From the people who brought you Disappears (well, not people, but city), comes two additional and excellent new groups who eschew the “the” in their project name, go for the jugular, and do it up verb-style. I can usually get behind that.

First on deck is Follows –  a brand new project featuring Mia Clarke of Electrelane on spooky throat duties, Tony Lazzara of Milemarker, Colin DeKuiper of Russian Circles, and Eric Chaleff from bands that I am unfortunately not familiar with. “Black Black Rose” is an excellent primer for the dark territories in which Follows were reared, and reminds me a bit of a stripped down, mid tempo, and frightening Stereolab with a post-rock slant. The unencumbered sonic foreboding and minimal, gnarled, snakey guitar attack within this jam is perfect for a drive though nuclear winter. No full length or EP available just yet – only a demo preview, available for you to check out. The day of reckoning is neigh, so be prepared when Follows rolls up to your town in a horse drawn caravan with survival foods. Fans of Mogwai, Pram, and Indian Jewelry, listen up.

Next, meet Implodes. Just as dark and scary as Follows, with silky swells of fuzz rather than doom-invoking space as their weapon of choice. Think Flying Saucer Attack, but replace the serenity with paranoia. More upbeat than, say, Bardo Pond, but just as terrifying, Implodes put a new spin on shoegaze, keeping the melodies within the Hollow Earth rather than letting them soar like many dream pop bands are wont to do.  So I guess it isn’t just a clever name, amirite? Bad vibes are the new good vibes, and Implodes is spearheading this, along with a very nice budding shoegaze movement coming out of Chicago. Perhaps the Windy City will be the next Thames Valley? Stay tuned to The Decibel Tolls to find out!

Follow Follows amongst the MySpaces here, and Implodes lurk around these parts.

MP3 :::
Follows – Black Black Rose
Implodes –  Meadowlands

First, I love the band name. The versatility of trying to decide if The Late Virginia Summers is honoring a deceased woman or if they’re indicating an attempt to capture the mood of September in the mid-Atlantic region is a nice enigmatic touch. And the colorful yet lamenting mood on “Golden Cypress” seems to suggest both. The dangling threads of reverberated guitar notes, astronomical low end, and aquatic rhythm bring to mind Mogwai circa Rock Action and more ambient Do Make Say Think. Space rock is still very much alive, and it’s gotten intensely melodic as of late. (The Late Virginia Summers on MySpazz)

For fans of:  Mogwai, Experimental Audio Research, Set Fire to Flames

MP3 :::
The Late Virginia Summers – Golden Cypress

I don’t need to make a clever title involving this band’s name, as Motion Turns It On is already a complete sentence. The full package right there. Thanks, guys!

So, the music. If you’ve been pining for the sound of classic Chicago or Louisville math/post rock, Motion Turns It On (by way of Texas) may be your go-to guy. Be advised though (and here is where they draw their line in the sand), they hit hard. The typical snakey guitar lines you’d hear in, say, Don Caballero is replaced with insane fuzz and sci-fi sounds reminiscent of Raymond Scott.  Motion Turns It On is some of the finest tape echo-heavy ADHD garage prog I’ve heard since Hella. Get behind it.

“Moyedi” is about four songs in one, and you’ll dig on it hard. The group’s forthcoming Kaleidoscopic Equinox drops February 16, courtesy of Chocolate Lab. Additionally, you can see the dudes’ web space over here.

For fans of:  Cheer Accident, Battles, U.S. Maple

MP3 :::
Motion Turns It On – Moyedi

Just got a track sent to me from Cleveland’s Supervisor, which was a bitch to try to Google (and after all the searching, found out that this mysterion has no website, MySpace, photos, or any other contact info outside of Soundcloud). Regardless, I’m stoked to have this track and the intrigue. This is some very righteous… what would you call it? Psychedelic post rock meets glitch IDM, much like Caribou when he was known as Manitoba and Aphex Twin’s more focused ambient work. While this recipe was certainly popular during the early part of the decade, during the zenith of groups like The Swords Project and Mogwai circa Happy Songs, this is a musical movement I’m more than happy to see return. Terminally blissful. Suck it, Neon Indian.

