2nd album from Richmond's Denali, recorded with Peter Katis (Interpol, Mercury Rev). Denali has shared stages with notables such as Clinic, Jets To Brazil, Pinback & French Kiss. 9 tracks. Jade Tree. 2003.

Jeremy Chatelaine is best known as the man behind the bass in the ever-popular Jets To Brazil, so most people aren't aware that he is also a talented singer and songwriter in his own right. As Cub Country, Jeremy showcases his talents and affection for country-tinged rock blues (think acoustic Led Zeppelin, Paul Mc Cartney, and Willie Nelson hashing it out in a Brooklyn tenement), creating a broad canvas for his tales of love lost and found. Recorded in Jeremy's apartment with help from his friends, 'High Uinta High' features a revolving cast of guests that include his fellow band mates in Jets To Brazil, J Majesty, Nick Macri (Euphone), Theo Kogan (Lunachicks), John Herguth (The Love Scene), and Chris Traynor (Helmet, Orange 9mm). Jade Tree Records.

Denali于2000年四月在弗吉尼亚州里士满(Richmond,VA)组建，组队过程很意外：一个喜欢唱歌的姑娘Maura Davis写好了一些歌，希望通过乐队的形式把自己的歌更完整地表达出来，可是找不到人来帮自己，怎么办？首先自然想到了正在硬核朋克乐队Engine Down担任吉他兼主唱的哥哥，哥哥一听心就软了，于是在哥哥的联系之下，三位男士终于决定一起加入来协助Keeley完成心愿，这三位好心的男士分别是：哥哥Keeley Davis，吉他手Cameron DiNunzio和鼓手Jonathan Fuller。仔细一瞧，原来Keeley Davis把自己Engine Down乐队里的鼓手Jonathan Fuller也一起拉进来啦！
乐队的名字来源于生活在阿拉斯加州里的Athapascan族(印第安人的两大族之一)给当地一座最高山脉起的名字,这座山脉又名麦金利山(Mount McKinley),是北美最高峰。Denali的意思是：“寒冷的，荒凉的，人烟稀少的，永恒的”，这显然要比麦金利这种枯燥乏味的名字表达的更传神一些，而且也概括出了乐队想要做的音乐感觉。
不可避免地，作为乐队中唯一的女性，Maura Davis再次成为了许多人讨论的焦点。Amazon网站上的一个乐迷甚至将她和Portishead的Beth Gibbons和Mazzy Star的Hope Sandoval相媲美，而AMG等音乐网站则乾脆将Denali称之为Portishead的摇滚版。不过，Maura富有感染力的演绎特色和在歌词里流露出来的女性细腻情感，的确对得起大家对她的赞美。
乐队的第一张完整专辑《Denali》于2002年4月16日在Jade Tree厂牌下发行。同样来自弗吉尼亚州里士满的Sparklehorse乐队成员Mark Linkous和Alan Weatherhead，担任了这张专辑的制作人。值得一提的是，Jade Tree其实是以支持硬核朋克为主的一个独立厂牌，在他们官方主页上有一段针对硬核朋克的发展和现状的精辟评论，有兴趣的朋友可以上去看看。Denali的风格虽然并不是很纯粹的硬核朋克，但其独立自主的音乐主张还是得到了Jade Tree老板的肯定。
这张专辑有着沉着冷静，却又不失戏剧性的一面。在窃窃私语的背景声下，Maura开始在“French Mistake”里缓缓唱道：“Done the last real life/ Beside it's hard to see/ The dotted line leaves space for you”，在唱道“Now I'm feeling something tonight”的时候，果断乾脆，高音方面的表现也非常出色。整首作品从开头吉他的轻轻拨弦直到高潮时的轰鸣，气氛的铺垫非常娴熟而老练，看不出这是一支初出茅庐的乐队，这要归功于Keeley Davis和Jonathan Fuller两人之前就在Engine Down中培养的默契。虽然这是一首编排上比较规范的作品，但已经预先给人留下了美好的印象。
接下来的“You File”，显然要比之前的编排上更细致复杂一些，在背景声效里先是加入了沙沙声，之后Maura在其中一句“Soon you'll be much easier to capture”的“easier”这个单词上的转音转得相当漂亮。但中段的表演才是最华丽的，先是动听精致的叮铃声铺垫，再是吉他踏着碎步紧跟而上，最后是一段旋律流畅的反复弹奏，请特别注意其中过渡的节奏由“乾净”转变到“肮脏”的效果，从这里可以窥见最早Post Rock的反叛精神。
Maura在“Lose Me”中开始表现出女性特有的细腻情感，无论是拖音还是高音区的表现，都轻易地打动了我，就算是不看歌词，也能从Maura的声音里感受到那份伤感情绪，Maura的声音无疑是极富有感染力的。和这首相类似的还有“Time Away”。Lo Fi风格的鼓拍带出了“Relief”，在作品的前半段以电子杂音声效拼贴来烘托氛围，后半段真实乐器再度回来表演，虽然被AMG誉为有着Radiohead的大气风格，但我更偏爱结尾时镲音和鼓拍的共鸣效果。说到大气的风格，我觉得还是“French Mistake”，“Gunner”和“Where I Landed”这三首更为接近一些，尤其是“Gunner”的结尾铺陈，华丽奢侈，气势宏大，直逼Britpop潮流最鼎盛时期中的那些班霸。
专辑中的其他几首作品表现也可圈可点，无论是“Everybody Knows”一头一尾的大段吉他回授噪音，还是“Function”里闪现的Dream Pop式秀丽音色都给人留下不少回味的地方。
我最喜欢爱的TRIP-HOP乐队，也是我的TRIP-HOP入门专辑。其实已是大名鼎鼎的专辑了。只是还未有人发报。

