Фирма 4AD

Переиздание шестого студийного альбома Dead Can Dance «Into The Labyrinth», вышедшего в 1993 году. Dead Can Dance — австралийский музыкальный коллектив, состоящий из Брендана Перри и Лизы Джеррард. Группа была основана в Мельбурне в 1981 году, а в 1982 музыканты перебрались в Лондон и вскоре подписали контракт с инди-лейблом 4AD. В результате Dead Can Dance, наряду с Cocteau Twins, стали самыми успешными группами студии 4AD, оказав большое влияние на инди-музыку в целом. Их дебютный альбом и миньон 1984 года часто рассматриваются в качестве образцов этереал-музыки (смесь дарквейва, эмбиента и готик-рока). Dead Can Dance распались в 1998 году в результате творческого конфликта, но впоследствии воссоединились и выпустили в 2012 году новый альбом «Anastasis».

Ciao! - the band’s Best Of - is also being pressed on vinyl for the very first time, for release on 27th November as part of Record Store Day’s Black Friday event. This first run will be limited, on double red vinyl, and will be available from your local record store. The tracklisting for this can also be found below. Record Label: 4AD/Beggars Group Style: Indie Rock

Deerhunter's new album, Fading Frontier, will be released October 16th, 2015. The record was made by founding members Bradford Cox, Lockett Pundt, Moses Archuleta, and bassist Josh McKay. Written in their hometown of Atlanta, GA, production duties were shared by the band and Ben H. Allen III, continuing a collaboration that began with 2010’s Halcyon Digest. Fading Frontier shows that a decade in, Deerhunter has lost none of its intensity. As the group matures, so they have grown into the most consistent purveyors of art-rock of their generation. Record Label: 4AD/Beggars Group Style: Alternative Rock

Deerhunter's new album, Fading Frontier, will be released October 16th, 2015. The record was made by founding members Bradford Cox, Lockett Pundt, Moses Archuleta, and bassist Josh McKay. Written in their hometown of Atlanta, GA, production duties were shared by the band and Ben H. Allen III, continuing a collaboration that began with 2010’s Halcyon Digest. Fading Frontier shows that a decade in, Deerhunter has lost none of its intensity. As the group matures, so they have grown into the most consistent purveyors of art-rock of their generation. Record Label: 4AD/Beggars Group Style: Alternative Rock

Zach Condon and his band Beirut will release fourth album No No No via 4AD. Coming four years after The Rip Tide, and recorded over a two week period during one of the coldest New York winters - with blizzard after blizzard raging outside - No No No is Condon's most vibrant and spirited record to date. To coincide with the release of No No No, Beirut will tour throughout North America and Europe this year, including a headline appearance at Radio City Music Hall in New York and a solo UK date at London's Brixton Academy. Record Label: 4AD/Beggars Group Style: Alternative Rock

re-issue of early 90ies album of the Red House Painters, who were fairly popular in the early '90s, but details on them were scarce. This was all before the Internet, so you basically had what a jewel box told you. It's hard to imagine at this point, but when I first heard them, I didn't know anything about Mark Kozelek, the frontman and mastermind behind the project. I'm not sure I knew his name, and I definitely didn't know what he looked like, or his personality outside of the songs. I also had no idea the band was a quartet, or that they lived in San Francisco (in Kozelek's case, via Ohio). At least for me, Red House Painters existed outside of a scene, too. They had a familiar record label with its own distinct aesthetic, but that was the only real touchstone. Not that any of this is bad. The songs on the first four albums—1992's Down Colorful Hill, 1993's pair of self-titled albums (the first nicknamed Rollercoaster, the second Bridge, after the photographs on their covers), and 1995's Ocean Beach (here packaged with the Shock Me EP from a year earlier)—felt personal and private enough that it was easy to get lost in your own head while listening. They featured heartbreaking, personal lyrics and were accompanied by stark, often naturalistic photographs on the covers. The package came with the crystalline, spacious production and Kozelek's clear, powerful voice, and these things merged in an almost mystical way. The material felt less composed or worked over; it was more like the songs were birthed fully formed. They could drift on for more than 10 minutes, but you kind of gave up on keeping track of this kind of thing. When old albums get reissued, which they increasingly do, the practice usually offers a chance to hear familiar songs again, sometimes with remastering, maybe a few bonuses. Some listeners are feeling nostalgic, seeking to recreate the original context in their minds, while many others are learning about the material for the first time, and aren't all that clear on the context beyond the updated liner notes. 4AD's decision to reissue Red House Painters' first four albums as a fairly spare limited-edition Record Store Day box set (on bronze vinyl) and as individual album reissues on black vinyl offers a unique angle: The band's cantankerous frontman (as we can now call him after that whole War on Drugs debacle) is much better known, and known quite differently, all these years later. Now you do know exactly who Mark Kozelek is, or at least you think you do. Record Label: 4AD/Beggars Group Style: Indie Rock

