Life With Dick is the new album by Grace Sings Sludge (The Sandwitches, The Fresh and Onlys). It’s the continuation of a world Grace Cooper began illustrating as one of the lead songwriters of the San Francisco band The Sandwitches, and on her previous three collections of solo home recordings (released as limited run cassette tapes). As with the other solo albums, Grace does the artwork for Life With Dick. Her delicate yet disturbing pen and watercolor creations are the perfect accompaniment for her songs, and seem as though they’ve emerged from the same troubled dreams.
“A Man Doesn’t Want” is a deeply haunted, yearning lament, Grace’s eerie, pained vocals wafting like a heartbroken ghost’s moan through rundown motel walls. – Gorilla vs. Bear
Though understated, there is a sense of urgency that permeates this record. Grace’s voice dances through the songs with a chameleon quality that’s sultry and commanding on “In Spite of Doom” and desperate, vulnerable and sharp on “Can’t Play” and “Everlasting Arms”.
Her lyrics contain the weariness of a woman giving in to a love requited, and the unsettling realities of maintaining love. In some places it seems she no longer knows where to direct her endless yearning. She observes on “Bad Timing Pt. 2”, “Two boats they don’t meet up in the night, they glide by each other and forever out of sight… they might just be the lucky ones.”
The spookiness of Grace’s sound — a sound influential in some The Sandwitches’ best songs like ”Joe Says” and “In the Garden” — is still present here and especially on the darker B side of this record. Piercing guitars and heartbeat drums on “Everlasting Arms” warn us as Grace gently sings, “Something’s growing in the basement,” and of something that comes “from within”. The recording quality of Life With dick is raw but it is far from being a “garage record.” It is a recording brought down from the attic, with no date and with no intended audience, and is best listened to alone.
Performed and recorded at home by Grace Cooper with Nick Russo on drums.
01 A Man Doesn’t Want
02 Runaway (Bad Timing)
03 Bad Timing Pt. 2
04 Can’t Play
05 In Spite of Doom
06 Everlasting Arms
08 Dedicated 2
Empty Cellar is pleased to announce the forthcoming Earth Girl Helen Brown release, MERCURY, featuring The Boogeyman (Emmett Kelly), Sunshine Lady (Sonny Smith), Loro Valiente (Tahlia Harbor), Ziggy Spec (Ty Segall), José Deseo (John Dwyer), L.F.F. (Tim Cohen), Jim Win (James Finch Jr.), the Former Future (Sean Smith), and Jasmine Ivanov (Jamin Barton).
MERCURY is the first in a seasonal series tributing our fellow solar satellites Mercury, Mars, Saturn, and Venus, and benefiting organizations committed to popular planetary intelligence, energy management, communicative freedom and love.
Announced today on the vernal equinox Mercury will be released April 14th on our planet in limited edition post-consumer cassette and digital (along with EGHB apparel). There will be a party and performance by Earth Girl Helen Brown and more that night in Los Angeles:
Please find the track “Set the Woods on Fire” on our bandcamp in advance. All proceeds from the sale of this track and cassette benefit, in equal parts, the following organizations in their commitment to the cessation of fossil fuel use, the protection of shared resources, and the preservation of physical health on Earth:
Empty Cellar Records is proud to release the newest album by Magic Trick, Other Man’s Blues. This offering from the band finds songwriter, Tim Cohen at a crossroads. It was written and recorded during a year that split his time between two lives, in two worlds. The newer of these worlds was on a horse ranch in the northern Arizona desert where he and his partner spent their first year with their newborn daughter. The other was the music world. The latter took place on the road, on tour with Magic Trick or with the Fresh & Onlys. And in the case of Other Man’s Blues, it took place for one week at Phil Manley’s Lucky Cat Studios in San Francisco.
Tim arrived at the studio with a color-coded composition book of songs he’d been writing while bouncing to and fro. This book would have to suffice in lieu of rehearsal time with the 13 other musicians who appear on the tracks. About half of the tracks feature James Kim on drums, the other half James Barone (Beach House). Alicia Van Heuvel (Aislers Set) and Paul Garcia split time on bass. Joel Robinow (Once and Future Band / Danny James) contributes on keys. Emmett Kelly (The Cairo Gang / The Muggers / The Double) provides a couple stunning guitar solos. There are omnipresent vocal harmonies from Alicia, Noelle Cahill and Anna Hillburg, the latter of whom also plays some trumpet. San Francisco standbys Dylan Edrich, Tom Heyman, and Marc Capelle all contribute. It was a loose, largely improvised affair.
