#Anti- Records

[thepermanentrainpress]

Gallery: Slow Pulp @ The Pearl - Vancouver, BC Date: October 13, 2023 Photographed by: Danielle Costelo

[sinceileftyoublog]

MJ Lenderman Album Review: Manning Fireworks

(Anti-)

BY KEITH MILLER

Manning Fireworks, the fourth studio album from singer-songwriter and multi-instrumentalist MJ Lenderman, is an endearing rock album with slight folk influences that smirks, smiles, and sighs with its audience. Its opening title track leads with an acoustic guitar that moseys its way to the track’s conclusion. Fiddles, electric guitars, and percussion start to fill in as Lenderman sings, “Once a perfect little baby / Who’s now a jerk / Standing close to the pyre manning fireworks.” The thesis seeps through the album: You used to be innocent, but you should know better by now. The lead single “She’s Leaving You” leans into this somber concept. It sounds simultaneously like a hug and a difficult conversation. The chorus reminds its listener, “We’ve all got work to do,” while the guitar builds up and maintains a steady progression to its finale: Wednesday lead singer and Lenderman’s real life ex-girlfriend Karly Hartzman closing out the track, singing, “She’s leaving you” as a steady bass line fills the back space.

Parts of Manning Fireworks feel like a garage band rocking out with the door wide open, like on “Wristwatch” or “On My Knees”, while other songs, like “Rip Torn,” are reminiscent of something you might hear sitting around a bonfire at Boy Scout camp. The product here is a stellar album right up until the very near end. That said, my biggest gripe with Manning Fireworks is the closing track. “Bark at the Moon” plays with a 10-minute run time, twice as long as the second-longest track on the album. I always get excited when a band like MJ Lenderman’s records a long song; I love hearing how they can justify the length. Unfortunately, while half of “Bark at the Moon” is a thoughtful composition about growing up, the other half is just noise emanating from the guitars. The vocals and instrumentation are poignant, but the guitar fuzz drags on a little too long and quickly loses whatever emotion it tried to muster.

Still, Manning Fireworks is a comforting rock album that doesn’t shy away from its Southern roots while still pushing the mainstream appeal of Lenderman’s brand of indie rock. For its very few shortcomings, it’ll be a great record to have on rotation as summer fades into fall. Give it a listen while you’re sipping on something near that bonfire--just be sure to keep the fireworks at a safe distance.

[thejoyofviolentmovement]

New Video: Half Waif Shares Cinematic "The Museum"

New Video: Half Waif Shares Cinematic "The Museum" @HalfWaif @AntiRecords

Last month, acclaimed singer/songwriter, musician and producer Nandi Rose, best known as Half Waif announced the release of her fourth studio album, See You At The Maypole. Slated for an October 4, 2024 release through ANTI- Records, the album’s material came to fruition after a newly pregnant Rose experienced a heartbreaking miscarriage in December 2021, followed by months of medical…

[underachievers-please-try-harder]

Track of the day // Katy Kirby - Party of the Century

From the album Blue Raspberry, out January 26th 2024 on ANTI-.

[zef-zef]

Moor Mother 'Jazz Codes' Film

Featured Tracks: UMZANSI (feat. Black Quantum Futurism & Mary Lattimore) - 0:57 THOMAS STANLEY JAZZCODES OUTRO (feat. Irreversible Entanglements & Thomas Stanley) - 3:09 NOISE JISM - 3:35 WOODY SHAW (feat. Melanie Charles) - 4:17 Woody Shaw ive jam (feat. MAIA, Henry Franklin, Michael Session & Mekala Session) - 6:09 APRIL 7th (feat. Keir Neuringer) - 10:27 BARELY WOKE (feat. Wolf Weston) - 11:17

Directed by Cyrus Moussavi Cinematography - Sebastián Pinzón Silva, Timothy Fryett Colorist - Gabe Sanchez Scratch Film - Sam Heydt Stylist - Rebecca Roe Live Sound Mix and Master (Woody Shaw) - Jesse Justice Production Coordination (Woody Shaw) - Samantha Lee Edit - Moussavi & Silva

