CD's

Some of the greatest artists in the 20^th century have been multi-instrumentalists – cue Prince, Stevie Wonder, Curtis Mayfield, Todd Rundgren and Paul McCartney. That expansive understanding of composition, technique and sound changes how artists approach musicians has inspired Leland Whitty’s approach on his new record Anyhow. BADBADNOTGOOD’s Leland Whitty has also worked with artists including Charlotte Day Wilson, Kali Uchis, Kendrick Lamar, Ghostface Killah, Snoop Dogg, Mary J. Blige, Earl Sweatshirt, and Kaytranada.  

Whitty’s current solo project is a departure from the improvisation focused collaborative band that has made his name. Anyhow began in 2020 after Whitty had finished working on several film score projects including Disappearance at Clifton Hill (Albert Shin) and Learn to Swim (Thyrone Tommy). That focus on narrative fed into his own work, which combined elements of cinematic composition with jazz and rock like he has created in the past. 

His latest album Anyhow features Whitty on guitar, synthesizer, woodwinds, production, composition and strings. Narrative is built into each of Whitty’s tracks in some way. Rather than a specific story, he drew from photographic or cinematic sources. The aim was for the production and arrangement to imply the kind of structural narrative found in jazz improvisation. Whitty’s compositions emerged from voice notes and short loops, for example guitar riffs that he would feed into Ableton and flesh out into larger arrangements. 

LP is Standard Jacket + Download Card.

CD is 4 Panel Digipack.

Maston released his debut album, Shadows, in 2013, and moved from his native Los Angeles to Amsterdam for a several year stint sitting in with Dutch musician Jacco Gardner’s band. It was during this period that Maston wrote and recorded his second album Tulips (2017). Influenced by European film and library music, the largely instrumental Tulips was released to critical acclaim, garnering comparisons to Ennio Morricone, Sven Libaek, & Piero Umiliani. The record was accompanied by several 16mm films directed by Maston, and the LP’s limited private press release on his own Phonoscope label has become highly sought after among crate diggers and collectors alike.

Following Tulips, he began producing and mixing records for other artists, including his collaboration with Pedrum Siadatian (Allah-Las) as PAINT, whose first two LP’s were produced and recorded by Frank. In April 2021 Maston released his third album, Panorama, on the legendary library music label KPM, bringing his soundtrack influences full circle and firmly cementing himself as a contemporary composer.

LP is Standard Jacket w/ Download Card, Printed Inner Sleeve & Foldout Poster.

CD is 4 Panel Digipack.

Consider the power of the vibe. After all, the power of positive vibes transcends simple categorization or a Sopranos meme. A good vibe is a cool breeze and ice cream on a sweltering afternoon. It is the athlete whose sixth sense and unselfishness makes everyone on the court play better. It is those Bob Ross videos where with a gentle voice and a few quick brush strokes, the painter conjures arcadian beauty. Good vibes are something that the modern world desperately needs. Graciously, such benevolent energy can be found on ‘Lionel Boy’, the Innovative Leisure self-titled debut LP from Lionel Boy, the Oahu-bred singer-songwriter.

In the case of Lionel Boy, the native Hawaiian sense of the Mahalo spirit is inextricable from the art. And like the word “Mahalo,” there is a deeper meaning to the music beyond superficial translation. Mahalo literally translates to “thank you,” but it’s an entire approach to life: it encompasses the value of thankfulness, appreciation, and gratitude. While those might easily interpret it as indifference and apathy, it is a product of profound connectivity and three-dimensional perspective. Few things are more difficult than making a work of art appear effortless. The airy, jazz-cracked, electronic pop of Lionel Boy belies a wistful romanticism, a careful observational streak, and a meditative fixation on life and death.

A famous John Keats quote holds that you shouldn’t write poems unless the words come naturally as leaves falling from a tree. In a slightly different sense, you can use this notion to trace the trajectory of Lionel’s career. For most of his life, the apostle of chill born Lionel Deguzman was a skater kid. The pursuit taught him the value of individuality -- in the sense that there are myriad ways to ride a skateboard and you find your own way by figuring out your own natural style -- a singularity that sets you apart from everyone else who can do a backside 180. It’s this attitude with which Lionel approaches music. Even then, this evolution had a streak of serendipity.

In the summer of 2018, Lionel first entered a studio in Long Beach with two close friends (he’d moved to the West Coast port city several years prior). The recording session started by shouting obscenities into the microphone. But inspiration slowly took root and the Lionel Boy vision began to manifest. That same year, Lionel began working with the celebrated producer Jonny Bell on an unrelated project. The strength of the artistic kinship eventually led him to produce the Lionel’s first single, “Are You Happy Yet,” and the Who Is Dovey? EP, released on Innovative Leisure.

Flash forward, a few years later, and the creative union has led to ‘Lionel Boy’, an electric synthesis of Lionel’s sounds -- which FADER previously hailed as “slacker pop” (alternate ascription: “liquor store pop.”). It’s a warm and mellow album built to keep you company on long drives. If Lionel’s artist DNA stems from a classic singer-songwriter tradition, it’s been subtly transposed with the influences of the rappers, beatmakers, and R&B singers that dominate his listening habits. “Kam Highway” sounds like a breathless moonlit torch ballad laced with a touch of inspiration derived from Boi-1da’s kicks on “Mob Ties.” With “Tides,” Lionel Boy updates Jack Johnson and Ben Harper for a generation in dire need of expansive and endearing mood music. “Mango Michelada” reimagines the synth sounds often used by Frank Ocean to create a song that comes off as refreshing and tropically chill as its namesake.