For fans of:  Manitoba/Caribou, Koushik, The Helio Sequence

MP3 :::
Supervisor – Detronome

Time again for the obligatory year end list. However, ours is a bit different than others you may have seen. For example, this list is not enumerated. Empirically ranking albums rather trivializes the music, yes? Nor is the list in any particular order, save for the fact that we assembled it based loosely on aesthetics – meaning, we encourage you to mash on the little javascript media player in the bottom left-hand corner and enjoy our best-of picks as a mixtape or an uninterrupted block of music. Not only is this a fine collection of altered states laments, but each and every one of these albums is better than the Grizzly Bear borecore collection. Believe it!

>>>>> FAVORITE ALBUMS OF 2009
The full length jam hives that we found the most innovative, intriguing, enjoyable, or all of the above.

Outside Trish Keenan’s traditional channeling of Margo Guryan and The United States of America and Julian House’s spooky samples, it’s hard to distinguish where Broadcast ends and The Focus Group begins. The collaboration is seamless and ornate, and is a strong addition to the flawless curriculum vitae for both Broadcast and The Focus Group. The Be Colony | Review

Did you know ambient music can be funky? When White Rainbow drops the tablas on his bliss outs, it’s time to hit the floor. All the Boogies in the World [excerpt] | Review

A more optimistic and concise effort, yet still saturated with her signature melted synths, junky keyboards, cough syrup vocals, and general underwater timbre, Hors D’oeuvres finds Tickley Feather as the compromise between Movietone and Ariel Pink. Trashy Boys | Review

Explosive dream pop with a slight electro edge, A Sunny Day in Glasgow burn the best sounds of Flying Saucer Attack and Cocteau Twins together in the same white-washed celestial head stew. Failure

A west coast sludgy summoner of stoner rock, Nothing People’s Late Nite is a less spastic and noisy sophomore effort, straddling the median tremolo-saturated, syrupy acid rock and shoegaze – another definitive post-millennial primer for more ominous trips down the rabbit hole. It’s Not Your Speakers | Review

Songs of Shame is more extroverted and less antiquated than 08’s At Rear House, and is pushed out of the womb with such fervor that I can finally get behind the strained falsetto, Elliott Smith experiencing zipper-trouble vocals. Gypsy Hand | Review

More and more artists are paying homage to Thoreau lately and recording their music in the midst of a hermetic retreat. Many return with nothing more than a bruised ego and a full beard. Damon McMahon returned with Dia after his pilgrimage in 2006 to the Catskill Mountains. Both insular and cavernous, this debut LP is an uninhibited trek through McMahon’s psychedelic mindscapes. Patagonian Domes | Review

The aural equivalent of an Ektachrome dusk, Lockett Pundt proves himself as Deerhunter’s understated force and the the undeniable ying to Bradford Cox’s yang, pinpointing exactly where and how the band gets its balmy, sedated atmosphere. A gorgeous second-wave shoegaze statement. A Threaded Needle | Review

Reverberated fuzzy guitars, punchy rhythm, a shoegaze aesthetic, totally damaging heaviness, and a touch of retro chic on acid – Chicago’s Disappears are everything that’s great about rock and roll. They lit a fire under my ass so severe that I still keep the Solarcaine stocked. Hearing Things | Review

Phantom Family Halo’s sprawling 2LP post-apocalyptic lament is evil and would make you think Louisville is a scary place or something. While the entire body of work can be classified as psych garage rock or acid rock, the record’s all over the place within the parameters of brain melting. A bit of Boards of Canada style ambient explorations here, a bit of krautrock motorik rhythms by way of Faust there… and then insanely reverberated crunchy guitars ascend from the primordial ooze scary enough to make Fever Ray poo her trou. These dudes are sonic warriors. Child of Light | Review

Phased surf guitar working and a dejected tropical attitude operate in tandem with autumnal acoustic overtones and gossamer melodies to produce something along the lines of a slacker Yo La Tengo. Fake Blues | Review

City Center was probably recorded underwater. I’m not sure how Fred Thomas did this without shorting out his gear, but this record’s precise aquatic timbre and dark reverb could’ve only been achieved submerged. Another gold star for the sampsycore camp. Bleed Blood | Review