Out October 2013 on Guilt Ridden Pop. The EP was recorded last year by Kevin @ Humdrum Studios in MKE b/c that's what bands do. Especially bands that buy 24 track tape recorders and install them in their basements. We recently came to a revelation regarding our music. Since three of us are originally from Peoria, IL (home of Richard Pryor) and relocated to Milwaukee, and since our drummer is a native Milwaukean (home of Gene Wilder) our music is very similar asthetically to the seminal films Silver Streak, Stir Crazy, and See No Evil, Hear No Evil. As to the title of the EP, “Newhouse”, it's dedicated to our friend, Mike Newhouse, who we lost last fall. He was a great friend who I hope is skating some cosmic half pipe whilst trying to pick up women with the line “I can play the Sight of You” by the Pale Saints on guitar”. So to Mike we dedicate the musical representation of Stir Crazy. I'm sure he'd approve.
credits
released 01 October 2013
Jen Boniger - Vox, Guitar
Drew Calvetti - Bass, Bass 6
radishbeat - Drums
Kevin Dixon - Guitar, Vox

A loud-as-hell indie rock band with a rhythm section built by the gods and guitars so graceful and melodic they make your ears actually cry.

The Brooklyn electro-acoustic duo Mountains have finally landed in a place as vast and awe-inspiring as the landforms they're named after. This is an album that causes you to view everything the band did before a little differently, turning 2011's Air Museum into a transitional piece, a necessary step in the build toward Centralia. Koen Holtkamp and Brendon Anderegg seem to alter their working methods with each passing release, choosing here to separately layer acoustic and electronic instruments, not manipulating the former with the latter. The technical details aren't too important; to pick apart who did what and where would cause Centralia to lose some of its magic. Instead, it's better to just fall into it, letting it wash over you again and again. The actual Centralia is a ghost town in Pennsylvania, a place with a population barely in double figures, condemned by a 1962 mine fire that made it largely uninhabitable. It couldn't be less appropriate as a title-- this Centralia is rich with connection, bustling with possibility. It's got life pulsing through it.
This is an album that finds Mountains expanding outward, replacing bungalows with steeples. Brian Howe noted that the duo "like a big canvas" in his review of Air Museum, but nothing from that album feels as all-encompassing as their work here. They've added a touch more movement to their music, with the perma-halt they get locked into mostly intact. But those changes in tone are often startling and moving when they appear. It's there in the unexpected rush of noise halfway through "Propeller", and in the lulling cello at the close of "Sand". Still, nothing resembles traditional song form, with Holtkamp and Anderegg finding strength in great circular drones, ring-shaped synth accents, and ruminative acoustic picking. Mostly it feels like more thought went into this work than prior Mountains records, with the inclination to spread themselves wide birthed through a rigorous attention to detail. There's a strong sense of objective and design, a feeling of being taken somewhere instead of getting deadlocked in one mood, one place.
That sense of creating shifting conditions is a key differentiator between this and any similar works. Centralia is primarily concerned with beauty and contact, creating hypnotic melodies that resonate with meaning as their looped paths uncoil. It's music to get lost in on a certain level, but you can feel pliable human emotions tugging hard on your shoulder throughout. Partly that's due to Mountains improving at integrating their earthy and otherworldly impulses. The acoustic plucking and blocky drones of "Circular C" don't feel like they're drawn from separate strains of thought, pushing folk traditions and analog synthesis together as if they were always meant to co-exist. Mountains' guitar work has often resembled Ben Chasny's Six Organs of Admittance output, and that remains a constant here, especially in "Tilt", a track that gathers poignancy as it gains momentum. Here, they're as skilled at change as they are at staying lost in time.