Despite being recorded during the pandemic, Lionel and Bell somehow managed to create an antidote for the anxiety. They’d visit each other several times a week, slowly fleshing out the demos that Lionel recorded at home, aided by a squadron of highly gifted virtuosos (Fred Garbutt, synthesizers; Bell, Nic Gonzales, Andrew Pham and Sam Wilkes, bass; Brett Kramer, drums; Sarah Hinesly, keys, and Andres Renteria on percussion).  ‘Lionel Boy’ is soulful and easy-going, both introspective and laissez faire. Extremely mellow but never soft-headed.

For a moment fraught with stress and chaos, this album is a relaxed exhale of joy. Yet it refuses delusion. These are real-life circumstances that play out with thought and concern. After all, there is a subtlety to the art of the vibe. Lionel Boy isn’t just playing a series of chords to  create a serene mood. It’s at the essence of his being. Something that can’t be forced or faked. A timeless cool apart from momentary trends, eternal as the tides rolling in and out.

LP is 180 Gram Vinyl, Tip-On Jacket, Download Card & 4 Page Insert.

CD is Tip-On, "Mini"-LP Jacket w/ Insert.

We can try as hard as we can to make sense of Promenade Blue, but in reality, context isn’t really needed because the music on the album is so damn magnificent. In no uncertain terms, it represents Waterhouse’s finest hour as a writer and bandleader — leveraging the musical partnerships he has built over many years to put something forth that is so fully realized and felt that it sparkles beatifically, reverberating with energy, heart, creativity, and vibe from start to finish. Nowhere is this more evident than on the album’s opening track, “Place Names,” perhaps the most remarkable song in the Waterhouse catalogue.

The album twists and turns from the opening to the close — from swinging, sashaying jazz and blues (“Spanish Look”) to jittering, crystalline doo wop (“Very Blue”) and pure, loose, languid mood music with just a hint of Mulatu Astatke’s Ethiopian modal magic (“Promène Blue”). Most striking, perhaps, is the use of men’s voices as a backing texture, bringing an unexpected thematic unity to many of the songs. Lower-than-low gospel chants and refrains lend both energy and emotional weight to these pieces, conjuring a whole new mythic world for Nick’s compositions. This is a statement album, one to get lost in and rediscover over and over again.  

In the Waterhouse catalogue, “Promenade Blue” represents rebirth and reinvigoration as well as a clarity of purpose that elevates it and may one day set it apart as something resembling a magnum opus. It’s his ‘Gatsby’ and it’s also his way of reintroducing himself to a fanbase that has grown by leaps and bounds over the last couple of years. On this record, he paints a mythic picture of his own life — lost in confusion, grating against time, overheated by false memories, being baptized by nostalgia and a vision of the future that is paradoxically both dark and apocalyptic and sparkling with promise. Sounds a lot like America in the 20s to me. Which 20s though? Which color — green or blue? Which author? Try to figure it out for yourself:  

For European Orders :https://www.basinrock.co.uk/records/alex-maas-luca/

Everything changed for Alex Maas in 2018. That was the year his first child was born—a happy and healthy baby boy—sending The Black Angels’ vocalist and multi-instrumentalist into a flurry of emotions he hadn’t felt before. There was the joy, of course, and the sheer awe that comes with creating new life. But to a lesser degree, there was also the fear: What world is his son going to grow up into, exactly? And how can Maas protect him from the dangers within it? “The world is definitely messed up,” says Maas, a Texas native who’s lived in Austin for decades. “But there’s a lot of good in it too, and that’s why the whole world isn’t on fire—parts of it are. I do believe that there’s more good than evil.”

Maas and his wife named their son Luca, which means “bringer of light,” and when it came time for Maas to title his debut solo album, he knew there was only one choice. A swirl of meditative thoughts about the cosmic interplay of the universe, Luca is an album informally dedicated to its creator’s son, and directly inspired by the humbling reveries that were brought out by him.

It’s also just a powerful work of gentle psychedelia, and a notable sonic departure from the heavy, pulse-raising sound that Maas has become renowned for. For more than 15 years, The Black Angels have served as one of rock’s preeminent purveyors of blissful walls of fuzz and intensity. They’ve also served as ringleaders of a larger psych-rock scene, particularly through their Levitation music festival, which inspires a pilgrimage of kindred spirits from around the world to the Austin area year after year.

But Luca scratches a new itch for Maas. “It’s a whole different part of my brain,” Maas says of the album, which finds him putting aside his Jesus and Mary Chain LPs and instead looking for inspiration in acts varying from The Everly Brothers to Portishead. Opener “Slip Into” delivers extraterrestrial themes over a funky beat and an eerie synth line, while “American Conquest” is a trance-inducing journey that focuses on issues much closer to home, like the horrific shootings ravaging the country in recent years. “The City” is a woozy campfire song reckoning with the larger cycle of human violence, and “Been Struggling” is a dreamy waltz that takes a winking look at memory and fate. Songs like “Special” and “500 Dreams” are lullabies for Luca inspired by thoughts about all of this and more. “I wanted to go someplace musically that I’ve never gone before,” Maas considers. “Wu-Tang meets Leonard Cohen.”

The project was a long time coming: Some of the songs date back almost a decade, when the idea of a solo album was still just a star in the sky—before the time was right. But once Maas realized that this was something he needed to do, he started putting it together piece by piece over the course of a couple years, enlisting an all-star list of collaborators to record at Spaceflight Studios in Austin: Luca was co-produced with Maas by Jack White’s front of house engineer Brett Orrison, and features contributions from Widespread Panic drummer Duane Trucks, The Sword bassist Bryan Ritchie (on mellotron and bass), Jack White keys player Quincy McCrary (on strings and piano), vocalist Jazz Mills, Eels drummer Derek Brown, Golden Dawn Arkestra drummer Robb Kidd, and The Black Angels’ own Christian Bland and Jake Garcia. Former Black Angels member Nate Ryan also plays on the album.

