Halfalib first single and vinyl pre-order

Halfalib is somewhat a mysterious presence who is unveiling little by little his musical existence. So far we know they’ll be at SXSW 2017 in Austin next March, and we can hear the band’s first single Arythmie Du Soleil, “a perfectly mellow single” described by For the Rabbits as “light jazzy percussion, unnerving electronics and warm, woozy saxophones [that] seem to wash in and out of earshot, as the vocal and the omnipresent piano, pick out a wistful melody. There’s a touch of Lionlimb or Chris Cohen in this articulate take on beautiful hazy-pop music.” We heard that the debut album, Malamocco, will be out on February 24th, and now we know as well that the record will be released on a very limited edition of 100 copies pressed on milky clear transparent vinyl! And guess what? Those 100 copies are now available for pre-order from our European and US bandcamp stores. I foresee a sell-out in 5…4…

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Soda Fountain Rag – The Lost Levels

soda-cover-4000_1

 There was a time of handmade music fanzine that came with a pin and a compilation on a cd-r in limited numbers, immediately disappeared with the first lucky ones to get to the show. And then music blogs of which the latest post dates back to the MySpace era and usually counted more authors than readers. Record labels that lasted the time of a love story. Indie-pop as a genre has a predilection for what’s ephemeral and fleeting, and Soda Fountain Rag throughout her whole career has been the essence of Indie-Pop from the first to the last note of her countless songs. Active since the beginning of the century, the Norwegian songwriter has published 4 full lengths and an unknown number of EP, singles and cd-r everywhere around the globe: Cloudberry Records, My Honey, Anorak, are just few of the cult label that released her music, without taking into account all the free downloads spread around the internet. Now just before releasing her new EP (scheduled for the beginning of 2017), Ragnhild Hogstad Jordahl has decided to bring together all the songs that went “lost” in a chronologically organized album that goes from 2006 to 2013. Lo-fi is Soda’s philosophy, with the toy keyboards, her candid voice and the most immediate and happy melodies you can dream about, floating between Rough Bunnies and Moldy Peaches, as they are supposed to be. The Lost Levels is now available for digital download and streaming through all digital distributors and our Bandcamps linked below. Soda will unveil and talk about all the songs one by one as the most desirable advent-calendar from her facebook page.

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 Vecchie fanzine fatte a mano, poche decine di fotocopie che trovavi a qualche concerto, in regalo una spilletta e una compilation, subito sparite nel nulla. Blog musicali che contavano più autori che lettori, il cui ultimo post risale all’epoca di MySpace. Etichette discografiche nate in qualche cameretta e durate il tempo di una storia d’amore. L’indiepop sembra avere da sempre una speciale predilezione per l’effimero e il fugace, e Soda Fountain Rag, lungo tutta la sua carriera, ha incarnato l’indiepop dalla prima all’ultima nota delle sue innumerevoli canzoni. Attiva dalla metà degli Anni Duemila, la cantautrice norvegese ha pubblicato quattro album, e soprattutto una quantità di EP, singoli e cd-r da una parte all’altra dell’Oceano. Cloudberry Records, My Honey, Anorak, sono solo alcune delle storiche label su cui è apparsa la sua musica, senza contare i free download disseminati ai quattro angoli di internet. Ora, alla vigilia della pubblicazione del suo prossimo EP (prevista per l’inizio del 2017), Ragnhild Hogstad Jordahl ha deciso di fare un po’ di ordine e riunire le sue canzoni “perdute” in un’antologia ordinata cronologicamente dal 2006 al 2013. Il lo-fi pop che è il suo marchio di fabbrica, le sue tastiere giocattolo, la sua voce candida e le melodie più felici e immediate che si possano sognare, sospese tra Rough Bunnies e Moldy Peaches, erano già tutte qui.  The Lost Levels è disponibile via download digitale e streaming attraverso tutti i distributori e dalle nostre pagine Bandcamp linkate qui sotto. Soda racconterà traccia per traccia tutte le canzoni di The Lost Levels come un dolcissimo calendario dell’avvento dalla sua pagina di facebook a partire da oggi

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DIZZYRIDE introduces debut album with “Soundtrack”

Brooklyn has been already for a few years the home for the duo Kiefl – Donà, names that you might recognize for their solo projects: Horrible Present for the Venetian crooner, and the homonymous Zoë Kiefl for the Canadian’s angelic voice. Together they are Dizzyride, and after a few songs and EPs they finally announced the release of their debut full length, due out on January 20th, 2017. Soundtrack is the first single previewing the self-titled album that includes as well a number of collaborations (Mary Lattimore and Kyle forester to mention a few). Press play, replay.

