#Loma Vista

[thebandghostofficial]

[MESSAGE FROM THE CLERGY]

We wish to inform you that these times call for a divine compilation of some of Ghost's most sinful psalms and the most observant shall find the wider release of Ghost's cult tune "Zenith."

Ghost's 13 Commandments: so let it be written, so let it be done.... Listen now everywhere.

[underachievers-please-try-harder]

Interview // Sleater-Kinney

Appeared in Issue 162 of Loud and Quiet. Read online.

[iamlisteningto]

Chelsea Wolfe’s She Reaches Out To She Reaches Out To She

[thebandghostnews]

[ATTENTION GHOULS]

If you preordered the Impera Box Set from Loma Vista, emails are going out with an exclusive download for the cover of ‘Stay’ featured in the new Insidious movie.

There are two versions of the cover. This version features Patrick Wilson. The 7” in the box set will be Ghost only.

/A Nameless Ghoulette

[certusbiscuit]

Me off to give Loma Vista a map and show them there are places that exist outside France and USA x

[music-addiction-disorder]

GHOST

Impera (2022)

Loma Vista

Sweden 🇸🇪

[mansoncollector]

WE ARE CHAOS

[innovacancy]

HEALTH Irving Plaza, New York City, NY 4 September 2022

[esmiephan]

Loma Vista is unbelievable. Tobias mentioned World Tour in 2023 but apparently "world" means US and Europe for LV. This is ridiculous. They are pretending Latam, Asia and Eastern Europe don't exist at all. I'm so fucking frustrated.

We brazilians have a BIG Ghost fandom and we gave them stream and support during the whole 2021-2022. But Loma Vista pretend we don't exist. Ghost came here twice, 2013-2017, LV abandoned us since then.

And please, no shitting over Tobias. Let's just remember Loma Vista has more power than him when it comes to marketing and tours. It's their fault, not Tuti Fruti's. Leave babyboy alone.

[thebandghostofficial]

​[MESSAGE FROM THE CLERGY]

We wish to inform you Ghost has been nominated for Best Metal Performance for "Phantom Of The Opera" by the #recordingacademy for the 66th #GRAMMYs.

Thank you for your undying support as Ghost continues to topple the globe. 🖤

[weaponizedpasta]

[underachievers-please-try-harder]

Track of the day // Sleater-Kinney - Say It Like You Mean It

From the album Little Rope, out January 19th 2024 on Loma Vista.

[iamlisteningto]

Denzel Curry’s Melt My Eyez See Your Future

[dustedmagazine]

Margo Price — Strays (Loma Vista)

Photo by Alysse Gafkjen

Margo Price first appeared in mainstream culture as a throwback country singer. Debut album Midwest Farmer's Daughter talked about the family farm and Nashville with more than a little honky tonk. With each album since then, Price broadened her sound, mixing in R&B, rock, and pop, even getting some shiny production for a big theater presentation. With new album Strays she takes a big step in that expansion, aided by psychedelics and the easiest confidence she's ever captured on record. The sound shouldn't be a surprise, given the developments of her discography, the revelations of recent memoir Maybe We'll Make It, and years of live shows. Price has always had this sort of record coming, traceable back to her Buffalo Clover days. Even if the record had been inevitable, it didn't have to be so engaging; fortunately, it is.

From the opening moments, Price leans into her cosmic country sides, pushing past Gram Parsons toward harder psychedelic rock. “Been to the Mountain” deploys that sound as a focused Price delineates all the things she's been even as it's all her (tl;dr: she contains multitudes). Along with all the true facets of her life, she's “been called every name in the book,” making her impervious to current hate. “Mountain” stands as a statement of strength and self-realization, and a memorable one at that. 

Price has little time for such self-considerations, though, as the confessionalism of past writing largely disappears on Strays. “Lydia” looks at a woman struggling with thoughts of abortion, embattled by societal strictures (like lack of health care). Price doesn't preach to either side of the issue, developing a narrative voice that empathizes with its own sort of hurt. “Hell in the Heartland” deals with the complications of a slow separation, neither laying blame nor accepting guilt. Price's writing tends toward the empathetic and complex, welcoming both with and to vulnerability. 