Ever since Scratch Perry lost his goddamn mind, we’ve needed someone to don the dub crown. We nominate Sun Araw. The Message | Review

New Zealander Annabelle Alpers’ debut for Drag City, and second proper album, has been described by a couple of writers as a sort of quirky “bedroom pop.” I wholeheartedly disagree. My Electric Family is expansive, radical, and ionospheric. Packed with reverb, sweeping moods, and surrealistic lyrical motifs, Bachelorette is way too large for any bedroom. It also has a hypnotic quality so acute and permeating that we can safely say that Alpers has invented “cult pop.” The National Grid | Review

The Columbus total damage trio makes Robert Pollard look like Phil Spector. Punk as fuck. And underneath all the shit – great pop songs. Hustler, Psycho, Son

If there’s anyone that can remove the fashion-conscious aspect of noise-pop that creates filler and polarizes bands like Wavves, it would probably be a bunch of kids in their basement playing to no audience. Recently championed by Psychedelic Horseshit as “the greatest band in the country,” Fungi Girls are these kids, and they’re surprisingly more nihilistic and creeping than most of the recent shitgaze bands who paved the way for them. Crystal Roads | Review

True-to-cannon heavy shoegaze with a cavernous and dramatic eastern flair, all focused through the ominous looking-glass of their native Detroit. Tiger Fighter | Review

Gentle fingerpicking, bright tonal sprays of analog synths, and an impeccable ear for vocal melody holds every song on Childish Prodigy. A disciple of both Neil Young and R. Stevie Moore, Vile’s amalgamation of influences is arresting in both its musical scope and bravado. All the while, Vile’s signature, a bourbon-soaked Avey Tare croon with a shot of impenetrable confidence, steers and unites this eclectic, cohesive work. Inside Lookin’ Out | Review

While the Bolt hasn’t exactly gone verse-chorus-verse on us just yet, the newfound tightness Earthly Delights is much more structured and, at times, almost hummable compositions. That is not to say that LB has lost any edge, but simply that Earthly Delights throws a little Occam’s Razor into the mix. The group’s opting to keep their disposition a bit simpler and less freeform. Transmissionary | Review

Dream folk like “Criminals” makes Logos a good album. Epic motorik anthems mixed in, a la Cox’s collaboration with Stereolab’s Laetitia Sadier on “Quick Canal,” make Logos a great album. Quick Canal | Review

While the subterranean groove and minor key construction evoke a more haunting, nighttime-appropriate flavor, there’s also a visceral optimism that runs underneath the LP like groundwater. Perhaps it’s the playfulness between genres and moods, or the freewheeling construction of the songs… or perhaps not all noise/freak psych kids like to make nihilistic records. Not to be confused with The Nuge. Two Hands | Review

While some of her recent work has adopted a more intimate and traditional folk approach, A Ways Away is lush, weird, and engrossing. Psych folk is the closest reference point, yet TJO is also entirely something else. In a way, A Ways Away is a return to form and a maturation. The crafty utilization of space and syrupy slow tempo is reminiscent of the Louisville scene in which she came, while at the same time, TJO is fully owning her sound. The result is a beautiful and accessible work that relishes in desolate sounds and bucolic late night wandering. Beast, Go Along | Review

Strongest effort from this definitive freak folk collective since Cathedral, and certainly the most ominous of his career and a textbook example of brilliant use of sonic space. Sometimes it’s the notes you don’t play. On Beginning

Scary-ass Bjork releases a spacious and minimal analog electronic creeper that’s better than The Knife, and comes equipped with the best/funniest lyrics penned in quite some time. Still can’t listen to this shit at night without getting all paranoid in my head tech. When I Grow Up

Closer in spirit to experimental figures of yesterday like Moondog and Bernard Herrmann than current artists, Marc Richter seems dead set on completely disorienting our frame of reference. Richter does manage to arrive at moments of extremely cinematic avant-garde music that’s unlike much we’ve ever heard before. Rauschen | Review