OUT NOW: Dizzyride – Lend Me Your Ears

LEND ME YOUR EARS EP_FINAL

Lend Me Your Ears EP is an ensemble of b-sides, bonus tracks and outtakes from Dizzyride’s forthcoming, first full-length album (out January 2017 on WWNBB).
The EP began forming during a summer tour, while Donà and Kiefl composed with instruments they came across. Tapes and iPhone Voice Memos brought the material back to New York where the duo currently lives and where the songs were completed. Now lend out your ears, get loose and enjoy Dizzyride’s psychedelic touch.

Streaming and freedownload on out bandcamp’s pages:

https://wwnbb.bandcamp.com/album/wwnbb-080-lend-me-your-ears

https://wewereneverbeingboring.bandcamp.com/album/wwnbb-080-lend-me-your-ears

Dizzyride 2016

Dizzyride 2016

WEIRD BLACK new tracks in free download

Weird Black are taking the opportunity given by the Rome Psych Fest (where they will play on May 14th) to share 2 unreleased songs. Objects In Dreams Are Weirder Than They Appear is the title of this work available for free download on soundcloud, and as the bands puts it “this 2-Tracks-Bootleg was recorded as what remains of ‘Hy Brazil’ psy and lo-fi experience.” The band’s debut album, Hy Brazil, came out earlier this year and we are still playing it loud!

SODA FOUNTAIN RAG – EXTRA LIFE

Norway’s Ragnhild Hogstad Jordahl is known to most as Soda Fountain Rag, and we are happy to announce that she is back with a beautifully catchy and yet touching album titled Extra Life, out this April via WWNBB. Ragnhild’s newest work (the first since Reel Around Me) was partly written in Bergen and in part scrapped while on tour during the last five years, then recorded by Alessandro Paderno and Fabio Benni (Le Man Avec Les Lunettes) at Red Carpet Studio (Italy) in October 2015/ January 2016. Extra Life is a collection of stills from Ragnhild’s life, ranging from the highest high to the lowest low. Exrta Life comes in a beautiful artwork by Silja Haddal Mork, and you can order now this very limited edition (only 100 copies!) on 12″ vinyl or digital download, directly from our stores.

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 Ragnhild Hogstad Jordahl e’meglio conosciuta come Soda Fountain Rag,e siamo contenti di annunciare il suo ritorno con un bellissimo album, caratterizzato da melodie pop e da canzoni molto personali, intitolato Extra Life e uscito per WWNBB il 29 Aprile.  Il nuovo lavoro di Ragnhild (il primo dopo Reel Around Me) e’stato registrato in parte a Bergen e in parte in giro per l’ Europa negli ultimi cinque anni, successivamente registrato da Alessandro Paderno e Fabio Benni (Le Man Avec Les Lunettes) al Red Carpet Studio (Italy) in due sessioni, Ottobre 2015 e Gennaio  2016.
Extra Life e’ una raccolta di fotogrammi della vita di Ragnhild, dai picchi piu’ alti a quelli piu’ bassi.
Extra Life e’ stato stampato in una edizione limitatissima di 100 copie in vinile 12″ la cui copertina e’ stata disegnata da Silja Haddal Mork.

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Soda Fountain Rag, new album & summer gigs

 WWNBB#079 - Extra Life by Soda Fountain Rag

WWNBB#079 – Extra Life
by Soda Fountain Rag

Norway’s Ragnhild Hogstad Jordahl is known to most as Soda Fountain Rag, and we are happy to announce that she is back with a beautifully catchy and yet touching album titled Extra Life, out this April via WWNBB. Ragnhild’s newest work (the first since Reel Around Me) was partly written in Bergen and in part scrapped while on tour during the last five years, then recorded by Alessandro Paderno and Fabio Benni (Le Man Avec Les Lunettes) at Red Carpet Studio (Italy) in 2015/2016. Extra Life is a collection of stills from Ragnhild’s life, ranging from the highest high to the lowest low. Exrta Life comes in a beautiful artwork by Silja Haddal Mork, and you can preorder now this very limited edition (only 100 copies!) on 12″ vinyl or digital download, directly from our stores.

Here’s a new song… more soon!

PRE-ORDERS ARE HERE!