The music quickly became even more than just the sum of its parts: “Once I started playing with other people,” Maas says, “I realized that these songs were much bigger than I had anticipated.”

Being released into a world that only seems to be getting scarier, Luca is a balm for the weary, partially because it doesn’t shy away from confronting tough subjects. But like Maas says, it’s not all bad. Not even close. And there will be a way forward, one way or another. “We’re all navigating weird waters right now,” Maas says. “I’m trying to just go wherever the flow of the water is going.”

A decade ago, journalists, fans, critics, and audiophiles alike were wont to compare Nick Waterhouse to his predecessors. And it was a convenient way to categorize an artist that has since proved uncategorizable—he had a voice that balanced somewhere between Van Morrison and Ray Charles, an aesthetic that caught the attention of style reporters at GQ, an ambitious production vision that stood out among the lo-fi rock and alternative bands of the zeitgeist. And he was disarmingly earnest in his own influences—citing artists like Mose Allison and Them as early inspiration. But now, coming off of his searching, intimate, self-titled album of 2019 and bringing us “Nick Waterhouse Live at Pappy & Harriet’s; In Person from the High Desert” in 2020, it’s clear that comparisons, of any kind, no longer suffice.

LP is Standard Jacket, Printed Inner Sleeve, & Download Card.

CD is 4 Panel Digipack.

Cassette is Standard J Card.

Meet Jonah Yano, the Toronto based singer, songwriter, whose journey into music began with recording music using his cellphone in 2016.  Having played piano and guitar as a child, it wasn’t until Yano moved from Vancouver to Toronto in 2016 that he began putting his songs online, catching the eyes of Toronto’s thriving local music scene. Spending the next couple of years obsessively songwriting and practicing vocals, and learning technical skills, he collaborated with Toronto duo MONEYPHONE on the 2018 song “On Lock” which became an underground success. Shortly after, Yano released his first solo single “Rolex, the Ocean'' with producer Joseph L'etranger. Once he began writing his full EP, he was introduced to frequent collaborators BADBADNOTGOOD, who are featured on the EP’s title track, “nervous.” Yano’s work has garnered praise in major music publications like The Fader, Billboard, Complex, and Exclaim and the attention of Virgil Abloh and Gilles Peterson along with millions of streams on Spotify and Apple Music. Most recently, Yano released a highly praised cover of the Majestic’s “Key to Love (Is Understanding)” also with BADBADNOTGOOD, finding himself in the natural position of writing the feature length album, 2020’s souvenir.

Following a highly acclaimed 2019 which included the release of an EP nervous, collaborations with BADBADNOTGOOD, MONEYPHONE, and Nono; industry praise from The Fader, Billboard, High Snobiety, NME, KCRW and Exclaim — it’s not a stretch to say Jonah Yano’s highly anticipated debut feature album souvenir took a lifetime to make.

Yano’s souvenir, mixes his soulful, genre blurring vocals with searing, personal lyrics. With collaborations from talents like BADBADNOTGOOD, Monsune and Jacques Greene, souvenir touches on themes of family separation, healing, and reconciling with the past.

With each track delving into Yano’s personal history, the album tells the story of his parents separation and absence of his father from his life through the perspective of each of his family members. Following the separation of his parents in 1998 in Hiroshima and subsequent move to Vancouver, Yano spent years with very little connection to his father beyond occasional calls and birthday presents.

Having not seen each other in 15 years, Yano visited his father in Nagato in the fall of 2019 with the goal of making sense of their complicated relationship through music. Both being avid musicians, Yano then incorporated some of his father’s earlier recordings into his own, while making peace with their past. The result — the album’s final track, “shoes,” featuring his father Tatsuya Muraoka and written by him about a pair of shoes he purchased for Yano as a child. Most of the track was recorded live at some point in the 1990’s in Hiroshima, with Yano’s own vocals filling gaps between his father’s vocals.

Recording the album in Tokyo’s Red Bull studios, a log cabin in Nagato, Toronto’s Studio 69, and his own home — the intensely personal album incorporates Yano’s unique sound with a deeply relatable concept, making it the natural follow-up to an already impressive catalogue.

LP is Standard Jacket, Printed Inner Sleeve, & Download Card.

CD is 4 Panel Digipack.

In the life of any interesting artist, there is the perpetual war between the simplicity of public perception and the complexities of reality. Consider Hanni El Khatib, a definitive purveyor of visceral, blues-wracked, punk-spiked, soul-warped, knife fight rock n’ roll over the last decade. You may be familiar with him through any one of his four acclaimed solo albums on Innovative Leisure, his work with Dan Auerbach of the Black Keys, or as one of the rare polymaths able to artfully blend serrated guitars and hardcore rap on collaborations with GZA and Freddie Gibbs. And while these are all real things that could accurately yield a sketch of the multi-dimensional Los Angeles-based artist, they amount to little more than a black and white pencil sketch. 

More compelling is the Hanni El Khatib of terrestrial existence, who is less susceptible to being pigeonholed by shrewd branding or capsule biography. There is the Hanni El Khatib who existed before he was a professional musician. This was the rap and punk-revering San Francisco skate rat, who grew up digging in the crates for samples to flip on his bedroom MPC -- who would eventually become the creative director for the venerable streetwear label HUF. There is the second chapter in which El Khatib moved to LA to pursue music full-time and almost immediately found himself embraced by KCRW and on tour with Florence and the Machine. Music supervisors synced his music in Audi commercials that  played at the Super Bowl. The LA Times said that El Khatib's voice is like “woodsmoke or bourbon, acrid yet sweet, as timeless as jeans and a T-shirt… versatile enough to make a classic sound fresh again.”  While across the pond, The Guardian claimed that El Khatib was like “if Joe Strummer came back as an angry young Filipino-Palestinian American.”

