S/D: Captured Tracks

thieves like us repress (?) is really really good, pulses and gleams and all that

between those and the cosmetics album i think they've got the rest of the year sealed up

is the cosmetics album ever coming out? it was announced for release in spring or early summer, and then . . . .

was wondering about that. the band seem to have gone very quiet...

months after it's announced release date, captured-tracks tweeted some cryptic line like, "coming soon, promise. . ." with a link to a cosmetics video. but after that, they've "gone very quiet" again.

"...we can't hear a single"

that can't be it. for one thing, this is captured-tracks; i'm sure they aren't expecting any song here to break big, even in the indie-ish markets. for another thing, the cosmetics songs are really catchy.

i'd guess the issue is the band, not the label.

Ha I was joking, yeah they're probably in some mix and remix rabbit hole...

the grabbel & the final cut single is so good

man i always forget the cosmetics trax are esp the ones that sound like the persian chick from idib

so mac demarco pretty much sucks right?

^growing on me

DIIV album is now available for preorder FYI(I)

it's also leaked

per the Book of Faces:

This Summer: DIIV LP, Holograms LP, Heavenly Beat LP, Dignan Porch LP, Wild Nothing LP.
This Fall: COSMETICS LP, The Soft Moon LP, WIDOWSPEAK EP, Mac DeMarco LP, Hoop Dreams EP and more?

my wallet goes fffffffuuuuuuuuuuuu

^^^

But, man, thats a great lineup stuff.

the DIIV LP is really excellent but the one I'm most pumped for is the Holograms LP; that ABC City single was fukkin RAD

still think Mac DeMarco sux tho

haha

DIIV album is pretty killer. Sometimes I feel like it gets a little too, I don't know...amorphous or something...like all those chiming guitars just begin to sort of run together and float off and get lost, and thus I kind of forget it's even playing. But that may just be more about me being distracted or something. I certainly dig the overall vibe...

Did you write that review on pitchfork?

diiv and heavenly beat are both ok but neither are a patch on beach fossils imo, even despite almost every BF song sounding essentially the same

excited about holograms lp for sure though

I should learn how to quote at some point, I guess, but anyway: No, Evan, I didn't. Haven't even read it yet. Will do so now.

I noticed the Impose review said some similar things, so I guess maybe there's something to whatever I said that P4k also said...

Only asked because of the use of "amorphous" here and there. I know I latch onto words I use to describe something, so I was seeing if it was a coincidence in this case.

After reading it, I figured as much. Not me, though. Wish it was!

Really like the DIIV album, this label is probably the best thing going in indie rock right now.

Also, happened to notice that Best Buy had like 6 copies of DIIV, which seems pretty cool for a Captured Tracks release, good for them.

yeah the diiv is quite a bit better than i was expecting based on the 45s so far. pretty strong record.

the holograms is a bit the opposite - abc city is a cool record but i find the record as a whole a bit restrained and anonymous

I really dig the Holograms album. it's like Iceage with a goth infusion. Memories of Sweat is a good song title.

This fuckin' label. Picked up the Holograms today and its slaying me too. I'm kinda starting to feel about this label the way I did about like Matador back '94-'96.

i keep forgetting there are cosmetics and hoop dreams albums on the way. yay

^^^^^

new wild nothing lp stream

http://www.dazeddigital.com/music/article/14180/1/rise-wild-nothing-album-stream

sounds really really good

at the risk of acting like typical record collector scum, I'm a little bummed that I missed out on the colored vinyl for the last Dignan Porch LP; I'd managed to get every alternate pressing they'd put out going back to the Wild Nothing/Beach Fossils releases back in 2010 until this one. they must have only gotten like five copies, though - I literally placed my order 5 minutes after they were announced as being on sale on FB. oh well.

in news about actual music, I really really really like the new Wild Nothing. a couple of my friends who were all into the pining, lovelorn sound of the first one aren't as hot on it, but I just can't turn down songs as good as the ones on that record.

got the new wild nothing in the mail, the sleeve is absolutely beautiful (and the letterpress outer is lovely too). might even listen to it one day.

You got the limited copy? Was debating that but it's like $10 higher. Will probably appreciate pretty well though.

it's a really nice looking package - i felt the diiv one was not worth the extra $$ but this one is

Well damn and it already fetched $60 on ebay. Should have pre-ordered it. I got a regular copy but now I'm going to keep wishing I had the color vinyl for no good reason.

haha. at one point i thought i would collect all the limited CT releases but i couldn't face paying a premium for the heavenly beat record

snapped one up at amoeba records yesterday and they still have some in their online store, might want to give that a go.

Thanks, but hindsight over limited vinyl pass ups is me at my ugliest with materialism. Got to get over that! What's saddest of all my record collection only really impresses myself.

what's the verdict on the Heavenly Beat album? I really like "Tradition" but after one listen it seems the rest of the LP is just variations with diminishing returns. But man does he nail that 1992 synthy sound.

it's.. ok. i enjoy the tracks when they turn up in shuffle, and it's always nice when a band has some durutti influence, but it's a tough listen straight through because it's so samey

i'm really amped for the Chris Cohen record. i love both of the singles so far.

electricsound otm re: the Heavenly Beat record, one of my least favorite Captured Tracks releases of the year.

i've really come around on holograms though after being a bit meh about it initially

Now that one I really liked instantly.

wow, the dignan porch lp is a huge step forward from their earlier stuff. really good. and i'm digging the chris cohen record a lot too

the naomi punk album on the other hand sounds like shitty grunge demos of one song they never quite remember how to play the same way each time

the Chris Cohen record is INCREDIBLY good. can't recommend it enough.

