North Carolina based guitarist Eddie Garcia lays down hard on the altar of pedal worship, drowning audiences in a fuzzy wash of guitars that stagger between beauty and chaos. Experimental and shoegaze sound collages rub up against finger-picked melodies and sustained drones. 1970s Film Stock is often described as cinematic, with looping ambient textures, improvisation, skewed hooks, and live composition that work as a soundtrack of a lost film.
“Birds” is a meditation on ambient guitar music, recalling like minded modern fore-bearers of the genre a la Mark McGuire (Emeralds), Jeffre Cantu Ledesma & Dustin Wong. Doubling down on the aesthetic & filtering in a fresh American Primitive bent. This is true transport music hitting heady start to finish. Broken, epic & swirling - Fire Talk is proud to make available 1970s Film Stock’s latest work on CD &Cassette in extremely limited quantities August 11th 2017.
Baby Birds Don't Drink Milk
Born in the belly of a whale, discovered by the Kool-Aid man.
After relocating from Chicago to Portland Jeff Walls is back with his first Full length LP under the Campfires moniker. Channeling Kinksian pop melancholy (“Time For a Ride”) and Television Personalities wry punk disaffectedness, Walls flaunts his influences while pushing his brand of lo-fi weirdo-pop boldly further. “Tomorrow, Tomorrow” is a sunshiny masterpiece of primitive pop that will keep you humming along throughout it’s half hour fly-over tour of lovingly crafted, homespun pop gems. Limited to 150 12 inch records w/ hand screened jackets by the Campfires crew.
Corey Flood is a new Ivy Gray-Klein (of the band Littler on Yellow K / Birdtapes) fronted dark pop band from Philadelphia, PA. Mixed and Mastered by independent scene mainstay Emily Reo. Corey Flood takes influence from Helium and early Liz Phair, warped & pushed in a gloomier, more post-punk direction. Featuring Noah Jacobson-Carroll and Em Boltz on guitar and Juliette Rando on drums. “Wish You Hadn’t, the band’s debut EP, four songs simmer with a quiet fury, Gray-Klein’s hushed vocals floating above the metronomic drums and minimal, atmospheric guitar. “There’s a horse head / in my bed,” Gray-Klein almost whispers on the last track, “Causeway.” “It’s so hard / to be your friend.” It’s this kind of disappointment that permeates the EP—but it seems almost cathartic, as though the brutal honesty will lead to a light at the end of the tunnel.
Deeper is a band based in Chicago, Illinois formed in 2014 and consisting of members Shiraz Bhatti, Mike Clawson, Nic Gohl, and Drew McBride. Born in the basement of the now burgeoning Chi town DIY community and focused on channeling the anxiety and uneasiness of modern life Deeper weave chiming guitar swirls to a dense climax. Mixing it up with contemporaries like Twin Peaks, The Hecks and Ne-Hi these dudes are no strangers to what's going on now in their fair city. It just sounds good man, and we like it. Deeper's debut single "Trans" drops on Fire Talk May 27th.
Dehd is Jason Balla & Emily Kempf w/ Eric McGrady on drums. Chicago, Illinois.
Somewhere in a warehouse in the shadow of the once Industrial giant Chicago Illinois mellow drums shape the pattern of a psychedelic post whatever dream. A distorted guitar lick sits right in line with a dark beatufiul crooning, it's almost winter and the streets are about to be frozen for months. A certain kind of longing reaches out from places like these and that band; Earring, can do nothing but call this place home. Mixing elements of Post Punk, Sludge and psych into a tapestry of soft and beautifully heavy rock tracks the band's debut Fire Talk album "Tunn Star" will arrive just in time for the Spring thaw.
Gold Dime is the vision of Andrya Am bro. Am bro is best known as one half of the noise rock duo Talk Normal, who released two critically acclaimed albums, Sugarland and Sunshine, and shared the stage with the likes of Sonic Youth, Wire, Yeah Yeah Yeahs and Zola Jesus. The dissolution of Talk Normal marked a shift in Ambro's writing process. Going forward as Gold Dime, her compositions now veer towards an exploratory sound that is distinctly her own. Her drumming is rhythmically-centered, a reflection of driving West African beats crossed with a blunt industrial throbbing, which serve to both underscore and retreat from Classically-influenced orchestrations. Bass lines dance. Guitar riffs in rare tunings purposefully stray from typical rock n' roll conventions. Their urgent squalls gracefully enter and exit, allowing for a permeable tension throughout each of these tracks. Ambro's lead vocals are forceful but can seamlessly alter to a deadpan counterweight-- a prominent feature to Gold Dime's cover of the British spoken-word artist Anne Clark's "All We Have To Be Thankful For." And for all of the Gold Dime's musical density and elaborate noise, the magic that ensues when Ambro's thunderous vocal style is often foiled by Adam Markiewicz's (The Dreebs, PC Worship) falsetto voice is palpable. Her lyrics are frequently confrontational ("Quota," "4 Hours"). But they also speak to the challenges of maintaining our most sacred relationships (as in the case of "Easy"), as well as confronting the struggles to continue creating when forces seem against us ("Rock," "Shut Up").