From 2010 until 2017, there was the usual cycle that consumes most working 21st musicians: make an album, and tour it for the next 18 months. Return home, rinse and repeat. And with it came the predictable pitfalls that ensnare too many artists whose professional obligations require high-octane performances before 1,000 or more strangers every night. It is a dream until that one night when it isn’t any longer, and despite his gratitude for his fans and station in life, El Khatib found himself wracked by depression and anxiety. What had once been joyous creative outlet felt like a job. In the wake of the release of 2017’s Savage Times, it became readily apparent that if El Khatib didn’t make drastic changes to his lifestyle, there might not be a life to speak of. So he quit drinking, stopped touring, and took an indefinite hiatus from the studio. 

With music temporarily out of the picture, El Khatib returned to one of his first loves: design. Partnering with his longtime friend and former employer Keith Hufnagel of HUF, El Khatib founded Metropolitan, a popular skateboard brand that recently did a collaborative run with Adidas.  But eventually, the desire to create songs slowly returned. It helped that El Khatib purposely downsized his living arrangements, moving out of a spacious house with a well-appointed studio in Beachwood Canyon into a smaller dwelling with a bedroom lab that mirrored the cramped confines of how El Khatib first began making music as a teenager. 

What would eventually become El Khatib’s fifth studio album, the virtuosic but characteristically raw Flightbegan as spontaneous experimentation. Over the last several years, El Khatib had become close friends with Leon Michels, best known as the mastermind of the soul controllers, the El Michels Affair, but who has also quietly racked up producer credits for the likes of pop juggernauts like Lana Del Rey, Travis Scott, A$AP Rocky, and Eminem -- as well as frequently working in sessions with Grammy-winning super-producer Mark Ronson. 

At first, their jams were intended as riffs and breaks for other producers to sample, but quickly, El Khatib decided to say fuck the middleman. Why create samples, when they could create the entire beat themselves? The process unfolded casually and organically. El Khatib took a few trips to Michels’ studio in upstate New York, and when Michels would come to LA to produce the new Chicano Batman record or to work with Ronson, he’d steal away an afternoon to help create Flight. 

The finished result is a rollicking sampledelic opus that recalls the beautiful chaos that the Dust Brothers created on Paul’s Boutique and Odelay. Or maybe the euphoric bricolage of the Avalanches’ Since I Left You crossed with the aggrieved darkness of the early Prodigy. Of course, it’s all filtered through the singular style that El Khatib has developed over the previous ten years. Take a song like “Room,” the first finished song on the album. Built off a scuzzy drum break and hypnotic pianos, the pair of  El Khatib and Michels recorded it live to tape, then sampled it through outboard gear into the computer a la Portishead. Then they put it in Ableton, chopped the hell out of it, re-edited it and stitched back together into a collage. It’s the type of thing that Dilla and Madlib would’ve created if they had come up on The Cramps. 

The creative process was governed by whatever helped them move through the compositions quickly. If they got stuck, they’d delete it. Because El Khatib wasn’t concerned with the need to perform the songs live, it unlocked a new level. So rather than blistering guitar attacks, you might hear two drum samples, a live flute, and a weird fucked up tape loop that could never be played live. It’s creativity for its own sake, the only type that’s really important. A song like “Dumb” plays out like post-modern minimalist doo-wop written for a Spaghetti Western reboot that needed a new Morricone score. “Alive” is a levitative groove with a narcotic jazz piano riff built atop a bruised but euphoric vocal that asks, slightly dumbfounded, “I can’t believe I survived.” And yes, “Stressy” has a ghostride the whip reference because you can take the artist out of the Bay but…

The irony, of course, is that for a record that sounds like little else El Khatib has ever done, it’s the most complete embodiment of who he is as an artist. It’s a record both dense and intricate yet direct and spontaneous. It is garage rock, it is hip-hop, it is soul, it is blues, it is psychedelic, but more than anything, it’s a brilliant Hanni El Khatib record -- one that taps into the adolescent spirit of creation that first stirred him to make songs in the first place. Here he is on his fifth album, back for the first time. 

The Buttertones new album Jazzhound.

LP is Foldout Poster Insert + Download Card.

Before settling in to make Jazzhound, their most extravagant, ambitious, and fully realized album to date, the Buttertones had to face the hounds of real life. Prior to a headlining summer tour in support of 2018’s Midnight in a Moonless Dream, a fiery blast of an album capturing the band at their purest distillation, drummer/multi-instrumentalist Modesto ‘Cobi’ Cobiån had a sudden and serious medical scare involving his eye, requiring emergency surgery. He lost half his vision (it will hopefully return with a future operation), and the tour had to be cancelled. Music took a backseat for the time being. 

“It gave us some perspective on our health,” says bassist Sean Redman, “and the fact that we have to look after ourselves and one another first, or else the music just can’t happen.” Cobiån, Redman, and vocalist/guitarist Richard Araiza have been playing together for seven years now, having first come together for a self-titled debut in 2013; along with London Guzman on sax and keys, they’ve come to establish themselves as one of L.A.’s tightest groups, conquering stages from Coachella to Tropicalia. When one of their own had a scare, they rallied around him—and used the experience to come together stronger than ever for the record they were getting ready to make. 

“He says it adds charm to his character,” jokes Araiza, who led the Buttertones back into writing mode, taking the reset moment to really focus on the approach and style of the record. The material he was working on took the band forward into a heavier sound—and it also brought them back to the spark of their first album. “It allowed us to go back to the roots and the spirit we had when we started,” Redman considers. “We are kind of a new band, in a lot of ways, is what it feels like.” 