Featuring: Maia - Vibes Henry Franklin - Bass Michael Session - Saxophone Mekala Session - Drums

Dancers - Ant Artefakt, DJ Lucky

Written & Executive Produced by Moor Mother Produced by Olof Melander Mastered by Alex Nagel Mixed by Willie Green

[verytinysongs]

Yard by Slow Pulp

Band Name: Slow Pulp Labels: Anti- Records Location: Madison, Wisconsin, US Release Date: September 29, 2023 Tags: alternative, indie pop, indie rock

[mymelodic-chapel]

The Drums- Brutalism (Indie Pop, Jangle Pop) Released: April 5, 2019 [ANTI- Records] Producer(s): Jonny Pierce, Bryan De Leon, Sonny DiPerri

[rcmndedlisten]

Moor Mother feat. Kyle Kidd, Keir Neuringer & Aquiles Navarro - “WE GOT THE JAZZ”

Photo by Samantha Isasian

Camae Ayewa is one of the most special forces of artistic creation we are blessed to be alive in the same timeline thanks to her contributions to modern experimental music and -- by extension of her many outlets, be it Moor Mother and Irreversible Entanglement --- the jazz universe. “WE GOT THE JAZZ, a new track that will be featured on her forthcoming deluxe edition release of last year’s standout, Jazz Codes, is a message of self-recognition to those notions for the corners of humankind who don’t yet recognize that, however. Throughout its celestial burst of poetry and a big bang of brass noise designed alongside multi-instrumentalists Kyle Kidd, Keir Neuringer and Aquiles Navarro, Ayewa speaks to taking her a seat at the table in spite of the archaic structures within the pop industry and further gatekeeped in even more niche realms, dropping many from the top rope while channeling names of the greats who’ve inspired the radical path. “They don’t know who’s the winning team / American Dream dream team but we ain’t winning no medals and we ain’t ‘bout to settle,” she declares. ”And we ain’t ‘bout to stand for no national anthem, I don’t give a fuck what they trying to say / I don’t care if Francis Scott Key, Elton John, or Eric Clapton who wrote that shit.” There’s no compromising in this game, and Moor Mother won’t forget it.

Moor Mother’s Jazz Codes (Deluxe Edition) will be released May 19th on ANTI- Records.

[thewordisbond]

Alfa Mist returns with fellow collaborator for new track;

Posted on https://www.thewordisbond.com/alfa-mist-returns-with-fellow-collaborator-for-new-track/

Alfa Mist returns with fellow collaborator for new track;

UK's rising polymath Alfa Mist brings you another dramatic visual with additional vocals from longtime collaborator Kaya Thomas-Dyke from his upcoming album, Variables. This track finds the multi-instrumentalist on the keys with Thomas-Dyke strumming the strings as her voice tiptoes softly

[thisthat-ortheother]

Maybe I lose some followers along the way but that is okayyy I am not sorry to see them go ✌️

[sinceileftyoublog]

Waxahatchee Album Review: Tigers Blood

(ANTI-); Album art credit: Molly Matalon

BY JORDAN MAINZER

On Tigers Blood, Waxahatchee's long-awaited follow-up to 2020's career-best Saint Cloud, Katie Crutchfield trusts her gut and doubles down on the styles of music she grew up listening to. Written while on tour in 2022, during which Waxahatchee opened for many of her musical heroes like Lucinda Williams, Sheryl Crow, and Jason Isbell, Tigers Blood is an album at ease with general unease. Saint Cloud was the first album Crutchfield wrote newly sober and in love with her current partner Kevin Morby, and it glowed. Tigers Blood, then, sees her fully entering a new phase, channeling life's trials and tribulations into poetry, finding new ways to appreciate old things.