Even in an increasingly noise-tolerant music culture, this is an adventurous listen, and that alone should have your earbuds watering by now. Auto Dimmer | Review

Ducktails masterfully crafted an album with a lulled but not quite hypnotizing quality, similar to the nature documentary sound that Boards of Canada achieve, with occasional lo-fi tape tinkering like on “Backyard,” with its phased bucket-toms and Robert Fripp inspired distortion shifting. Beautiful. Dancing With the One You Love | Review

Bird-Brains is completely demented and angular, kinda like Xiu Xiu, but without treading the blurry line between “artistic vision” and “sonic bullshit” that Mr. Stewart always straddled firmly. Everything from dub to yoddeling finds itself on what I’d guess you could call a kitchen sink freak folk album. Whatever it is, this shit is gospel. Fiya | Review

We’re very pleased to hear that, seemingly, the band is taking acid again. Worm Mountain

Mind altering modulating jungle boogie bogged down on purple drank and tribal bangin’ replete with sinister ragas and general skulduggery, Mirror Eye is one of the more pleasantly evil releases reared in ‘09. Eyes Closed | Review

Dragon Turtle’s debut, Almanac, is an expansive 45-minute trek that explores an alternating fear and awe of the natural world, and everything in between. They didn’t pack lightly either, hoarding a curious mix of folk, kraut rock, post rock, and small touches of calypso. Belt of Venus | Review

The massive arsenal of antique analog equipment that defined BMSR’s first three albums remains in tact – the vocoder-saturated vocals of Tobacco, the thick and swirling novatrons and mellotrons that cultivated a general feeling of sunshine and old 8mm films about nature, etc. However, Eating Us showcases a more organic band, incorporating more acoustic instrumentation and mellow moods without disregarding the group’s traditional glitchy, Technicolor timbre. Iron Lemonade | Review

The original keyboardist from Broadcast peaks out from his lair to release another fantastic testament for Ghost Box who, like Motown and Creation, created a whole new aesthetic in music. Roj has distinguished himself as the tinty, rhythmic, retro-futuristic sci fi voice in hauntology. What I Saw

Super positive rural psychedelia best experienced with peace pipe in hand and vision quest in front. Made from warm tape excursions from them to you. Feels good to vibe this hard. All the Good Songs Have Been Written

The girls’ new album Fraushaus! has one foot in the shit-gaze movement and another recalling the gleaming-amateur looseness of the Shaggs, complimented by unexpected touches of found sounds and flea-market synths. Round Vox | Review

>>>>> FAVORITE EPs OF 2009
Though no longer than 20 minutes a piece, these nuggets of joy deserve some mention

There are certain sounds synonymous with the Summer of Love, but what about the winter that followed? Bronx trio Pigeons have a decent guess in mind. Their account of classic psychedelia is a much colder affair than most’. Stringing together a bizarrely addictive mix of paranoia, mystery, and seduction, their new tape-splintered 7? Lunettes is something I could only describe as psych-noir. Tendress | Review

No Age demonstrates here, moreso than Nouns, a mastering of their craft in profound ways. They’re no longer trying to capture the sound of My Bloody Valentine’s early EPs. They’re becoming completely their own thing – dream punk. Losing Feeling

The Philly subterranean brooding fuzz plus flute collective does no wrong, and their contribution to the Three Lobed subscription series is no exception. Do you know what a Bardo Pond is? Me neither, but it’s probably where God kills Republicans. The Path

We could tell the girls of Pocahaunted were getting antsy when they started injecting dub and dance hall elements into their trademark campfire drone sessions on last year’s Island Diamonds. To remedy this, they’ve teamed up with members of Sun Araw, Robedoor, Magic Lantern, and Fantastic Ego to ditch the delay pedals in favor of some wah-wah. Honeycomb | Review

Sloppy yet lush psychedelic punk that hits hard. Consider Atlanta’s The N.E.C. the southern response to No Age. Old Medicine

Lush arrangements, non-grating noise walls, and oceanic melodies, Banjo or Freakout is the tech-savvy, post-millennial incarnation of Slowdive. Looking forward for the full-length! Like You