Continuing their partnership with producer Jonny Bell of Crystal Antlers, who produced Moonless Dream as well as 2017’s Gravedigging, the Buttertones waited until they were good and ready before hitting thelegendary Electro-Vox Studios in Hollywood, where they arrived knowing exactly what they wanted to lay to tape. Armed with an arsenal of the most propulsive music they’ve written yet, the band recorded the album mostly live—an ideal method for capturing their cult-status live show, which carries on the torch of acts like the Walkmen and the Fleshtones. “We’d do a few takes,” says Araiza, “and then it was, ‘Alright, we got all the main instruments done, now let’s record on the vibraphone that was used on Pet Sounds,’ you know?”

But Jazzhound is completely new territory for the group, too, with Araiza, who calls this album “probably thedarkest one” he’s written lyrically, pushing his Ian Curtis-via-Bobby Darin baritone to new depths, particularly on scorchers like “Phantom Eyes” and “Bebop.” It’s also the first album with Cobiån acting—and thriving—in his new role as a full-time guitarist (the drum parts were written by him and played by session musician Paul Doyle), and the first since the departure of guitarist Dakota Boettcher as well.

“We really worked our asses off on this one,” says Araiza, proudly, already talking about how he can’t wait to do it all again and make another record soon—after they tour the world, that is, making up for the lost dates last summer, and then some. “It feels like we’re still climbing.”

Double Gatefold LP.Gatefold CD Digipack

BADBADNOTGOOD is a young supremely talented trio of musicians made up of Matthew Tavares on keys, Chester Hansen on bass, and Alex Sowinski on drums. Since their inception at Humber College’s Music Performance program in 2011, the three have challenged the rule book on improvised instrumental music and taken jazz tradition into the future. With early champions including acclaimed BBC broadcaster Gilles Peterson and Tyler The Creator who helped fuel their discovery with a series of live jams that instantly went viral and dubbed them the “Odd Trio”, the band released their first EP BBNG in June 2011 to wide praise. The marriage of jazz virtuosity and hip hop source material offered a fresh take on the traditional “standard” applied to hip hop classics by taking on choice cuts from the golden era rap cannon and writing inspired arrangements for them instead of one-dimensional covers. The band hit a landmark by introducing original material into their composi- tions with BBNG2 in 2012. New songs like “Rotten Decay”, “Vices” or “UWM” carried on the proud heritage of musical juxtaposition by bringing together jazz, hip hop, punk, and dance music into vigorous balance. Since then, they’ve won praise from the four corners of the globe and collaborated with Frank Ocean, Earl Sweatshirt, MF Doom, Pharaoh Monch and RZA among many. Their no- torious live performances have brought fans across the whole musical spectrum together, taking the band around the world from Coachella to Glastonbury. Now, the inseparable friends are prepping to release their biggest project to date III on prodigious young label Innovative Leisure, a highly-anticipated project ushering in the group’s newest explorations which are proving to be limitless.

Gatefold Jacket. Custom Printed Inner Sleeve.

Allah-Las met while working at Amoeba Music, a key destination for music lovers in Los Angeles. While this experience helped shape their sensibility, their sound was forged in an underground basement where they came together as a band. They began gigging in Los Angeles in 2008, refining their live performance, and finally released their first 7” single Catamaran / Long Journey in 2011. In 2012, they began their relationship with Innovative Leisure, releasing their first self-titled album, Allah-Las, anchored by their second single Tell Me (What’s On Your Mind) / Sacred Sands. The release was met with critical acclaim and the band toured extensively in the States and abroad before going back into the studio to record their follow-up.

Allah-Las' second album, Worship The Sun, expands on the sound established by their maiden effort, honing their fusion of West Coast garage rock and roll, Latin percussion and electric folk. As richly textured and timeless as a Southern California beach break, the songs are evocative of Los Angeles’ storied past. Beatniks, artists, surfers, nomads. Remnants of a bygone Sunset Strip. Golden tans and cosmic sunsets. One can feel the warmth of the sun, but the band deftly avoids the kitsch so often indulged by lovers of these things. Hints of Byrds, Love, Felt, and those who follow are threaded into the tapestry.

LA’s seminal Ferus Gallery – the home of Wallace Berman, Ed Kienholz, Ed Ruscha, Billy Al Bengston – is paid homage in an eponymous instrumental, broadening the scope beyond mere sea, surf, and sand. The lyrics reveal a new maturity; reflections of a band that has grown together through experiences on the road and in the studio. Worship The Sun is at once the perfect soundtrack for the greatest surf film never made and for a golden hour drive through Topanga Canyon. Yet, while grounded in the Southern California experience, the appeal of the album is not limited by locale. It is a teenage symphony to the sun, for all those who know its grace.

12" x 12" Full Cover Sticker LP. Digipack with clear tray CD.

It all started over a year ago with the caption “MINDBLOWING PSYCHE- DELIA FROM THAILAND”—the Youtube video that accompanied this head- line on the Dangerous Minds Blog was exactly that. Here was a group of Thai musicians being filmed parading through a remote village hundreds of miles away from Bangkok playing some of the heaviest Psych known to mankind out of a crazy homemade soundsystem. Who were these men and how on earth was this not some unearthed archived footage from the ‘60s or ‘70s?! The Youtube clip quickly made its rounds amongst music enthusiasts leaving many in the Western hemisphere to question who this group of contemporary Thai villagers (loosely named Khun Narin’s Electric Phin Band) was.

Six months after that first encounter with Khun Narin’s Electric Phin Band, a Los Angeles music producer named Josh Marcy used Facebook and some un- likely interpreters at his local Thai restaurant to get in contact with the band and inquire whether they’d be interested in having him travel to their town to record their music for a global audience. At first the band was naturally suspicious, but through subsequent interactions the group’s leader and namesake Khun Narin (also known simply as “Rin”) warmed to the idea of having Marcy come visit. And so began the journey of uncovering who these mysterious men from an obscure blog post actually were.