Isn't Ours is New York based artist MIke Sheffield. Maybe best know for his contributions to all things Godmode including the industrial techno trio Alan Watts and Fire Talk alums Heaven's Gate. This project is the representation of Sheffield's solo ambitions, not grounded in one sonic realm, but unified in aesthetic. Fucked noise meets warped electronics and heavy dance rhythms, all tactile, no computers.
Media Jeweler arose as a veritable phoenix out of the ashes of a revolving-door big band following an unexpected but celebratory funeral pyre supporting A Hawk and A Hacksaw in LA. Calls were made and within two weeks a leaner and decidedly meaner entity emerged, outlook fresh.
2 years later, “$99 R/T Hawaii” aims to capture the relentless restlessness of being alive on this increasingly weird and overstimulating planet. It was recorded and mixed in a casual and really quite nice three-day session during the dawn of spring at Machines with Magnets by Seth Manchester and Keith Souza (Battles, Lightning Bolt, etc.). It was mastered a week later by XOQ (Liars, Factory Floor, Martin Gore, etc.). The mood varies drastically on each of the seven tracks that make up the narrative of the album. We celebrated its completion with a few dozen jello shots at the local watering hole where we witnessed a man with a voice like crushed charcoal yell and storm out while Kid Rock’s deepest cuts droned.
Please note that MJ prefers to be referred to as a Rock Band full-stop, jubilantly taking into consideration all the trappings and tropes associated with Rock music. The nuance lost with the variety of modifying adjectives that can precede “Rock” is priceless.
While the underground and DIY music zeitgeist seems to be shifting to the more de rigueur palette of cold synths and hot beats, the poor guitar seems often to be seen as a vestige of something that has seen its moment in the sun and belongs on a wall or in a dumpster. Perhaps it does.
We embrace this. Everything always must come full circle; inversion is key in development, and moving forward is all that one can do.
Mezzanine Swimmers is the solo project of Mike Green, born off the banks of the Mississippi near St. Louis-- and Midwestern dweller in Ohio and Chicago-- before settling in NYC. He has cycled through every instrument in numerous bands. First, he tackled the drums, then moved on to guitar, next electronics, and finally ended up with an amalgam of everything. His approach to music is completely individualistic; it can barely be taught, let alone imitated. The rhythms and repetitions are prominent-- a labyrinth of winding beats, from vaguely familiar samples to distorted sound bites, but never hesitant. Each song has a wildly catchy hook, and is dressed in woozy, garbled, and psychedelic textures. Like Container, he takes a tactile approach; the sound is sculpted from the mad combination of overdriven electronics and loose improvisation. You’ll never see a laptop on stage, but a pile of wires connecting synths, samplers, pedals, and a microphone. The result is a wonderful album of deranged pop songs which would be quite comfortable in a playlist with Black Dice or Michael Jackson.
Murals are a band from Louisville Kentucky. Their Fire Talk debut "Violet City Lantern" out early 2016.
Nassau is a collaborative recording project from Brooklyn-based songwriters Justin Wilcox and Jeffrey Silverstein. Both seeking new creative outlets following respective projects in Baltimore and Chattanooga, the duo formed out of a mutual respect for raw, honest music. Sitting on a handful of riffs and half-songs, together the material actualized. Late 2015 was spent demoing and laying groundwork forHoss, their forthcoming and debut EP. While a distinct sound continues to flourish, initial psych/folk offerings are rooted in interweaving guitar lines, ambient textures and Wilcox’s tranquil vocal delivery.
Paw Paw is the nom de plume of Eston Lathrop; Denver based drummer, experimentalist and producer. He was a founding member of Woodsman and has make significant contributions to albums by various Fire Talk related acts. After many months of releasing a prolific string of stream-of-consciousness tracks, albums and sound collages we’ve rangled in a beautiful collection to present his first full length LP. Mixing tribal drum patters with ambient and psyche tonal qualities the types of foggy malaise ridden soundscapes we find here conjure memories of deep wooded foot paths and the mind immediately following vivid dream sessions.
Scully came together as a meeting of minds from the ashes of Oakland California based sunshine rippers The Splinters. As time passed The Splinters disbanded. Fast forwarding a few years later, three of the four members, Caroline Partamian (guitar/vocals), Courtney Gray (guitar/vocals) and Lauren Stern (bass/vocals) reunited in Brooklyn to play together for the first time since 2011.