[EU SHOP] https://wwnbb.bandcamp.com/album/wwnbb-079-extra-life

[US SHOP] https://wewereneverbeingboring.bandcamp.com/album/wwnbb-079-extra-life

Soda Fountain Rag will play a few shows in Europe, check out the dates and stay tuned for more!

28.04.16 Bologna @ Zoo [ITA]
29.04.16 Vittorio Veneto @ Spazio Mavv [ITA]
01.05.16 DIY POPFEST – London @ Shacklewell Arms [UK]
09/10.07.16 Indiefjord 2016 – Bjørke [Norway]
29/31.07.16 Ripley @ Indietracks Festival [UK]

 

BIRTHH – Born in the Woods

COVER_BIRTHH

 BIRTHH is Alice Bisi’s dark alter-ego, “the conscience of a nineteen-year-old who spends most of her time thinking about apocalyptic events “. It is a persona who defines herself “Queen Of Failureland”, a young queen who finds no peace inside her mind: “I thought love was enough / But truth is love is dead”. Born In The Woods isn’t just the voice of this character, it is her body itself: bass-drum kicks simulating frantic heartbeats, lungs breathing convulsively between the lines, guitars spinning vortexes till nausea, and almost tangible backing vocals intertwine synthetic layers that enshroud and penetrate the veins. Just as much as the music, even the lyrics are filled with references that evoke the flash through which BIRTHH speaks: “I’ll be poison in your blood / And I’ll be darkness in your eyes / And I’ll be propane in your lungs” (Wraith). Chlorine is the synthesis of a poisonous love: “You’re chlorine in my veins / The blood flooding to my brain.” The outcome in all cases is fatal: “and kill my senses now, I don’t mind / if you want death, darling, death you’ll find”(Senses). The sound of this torment shows great attention to detail and a taste for downtempo-ambient atmospheres. “I wanted the Wurlitzer and most of the guitars to have some kind of lo-fi imprint in order to contrast the sharp and neat sounds of the beats and of the arpeggiators; the organ and the harmonium have been inserted with pretty much the same purpose. We wanted to add percussion sounds taken from the everyday life (snap, claps, water, doors slamming, etc.) and to integrate them into fragmented rhythms that could disorient the listener. In most of the tracks we did not even use the bass: I liked the idea of ​​being able to make an electronic music record without the aid of this central element: to get that depth we opted for kick-beats with a very low frequency.” Born In The Woods combines the sensitivity of songwriting with clear folk roots, to the refinement of electronic arrangements. The most striking feature of this album are the vocal harmonies, leading the songs to epic climaxes reminiscing of gospel music, making the intense voice of BIRTHH speak directly to the heart. Born in the Woods is available on 12″ vinyl, CD and digital.

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BIRTHH è l’oscuro alter-ego di Alice Bisi, “la coscienza di una diciannovenne che spende la maggior parte del proprio tempo a pensare a eventi apocalittici”. Un personaggio che, per prendere in prestito il titolo di una delle canzoni del disco, si definisce “Queen Of Failureland”, una giovane regina che non trova pace: “I thought love was enough / But truth is love is dead”. Born In The Woods non è solo la voce di questo personaggio, è il suo stesso corpo: con i suoi colpi di cassa a mimare un inquieto battito cardiaco, i respiri affannosi tra i versi, le sue chitarre nauseanti, i suoi cori caldi, quasi tangibili, intrecciati a tappeti sintetici che avvolgono ed entrano nelle vene. Anche le parole di queste canzoni sono colme di riferimenti alla fisicità, alla carne stessa attraverso cui BIRTHH si racconta: “I’ll be poison in your blood / And I’ll be darkness in your eyes / And I’ll be propane in your lungs” proclama Wraith, mentre Chlorine descrive un avvelenamento da amore:“You’re chlorine in my veins / The blood flooding to my brain”. L’esito in ogni caso è fatale: “Kill my senses now, I don’t mind / if you want death, darling, death you’ll find” (Senses). Il suono di questo tormento mostra una grande attenzione per i particolari e un gusto per le atmosfere downtempo e ambient. «Ho preferito che i suoni del Wurlitzer e di gran parte delle chitarre avessero un certo timbro lo-fi, a fare da contrasto ai suoni precisi e netti dei beat e degli arpeggiatori. Anche l’organo e l’armonium sono stati inseriti con lo stesso scopo. Mancano quasi del tutto gli elementi della batteria acustica. Abbiamo lavorato molto per aggiungere suoni percussivi presi dalla quotidianità (snap, battiti di mani, acqua, porte che sbattono…) e integrarli dentro ritmi frammentati, a volte disorientanti. In gran parte dei brani non abbiamo usato nemmeno il basso: mi piaceva l’idea di poter fare un disco di musica elettronica senza l’ausilio di questo elemento centrale: per ottenere quella profondità abbiamo optato per delle casse con una frequenza bassissima». Born In The Woods unisce la sensibilità di una scrittura cantautorale, dalle evidenti radici folk, alle ricercatezze degli arrangiamenti elettronici. Il vero elemento distintivo del disco restano le armonie vocali (artificiali e non), che portano le canzoni a climax dai toni quasi gospel, e fanno parlare l’intensa voce di BIRTHH direttamente al cuore. Born in the Woods è disponibile su vinile 12″, su CD e in digitale.