Khun Narin’s Electric Phin Band’s membership is always in rotation and spans several generations, from high school kids to men well into their 60s. A standard engagement has the band setting up at the hosting household during the morn- ing rituals, playing several low-key sets from the comfort of plastic lawn chairs occasionally working in a cover version of a foreign classic (The Cranberries ‘Zombie’ is a recent favorite) while the beer and whiskey flow freely. After a mid-day banquet, they start up the generator and lead a parade through the com- munity to the local temple, picking up more and more partiers along the way.

The music they play is called phin prayuk. The first word refers to the lead instrument, a 3-stringed lute known as the phin. Beer, the phin player, uses a string of Boss effects pedals, including a phaser, distortion and digital delay to get his sound. He also builds his own instruments, installing Fender pickups into hand-carved hardwood bodies, with elaborate mythical serpents adorning the headstock. The band takes pride in their custom PA system, as well as an imposing tower of 8 loudspeaker horns atop a huge bass cabinet. To capture the essence of the group and their sound, Marcy recorded th em in their natural environment by doing a proper field recording, literally in a field outside the city of Lom Sak, in the valley of mountains that form a rough border between Thai- land’s North and Northeast. The result was 40 minutes of hypnotizing psyche- delia filled with heavy drum breaks that sounds like something RZA would sample for a Quentin Tarantino film.

CD Packaging is a 4-Panel Digipack.

LP Packaging is a Tip-On Jacket w/ Digital Download Card & Poster Insert.

On his 2011 debut Will The Guns Come Out, Hanni El Khatib tried something he’d never tried before—making a bedroom-style recording of his then stripped-to-the-skeleton guitar-and-drums rock ‘n’ roll mostly for the sheer joy of making it. For his ferocious 2013 follow-up Head In The Dirt, he tried something new again, showing up at producer Dan Auerbach’s analog-dreamland Nashville studio with nothing but the clothes on his back and an open mind.

But after Head In The Dirt’s release and almost a year of relentless touring, Hanni knew he needed to go past ‘unpredictable’ all the way to ‘unprecedented.’ He needed isolation, time and the chance to experiment. So after 30 days locked in hand-picked L.A. studio the Lair, the result is the albumMoonlight (Jan 20, 2015 Release Date)—the rarest and most welcome kind of album, made at that perfect point in life where confidence, experience, and technique unite to help an artist do anything they want.

That’s why it starts with a song that sounds like a Mobb Deep beat under a Suicide-style synth drone and ends with an ESG-meets-LCD Soundsystem gone italo-disco song about life and death. That’s why it collides crushing crate-digger drumbeats that’d be right at home on a Can LP or an Eddie Bo 45 with bleeding distorto guitar, bent and broken barroom piano and hallucinatory analog flourishes. (In fact, some smart producer is going to sample the drums from this album and complete the circle of life.) And that’s also why Moonlight feels like the album he’s always wanted to make: “What would it sound like if RZA got in the studio with Iggy Pop and Tom Waits?” he asks. “I don’t know! That was my approach on everything.”

To make Moonlight, he needed the right engineer and the right place to record, the kind of place where they’d understand when he’d ask for ’62 Slingerland drumkit and obsolete fuzz pedals. And he found it in the Lair and engineer Sonny DiPerri, whose pinpoint instincts and unassuming personality camouflaged an all-star resume including stints with Trent Reznor to Avey Tare (Animal Collective) to Giorgio Moroder.

So on April 1st of 2014, Hanni sat down with his live drummer Ron Marinelli and a selection of heavy friends to translate his best ideas to tape. As the album developed, Hanni found himself playing almost everything, switching from guitar to bass to synth to Mellotron—sometimes several times during the course of a song—and even sampling and re-editing Marinelli’s beats.

It’s a personal album in the most primal sense, put together in any way that worked. Iggy Pop and David Bowie did this kind of thing on The Idiot, the Wu-Tang Clan did it on 36 Chambers and The Clash did it three times over on Sandinista. And now it’s Hanni’s turn, across 11 new lightning-struck songs, each written and recorded in its own flash of inspiration. It sounds like an album made by an endless list of collaborators, but really Moonlight was more like the first do-it-almost-all-yourself music Hanni ever made, except after six years recording and touring, he’d learned to do so much more.

“My approach is still the same,” he explains. “Do things you’ve never done before. Challenge yourself. Be free and be creative. The same thing holds true for everything I’ve ever done, whether painting or design or skateboarding or whatever. Do it for the right reasons—exploring yourself. That’s what it’s about.”

Tijuana Panthers come striding proudly out of their hometown of Long Beach, California, with Semi-Sweet, their most fully realized album yet. Semi-Sweet has every Panther contributing a part in the entire album-making process, all the way down to brainstorming new songs on drummer and singer Phil Shaheen’s ukelele. Traditional Tijuana Panthers engineer Victor Orlando Nieto split the sessions for Semi-Sweet with new engineer Matt Vasquez, which worked with the new creative process to give the Panthers’ latest a different feel, says guitarist & vocalist Chad Wachtel —something instantly apparent from first jittery notes of the Swell Maps-meets-Urinals DIY clatter-pop opener “Above Your Means.”
From there, it’s a twist-and-turn-y journey through at least four decades of off-center from-the-heart music. “Tony’s Song” matches the relentless energy of the Wipers with instantly catchy beach-punk harmonies, while “Father Figure” left-turns toward the kind of complicated jangle-pop of New Zealand’s Verlaines. “Push Over” is like some kind of Howard DeVoto demo that suddenly splits into a Mickey Baker guitar line, and “Juvy Jeans” is pure my-daddy-was-a-New-York-Doll teen-punk hilarity. (Or maybe the Dead Milkmen? Phil is a longtime fan.) Of course, the surf guitar they built their band on is still surging along—leading the band through their moody “Baby On Board” and then bouncing into the darker-than-it-seems “Forbid- den Fruit.” And then there’s the pitch-perfect Nerves cover, a reverent redo of “One Way Ticket” by a band that in sound and sentiment both were pretty much the Tijuana Panthers of their day. They’re really just aesthetically simple dudes, says bassist and singer Dan Michicoff—they know their songs are done when they not only sound right but feel right, and when they’ve got that same rare combination of harmony and velocity and honesty that’s pushed bands out from their garage since the invention of the electric guitar.