None of that means the album gets too heavy. Price knows how to mix tone and emotion as well as she does sound. One of the album's highlights, “Radio” brings in Sharon Van Etten for a simple escape, tuning out the world's stressors so that “the only thing I have on is the radio.” “Light Me Up” is the sex song (though even here Price layers the feelings of the track). “Anytime You Call” (with Lucius) offers clear support and gratitude. “We're not as stable as we seem,” the singers admit, but that becomes a point of contact rather than a weakness. Price writes through hell and hate but doesn't linger in the dark places. 

The album does, however, close with “Landfill,” a countryish number about deserted dreams, garbage, and catastrophe. “I made love and love made me,” Price sings, “but only love can tear you apart.” The record ends, then, with a scattering. The artist hasn't settled and it's fitting that Strays ends with a soft wandering and sense of loss. Price lets herself ascend on this album, but she always stays grounded enough to keep her eye on the details. Heartbreak remains part of what she surveys, and while that might sound like a country song, it touches more than just country. It's practically universal, almost cosmic. 

Justin Cober-Lake

[sinceileftyoublog]

Andrew Bird, Margaret Glaspy & Julian Lage Gezelligheid Preview

Andrew Bird; Photo by David Black

BY JORDAN MAINZER

It's that time of year again--not just for Christmas or Hannukah or beer and wine advent calendars, but for Andrew Bird's annual Gezelligheid concerts at the Fourth Presbyterian Church. This year, Bird will perform 7 shows: tonight, tomorrow, and the 11th-15th. Usually, he plays a mix of original songs and holiday-related covers or standards. In 2020's Hark!, Bird has his first ever Christmas album to his name, so you can expect to hear a few of those tunes, too.

If it were up to me, Bird would gift us some instrumentals. That is, earlier this summer, he followed up 2022's Inside Problems with a companion album, Outside Problems (Loma Vista), improvised instrumentals recorded outdoors in Ojai, CA. Though it follows some of the formless themes of Inside Problems, it's wholly original and some of Bird's most inspired work in years. "Epilogue" is flaneur-like, Bird purposefully not giving thought to the potential for other band members or a chorus or structures, while cheekily titled tunes like "Mormon House Party" and "Tik Tok" use repetitive sways to lull us into the bends of Bird's violin. Best, his gorgeous voice does appear, but in the form of wordless vocalizations, harmonizing with his plucks on "Mancey" or popping up on the off beat on "Mormon House Party".

Margaret Glaspy; Photo by Josh Goleman

Opening for Bird each night is a duo comprised of Margaret Glaspy and Julian Lage, creative and life partners who have never released any recorded duo material but have plenty of history showing up on each other's records. For one, each had a hand in producing the other's 2023 album, Glaspy's terrific Echo the Diamond (ATO) and Lage's Grammy-nominated The Layers (Blue Note). Echo the Diamond prominently features both Lage and Bird collaborators (The Bad Plus drummer Dave King, bassist Chris Morrissey), and you can certainly hear Lage's jazz influences on the skittering Ryan Lerman co-write "Hammer and the Nail". Not to take anything away from Glaspy--Echo the Diamond is far and away her best album yet mostly thanks to the increasingly worn twang of her voice and ability to make worlds out of fleeting moments and the conversations we have with ourselves, in our own heads. From country-tinged odes to new love ("Act Natural") and feminist rallying cries ("Female Brain"), to reverent admittances to the power of our minds ("Memories") and self-criticism ("Turn The Engine"), Echo the Diamond runs the gamut of emotions in a lean 35 minutes. At the center of it all is Glaspy's observational prowess, or as she describes on closer "People Who Talk", her ability to "make like a fox and start listening."

Julian Lage; Photo by Alysse Gafkjen

Glaspy's influence on Lage's The Layers is a tad more palpable. Written as a described "prequel" to 2022's View With A Room, the record showcases interplay between Jorge Roeder's bass and King's drums, and at times between Lage and Bill Frisell. Glaspy's able to emphasize the raw timbres of Lage and Frisell's acoustic guitars on "This World", or Lage's expansive, twinkling playing on "Missing Voices" atop King's creaking percussion. And the title track is a chugging, almost country rock number, an instrumental that could back Glaspy without batting an eye. In fact, it wonderfully previews Lage's latest choogle of a single "Omission", produced by Joe Henry and that will feature on an upcoming Blue Note album next year. It's hard to predict what Glaspy and Lage will play, but both artists, individually and together, have the chops to make it a memorable opening set you won't want to miss.