CTD welcomes LET’S PRETEND RECORDS to the fold…and their first release from TWEAK BIRD!

Let’s Pretend Records have joined the CTD exclusive family!  And we couldn’t be happier!  Their 1st official release via CTD is from (get ready) noneother than TWEAK BIRD. Yep, that Tweak Bird. The Tweak Bird who recently capped off a string of dates with the Melvins (as well as a split 7″ with the Melvins), and tons of past shows with the likes of Black Mountain, Big Business, Ted Leo & The Pharmacists, and Tool.

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Tweak Bird’s Any ‘Ol Way is due out on May 29th, 2014. Yeah it’s a Thursday, but who cares!?!?!  It’s a new TWEAK BIRD release, and that’s the important thing.  Look for more incredible awesomeness from Let’s Pretend Records in the coming months!

Purling Hiss “Dizzy Polizzy” Pitchfork 7.5

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The man, the myth, the guitar man-man-handler behind Purling Hiss, Mike Polizze, is no stranger to us at CTD.  His latest release is a first time on LP offering of Dizzy Polizzy  – recorded mainly between 2004 and 2009 –  and will be birthed upon an ususpecting public on April 22nd via our compatriots at Drag City.  Pitchfork, in due diligence, offered a 7.5 review for Dizzy Polizzy this morning ~

“…Dizzy Polizzy casts him as a folkie outsider with some devastating songs in tow. He’s cleaned up nice since, but these early recordings prove that even when he was working with lower fidelity, Polizze was writing some of the most exciting and affecting songs of his life.

Drag City’s unearthing some of that early work by reissuing Dizzy Polizzy, a collection of material that originally came out as a limited-run, tour-only cassette back in 2011. Polizze largely recorded these songs by himself between 2004 and 2009, and the record debunks the myth that he’s merely a guitar shredder, highlighting what he’s capable of as a songwriter.”

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the Jesus Lizard “BOOK” tour

It’s a shame that this missive is not about the world’s best live band playing more of the world’s best live shows.  It is certainly NOT about that, so don’t freak out, cheese.

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It IS about the world’s greatest live band, the Jesus Lizard (three of them anyway, Mac McNeilly, David Wm. Sims and David Yow) promoting their new Akashic coffee table book, thusly entitled BOOK.  The events will be hosted by noteables from each city, and there will be q & a sessions with all three members.  You might even see the tight n’ shiny, you never know…emoticon, emoticon, emoticon. Check out what Christopher R. Weingarten has to say about this absolutely legendary band here.

And if that doesn’t convince you, then just think of the questions you could ask…

“Mr. Yow, is that a period on your shoulder?”

“Why is Duane Denison called the Silver Fox?”

“David Sims, just what are you lunging at on stage? And why do you yank the headstock of bass guitar away from whatever it is that you’re lunging at?”

“Mac McNeilly, I think you are an octopus. Can you confirm/deny?”

03/25 – NYC @ 7:00 PM
Barnes & Noble Union Square, 33 E 17th Street
Moderated by Sasha Frere-Jones
View Facebook event here

03/26 – Brooklyn, NY @ 7:00 PM
WORD Bookstore, 126 Franklin Street Moderated by Johnny Temple
Beer lovingly provided by Brooklyn Brewery!
View Facebook event here

03/27 – Chicago, IL @ 7:00 PM
Empty Bottle, 1035 N Western Avenue
with special guests Joe Meno and Megan Stielstra
Hosted by Rian Murphy (Drag City)
Cohosted by Curbside Splendor
Event will be free with RSVP in advance, or $8 at the door; to RSVP, please click here
View Facebook event here

03/28 – Los Angeles, CA @ 7:00 PM
Bootleg Theater, 2220 Beverley Boulevard
Presented by Book Soup
Doors at 7:00pm, event begins at 7:30pm
View the Facebook event here

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Woo “When The Past Arrives” PITCHFORK 7.7

Drag City‘s latest LP/CD effort by new agers Woo, When The Past Arrives, hit shelves yesterday, and Pitchfork weighed in this morning (presumably after a healthy round of yoga, meditation and herbal tea) with a 7.7 review.

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“In the past few years, Woo’s obscurity has lessened slightly, with Drag City reissuing It’s Cosy Inside and the UK imprint Emotional Rescue last year reissuing Whichever Way You Are Going You Are Going Wrong (they’ll also reissue Into the Heart of Love later this year). Hearing When the Past Arrives as a ‘new’ Woo album or a collection of previously unheard archival material feels beside the point, as Woo music always drifts just beyond the tangible. It’s ambient and gentle as new age music of that era could be, but it’s also densely melodic and playful—their peculiar British sensibilities shine through, cosmic and serene yet also very droll.

Past moves between shimmering miniatures (half the tracks clock in under 2:30) and slightly longer ruminations that last just over three minutes, like the acoustic guitar-led ‘Acting Like a Lover’. The charming ‘1001 Decisions’ has a cello that sounds like it’s submerged in a children’s pool, the bowed melody broken up by what could be little bits of a ringing toy telephone, theremin, and tiny xylophone.”

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Photo by Nellie Jefford

Sun Araw “Belomancie” PITCHFORK 7.7

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Sun Araw (aka Cameron Stallones) has can’t be accused of infrequent output – CTD have carried his past releases as well as the new Sun Ark/Drag City 2xLP/CD Belomancie, which received a 7.7 rating on Pitchfork today.

“It shows Stallones has more moves in his arsenal, more ways he can adjust or reimagine his approach without losing its essence—or in this instance, actually enhancing it. The sounds may be comparatively shrunken, but together they stretch his world, suggesting its expanse may be boundless. If you’ve been fascinated by any of Stallones’ work, Belomancie will get you stoked about not only what he’s done, but how much more he can do.

The result hypnotizes as strongly as the murkier swirls of previous peaks—the glowing smoke of On Patrol, the bleary humidity of Ancient Romans—but in a different way. In a sense, listening to the album’s sharp, pointillist beats and all the air in between them is like staring into space rather blinking into the fog. But there’s also something microscopic about the music that makes it like a nuclear laboratory. With so many layers stripped away—primarily the heavy reverb of Stallones’ guitar, which usually drowns his songs in swampy dreams—what remains gets magnified, meaning a single machine-drum hit can sound as big as a bomb. It’s as if Stallones zoomed so far into the essence of Sun Araw that you can see the molecules circling each other, the neurons firing through synapses. And it’s pretty fun to just keep on staring.”

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