"the naomi punk album on the other hand sounds like shitty grunge demos of one song they never quite remember how to play the same way each time"
lol. yeah i'm not entirely sure how i feel about it right now. i feel the Pacific Northwest vibe, but i'm not sure if it's anything really remarkable.
that said, the new Chris Cohen and Mac DeMarco have made this a pretty great fall for this label in my opinion.

so i should get that chris cohen record? cobo you got that shit on colored vinyl to sell?

does anyone know if the Bored Games reissue is going to be around post-RSD?

So I just realized that I had no idea the owner is a dude I know from college and was even briefly housemates with. Had heard a bit of Mac DeMarco and Wild Nothing but hadn't otherwise really checked out the label. Listening to a bunch of stuff on shuffle on a Spotify playlist and the label definitely has I'd say not just an aesthetic, but a sound, the way Stax does.

it does say something that both mac demarco and perfect pussy can both "fit" on the label while being as far apart musically and politically as indie bands can really be

I haven't heard a thing by mac demarco but I see his name like a dozen times a week and I've decided he's some fratty awfulness that I don't get. am I wrong? I based my assumption entirely on his name, which I find is a fair thing to do.

lol bc his name sounds like "mac miller" I know I had the same thing. It's not at all fratty.

I think the name and his love of stupid little hats put me off.

Curious about new/upcoming Donovan Blanc album--advance single's pretty A. Pink-y (and very firmly in the CT wheelhouse), but has enough of its own thing going on/is a strong enough song IMO to pique my interest.

finally a new chris cohen album! http://www.capturedtracks.com/shop/ct-related-releases/_ct-release/ct-247-chris-cohen-as-if-apart-lpcdcassette-pre-order/

!

BREAKING: Alex Calder dropped form @capturedtracks due to " an allegation of sexual assault". https://t.co/M39rxSVt42

— jesse d-s (@jesseds) October 13, 2017

captured tracks just released an entire "lost" album saâda bonaire album from the early 90s:

Until recently, it was thought that we had heard all there was to hear from Saâda Bonaire. The German studio project’s 1980s recordings had been compiled on the now cult-classic double LP Saâda Bonaire, released by Captured Tracks in 2013. Though the group had continued working until 1994, founder Ralph “von” Richthoven had firmly stated that all of their post-1986 work was lost: “I threw away most of my work; I didn’t see any reason to hold onto it anymore.” A visit to a relative’s house, however, turned up a pleasant surprise: Richthoven stumbled across a battered cassette tape labeled Saâda Bonaire ‘91. Released now for the first time ever, 1992 compiles the band’s long-lost early nineties material. Produced between Bremen and New York City, the 12 songs presented here capture the group's attempts at steering their trademark fusion sound (reggae, afro-funk, Eastern music, and sultry German female vocals) into uncharted nu jazz, trip-hop, and house territories.
Following the release of their 1984 single “You Could Be More As You Are” and a subsequent A&R debacle with EMI, the group went on an indefinite hiatus in 1985. Vocalist Claudia Hossfeld had left the group, and Richthoven and vocalist Stephanie Lange were navigating a recent breakup. “In order to cope, I just kept myself as busy as possible,” Richthoven explains. “I had a full-time day job doing social and cultural work for the city. In the evenings I produced music in the Dub City Studio.” It was during this time that he met a local jazz guitarist named Mike Ellington. Inspired by the new dance music emerging from the UK and the States, the two decided to give the project another shot in 1990. Lange agreed to reprise her role as vocalist, as did many of the local Turkish-Kurdish musicians who’d performed on the 1980s recordings. There were new additions as well: Ellington as co-producer, Andrea Ebert as vocalist, and North Irish folk singer Paul Lindsay as lyrical contributor. Between 1991 and 1994, this new incarnation of Saâda Bonaire recorded more than a dozen songs in Ellington’s recording studio, charmingly housed inside the sex shop owned by his family.
It’s no surprise, given both the time lapse and the fluid nature of the project, that these recordings differ sonically from the 1980s material. 1992 finds Saâda Bonaire folding new influences from the time (house, hip-hop, rap) into their eclectic sonic universe. Ebert’s soulful voice –the result of a church choir background and an early love of American soul and jazz music– offset Lange’s laid-back, more German-sounding vocals. “Some magic came out in the air when we were there, singing together,” Lange recalls. “We encouraged and supported each other.” This unique interplay bolstered the band’s new direction - evident in their inspired takes on James Brown’s “Woman” and Syreeta Wright and Stevie Wonder’s “To Know You Is To Love You”. The American influence was also made literal via contributions by renowned DJ Matthias Heillbronn and rapper Jimmy Lee Patterson, both of whom lent some stardust to the tracks at François Kevorkian's Axis Studios in NYC.

https://saadabonaire.bandcamp.com/album/1992