Constellation

FYEAR is a power octet led by composer Jason Sharp and poet/writer Kaie Kellough, fusing spoken word voices with genre-bending compositions for electronics, two drummers, processed saxophone, pedal steel and violins. FYEAR melds drone, modern chamber, out-jazz, ambient metal, post-hardcore, avant-rock and electroacoustic maximalism in an integrated work the opposite of collage or pastiche; it always sounds like a wholly unified ensemble/aesthetic. Kellough’s poetic materiality conveys acute political-existential themes and plays elemental, cut-up instrumental/semiotic roles. Sharp and Kellough have collaborated on wordsound projects for over a decade, performing widely at avant-garde festivals across Canada, developing a symbiotic relationship where spoken text knits into the very fabric of instrumentation and composition. FYEAR has been emerging from these ongoing processes and performances since 2016, with the intensive interaction of two vocalists, and texts that anxiously interrogate our present and future capitalist polycrisis. The vision of a larger instrumental ensemble began to consolidate in 2018-2019 as Sharp continued writing arrangements and developing the music in tandem with Kellough’s refinement of the spoken word arc. This debut album by FYEAR documents its resulting signature 40-minute multi-movement work, which was fully realized in 2020 and has been performed several times over the past three years. The ensemble’s first performance was commissioned during pandemic lockdown by Jazzahead! Festival (Bremen DE), recorded in an empty Montréal venue, and premiered as a broadcast in April 2021 (subsequently rebroadcast by several festivals in Europe, Britain and Canada that year). The group’s proper live debut on 11 September 2021 at Send + Receive (Winnipeg CA) was roundly hailed as a festival highlight, with rapturous receptions following at live performances during the 2022 Suoni Per Il Popolo Festival (Montréal CA) and the 2023 Moers Festival in Germany. FYEAR is an undeniably gripping and singular live experience of electroacoustic, semiotic, musical and political substance. The album captures the balance of widescreen dynamic intensity and unflinchingly urgent grittiness of the work, further contextualized by extensive printed artwork culled from FYEAR’s live visual projections (by acclaimed graphic artist Kevin Yuen Kit Lo). Jason Sharp has released three solo albums on Constellation and has appeared on records by artists as diverse as Roscoe Mitchell, Matana Roberts, Nadah El Shazly, Ratchet Orchestra, Sam Shalabi’s Land Of Kush and Elisapie. Kaie Kellough has been a sound performer for two decades; his poetry and short story writing have been nominated for multiple awards and have won the Griffin Poetry Prize and the Hugh MacLennan Prize for Fiction. Other FYEAR members have credits that include Mingus Big Band, Aaron Parks, Lhasa, Bell Orchestre, Patrick Watson, and various award-winning film soundtrack works.

言わずと知れた大名盤！カナダを代表する世紀のポスト・ロック・バンド"Godspeed You! Black Emperor"が、1998年に名門インディ・レーベル〈Constellation〉より発表した歴史的デビュー・スタジオ・アルバム『Yanqui U.X.O.』がアナログ・リイシュー。アンビエントやドローン、フィールド・レコーディング、室内楽などの要素を、メランコリックにして服喪なアトモスフィアへと落とし込んだ終末的ポスト・ロックの大傑作。

A full decade ago, Godspeed You! Black Emperor released Yanqui U.X.O. with no publicity or press availability, no marketing plans, no cross-promotions or brand synergies, driven by word-of-mouth from a passionate and committed fanbase galvanized by the group's sonic vision and its dedication to unmediated, unsullied musical communication.To suggest that such simple principles and goals have become harder to maintain and enact a decade later is an understatement, but Godspeed is looking to try all the same. The band wants people to care about this new album, without telling people they should, knowing full well that these days, anti-strategy risks being tagged as a strategy.The band has been blazing its own path again since 2010. We think they have made a new record that maintains if not exceeds the standards of their previous work. After almost two years of post-hiatus practicing, playing and touring, Allelujah! Don't Bend! Ascend! delivers two mighty sides of music that are definitively stunning, immersive and utterly true to the band’s legacy. The future looks dark indeed, but on the evidence of this new recording, Godspeed appears wholly committed to staring it down, channeling it, and fighting for some rays of sound (and flickers of light) that feel hopeful and true.

Cassettes are available in limited edition of 70 copies, will be shipped from Mexico. Cassette recorded profesionally in real time + Digital Album Housed in clear case with full color labels and double-side printed J-card

U.X.O. is unexploded ordnance is landmines is cluster bombs. Yanqui is post-colonial imperialism is international police state is multinational corporate oligarchy. Godspeed You! Black Emperor is complicit is guilty is resisting. The new album is just raw, angry, dissonant, epic instrumental rock. Recorded by Steve Albini at Electrical Audio in Chicago and mixed by Howard Bilerman and Godspeed You! Black Emperor at the original Hotel2Tango in Montreal.