Super retro, super cinematic crunchy garage stomp with interstellar overtones, dramatic turns, and harshed mellows. Blood on the Sand is exactly what is sounds like – beach times gone wrong, Weekend at Bernies style. Blood on the Sand

Ovals & Emeralds is full of disorienting growths of sublime field recordings, toy-chest noises, and coarse synths. Bibio’s signature creekside guitar is barely present, but here he has crafted his ambient work to equal perfection. The sun goes down on his usual idyllic pastoralism to bring out a bleaker landscape with a slightly menacing air to it like the meditations of Wolfgang Voigt. Carosello Ellitico | Review

Not to be cliche, but no other piece of music partied like it was 1879 harder than the vinyl-only issue Among the Gold. Silver Threads | Review

No, The Books didn’t take the bad pills. Lucky Dragons are the jovian trance music of the century after next. With woodwinds. Power Melody

>>>>> FAVORITE REISSUES/COMPILATIONS OF ‘09
Our ten favorite that needed to be heard again

Everything you all do is amazing. Great job! Keep ‘em coming. Fans of weird field recordings and anthropologists owe you a big batch of homemade cookies at the very least. Night Recordings From Bali – Peliatan Night Walk

Honest Jon’s compilation of 1920s Iraqi recordings is truly a gem, but it’s not for everyone. It isn’t the type of “world music” employed for NPR bumper music or in the living rooms of people who like to feel “cultured.” Documenting very otherworldly dance and, for lack of a better word, Middle Eastern blues music, these recordings were remastered from some of the earliest 78s ever pressed. This disc features ardent vocal performances over violin, hand percussion, an occasional lute, and not much else, relying more on raw performances that, at times, resemble a prophetic view of west coast folk and free jazz. Badria Anwar – Lega Taresh Habibi

While their timeline coincides with New York’s no wave movement, their Deutsche no wave is something else entirely. Amalgamating the dadaist cool and nervous energy of Suicide, their homeland’s motorik rhythm, the loud and detuned psychedelics of Spacemen 3 (whom 39 Clocks actually predate), the organ-as-diving-rod experimental pop ethos of Silver Apples, and a Nuggets-ready proto-punk punch, the mensch of 39 Clocks chew up kraut and psychedelic subsets and spit them out into a ball of drug-riddled prophecy and rock and roll shenanigans. Dom Electricity Elects the Rain | Review

A lot of people complain about Kraftwerk, saying “oh, I can do that.” Yeah, well, they did it first, and you didn’t. Everything between Autobahn and The Man Machine rules hard and sounds beautiful, so shut the fuck up. It’s worth mentioning, and perhaps is a bit ironic, that the sound of Kraftwerk is slightly more powerful with the analog recordings, if for no other reason than to provide a timeframe. How ’bout that? Regardless, it’s nice to have all their best work in one place and sounding awesome. Antenna

The landmark 1972 record that should’ve included them in the same sentence as Faust, Can, and Neu, but for some reason didn’t. Perhaps it was because they sounded too much like Blue Cheer? Either way, Kanguru’s reverence is long overdue. Oxymoron

You put Boards of Canada, Aphex Twin, and Broadcast on the same release, and it’ll end up on a best-of somewhere on this blog. Like the Movern Collar soundtrack, but without the shitty movie that accompanies it. Boards of Canada – Amo Bishop Rodan

Believe it or not, Califone was Tim Rutili’s calmer project compared with Red Red Meat’s shit-blues zenith Bunny Gets Paid. Rosewood, Stax, Volts, and Glitt

This band was awesome. You can talk about how rad [insert hawt buzzband here] is until you’re blue in the face. But guess the fuck what. The Beatles did it first. Thanks for playing. While the only difference I can tell between the Remasters and the original is the volume, MagiMystour always gets royal treatment on this blog. Flying

The Vaselines were one mighty contradiction – a massive sound crafted by only two people, double entendre lyrics sung with coyness, gritty production and sloppy instrumentation coupled with truly soaring, gorgeous melodies – this duo was a real gem. Lovecraft | Review

A combination of bad timing, arguments with the label over the band’s presentation (namely, well, their name), and a generally ill-prepared state of music allowed this missing-link of punk rock to fall through the cracks until Drag City intervened this year. A remarkably well-aged time capsule of hefty hooks and driving power, For the Whole World to See is a blistering proto-punk artifact. You’re a Prisoner | Review

Somewhat of a strange bill, but I’ll take it. Two Chicago brain burning luminaries, Tortoise and Disappears, will be storming the castle known as Louisville’s Headliners Music Hall. While Tortoise is legendary, I think I’m more stoked on Disappears. Sofa king loud, dude. There are only a few select dates, and you can peep them on the Disappears blog here.

