#Fantasy Records

[nofatclips]

Wasteland by Seether from The Purgatory EP

[plus-low-overthrow]

Larry Williams & The ATS Express - One Thing or The Other Pt2. (Fantasy)

wrt. & prod. Larry Williams, 1977.

mentions Donuts...

[bandcampsnoop]

2/24/24.

DIIV (Brooklyn, New York) has a new album coming out in late May. "Brown Paper Bag" is the only song currently available. It reminds me of the underrated Erik Blood.

Without a doubt DIIV get filed under shoegaze. But there is definitely the melodic sensibilities of Deerhunter. I'd also like to redirect everyone to Launder - an LA based project that enlisted the help of DIIV's Zachary Cole Smith.

"Frog In Boiling Water" will be released via Fantasy Records. Their website still has a signed copy of the LP for sale.

[oldshowbiz]

Kenneth Rexroth reads poetry to jazz at the Blackhawk in San Francisco

[yeniyeniseyler]

Seether - Judas Mind (Video Klip)

[thisaintascenereviews]

Lake Street Dive - Good Together

In my review of the new Hey Violet album, I talked about how that album was pleasant to listen to, but it was ultimately forgettable. Aftertaste was one of those albums that was a good album when you listened to it, but it made no last impact otherwise, especially after it was done. I just forgot about it, but everything time I’d go listen to it, I enjoyed it. It just shows that being good isn’t necessarily good enough, because you need to have something that gives you a more lasting impression. Maybe one of those things is actually being quite talented at your respective instrument; I give progressive music a lot of flack for that, because they place musicianship and technicality over songwriting, but the talent is there. It just sucks when you can hear the talent, but the songwriting isn’t quite there.

I bring up all of that to say that’s how I feel with the new album from Lake Street Dive, entitled Good Together. I’ve never listened to this band before, but I’ve always wanted to check them out; they have a sound that I could ideally get into, being a mix between Americana, soul, rock, R&B, and pop. Their members came together at a school for music in Boston, so they’ve got the musical pedigree. This new album is their first in three years, but it’s also their first for Fantasy Records, so I was curious enough to listen to this. At a brisk 37 minutes, this is a quick little album, but at the same time, there’s not much for me to come back to after it’s done.

This reminds me a lot of Aftertaste, where it’s such a pleasant and catchy album, but when it’s done, the album’s relatively forgettable. The thing is, too, the talent is there. All of these musicians are great at what they do, but it seems like the pop equivalent of progressive rock and metal. You can tell that they care more about showing how good they are as musicians than making a really catchy album. The hooks are there, and they touted this album as becoming “less weird,” whatever that means, but this still feels like a generic but very well-performed pop album with touches of rock, Americana, soul, and R&B. It’s good stuff, and you’ll have a blast listening to this, but at the same time, there’s so much better and more memorable stuff out there.

[thephotopitmagazine]

TAKING BACK SUNDAY CONTINUES THEIR 2024 NORTH AMERICAN HEADLINE TOUR

Taking Back Sunday Continues Their 2024 North American Headline Tour New Album 152 Out Now via Fantasy Records   Recently Featured on Kerrang!, US Weekly, Brooklyn Vegan, Dork, Outburn, and more Beloved rock band Taking Back Sunday continues their spring/summer 2024 North American headline tour celebrating their latest record 152. The two-part run, featuring support from Citizen, is set to…

[verytinysongs]

Frog In Boiling Water by DIIV

Band Name: DIIV Labels: Fantasy Records Location: Brooklyn, New York, US ? Release Date: May 24, 2024 Tags: alternative, indie rock, post rock, shoegaze, slowcore

[mymelodic-chapel]

Creedence Clearwater Revial- Willy and the Poor Boys (Swamp Rock, Country Rock, Blues Rock) Released: October 29, 1969 [Fantasy Records] Producer(s): John Fogerty

[myvinylplaylist]

Creedence Clearwater Revival: Cosmo's Factory (1970)

Fantasy Records

[kdo-three]

Creedence Clearwater Revival - Down on the Corner (1969) John Fogerty from: "Willy and The Poor Boys" (LP) "Fortunate Son" / "Down on the Corner" (Single)

Roots Rock and Roll

JukeHostUK (left click = play) (320kbps)

Personnel: John Fogerty: Vocals / Lead Guitar Tom Fogerty: Rhythm Guitar / Backing Vocals Stu Cook: Bass / Backing Vocals Doug Clifford: Drums

