S/D: Captured Tracks

oic

You can't get it through AEC?

Nah, we use a different one-stop and a few random smaller distros (mostly punk or garage oriented).

AEC kind of sucks but I think at least a few titles from CT are order-able through them.

quite like this Minks album but in its own way it is perhaps one of the most ridiculous things I've heard all year

the new one?

the two tracks i've heard from it so far are nice though neither seem any great improvement on the previous stuff

it feels like a musical adaption of a photostory from an early 80s magazine for British teenage girls

listening to the minks now, i really like it, it doesn't have anything quite as ace as 'kusmi' from the last one but it's nice, makes a change from how disappointing i found the new soft metals one

really getting into the saada bonaire reissue. the pop stuff is fun and interesting. some of the more leftfield tracks in it out-NNF NNF except twenty years earlier

it's probably going to get lost amongst all the perfect pussy hype but the axxa/abraxas album is quite lovely pop

perfect pussy (god i hate that name) is an odd signing for captured tracks. doesn't seem to match the label's fairly distinctive aesthetic. but it's interesting! and captured tracks is a great label.

How would you define the captured aesthetic?

dark, reverb and echo-heavy post-punk that sounds like it was recorded in a cave. they're a throwback to late-70s and 80s labels that established their own scene, like factory and 4AD. to be fair, there's a fair bit of diversity on this label, like wild-nothings, who don't sound much like the other c/t acts, but even the label owners seem to acknowledge that there's an artistic aesthetic at the label.

this overlong video kind of gets at it, i think.

haha this quote, from the label owner:

music people are horrible, horrible people. all of them. myself included. the worst. take the weirdest people that burnt all their bridges from high school, who never really matured, and were never cool. and now create a social hierarchy for them while they're in their late 20s to their early 40s. we're setting up the worst high school ever, except it's old people. you know? it's terrible.

lol

+1 to the love for Axxa/Abraxas upthread; it really is quite a wonderful little collection of psyche-pop songs. I had a massive Olivia Tremor Control moment over the weekend and this album really complements it nicely, albeit in an exponentially less challenging manner.

also dammit Captured Tracks why u only release the Cosmetics album as a RSD release, I really want to give you money for that god damned record

^i was lucky enough to get this via their drip.fm (probably the only thing that made it worthwhile tbh). surely they'll have spares, all the RSD types only want mac demarco rarities amirite

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