Tortoise and Disappears
Thursday, February 11th
Headliners Music Hall
1386 Lexington Rd., Louisville (map that shizz)
9 p.m. / 18+
$15 advance / $18 at the door
On Sale 12/4 @ 10am (at ear X-tacy and Ticketweb, presented by ProdSimp)

POSSIBLY RELEVANT :::
Disappears – Another Great Verb-As-Noun Band
Tortoise – Beacons of Ancestorship

MP3 :::
Tortoise – Yinxianghechengqi
Disappears – Lux

No doubt you’re already all up on the double vinyl release Monoliths & These Flowers Never Die. The party for Phantom Family Halo goes down this Wednesday at Lisa’s Oak Street Lounge with openers Softcheque (for fans of Blues Control, Broadcast, Stereolab). I’ve got two guest list passes for the show. Want to go? Leave a comment or shoot an email to kb[at]thedecibeltolls with the answer to the following question:

WHAT THE FUCK ARE YOU THANKFUL FOR, PILGRIM?!

A winner will be chosen at random, or maybe a winner will be chosen for best response, or… I dunno. But someone will be crowned tomorrow evening by 1800 hrs (that’s 6 p.m.), so shoot that shit my way. You must verify that you’ll be in the Louisville area for the holiday week.

Monoliths & These Flowers Never Die Record Release Party:
Phantom Family Halo with Softcheque and DJ Chaddles
Wednesday, November 25
Lisa’ Oak Street Lounge
1004 E. Oak St., Louisville (map that shizz)
9 p.m.-ish
21+

This show serves as the kick-off for their tourwith Chicago-based cloud-seeding post-rock juggernaut Russian Circles (FIYL Mogwai, Explosions in the Sky, Godspeed You Black Emperor) and new Temporary Residence decibel shredders Young Widows. Happy holidays, scaliwag:

NOV 27 – Detroit MI, Magic Stick
NOV 28 – Buffalo, NY Soundlab
NOV 30 – Milford CT, Daniel Street
DEC 1 – New York NY, Bowery Ballroom
DEC 2 – Cambridge MA, The Middle East
DEC 3 – Washington DC, DC9
DEC 4 – Philadelphia PA, First Unitarian Church
DEC 6 – Montreal QC, Il Motore
DEC 7 – Toronto ON, Lee’s Place
DEC 9 – Kalamazoo MI, The Strut
DEC 10 – Cleveland OH, The Grog Shop
DEC 11 – Louisville KY, Skull Alley
DEC 12 – Chicago, IL, Lincoln Hall

MP3 :::
Phantom Family Halo – Child of Light
Russian Circles - When the Mountain Comes to Muhammad

Though it should’ve been obvious, it didn’t dawn on me that a live performance by Slint/Tortoise/Crain/Shipping News rowdy crowd The For Carnation at a forward-thinking art celebration (The Speed Museum’s Art After Dark) wouldn’t exactly be a traditional band-plays-in-front-of-you type of gig. No dice on that. While it was odd at first, you realized shortly into the set how original and exciting such an unusual show is to experience.  It’s what Pink Floyd tried to do with their theatrical five city tour for The Wall, except it wasn’t stupid. Regardless of how you felt about its execution, you’ll definitely remember it. After I reflected a bit on what they were doing, I really got into it.

So yes, The For Carnation performed live. But they did so remotely. The group members were stationed in different locales about the museum. The show that you saw happened in the Antiquity Gallery, and it was a video project of the band performing filtered through a pixelated mosaic.