CD Packaging is 4 Panel Digipack.

LP Packaging is a Custom Printed Inner Sleeve w/ Digital Download Card. Pressed on White Vinyl.

Free Flexi Disc Record w/ purchase featuring an exclusive bonus track "P8." Limited to 300. Flexi only available with orders at innovativeleisure.net.

We seek the new because of the numbness. If you listen to enough music, you’re familiar with the feeling. Sounds get recycled so often that they can seem like geometric configurations organized via Wav files. Trends get time-stamped faster than a triplicate trap hi-hat.

The most rare records emerge outside of any clearly delineated orbit. They’re solitary visions that supply their own rhythm and arsenal. Music that reverberates through heart, brain, and spine. This is Nosaj Thing’s third album, Fated.

“I just tried to escape really, and escape even what’s going on in the music world,” says Nosaj Thing, the LA producer born Jason Chung. “It just felt so suffocating in a way. I just wanted to do my own thing.”

It’s been six years since Nosaj Thing emerged among the vanguard of Low End Theory-affiliated producers. His debut Drift created 31st century tones and chromatic textures so sleek that they inspired innumerable Soundcloud imitators.

None could match its moody iridescence, faded sadness and funky swing. Bach collided with Boards of Canada. Spaceships came equipped with rear view mirrors and a booming system bumping G-Funk and warped soul. Pitchfork called it “gorgeously haunted.” Resident Advisor said it “exists in its own dimension and feeds off its own exhaust: full of alien choirs, conquered computers, and refracting stained-glass light.”

Fated exists in this same alternate dimension, but further out. If comparisons previously existed with other artists within the LA beat scene, Nosaj has rendered them baseless. His second album on Innovative Leisure (after 2013’s Home) seeks celestial escape through streamlining.

“The last record took out so much of me. I just wanted to go back to simplifying and overthinking so much. It was a battle,” Nosaj says. “The soul of a song, the essence of a song—whatever you want to call it—should be simple.”

By stripping away all but what’s really necessary, the sounds harness an unusual directness. Guest appearances are rare, save for vocals from Whoarei on “Don’t Mind Me,” and Chicago rap phenomenon, Chance the Rapper. The latter gravely spits on “Cold Stares,” invoking terminal fevers, empty beds, devil’s whispers, and insomniac fears.

If comparisons crop up, Fated has most in common with records like Burial’s Untrue or Dilla’s Donuts. Requiems that canvass the shadowy hinterlands between life and death, darkness and light, loneliness and love. Eternal themes re-imagined in ingenious fashion.

“The album name came from all these coincidences that just kept on happening to me,” Nosaj says. “Specific interaction with specific people in unexpected places. A perpetual feeling of déjà vu.”

It’s foundation rests on that intangible thing that some call fate or primordial feeling. Numbness receding, old emotions flooding back, un-tampered visions. Fated is what you can’t explain, so it’s best to just listen.

LP Comes w/ Standard Jacket & Download Card.

CD is Four Panel Digipack.

The Buttertones’ Gravedigging is more a movie waiting to happen than an album—or a soundtrack just waiting to inspire a movie, with scene after scene of action, tension and release set to a sound that takes everything good and true about American music before the Beatles prettied it up (surf, sweet soul, the boss saxophone-overdrive garage of the Northwest wailers like the Sonics) and matches it to punk energy, post-punk precision and the kind of personality that blows the circuit-breakers at a backyard party.

The Buttertones started their own journey in 2011 as three music school misfits (or drinking buddies, they say) in the heart of Hollywood, happy to learn how to to play, produce and perform but less excited about frequent go-nowhere conversations with classmates who had little interest in either the past or the future of music. So that’s why bassist Sean Redman (also a former member of Cherry Glazerr) felt like he’d lucked out when he found guitarist/singer Richard Araiza and drummer/polyinstrumentalist Modesto ‘Cobi’ Cobiån: “Cobi and Richard were the first guys I met where I thought they knew what they were talking about,” he says. “They had good influences—they weren’t just trying to pander.

Their first rehearsals were in a Hollywood bedroom where Redman was living on an air mattress, then Araiza finally locked down Boettcher—who he’d often see responding to the same casting calls as he did—to replace another guitarist who was transitioning back to family life even as the Buttertones prepared their debut release, a self-titled cassette on L.A.’s garage-pop Lolipop label. Then they absorbed sax player London Guzmån
(formerly in Long Beach’s Wild Pack of Canaries with breakout local Rudy De Anda) after spotting him at a local DJ night, recruiting him for their sophomore album American Brunch—and discovering the kind chemistry they didn't know they were missing. Says Araiza: “We’re proud to be a legit band. It’s a very collaborative process—we rely on each other. I feel that’s rare nowadays, especially with rock bands.”

When it came time to make Gravedigging—the follow-up to a special issue 8” for Innovative, which ended up pulling them aboard the label full-time—they knew it was time to go deeper and get dirtier. Recorded at Jazzcats studio in LongBeach—home-away-from-home to fellow Innovative Leisure artists Hanni El Khatib, Wall of Death and more—in the spring of 2016, the sessions were supercharged with hard-won live experience from endless
street-level shows and relentless midnight-to-six rehearsals at the Buttertones lock-out, then focused even further by the insight and vision of producer Jonny Bell. (“Jonny pushed us like crazy,” says Boettcher. “He had so many ideas all he time.”)

