{"title":"This Week's New Releases","description":"","products":[{"product_id":"embrace-avalanche","title":"Embrace - Avalanche","description":"\u003cp\u003eWritten and recorded with a renewed sense of perspective, \u003cem\u003eAvalanche\u003c\/em\u003e sees the band stripping things back emotionally and sonically. \u003cbr\u003e\u003cbr\u003eDanny McNamara describes the record as the most honest and open work Embrace have made, choosing feel over polish and allowing songs to remain imperfect, unresolved, and human.Remarkably, the band’s line-up has remained unchanged since 1996 — a rare continuity that underpins their longevity. \u003cbr\u003e\u003cbr\u003eRather than offering answers, the album sits with the reality that life is fragile, overwhelming, and fleeting — and that meaning often exists in paying attention to what’s already here. Thirty years into their career, Embrace sound less concerned with legacy and more committed to capturing something real, right now. \u003cbr\u003e\u003cbr\u003e'We came into this album with a really simple idea: that real, deep, honest-to-God joy doesn’t live in the big, dramatic moments we’re all taught to chase. It doesn’t live in huge, unattainable goals or impressive, life-changing achievements. It lives in the small, almost invisible flashes of magic that happen when you slow down and actually live in the moment. Lyrically, I was trying to capture those little magic moments. Ironically, I’ve spent most of my life not noticing them, and when I finally did, they all came at once — it’s been pretty overwhelming. 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The trio’s singular masterful sculpting of sonics into songcraft tucks layers of vulnerability into frenetic storms. \u003cbr\u003e\u003cbr\u003e\u003cem\u003ein grief or in hope\u003c\/em\u003e is an innovative vision of electro-acoustic sound and emotive storytelling, an endless bounty of overwhelming distortions and devastating beauty. \u003cem\u003ein grief or in hope\u003c\/em\u003e marks a shift for BIG|BRAVE towards denser guitar-oriented compositions. \u003cbr\u003e\u003cbr\u003eWith longtime touring bassist, Liam Andrews (MY DISCO, Aicher), joining guitarist\/vocalist, Robin Wattie, and guitarist, Mathieu Ball, in the studio for the first time, the pieces are keenly layered with a rich tapestry of harmonics and tonal intricacies. The trio’s instinctual progressions made more vivid through live recording, harnessing the gargantuan and storied sound of their performances. Wattie writes: \" All that I could reflect on was grief and hope; death and life; cause and effect; shared experiences of being a human person.” \u003cbr\u003e\u003cbr\u003eThe tenth album for the ensemble, \u003cem\u003ein grief or in hope\u003c\/em\u003e pays homage to their past while looking into their future. Standout “the ineptitude for mutual discernment” expands on lyrical themes first explored on 2015’s Au De La where “verdure” echoes melodies from the title track of 2014’s Feral Verdure. These references to their past serve as potent reflections on BIG|BRAVE’s evolution as artists. A sonic whirlpool of string instruments surround Wattie’s commanding vocals as she shifts from spectral undulations on pieces like “what may be the kindest way to leave” to the direct, spare declarations of the title track. 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Artists aren’t necessarily scientists, logicians, or spiritual leaders, but through their personal understanding of order and experience, they provide experiential access to heightened states of both materiality and immateriality.\u003cbr\u003e\u003cbr\u003eThe band notes that “trusting each other’s concepts and visions was more important than repeatedly playing a section to see if the music worked, although this trust was only made possible through working very closely together.”\u003cbr\u003e\u003cbr\u003eWhile D2BT2HA! isn’t a suite per se, the music influences and interacts with itself in complex linkages. Horse Lords observe that “we like the idea of art as a tool for changing your perspective, being able to rotate ideas and see\/hear\/feel them from a different vantage point.” Or to use a phrase attributed to Swami Satchidananda Saraswati, “understanding is standing under where you are already standing.” \u003cbr\u003e\u003cbr\u003eThere’s clearly a lot of weight in the language used to title pieces, and D2BTA2H! is no exception––transcendence and uplift are inherent in the music’s operation and if all art is political, Horse Lords’ leanings are optimistic and community-centered. Transformation and re-viewing are not just a compositional strategy but a philosophical outlook, given such themes as “A City Yet To Come,” the title track, or utopic references. As they put it, “we try to make music that challenges the status quo and offers a path toward liberation for the listener. The study and exploration of sound and music has a spiritual and ecstatic dimension, and we have a great reverence for its impact on the individual and the world.”\u003cbr\u003e\u003cbr\u003eThe tension between striving for something beyond and what constitutes our lived reality is not lost, either, as “After the Last Sky” draws from poet Mahmoud Darwish’s “The Earth Is Closing in on Us,” which “uses the Palestinian case to problematize our utopian quest, acknowledging that this rests on a sense of security that is out of reach for many.” There are numerous sonic and conceptual layers in D2BTA2H!, but given the music’s undeniable power and humanity, the process of unpacking them is enthusiastic and deeply rewarding. 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Baby Man changed that — he disallowed himself from referring to material he’d been working on before laying the album down, utilizing the morning pages technique of stream-of-consciousness, observational songwriting which flowed directly into his afternoon recording sessions. It was both a breathtaking document of Johnson’s skill as a singer-songwriter and an unvarnished account of the two weeks in which he recorded the album.\u003cbr\u003e\u003cbr\u003eBaby Man’s closeness to Johnson’s heart and the close attention to his voice and instrument its minimalist-maximalist ethos required uncorked something in him as he wrote towards a new full band effort. “That session was over,” he explains, “but there was way more to explore. I liked the immediacy of it, and I wanted to see how that would translate into a full-band Fruit Bats record.” Within weeks, he was back in a studio, this time with his band — David Dawda (bass), Josh Mease (guitars, synth), Frank LoCrasto (piano, synth), and Kosta Galanopoulos (drums) — with whom Johnson has spent over a decade building Fruit Bats into one of the most in-demand live acts in indie rock. Listening to \u003cem\u003eThe Landfill\u003c\/em\u003e, it’s not hard to understand why: simply put, this band smokes.\u003cbr\u003e\u003cbr\u003eProducing the initial recording sessions in Washington’s Bear Creek Studios, Johnson set out to capture “the sound of this band I constantly marvel at, the feeling of being in a room with musicians you love and trust enough to let them cook.” They laid most of it down on the floor — no click tracks, no comped vocals, and minimal overdubs, with frequent collaborator Thom Monahan returning to provide additional production and \u003cem\u003eThe Landfill\u003c\/em\u003e’s final mix. “It’s how we do things with my other band, Bonny Light Horseman, and I was curious to see how it would work with Fruit Bats,” Johnson notes. “It’s both a very personal record, and my most collaborative to date.”\u003cbr\u003e\u003cbr\u003eAll of these songs — most of the songs on \u003cem\u003eThe Landfill\u003c\/em\u003e, in fact — mark themselves immediately as some of the best in Eric D. 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