re-issue of early 90ies album of the Red House Painters, who were fairly popular in the early '90s, but details on them were scarce. This was all before the Internet, so you basically had what a jewel box told you. It's hard to imagine at this point, but when I first heard them, I didn't know anything about Mark Kozelek, the frontman and mastermind behind the project. I'm not sure I knew his name, and I definitely didn't know what he looked like, or his personality outside of the songs. I also had no idea the band was a quartet, or that they lived in San Francisco (in Kozelek's case, via Ohio). At least for me, Red House Painters existed outside of a scene, too. They had a familiar record label with its own distinct aesthetic, but that was the only real touchstone. Not that any of this is bad. The songs on the first four albums—1992's Down Colorful Hill, 1993's pair of self-titled albums (the first nicknamed Rollercoaster, the second Bridge, after the photographs on their covers), and 1995's Ocean Beach (here packaged with the Shock Me EP from a year earlier)—felt personal and private enough that it was easy to get lost in your own head while listening. They featured heartbreaking, personal lyrics and were accompanied by stark, often naturalistic photographs on the covers. The package came with the crystalline, spacious production and Kozelek's clear, powerful voice, and these things merged in an almost mystical way. The material felt less composed or worked over; it was more like the songs were birthed fully formed. They could drift on for more than 10 minutes, but you kind of gave up on keeping track of this kind of thing. When old albums get reissued, which they increasingly do, the practice usually offers a chance to hear familiar songs again, sometimes with remastering, maybe a few bonuses. Some listeners are feeling nostalgic, seeking to recreate the original context in their minds, while many others are learning about the material for the first time, and aren't all that clear on the context beyond the updated liner notes. 4AD's decision to reissue Red House Painters' first four albums as a fairly spare limited-edition Record Store Day box set (on bronze vinyl) and as individual album reissues on black vinyl offers a unique angle: The band's cantankerous frontman (as we can now call him after that whole War on Drugs debacle) is much better known, and known quite differently, all these years later. Now you do know exactly who Mark Kozelek is, or at least you think you do. Record Label: 4AD/Beggars Group Style: Indie Rock

re-issue of early 90ies album of the Red House Painters, who were fairly popular in the early '90s, but details on them were scarce. This was all before the Internet, so you basically had what a jewel box told you. It's hard to imagine at this point, but when I first heard them, I didn't know anything about Mark Kozelek, the frontman and mastermind behind the project. I'm not sure I knew his name, and I definitely didn't know what he looked like, or his personality outside of the songs. I also had no idea the band was a quartet, or that they lived in San Francisco (in Kozelek's case, via Ohio). At least for me, Red House Painters existed outside of a scene, too. They had a familiar record label with its own distinct aesthetic, but that was the only real touchstone. Not that any of this is bad. The songs on the first four albums—1992's Down Colorful Hill, 1993's pair of self-titled albums (the first nicknamed Rollercoaster, the second Bridge, after the photographs on their covers), and 1995's Ocean Beach (here packaged with the Shock Me EP from a year earlier)—felt personal and private enough that it was easy to get lost in your own head while listening. They featured heartbreaking, personal lyrics and were accompanied by stark, often naturalistic photographs on the covers. The package came with the crystalline, spacious production and Kozelek's clear, powerful voice, and these things merged in an almost mystical way. The material felt less composed or worked over; it was more like the songs were birthed fully formed. They could drift on for more than 10 minutes, but you kind of gave up on keeping track of this kind of thing. When old albums get reissued, which they increasingly do, the practice usually offers a chance to hear familiar songs again, sometimes with remastering, maybe a few bonuses. Some listeners are feeling nostalgic, seeking to recreate the original context in their minds, while many others are learning about the material for the first time, and aren't all that clear on the context beyond the updated liner notes. 4AD's decision to reissue Red House Painters' first four albums as a fairly spare limited-edition Record Store Day box set (on bronze vinyl) and as individual album reissues on black vinyl offers a unique angle: The band's cantankerous frontman (as we can now call him after that whole War on Drugs debacle) is much better known, and known quite differently, all these years later. Now you do know exactly who Mark Kozelek is, or at least you think you do. Record Label: 4AD/Beggars Group Style: Indie Rock

re-issue of early 90ies album of the Red House Painters, who were fairly popular in the early '90s, but details on them were scarce. This was all before the Internet, so you basically had what a jewel box told you. It's hard to imagine at this point, but when I first heard them, I didn't know anything about Mark Kozelek, the frontman and mastermind behind the project. I'm not sure I knew his name, and I definitely didn't know what he looked like, or his personality outside of the songs. I also had no idea the band was a quartet, or that they lived in San Francisco (in Kozelek's case, via Ohio). At least for me, Red House Painters existed outside of a scene, too. They had a familiar record label with its own distinct aesthetic, but that was the only real touchstone. Not that any of this is bad. The songs on the first four albums—1992's Down Colorful Hill, 1993's pair of self-titled albums (the first nicknamed Rollercoaster, the second Bridge, after the photographs on their covers), and 1995's Ocean Beach (here packaged with the Shock Me EP from a year earlier)—felt personal and private enough that it was easy to get lost in your own head while listening. They featured heartbreaking, personal lyrics and were accompanied by stark, often naturalistic photographs on the covers. The package came with the crystalline, spacious production and Kozelek's clear, powerful voice, and these things merged in an almost mystical way. The material felt less composed or worked over; it was more like the songs were birthed fully formed. They could drift on for more than 10 minutes, but you kind of gave up on keeping track of this kind of thing. When old albums get reissued, which they increasingly do, the practice usually offers a chance to hear familiar songs again, sometimes with remastering, maybe a few bonuses. Some listeners are feeling nostalgic, seeking to recreate the original context in their minds, while many others are learning about the material for the first time, and aren't all that clear on the context beyond the updated liner notes. 4AD's decision to reissue Red House Painters' first four albums as a fairly spare limited-edition Record Store Day box set (on bronze vinyl) and as individual album reissues on black vinyl offers a unique angle: The band's cantankerous frontman (as we can now call him after that whole War on Drugs debacle) is much better known, and known quite differently, all these years later. Now you do know exactly who Mark Kozelek is, or at least you think you do. Record Label: 4AD/Beggars Group Style: Indie Rock