Think of it this way: you might not yet know how the band that made Gravedigging is going to land—but you know it’s going to hit hard.

It’s been a little more than a year since John Barrett and his punk band Bass Drum of Death put out their debut album—a year that took this kid from a sleepy Mississippi hometown (where the bars close at midnight) and got him doing encores in front of 5,000 screaming Europe- ans and playing back-up band for Hodgy Beats and Left Brain of Odd Future on live TV. But no matter what, he always had new songs rattling around in his head, and when it was time to get them out, he did what he had to do—like sneak away from tour on an all-night detour to his home studio to start an emergency recording session, and then get back out on the road the very next afternoon. And that’s how he finished off his new self-titled album on Innovative Leisure.
2013’s self-titled Bass Drum of Death album is everything about 2011’s debut GB City amplified, in every sense of the word. With nothing but his inspiration and his instruments, Barrett spent the fall of 2012 in his studio, smashing out punk rock. This time it was just him, lots of cof- fee, a Realistic reverb unit to give everything just a little of that stoned-in-outer-space and for the first time in Bass Drum of Death history, a bass that he used on every new track.

Waterhouse is a successful recording artist, with one well-received LP and several high-profile tours and collaborations to his name. But his latest work still embodies the struggle of his early forays. During “This Is a Game,” Waterhouse sets up a snarly, post-surf guitar solo with a succinct statement of a cynical outlook: “This is a game / Please remember my words / And don’t get upset when you don’t get what you think you deserve.” And on the gothic-soul strut “Let It Come Down,” he meditates on the inevitability of pain. “If there’s gonna be rain tonight,” he sings in a stoic croon. “Let it come down.”
It’s clear from this material that Waterhouse is in the midst of his own becoming. He isn’t the type to let ecstasy take over, like Van Morrison, or to drawl away in a consummately laid-back register, like Mose Allison. In the tension between his wry lyrics and crisp arrangements, you hear the expression of a worldly skeptic who’s also—when it comes to his art—a sanctified believer. Whoever it was that Nick Waterhouse wanted to be matters less now; these days, he just sounds like himself.

Following acclaimed remixes for the likes of Phoenix, Mayer Hawthorne, Major Lazer, Holy Ghost, Gossip & more, L.A. natives and childhood best friends Classixx have been in the studio for the last few years whittling down hundreds of sessions to a svelte 12 songs. At once beming, breezy and wistful, Hanging Gardens features a variety of coastal summer anthems and special guests including Active Child, Nancy Whang (LCD Soundsystem), Sarah Chernoff (Superhumanoids) and Jesse Kivel (Kisses). Their full-length debut features impossibly sunny grooves, blithe melodies bred by the coast, coaxed out by the surf, expertly crafted for road trips, pool parties and dance clubs.

Los Angeles based Hanni El Khatib grew up in San Francisco raised on skateboarding (former creative director at HUF), punk rock, and 1950s and 60s classic Americana. Influenced by pioneers of early rock and R&B, the multi-instrumentalist and producer derives his unique sound from a menagerie of inspirations: blues, soul, garage rock, doo-wop … and the most American thing of all, car wrecks. It's malt shop music for those who drink them spiked with bourbon or in Hanni's own words "these songs were written for anyone who's ever been shot or hit by a train. Knife fight music." No word yet on whether Hanni's tested that knife fight thing at any of his shows.

Will The Guns Come Out is his debut album on the Innovative Leisure label, following two 45s: Dead Wrong & Build Destroy Rebuild.

Live and on record, the Tijuana Panthers are a great band. You could say garage, punk or surf while describing their sound, but they’re harder to pin than that. The truth is that they write classic songs that don’t depend on tropes from any genre. They craft perfect pop and deliver it with energy and immediacy. However, the real magic of this band is in their weirdness.

Behind their picturesque portraits of daily life is an aching despair. This subtle contrast creates an eerie tension between the ideal, the real and the surreal. You suddenly realize they’re not the happy-go- lucky beach boys you tried to pin them as, but more akin to sexually frustrated soda jerks in a David Lynch film. And this all makes sense with the fact that they come from Southern California’s shadier city of Long Beach, not exactly the fun in the sun that California dream- ers might expect.

For Wayne Interest, the Panthers team up with producer Richard Swift. The recordings took place at Swift’s studio in Oregon where the band decidedly took risks in performance and production. The risks paid off. With Swift’s direction and upgrade in fidelity, Wayne Interest sounds just as compelling in headphones as it would at a house party in East LA. It also gives the listener a closer look at the idiosyncrasies of the Tijuana Panthers, only making it clearer that there’s something off about these creeps. Their weirdness, or bold- ness to be whoever they may be, is what makes this band great. It’s a rare quality. The more you listen to the Tijuana Panthers the more you wonder about them.

LP is Tip-On Jacket, Download Card & Printed Insert.

CD is Tip-On, "Mini-LP" Jacket w/ Insert.

Many moons ago Primo Pitino, the DJ of San Francisco’s legendary Oldies Night, passed me a copy of his friend Nick Waterhouse’s “Some Place.” Nick was a local vinyl DJ and the kid working at our Shangri-la, Rooky Ricardo’s Records. Though he didn’t have a band at the time, Waterhouse assembled some local musicians to cut a one-off 45 in the vein of the electrifying mid-century modern rhythm and blues he loved. I threw “Some Place” on the Technics during sound check a few cities down the line and was blown away from the howling falsetto all the way to the end! I gave it a whirl every night from Texas to Tennessee and all the way back home to New York. Not only were the dancers’ feet responding, but they were also asking about the track on a nightly basis. The Nashville Scene was so blown away that they printed a piece on Nick after a single listen. DJs and collectors everywhere wanted it so bad that the little record with the big sound started fetching upwards of $300 on Ebay.