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CRESCENDO – UNLESS

Crescendo - Unless - COVER

  Crescendo’s music grows with intensity: the sounds swell, the emphasis moves to the heart, and then resonates throughout the rest of the body. It feels unstoppable, endless. Crescendo is a young trio from Los Angeles: their sound is bright, clear shoegaze. To be more precise—it’s the most dreamy and ethereal of this genre, and it’s not a coincidence that Gregory, vocals and guitar, is the founder of the itinerant festival called “Dreamgaze”. The most striking thing about the band’s second work, Unless, is the effortless collide of heavenly melodies and tight rhythm: an urgency that pervades every song on the album. The guitars are crisp, the drums are pushed to the max, the synths are engulfed in layers, and the voices of Gregory Cole and Olive Kimoto explode in some distant galaxy. The trio declares bands like the Radio Dept. and Smiths as their inspirations, but it’s easy to find affinities with bands like DIIV, Craft Spells and Wild Nothing as well. Definitely, the feature that most distinguishes Crescendo is their brightness, an idea of ​​music that travels beyond light, fast and relaxed, while explosions and flashes rumble and shudder all around it. The center of this album can be found in the title: “Unless”—a word which sums up the band’s attitude about this project: “Unless is the word you use to start the conversations that overcomes obstacles or impossible feats, and that word connects sci-fi space romance and our music together”. Unless is now available on a limited edition multicolor splatter vinyl, Compact Disc and digital. And as the excitement grew exponentially in the last few weeks with songs from the album premiered one after the other, we are very happy to bring you Unless in it’s entirety, and at the same time remind you what the press had to say about Repulsor, Haunted, Softly, Yet, PressureTell, Said

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  Crescendo come movimento: aumenta l’intensità, la musica trascina, l’accento si sposta sul cuore e il corpo lo segue. Crescendo inarrestabile. Crescendo senza fine. Crescendo come un giovane terzetto di Los Angeles. Il loro suono è una qualità luminosa, cristallina e accesa di shoegaze. Per la precisione la parte più sognante ed eterea di questo genere, e non è un caso che Gregory, cantante, chitarra e mente della band, sia anche il fondatore del festival itinerante ribattezzato “Dreamgaze”. La cosa che più colpisce, già al primo ascolto di questo secondo lavoro, intitolato Unless, è la naturalezza con cui i Crescendo fanno scontrare le loro melodie celestiali con una ritmica serrata: un’urgenza che pervade ogni loro canzone. Chitarre glaciali, batteria spinta al massimo, tappeti di synth, e le voci di Gregory Cole e Olive Kimoto che si rincorrono in qualche galassia distante. Se le ispirazioni dichiarate della band californiana sono nomi come Radio Dept. e Smiths, in questa scrittura si possono rintracciare anche affinità con band del calibro di DIIV, Craft Spells e Wild Nothing. Ma la caratteristica che contraddistingue i Crescendo resta la loro limpidezza, un’idea di musica che viaggia oltre la luce, velocissima e distesa, mentre tutto intorno esplosioni e bagliori rimbombano e fremono. Il centro di questo album sta tutto nel suo titolo: Unless, “a meno che”, e che riassume bene anche l’atteggiamento che la band sembra avere di fronte alla propria musica. “Unless è la parola che usi quando vuoi cominciare una conversazione che scarta un ostacolo, aggirando un argomento impossibile. È la parola che connette un certo romanticismo da fantascienza e la nostra musica allo stesso livello”. Unless è disponibile da oggi in vinile con splatter multicolore in edizione limitata, su CD e in digitale.  E visto che l’attesa era diventata ormai insostenibile nelle ultime settimane, con perle che uscivano da questo album su premiere improvvise… siamo felici di farvi ascoltare per intero il nuovo album dei Crescendo e allo stesso tempo ricordarvi che cosa ha detto la stampa di Repulsor, Haunted, SoftlyYetPressure, TellSaid