It's to Centralia's great credit that its 20-minute centerpiece, "Propeller", doesn't completely dwarf everything that comes before and after. "Propeller" is huge and masterful, the fullest embodiment of the "pure phase" aesthetic Jason Pierce was working toward on the Spiritualized album of the same name. The fact that it's a live recording, albeit one sweetened by a few studio tweaks, is particularly impressive considering the immaculate way all the parts twist around one another. It's here that the possibilities for this music seem boundless. This is music for wide open spaces, full of reach and depth. It's not exactly Mountains' gambit for the big time, but it is the kind of track that could open them up to a wider audience, principally because it takes what they do so well-- repetitive motions executed with ample emotional impact-- and blows it wide open. There are even a few power chords thrown into the following "Liana", further emphasizing the maximal strength Mountains have harvested for this release.
Holtkamp and Anderegg's bursts of robustness on Centralia don't quite tell the full story. It's matched by a tenderness that occasionally mirrors the kind of blues Dave Pajo was feeling circa Papa M's Live from a Shark Cage, and a hush that Jason Noble was reaching for in the post-classical outfit, Rachel's. There's a continuity between this and prior Mountains releases, but it's more grandiose than Choral, more focussed than Air Museum. In its longer stretches it's similar to the no-waste ethic of Swans' The Seer, where every tiny detail serves the bigger picture, where nothing in an ostensibly open-ended piece is allowed to drift unattached. Centralia is less severe than The Seer, but it's executed with the same unyielding desire to move and to feel. It's impressive how multi-purpose some of the tracks can be. You can zone out to the one-note drone that "Sand" arcs into for a while, only to be yanked somewhere else altogether when a great slide of strings pulls you down. That's the spot Mountains inhabit, in a capacious synchronization of the real and the unreal, a space they've gloriously matured into.

Cherry Tree is an EP by the indie rock band The National, released in July 2004. It was reissued on June 28, 2011, by Brassland Records, the same label on which it was originally released.

This is my first release, and I chose to do it independently. I hope you enjoy.
credits
released 27 November 2011
Art Credit: Photo by Drew Swantak. Edited by Madison McKenna.
All Songs Mixed and Mastered by Stephen Gilarde Except:
'Hydrogen'- Mastered by Gunnar Bjerk at DFA Studios, NY, NY
Special Thanks:
-My Mom and Dad, for humoring me when I wanted them to hear this (despite not being electronic fans).
-Janie, for being one of the few people who can cheer me up, and allowing me to sleep on her futon in her closet of an apartment.
-Jams, for the gear, the tips, the feedback, and the hours-long phone calls. And for kicking my ass.
-Madison, for coming through in the clutch with the beautiful artwork.
-Tim, for the feedback, laughs, and tips.
I would also like to thank-
Juan, Teamy, Marcus, The O'Leary, Murphy, Richmond and Gilarde families, and whoever I forgot. Sorry!

Red Sparowes（美女）吉他手个人专辑。

Opening with a ten second homage to Estonian composer Arvo Part, it.s immediately apparent that A Sunny Day in Glasgow.s new album, Ashes Grammar, is going to be a much more visceral outing than their 2007 album debut, Scribble Mural Comic Journal. It takes a few minutes for the record to even begin to reveal itself, as a swarm of 1950s acapella (Secrets at the prom) gives way to resonant drones, room noise, and sub bass (Slaughter killing carnage). It.s here that Failure unexpectedly kicks in with a tribal stomp and a fl uttering guitar acting as a pair of wings, lifting the circular chants of the song.s melody off the ground. It.s all at once joyous, insecure, and blissed-out.and sounds nothing like we.ve heard from A Sunny Day in Glasgow before.