The album’s roster is less the product of grand ambition, and more the result of an open-door policy at the studio. These sessions also served as an opportunity for Tim to hang out with friends while in town. He’d see who was around, they’d swing by. Allegedly tequila was centrally involved. A “hit the joint and come up with a bit” approach. “Here’s a chord chart. Go.” And guest appearances are more than just a little icing on top here. It’s the principle that warranted giving this project a band name five years ago: when Tim’s non-onlys oeuvre stopped being credited to Tim Cohen and instead was attributed to Magic Trick. Especially in the case of Other Man’s Blues, the players on the album define what shapes these songs take.
And it’s a wide variety of shapes you’ll find on this album. Take this less as a conscious display of versatility (although it does demonstrate Cohen & Co.’s ability to shape-shift) and more as a result of the freewheeling, haphazard recording environment described above. A ghostly choir of female voices open the album like a seance. And the spirit they conjure proceeds to flit about over the course of the ensuing ten tracks, animating various stylistic forms, from the baroque pop of “Forest of Kates” to the icy post-punk of “I Held the Ring.” There’s the air-tight R&B groove of “Startling Chimes,” the krauty “Purest Thing,” a jammy side-to-side trot that moves “First Thought” along, taking a detour into country before culminating in a glorious Grateful Dead indebted coda. But throughout, it’s Tim’s lyrics that are pushed to the front of the mix. This album is a display of solid songwriting – collectively fleshed out, but from Tim’s composition book, and with Tim’s lyrics about family and about himself. These songs are the sound of his friends helping him suss through the conflicts of his new dual existence as father and musician, between old self and new.
Magic Trick’s 2013 offering, River of Souls, opens with Cohen asking, “Should we live from the mirrors other side?” Maybe, what you have here on Other Man’s Bluesis an attempt to do just that. You can hear that his scope is widening, is being forced to widen by his circumstance. These songs are full of empathy. They reckon with notions of sacrifice and devotion, acknowledge the “winds of desire” and admit that “musings come from below” like a force of nature. Our protagonist is mid-transformation or maybe even pre-transformation. He is able to “regard his gruesome self” only because he is becoming a new man. Both sides are present. Which is the Other Man? Who is Tim Cohen? What is this magic he is trying pull off? Is it a trick? Or true sorcery? Either way, he must evolve.
“Its melodies are simple and near-perfect, its guitars jangly and unembellished. It’s distinctly West Coast in its feel, but it’s also the sound of a band that are increasingly their own.” – Noisey
Empty Cellar Records is stoked to announce the third full-length release by San Francisco’s Cool Ghouls, Animal Races. Fans of their self-titled debut and 2014’sA Swirling Fire Burning Through the Rye will be similarly stoked to hear how this band has continued to evolve. If the first album was a celebratory debut, and the second an earnest venture into deeper waters… this third album is like the crystal born of the murky womb that was the second, fertilized by the initial intention of the first. Not only have the ghouls reaped the crop they sowed; they’ve baked it into some new kind of bread!
For the uninitiated – Cool Ghouls play rock’n’roll. That’s about all there is to it. They’re California natives. They try to do a good job. They like to try to elevate and get far out. They also like to keep it real. They like to make friends and have a good time. They don’t like bullshit. They want to keep growing and learning how to become more powerful musicians. This record reflects the discoveries they’ve made over the last five years about live performance, themselves, and each other.
The eleven tracks, recorded to tape by Kelley Stoltz in his backyard studio, are first and foremost documents of the four-piece’s live performance of the tunes. Many of the songs were road-tested, but – unlike the prior records – a few of them were not. This opened the door for some new looks: an acoustic guitar, some synth, upright piano, a little pedal steel wizardry from Tom Heyman, etc. It’s Cool Ghouls doing what they’ve always done, but in more ways and better.