Coin Coin Chapter Five: In the garden… is the latest instalment in composer, improviser, saxophonist, and visual artist Matana Roberts’ visionary project exploring African-American history through ancestry, archive and place. Weaving together elements of jazz, avant-garde composition, folk and spoken word, Roberts tells the story of a woman in their ancestral line, who died following complications from an illegal abortion. At a time when reproductive rights are under attack, her story takes on new resonance. “I wanted to talk about this issue, but in a way where she gets some sense of liberation,” Roberts explains. By unpacking family stories and conducting extensive research in US public archives, Roberts has created a rounded portrait of a woman who is, as their lyrics put it, “electric, alive, spirited, fire and free.” Each part of Coin Coin explores radically different musical settings, from the free jazz and post-rock eruptions of Chapter One to the solo noise collage of Chapter Three. Featuring a new ensemble steeped in jazz, improvisation, new music and avant-rock, helping to expand the project’s existing sonic palette, Chapter Five is no exception. Roberts is joined by fellow alto saxophonist Darius Jones, violinist Mazz Swift (Silkroad Ensemble, D’Angelo), bass clarinettist Stuart Bogie (TV On The Radio, Antibalas), alto clarinettist Matt Lavelle (Eye Contact, Sumari), pianist Cory Smythe (Ingrid Laubrock, Anthony Braxton), vocalist/actor Gitanjali Jain and percussionists Ryan Sawyer (Thurston Moore, Nate Wooley) and Mike Pride (Pulverize The Sound, MDC). The late, great trumpeter jaimie branch, who was due to play on the album, receives a credit for “courage”. The album is produced by TV On The Radio’s Kyp Malone, who also contributes synths. As a composer, Roberts draws upon strategies associated with the post-war avant-garde, including John Cage and Fluxus member Benjamin Patterson’s conceptual approaches to scoring and performance. The immersive work of Maryanne Amacher, in which “sound and the body almost collaborate” is another key influence. “That is the foundation for me of the Coin Coin work,” they explain. “It’s not just the alto saxophone as an instrument placed in the jazz canon, it's the alto saxophone as an instrument that can be utilised to affect the body.” Listeners will be struck by Roberts’ ability to mould diverse sounds into a cohesive whole. The spoken word passages are accompanied by driving modal jazz on “how prophetic”, minimalist synth loops on “enthralled not by her curious blend” and cantering folk forms on “(a)way is not an option”. These are interspersed with instrumental pieces that range from avant-garde abstraction and squalling free jazz, to solo saxophone reflections and Mississippi fife and drums blues. There’s a further evocation of American roots music in the powerful group vocal arrangement of “but I never heard a sound so long”, adapted by Roberts from the plantation lullaby “All The Pretty Horses.” While this new chapter of Coin Coin focusses on a female-identified protagonist, others haven’t (Chapter Three being from the perspective of a male ancestor) and Roberts intends for future chapters to continue to cover the breadth of the gender spectrum, as well as their Native American heritage. “I'm proud that people say that the Coin Coin work speaks of a woman's story. But I want to make sure that it retains its inclusivity, because what we look like is not always what you see.” This reflects Roberts’ own experiences as a queer person of colour. For the remaining chapters of Coin Coin, Roberts will continue exploring identity and ancestry. “Expect it to keep heading towards a liberation of the human spirit.”

Musician and sound/video installation artist Steve Bates presents a striking solo ambient/noise album of melodic smear, radiostatic blur, panoramic noise clouds and dissolving tones. Made primarily with the self-imposed limitation of a Casio SK-1, All The Things That Happen showcases the more deliberate, intensive, maximalist side of Bates' wide-ranging sonic aesthetic and practice. An isolation record (like so many), it combines an ineffable melancholy with claustrophobic tension and simmering political rage. Constructed from layers of glistening distortion-drenched melody, pulsing and droning oscillation, bursts of blown-out chords, sweeps of static and sheets of crackling hiss, Bates has made a dynamic, ardent, iridescent noise album of impressive depth and underlying devastation. "This was supposed to be an ambient record; quiet, minimal and sad. These tracks all started off that way but I kept reaching for more texture and noise. Somehow the noisier the record got, the less sad it was also. I was listening to, and loving, a lot of music by Andrew Chalk and I had finished a year-long run of listening to Eno’s Ambient 1 and 4. I prefer On Land to Music for Airports although I love both. On Land just has a darkness and uncertainty that appeals to me. Adding more noise also got me excited about ways this material could be played live even though it also felt like that could never happen again. In 2022, I opened for Godspeed You! Black Emperor in Saskatoon to give it a try and was pleasantly pleased to hear it all live and loud." A fixture of Winnipeg's burgeoning anarcho-punk and social justice community in the 80s-90s, Bates played in hardcore and indie rock bands (XOXO, Bulletproof Nothing) while contemporaneously continuing to fiddle obsessively with the shortwave radio his father bought him as a child — sensibilities that continue to meld and inform his sound work to this day. Bates founded the Send + Receive Festival in 1998, a crucial development in putting Winnipeg on the map for avant music and experimental sound art, which he helmed for seven years. Moving to Tiohti:áke/Montréal in 2005 he took on the Sound Coordinator position at Hexagram (Concordia University), released solo and duo work on ORAL_records and two albums with his Black Seas Ensemble on The Dim Coast, while pursuing myriad other ongoing audio research, installation and collaborative projects. His exhibition and site-specific works have been presented throughout North America and Europe, Chile and Senegal. Bates relocated to Treaty 6/Saskatoon in the fall of 2019, a return to the Canadian Prairies just before pandemic that also profoundly shaped the solitary, immersive, assiduous practice that yielded All The Things That Happen: his most purposive, powerful, purely ‘recorded’ work. Thanks for listening.