Kranky Us レコード& CD

Review: Few recording artists have aligned the quantity and quality of their releases as well as New Zealand singer/guitarist Roy Montgomery has in 1995. Beginning with Kranky's release of the soundtrack for an imaginary film That That Is...Is (Not) by Roy's duo Dissolve early in the year, a series of superb albums and singles have been issued by a variety of labels across the world. Each one of them is a must have. Most recently, the Drunken Fish label released a collection of pastoral drones entitled Scenes From The South Island, singles have appeared on the Roof Bolt and Gyttja labels, and further singles are scheduled with Ajax, Siltbreeze and others. Temple IV is the first solo recording by Roy Montgomery on Kranky; the album was recorded by Roy on a four-track tape deck and then thickened up with monophonic moog. The tracks thereupon are thick with interwoven guitar lines and Moog drone, inspired by the Guatemalan rain forests and the mysterious ruins of the temple and ruins Roy visited there. The long overdue recognition of Montgomery as a crucial figure in New Zealand's musical history as a member of The Pin Group, Shallows and Dadamah, is now augmented by his new recordings. Temple IV will serve to extend and deepen that appreciation.

Review: South Carolina singer and producer Niecy Blues describes her songwriting process like an undertow: "I feel a strange pull, and let it carry me, following swirling leaves/whole days roll by, forgetting about the body." Their full-length debut, Exit Simulation, captures this sense of deep-rooted divination, cycling between simmering ballads, ghosted r&b, downtempo gospel, and looped vocal improvisations - often within the same track. The title is taken from a science fiction novel she read during the purgatory of the pandemic, alluding to a dimensional ideation of departure - "the permission to imagine leaving." Recorded in her current home of Charleston, she characterizes the album's mood in terms both reflective and raw: an exploration of things suppressed, foundations beginning to crack, "talking myself off a ledge." The music of Niecy Blues transposes reverie and reckoning into emotive devotionals of keys, guitar, bass, synth, and bewitched voice, steeped in sacred atmospheres gleaned from a youth spent in a religious Oklahoma household: "My first experience with ambient music was church - slow songs of worship, with delay on the guitar - even if you don't believe, you feel something."

Review: A fresh, atmospheric sound is proferred by South Carolina singer and producer Nancy Blues in the form of her latest vinyl LP Exit Simulation, in which she cuts through the intertwined hazes of childhood memory and personal psychogeography to produce a veritably ultra-ambient dust cloud of sound in 13 tracks. At its core, the album trickles faintly forth from the watershed that is neo-soul - multi-layering her voice; harmonizing; pitting honest, raw rimshots-n'-crackles against contemporary stylistic cornerstones like lo-fi and night-bussy ambient electronica - all to evoke, convincingly, the mood of stasis in which she finds current solace in her current home of Charleston. Evocative of having found a newfound time and place to reflect, Blues conjures up the weekends of her youth, spent mesmerized at the ambient music of the slow-paced devotionals performed by the local Oklahoman church band.