Animal Races will be available on LP/CD (8/19/16) in the US via Empty Cellar Records and the EU/UK via Melodic Records, and worldwide on cassette viaBurger Records. All versions feature full-color artwork painted by Shannon Shaw(Shannon and The Clams). Distributed by Revolver/Midheaven (USA).
1. Animal Races
3. Time Capsule
4. When You Were Gone
6. Just Like Me
7. The Man
8. Brown Bag
9. Never You Mind
10. Material Love
Cool Ghouls – 2016 Tour Dates
8/11 San Francisco, CA – The Chapel (Record Release Show)
8/16 Los Angeles, CA – The Resident
8/17 Tucson, AZ – TBA
8/18 El Paso, TX – Monarch
8/19 Austin, TX – Barracuda
8/20 San Antonio, TX – Limelight
8/22 Denver, CO – TBA
8/23 Salt Lake City, UT – TBA
8/24 Boise, ID – The Olympic
8/25 Portland, OR – Baker Ballroom
8/26 Seattle, WA – TBA
9/1 Zagreb, HR – Mochvara Club
9/3 Vienna, AT – Chelsea
9/4 Prague, CZ – Famu Club
9/6 Gent, BE – Cafe Video
9/8 Lille, FR – Le Biplan
9/9 Paris, FR – Espace B
9/10 Chatillon sur Seiche, FR – Rock on Noyal
9/11 Tilburg, NL – Incubate Festival
9/12 Antwerp, BE – TBA
9/13 Brussels, BE – Pin Pon
9/14 Dortmund, DE – Rekorder
9/15 Breda, NL – Electron
9/16 Berlin, DE – Bassy Club
9/17 Dresden, DE – Ostpol
9/20 Brighton, UK – Sticky Mike’s Frog
9/21 Northampton, UK – The Black Prince
9/22 London, UK – Birthday’s Dalston
9/23 Liverpool, UK – Liverpool Psych Fest
9/24 Sheffield, UK – Picture House Social
9/25 Manchester, UK – The Eagle Inn
9/27 Strausbourg, FR – Mudd Club
9/28 Geneva, CH – La Graviere
9/29 Heilbronn, DE – TBA
9/30 Lausanne, CH – Le Bourg
10/1 Florence, IT – Annibale Night
10/15 Oakland, CA – New Parish with The Sonics
“Suave but utterly stoned, it’s a reverb-haloed synth confection that swims straight toward your pleasure centers.” – Under The Radar
“I Want To Believe In Love, It’s Going To Be Okay, Let It All Hang Out” era of emotions has arrived. Tequila, weed, and love—it’s time to be… Emotional.
Emotional is the spiritual manifestation of songwriter, singer, director, and Death Records founder Brian Wakefield. Wakefield, a San Jose native, has been a humble mainstay of the San Francisco music community since the early ‘00s, working with various bands, most notably the “dream pop quartet” Melted Toys. Wakefield has also served as a sideman to Alex Bleeker & The Freaks, Cotillion, and Healing Potpourri. Emotional was initially embarked upon as an experimental side pop project to Melted Toys—it now serves as the signature vessel for Wakefield’s personal songwriting.
Ahh…The Name’s Emotional, Baby! arrives as a multi-label effort that will awaken a passionate surrender of humility and guilty pleasure. Following his heroes Kate Bush, Gram Parsons, and The Smashing Pumpkins, Wakefield casts a spell of irresistible tangy guitar reverb, bending synths, and candid melodies. It is a pop record, it is a true story, and it is a testament to the modern state of feelings. Written and recorded over the course of two-years with producer Ole Haarstad (Melted Toys), multi-instrumentalist Emmet Moskowitz, a.k.a., “Muzzy” (Froogy’s Groovies), and mastered by Patrick Haight (Spot-On Sound), the LP features guest appearances by vocalist Ryan Grubbs (Tiaras, Ganglians) and guitarist Adam Finken (Male Gaze, Tiaras, Blasted Canyons). It is the stoney memory of that impossible psychic love that shared an appreciation of Taco Bell. It is the tale of an artist who boldly says, “It’s okay to be emotional.”
Out Now via Burger Records, Danger Collective, Death Records, Empty Cellar, Gnar Tapes, Grabbing Clouds, Little L, & Plastic Response. Pressing is limited to 300 records on clear purple with cream splatter, and 700 on black with artwork by Muzzy Moskowitz.