 2008-2011 (Wintermärchenland ist unser Vermächtnis; Winterfaith; Winter Holday 2010; Black Friday 2 White Christmas)
Reviewed by Anthony D’Amico.
On the Andy Futreal side: “That is as conventionally musical as it gets too, as the fragile piano motif is quickly consumed by massed overlapping voices of newscasters and a deep and cavernous rumble. The piano returns near the end, but much darker and more broken-sounding. It kind of reminds me of some of Morton Feldman’s work a bit, forming a gently dissonant and uneasy lattice of twinkling single notes that bleed together. Very impressive.”
On the Babel side: “Part of Rehlinger’s distinctiveness is certainly due to his prominent use of atypical instrumentation (like metal bowls and woodblocks), but his aberrence runs pretty deep stylistically too, as he seems to draw inspiration equally from brooding post-rock, classical minimalism, Harold Budd (particularly his love of heavily reverb-ed piano), and probably even Martin Denny-style exotica …. delicately melancholy piano motifs, but the many curious and sudden dynamic shifts and detours make Morpheum feel more like the soundtrack to a film than a stand-alone suite. I think it’d be a pretty compelling film though.”
Reviewed by Nicholas Zettel
“…the subtle layers and shimmering dynamics between the sparse folk elements might not be apparent on a first, glancing listen. Jakob Rehlinger… provides a stunning experimental guitar approach, a surprisingly “organic” electric guitar sound. The buzzing drones and scorched swells sound like they are produced by a cranked, clean amplifier, and the chiming reverb and tremolo naturally follow the signal’s original dynamic …. alternate between oscillating gourd flute and ringing, deceptively simple guitar lines. Alternate instrumentation and percussion enter the background from time to time, building the intensity and providing phantom noises: choirs, gurus, spiritual awakenings. I cannot emphasize enough the sparse composition of the elements throughout this side, rendering each set of simultaneous percussion, flute, and guitar swells more intense for each occurrence …. Over multiple listens, themes of deserted landscapes, rituals, and awakening vibe through the overtones and drones. Moonwood’s experimental folk might not grab you at first listen, but the textured sounds definitely reward multiple listens.“