Arranged by John Fogerty Produced by John Fogerty

Recorded: @ The Wally Heider Studios in San Francisco, California USA during 1969

Single Released: on October 29, 1969

Album Released: on November 2, 1969

Fantasy Records (US) Liberty Records (International)

Creedence Clearwater Revival: Down On The Corner

[sinceileftyoublog]

Allison Russell Album Review: The Returner

(Fantasy)

BY JORDAN MAINZER

On "Springtime", the first track on Allison Russell's second solo album The Returner, she admits she "used to think that I was doomed." If her debut Outside Child was about her journey to overcome abuse she suffered as a child, The Returner is a tribute to survivors relearning joy, and the complexity thereof. Russell's inherent hopefulness does not prevent moments of doubt from flourishing alongside mantras of self-worth; she therapeutically presents these raw feelings non-linearly, making The Returner a jaw-dropping manifestation of her struggle.

What's consistent throughout The Returner is that while despair and radical yearning often go hand-in-hand, the longevity of the latter can trump the oft-temporarily-incapacitating former. "So long / farewell / adieu adieu / to that tunnel I went through," Russell sings on "Springtime", marching forward with her clarinet in hand, the song eventually swelling with strings, firing keyboards, and funky drums. Fleeting feelings are treated as such: Her ask on the title track to "Throw me in the ocean and see if I can swim," atop wincing electric guitar, is quickly subsumed by declarations that "I'm worthy". "Shadowlands" starts with an all-timer of a first line, Russell singing, "I woke up from a goddamn nightmare / Just to find the house was on fire," though through deep breaths of strings and scratchy guitar, she stirringly proclaims, "We can't be broken."

Russell's words aren't platitudes, trying to convince herself she's okay when she's not. They're evidence of her emerging stronger. "Every scar and every bruise / They shine like blue Botswana jewels," she sings on "Snake Life". The Returner stands out when Russell dives deep into tenets of Black music. Outside Child fit aesthetically within previous Russell projects like Po' Girl, Birds of Chicago, and Our Native Daughters. Russell's sophomore record, co-produced by herself and dim star (the project of partner and fellow Birds of Chicago member JT Nero and Drew Lindsay), takes on gospel, funk, blues, Appalachian folk, and R&B. Hell, there's even an Outkast reference on "Demons", Russell imploring us to not let our inner hellhounds dominate us and instead relegate them "to the back of the bus." "Stay Right Here" is perhaps the best song on the album, building up with a post-punk drum beat and piano before Russell's vocals take a soulful turn. Not quite house, it could at least be an 80's club anthem if it had more bass. It's nonetheless a heartbreaking admission of Russell's tendency to dissociate as a child and sees her thinking about her own daughter and the weight of generational trauma. Russell's ultimate moment of overcoming, her dream that, "Wanna hear my daughter laughing / She can hear her daughter laughing / When we die, we'll die fighting," indeed recalls songs like "I Will Survive".

Towards the end of the album, Russell alludes to the process of songwriting as a means to conquer those aforementioned demons. On "Snake Life", she sings, "The bountiful Blackness / Weds that pregnant silence / And a song is born," one of the most concisely invigorating descriptions of creativity I've maybe ever heard in a song. And then there's a simple juxtaposition in the final track "Requiem", where she admits over scraping guitars that, "Bullets fly faster than mothers' lullabies." At first, the line seems like a litany, a mournful acknowledgement of the unfortunate power of violence. But then she makes a case for the slow burn: "Hope is a prairie fire." Something that can spawn new life in the wake of destruction is a fitting metaphor for Russell's artistry to date. Hope might be slower than the act of burning it all down, but its potential is greater than anything.

[plus-low-overthrow]

Damon Harris - Ride On (Fantasy)

1978.

[tobyfoxmademeascaly]

I adore y’shtola now because every single plan she comes up with is nigh-guaranteed to be the most unhinged idea ever thought up by cat or man. Being pursued by cops? COLLAPSE THE TUNNEL AND TELEPORT DIRECTLY INTO HEAVEN. Need to distract the Children of Everlasting Dark? THROW BEEHIVES INTO THEIR HOUSES. Need to perform a diving save into a bottomless pit? TELEPORT DIRECTLY INTO HEAVEN. AGAIN. Need to get on Mt. Gulg but air travel isn’t feasible? GIANT ROBOT. Need a portal to hell? MAKE A DEMON. That doesn’t work? SHOOT A LASER. AT THE MOON. Banger after banger.

[koobiie]

this is prompto and noct coded to me

[worldformula]

the convocation of fourteen (fears)