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TIGHT EYE – Forget-Me-Not

Tight Eye cover_1400x1400

“The more I stay with you / the more I miss you” is the haunting melody in L.L.D., one of the singles that anticipated this Forget-me-not, debut album from Italy’s Tight Eye, new project from Giulia Bonometti. A good part of the feelings that give life to this record could be summarized in those two simple verses. Something has ended but continues to no end, there is a hole inside and it’s feeding off of our efforts and our torments: “how many times will I need to try to say goodbye to you?” (Hurdle). But at the same time “I like the melody that comes out from your hands when you hold mine” (Orbiter). Tight Eye is not a quitter tough, and the melancholy of her songs represents only one side of what she wants to tell. Forget-Me-Not is also full of dreams and new heavens bringing new beginnings: “no more sadness for me please / I only want to wear my sunglasses / no more regrets or apologies” (Paradise). Tight Eye understands that something is wrong, “we can’t stay together can’t you see / sometimes we smile but we just pretend” (Other Lands). She knows how to take charge of the decisions that count: “I’m blind no more / I changed my path and I met you” (Wild Side). And above all, she knows what are the reasons for which it is worth fighting, “sometimes I think it’s good / if you change your mind / and if you change your eyes too / I’m sure you’ll see the truth (The Brightness). Surrounding these songs there’s an atmosphere of timeless tunes, closer to the classics rather than more modern references: “during the recordings – tells Giulia – the idea for the sound was that of some records from the ’50s: those of Ray Charles, Etta James, Sam Cooke or Muddy Waters, to name a few… with the voice in the foreground and the orchestra farther from the microphone, as if I were singing in someone’s ear, or as if in the room there was only one microphone near me while we played.” Tight Eye’s Forget-me-not is available now on CD with a beautiful 12 pages booklet, and digital.

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 “The more I stay with you / the more I miss you” canta L.L.D., uno dei singoli che ha anticipato Forget-me-not, album di debutto di Tight Eye, il nuovo progetto solista di Giulia Bonometti, già voce degli Own Boo. Una buona parte dei sentimenti che danno vita a questo disco potrebbero essere riassunti in quei due semplici versi. Qualcosa è finito ma continua a non finire, c’è una mancanza che si alimenta dei nostri sforzi e dei nostri tormenti: “how many times will I need to try to say goodbye to you?” (Hurdle). E al tempo stesso non vorrei mai separarmi dalla melodia che fanno le nostre mani quando stanno assieme (Orbiter). Ma Tight Eye non è una che si arrende, e la malinconia delle sue canzoni rappresenta soltanto una faccia di quello che vuole raccontare con la sua musica. Forget-me-not è anche pieno di sogni e di nuovi cieli sotto cui ricominciare: “no more sadness for me please / I only want to wear my sunglasses / no more regrets or apologies” (Paradise). Tight Eye cpisce che qualcosa non va: “we can’t stay together can’t you see / sometimes we smile but we just pretend” (Other Lands). Sa farsi carico delle decisioni che contano: “I’m blind no more / I changed my path and I met you” (Wild Side). E soprattutto sa quali sono gli obiettivi per cui vale la pena combattere: “sometimes I think it’s good / if you change your mind / and if you change your eyes too / I’m sure you’ll see the truth (The Brightness). Ad accompagnare queste canzoni, un’idea di musica senza tempo, che guarda più ai classici che a riferimenti contemporanei: “per quanto riguarda il suono del disco – spiega Giulia – l’idea era quella di ricreare ciò che si sente in certi dischi degli anni ’50, quelli di Ray Charles, Etta James, Sam Cooke o Muddy Waters, per fare qualche esempio. Con la voce in primo piano e il resto dell’orchestra più lontano, come se io stessi cantando nell’orecchio di qualcuno, o come se nella sala ci fosse un solo microfono vicino a me, che registra: un po’ come danno l’impressione di essere stati fatti quei dischi”. Forget-me-not è disponibile su CD in edizione limitata con libretto (12 pagine) e in digitale.

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