Perhaps it's hindsight, but "Right Back to It", the lead single from Tigers Blood, exemplifies what the album does best. Crutchfield considers it the first love song she's ever written, and it's one of her strongest, both in terms of vocal delivery and lyricism. She's able to subvert traditional rhyme schemes by unexpectedly bending syllables, packing in just as many words as emotional punches when setting the scene. "Photograph of us / in a spotlight / on a hot night / I was drifting in and out / Reticent on the off chant / I'm blunter than a bullseye / Begging for peace of mind," she sings over Phil Cook's circular banjo and Spencer Tweedy's gentle drums. The chorus, then, is simply classic, a paean to rediscovering intimacy in a relationship. "I've been yours for so long / We come right back to it," Crutchfield sings in harmony with guitarist MJ Lenderman, her coo in perfect contrast with his nasal twang. "But you just settle in / Like a song with no end," they continue. That many of the songs on Tigers Blood employ a certain breeze, free of time and place, is a feature, not a bug.

More than ever, Waxahatchee's songs are easy to sing along to; despite complex turns of phrase, Crutchfield keeps her words metaphorical enough to stand out, abstract enough to be relatable, direct enough to be iconic. The qualities, in conjunction with her and her backing band's performance, lead to some breathtaking moments. "You drive like you're wanted in four states / In a busted truck in Opelika," she sings over Tweedy's drum roll on the rolling "3 Sisters", right before the song's forbearing beat drops. On "Bored", she belts the song's chorus--"I can get along / My spine’s a rotted two by four / Barely hanging on / My benevolence just hits the floor / I get bored"--alongside Lenderman's sharp riffs, Tweedy's pummeling drums, and Nick Bockrath's wincing pedal steel. In context of the song's inspiration--a friendship that ended badly--Crutchfield's admissions hit harder. "Lone Star Lake", meanwhile, has no chorus: It just choogles along between verses as Crutchfield reflects on her faults with wry humor: "Shirk every rule of thumb / I got more where that came from."

Crutchfield's voice, too, has never been more expressive. For every song like "Right Back To It" or "Crimes of the Heart", where her flow is deft enough to rival your favorite rapper's, there's a song like "Crowbar", where she stretches out "I" into so many syllables you can feel the shaking vulnerability. "365", a song about codependency and addiction, places her falsetto high in the mix, emphasizing her susceptibility: "I catch your poison arrow / I catch your same disease / Bow like a weeping willow / Buckling at the knees." Fittingly, Tigers Blood ends with everybody in the recording studio--even assistant engineer Natalia Chernitsky--singing the chorus, suggestive of the universality of Crutchfield's prose. Ultimately, she knows that there's strength in numbers. When she tries to take shortcuts alone, the chickens come home to roost. "Throw a brick through the window, leave your mess at my door," she sings on "Tigers Blood", "Lord knows sooner or later it'd wash up to shore." Tigers Blood lays it all bare.

[thejoyofviolentmovement]

New Audio: Half Waif Shares a Breathtakingly Gorgeous Meditation on Grief and Loss

New Audio: Half Waif Shares a Breathtakingly Gorgeous Meditation on Grief and Loss @HalfWaif @AntiRecords

Back in May 2022, Nandi Rose, the creative mastermind behind the critically applauded Half Waif, was standing on the ridgeline in northeastern Wyoming, looking at the landscape, a layer cake of strata, the colors representing compressed geologic time. She was at an artist residency, where she found herself grappling with loss and looking for answers in the sagebrush. The previous winter in…

[clonehub]

For the purposes of this poll, ship and let ship means you don't care what people ship; everything is fair game. Some might refer to you as "pro ship".

If you think certain things shouldn't be shipped, if you apply morals to what you or others ship, and/or you do care, then answer "no".

You define white for yourself.

No results option bc you either pick or you don't.

Please reblog for sample size.

[maxedes]

my whole twitter timeline is in shambles. ferrari mercedes & red bull fans have miraculously united. every other person is either threatening suicide or to burn some factory down. 443316 looking like they‘re about to cry. all of that only interrupted by fernando rolling in on on his fucking scooter & george stripping in the press conference. what is going on in the house of monza?

[mymelodic-chapel]

The Drums- Abysmal Thoughts (Indie Pop, Jangle Pop) Released: June 16, 2017 [Anti- Records] Producer(s): Jonathan Pierce