The "No Sense" EP recorded by NYC engineer Ben Greenberg & mastered by APTBS & Death by Audio founder Oliver Ackermann sees the band expanding on that California sunshine vibe. Adding the grit & summer trash stench of a New York City Summer, sharpening up and infused with a more potent swagger. Although the band's girl-group sensibilities cannot be denied, Scully's music balances heaviness and pop with nods to Brian Jonestown era Psych, early Punk and '90s grunge. To date, the group has two releases under their belt — a limited-edition split cassette (with fellow Brooklynites Las Rosas) and a 7" split with La Luz on Famous Class’s LAMC imprint.
The "No Sense" EP is the band's Fire Talk debut & is out September 2016 on 7" Vinyl & Digitally. In conjunction, Fire Talk will make available digitally several Splinters releases previously only available on limited run physical formats. Scully EP on cassette is available via Burger Records. An additional single will be available on a Greenway Records 7” in October. The collection of these releases signifies the band’s package of songs presented to the world in 2016.
The Big Ship
Doug Kaplan and Aeron Small make music together as The BigShip. The duo's studio recordings showcase interwoven guitar performances, lush synth textures, and labyrinthine song structures, encompassing ideas and sounds from classic/southern rock, ambient/drone, jam rock, American roots music, and kraut-rock. Doug and Aeron met at summer camp at a young age and have been best friends, musical collaborators and sometimes roommates ever since. While Aeron attends medical school in Philadelphia and Doug attends art school in Chicago, the duo continue to exchange ideas and record music whenever they find themselves home together. For live performances and select album compositions, The BigShip expands into a five-piece ensemble featuring Aeron (guitar), Doug (guitar), Max Allison (bass, tapes), Matt Baer (guitar), and Stephen Waller (drums).
Dan Goldberg began performing as The Spookfish in 2007 when he moved to Brooklyn, NY and was teaching through Americorps. The project was an attempt to document dreams, subconscious melodies, and moments of strong intuition through sound as a personal journal. Dan occasionally performed around the city.
In 2009, after a move to Busan, South Korea, Dan continued performing as a way to connect to others and travel the country. Dan also began planning strange adventures with his friends. One of these involved hiking a mountain at night and playing songs on guitar for each other on an ancient fortress wall under the full moon. After completing his teaching gig there, Dan took a ferry to China and then a train to Russia, where he would fly home. While boarding the train after a stop in Mongolia, his computer was stolen, which was the primary tool for creating music. Ever since the focus has shifted to using live instruments, often recording them to cassette.
Between 2010 and now, he has kept the project alive while living in Berlin, Germany; Portland, Oregon; Jersey City, NJ. In 2013 Dan began hosting shows in the Hudson Valley of New York State that involve a group of people hiking a mountain together and stopping at different landmarks (the peak, streams, the ruins of an old estate, etc...) to watch musicians perform. He has led 30 of these hikes between then and now eventually catching the eye of The New York Times which brought on a series of unfortunate turns, but that's another story. In 2014 Dan moved back to Brooklyn NY where he resides in a house that hosts shows and events and continues to record and perform as The Spookfish.
While art is certainly a form of self-expression, artistic communities tend to gravitate towards styles that fit within the popular pallet. Yet it is those fearless in their dissension that make the deepest mark. It is with that familiarity of the unknown that Tjutjuna have settled in a sound that is both rich in texture, and aural dynamics as well as retaining a respect for the listenerʼs patience. Delicate in both their attack and release, Tjutjunaʼs debut and self-titled album offers listeners moments of discreet levity before striking with fangs. Unwilling to merely satisfy the sonic trajectory which would label their sound as “psych rock”, Tjutjuna proves that in the recesses of a landlocked music scene, four childhood friends can craft something that forces us, as listeners, to demand more from our own tastes and imaginations.
Born in the basement fleshed out on stages all over the North Eastern United States, Sea Cliff NY based Turnip King ooze the kind of raw emotion an Outer-borough existence might yield. Mixing 'Helium' esq pop melody with basement tape collage and ethereal loop laden builds each track plays off the next, combining to make some of the most exciting genre mixing we've heard in awhile.
W00DY is a Baltimore-born experimental electronic musician residing in Boston, MA. She uses software and hardware integration to create reminiscent electronic beats woven with vocal and synth melodies. She writes music to provoke feelings from past times and feelings of what the future could bring. W00DY is one of the founding members of Evlv Tech, a Boston-based forum/community working to create a supportive space to empower self-identifying female, trans, genderqueer, and gender non-binary producers, DJs, event curators/promoters, and live performers in music technology.