Canadian duo Megan James and Corin Roddick, the brains behind Purity Ring, will return with a second album, entitled Another Eternity. Whereas the band's debut album Shrines was composed remotely between Halifax and Montreal, Another Eternity marks the first time Megan and Corin were able to create a record in the same room. The pair ventured home to the frozen industrial landscapes of their birthplace Edmonton, Alberta to document much of what became the album. Megan and Corin recorded and produced their follow-up themselves, as always. Record Label: 4AD/Beggars Group Style: Pop

Canadian duo Megan James and Corin Roddick, the brains behind Purity Ring, will return with a second album, entitled Another Eternity. Whereas the band's debut album Shrines was composed remotely between Halifax and Montreal, Another Eternity marks the first time Megan and Corin were able to create a record in the same room. The pair ventured home to the frozen industrial landscapes of their birthplace Edmonton, Alberta to document much of what became the album. Megan and Corin recorded and produced their follow-up themselves, as always. Record Label: 4AD/Beggars Group Style: Pop

CD, Album, Reissue, Remastered, Repress

Artist: Cocteau Twins Label: 4AD

Artist: Daughter Label: 4AD

Vinyl, LP, Album

Artist: Tune-Yards Label: 4ad / Ada

Artist: Sohn Label: 4ad Records/Ada

Artist: Future Islands Label: 4ad/Beggars Group (Indigo)

Los Angeles-based singer-songwriter Lo-Fang – aka Matthew Hemerlein – conceived and wrote his debut album Blue Film while traveling around the world and across the United States over the last three years. His passion for making music led him to pick up and play with musicians in Cambodia, Bali, London, Nashville, Tokyo, and other points along the way. Songs were written in transit, in hotel rooms, and anywhere the moment inspired him. Billboard’s Jason Lipshutz writes, “Blue Film funnels Hemerlein’s various vagabond experiences in 12 tracks of ornate, rhythmic electronica worth disappearing in.” A classically trained musician, Lo-Fang is fluent in diverse genres and styles of playing, which are juxtaposed throughout Blue Film. He sings all the vocals—his falsetto is soulful and often hypnotic—and plays every instrument, among them, violin, cello, piano, guitar and upright bass. The set veers from minimalist to intimately symphonic, including ten original songs and two covers. The tracks are sequenced into an atmospherically ethereal blend of shifting textures, beats, and moods that Dazed & Confused called a “brooding, quietly intense exercise in electronic torch song.” Lo-Fang says the initial template for record was based on a mix-tape called “Blue Film,” an assemblage of songs from various places and states of mind dating back to 2009. Some tracks grew out of events from his own personal evolution. Lyrics might come from a phrase spoken in conversation, or a fly on a wall that persisted as background noise—the ephemera of life. Like a novel written with elegant economy of prose, Blue Film evokes feelings beyond what the words convey. The merger of Lo-Fang’s classical background with his left-of-center approach to pop songwriting further deepens the punch. There’s mystery to the music, which aligns with his preference for each listener to arrive at their own interpretation. Blue Film was cut at studios in London, Nashville, and Los Angeles and finished at the storied Capitol Studios in Hollywood. Throughout, Hemerlein collaborated intensely with GRAMMY Award-winning producer Francois Tetaz (Gotye), who he says has “a vast encyclopedic knowledge of music” that illuminated and reflected his work at every step of the process. The album’s opening track, ‘Look Away’ is up-tempo, dreamlike and psychedelic, with a lush strings interlude mid-song. ‘#88’ opens with spare picking and swells to orchestral fullness. Lo-Fang’s cover of BOY’s ‘Boris’ adds an edgy darkness – likewise, his take on the buoyant Grease classic ‘You’re The One That I Want’ is fueled by both longing and menace. Both covers are true to Lo-Fang’s thoughts on reimagining songs – “I think of them more as remakes, like with movies. I take the same story arc, but everything is different—tone, colors, tempo. Like what Christopher Nolan does with Batman, that sort of thing.” Blue Film is 4AD’s first release of 2014. In spring 2014, Lo-Fang will tour with Lorde. Style: Alternative Rock