You can’t tell from the photographic evidence, but if you looked closely within the pixels, each was some sort of image, though it was hard to make out what exactly they were. It was quite incredible, actually.

So here we find vocalist Brian McMahan next to the European art collections. Hey. I didn’t find the rest of the band, but I didn’t feel the need to go on an easter egg hunt either.

This show, as well as the entire event, was triumphant and groovy. I noticed other people were videotaping the performance. If anyone has access to other videos (and permission to share), please give me a shout. Have a taste with some video we shot:

The For Carnation plays at the sold-out Ten Years of ATP festival this December in Minehead with Tortoise, Shellac, Fuck Buttons, Deerhoof, The Melvins, Explosions in the Sky, Battles, Lightning Bolt, Sunn 0))), and a slew of other decidedly awesome acts. Get yr. passport notarized, yanks.

MP3 :::
The For Carnation – Emp. Man’s Blues

I’m not sure if the Slint/Tortoise/Shipping News supergroup The For Carnation ever officially broke up. Hence, we can’t call their return a “reunion” necessarily. So we’ll referred to this event as their triumphant return. While we haven’t heard new material since 2000’s eponymous record (not counting the 2007 Touch and Go reissue of Promised Works) and there are no rumors that they may be recording again soon, it does seem The For Carnation has been officially reignited when they agreed to make their first public appearance in years at All Tomorrows Parties’ Ten Years of ATP festival this December in the UK. That is, until last week… when it was quietly, almost nonchalantly announced that The For Carnation will be playing Art After Dark at the University of Louisville’s Speed Art Museum on October 23. Like out of nowhere. I just silently mouthed “holy shit” reading that.

The skinny:

Art After Dark: Remix (the first of three museum-wide events held throughout the year, each with a different theme) will tie together a lineup of music, visual spectacle, creating art, and fun. Remix will feature the premiere of a multimedia art collaboration between classically trained American cellist Ben Sollee (an NPR Top 10 Unknown Artist of the Year) and multimedia Louisville artist, Valerie Sullivan Fuchs. Also featured will be the uniquely dynamic, minimalist-informed, yet R&B inspired music of “The For Carnation,” a post rock band from Louisville formed by Brian McMahan (formerly of the legendary band “Slint”), as well as theatrical interpretations of Pride and Prejudice and Zombies created by the wacky minds of LePetomane Theatre Ensemble, and fire dancing performances from The Phoenix Collective on the museum’s front lawn. Visitors will also want to keep an eye out for break dancers, a critic at large, “un-tours” of the collection and films from Louisville Film Society.

The For Carnation is R&B inspired? Eh, I buy that. They’re dynamic dudes. I’m totally there, brah.

The For Carnation @ Art After Dark
Friday, October 23 @ 7 p.m.
The Speed Art Museum
2035 S. 2nd St., Louisville (map that shizz)
All Ages

MP3 :::
The For Carnation – Tales

Rachel Grimes, formerly of folklore-evoking Louisville chamber post rock collective Rachel’s (whose founder Jason Noble is the reason for the Shellac-headlining benefit show announced this week), celebrates the release of her new album Book of Leaves tomorrow night (Thursday) at the 21C. The show will be the first in 21C’s Hear + Now multimedia A/V series. Seeing as it’s been a while since Rachel or Rachel’s have surfaced, and this new record is her first solo outing, you shouldn’t in good conscience miss this show.

Backseat Sandbar writes: “The show will also feature works by Daniel Gilliam, Lou Moseson and Sara Maclean.  The Series will feature newly composed works by regional creators and performed by regional creators for all of us to experience.  I’ve even heard that there will be a baby grand piano placed in the center of the room with seating in a theatre in the round style.  21c always pulls out all the stops and this series looks to be very exciting.”

Book of Leaves mixes modern composition with field recordings, and remains one of the more intriguing releases that has graced these ears. The album is available on vinyl and digital release via hometown heroes Karate Body. Grip it here.

Rachel Grimes Record Release
Thursday, October 8
21C Museum
700 W. Main St., Louisville (map that shizz)
7 p.m doors
All ages

MP3 :::
Rachel Grimes – Every Morning