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COUPLER BLUE ROOM SESSIONS
In October of 2015 we invited Nashville purveyors of deliberate ambience, Coupler, to record with a full orchestra of nine friends and musicians, and it turned out to be a very special piece exploring the nether-regions where the organic collides with the electronic. It was 20+ minutes of of captivating and unhurried techno played on both electronic and acoustic instruments that sounded bucolic and propulsive with a deft momentum. However, this wasn't our typical TMR show. We kept it a relatively intimate affair, with the stage in the center of the room, and only sold a handful of tickets to those interested in seeing a recording process become a performance, making this our first installment in The Blue Room Sessions series.
If you're new to the magic of Coupler, you can think of them as an "organization" rather than a band. Ryan Norris' objectives go beyond leading a band - he aims to use Coupler as a vehicle for writing, photography, installation art, film-scoring, etc, and above all this, he aims to collaborate with the creative people around him that inspire him. In the case of this particular performance, the organization core live members, Rodrigo Avendaño, Rollum Haas and Norris, plus a group of auxiliary players: Adam Bednarik, Mark Bond, Matt Glassmeyer, Mia Krout and Ben Marcantel. The icing on the cake was Kelli Shay Hix and her light installation. The performance was tackled from an oblique angle, using group improvisation to reinvent the trajectory as they played. The end result? The birth of a new series, and one of our favorite musical creations to which the Blue Room has ever played host.
Listen to a clip from "Invention 4 Silenzio" above, and pre-order the 12" single now. Coupler will have a release show on July 29 at The East Room in Nashville with direct support from local band Future Daze.
ESSENTIAL TREMORS - THE VISITOR EP
Essential Tremors is something of an anomaly in a city steeped in twang, bathed in sunshine and besieged with hootenannies. Code Knr, Miller, Read Only Memory, Tan, and Eerie Neighbor make up the group voted most likely to trigger a cold sweat, and we love them for it. In the past year, the band has made the charge away from guitar music with a quiet strategy of sporadic shows of crawly, four-track downer violence. During this metamorphosis, the band cut tracks with former Terrible Two and current Serration Pulse synth-lord and tone-boss Daniel Tomczak, crafting a crisp record that is globally exasperated and groovy against all odds: a nosedive into a cesspool of circuit-bent pollution with all the precision intact, notoriously tense, rife with white-knuckle paranoia and fog. Throw in well-placed pangs of electroclash, swirling synth, waterlogged bass lines, and dark-sided shit, and you have an important reminder that good times are not forever, which we are honored to bring to your turntable. This is music for strays. Do you have a home?
A Side: The Visitor
B Side: Death Perception
Listen to "The Visitor" above, and pre-order the 12" EP now. The release show for Essential Tremors is on August 5 at Soft Junk Nashville with support from Spodee Boy, Serration Pulse, and Aquarian Blood.
WILLIAM TYLER - LIVE AT THIRD MAN RECORDS
Recorded on July 18th, 2014 as the opening set for Peter Walker's psychedelic guitar experience, William Tyler's Live at Third Man Records LP was buried for far too long in our backlog of masters. To release it too soon would have been to unleash the secrets of the transcendent and acclaimed new record Modern Country (Merge, 2016) before they had a chance to manifest. To wait any longer would have been torture for us. Originally planned to be a live single, the full, 5-song performance was too truthy, too seamless, and too perfectly whole to be whittled down to two tracks. So, surprise! A live LP is born.
For those unfamiliar with William Tyler, his story is Nashville legend... born into a songwriting family, Tyler was tapped by Kurt Wagner to become a member of Lambchop at age 19 (two decades younger than the other members), and quickly became the "architect of the band's sound." From there, Tyler went on to back up the Silver Jews, Bonnie "Prince" Billy, Charlie Louvin, and others... all the while writing songs for his configuration of choice: fingerpicking solo guitar. The acoustic simplicity of his first two albums remains in his most recent effort (which he describes as "a love letter to what we're losing in America. To what we've already lost"), and on this live LP, but Tyler is bringing more depth and more experimentation to his compositions of late. "Gone Clear" (known as "Going Clear" at the time of our recording) which appears on both records, is a melting pot of ideas: a drone reminiscent of Hindustani classical music, a central melody that sounds distinctly Appalachian, a devolution into a kaleidoscope of colors and ideas that it's hard to believe is being produced by a single musician. This layering of textures is Tyler's trademark, and even more awe-inspiring live.
We like to think that with the purposeful lack of smart phones, bars to saddle up to, and, of course, corners, concert-goers in the Blue Room tend to be more in-the-moment than in most performance venues. But it's a rare artist who can take the already focused atmosphere in the room and quiet every last busy mind - Tyler did just that. This immortalization of the performance in all its transmundane glory will entrance you from first note.
1. We Can't Go Home Again
2. Terrace of the Leper King
3. Missionary Ridge
4. Going Clear
5. Tears and Saints
Listen to "Gone Clear" above, and pre-order the 12" LP now.
Upcoming Tour Dates
13- Eaux Claires Festival- Eau Claire, WI (full band)
14- Bluestem Center for The Arts Amphitheatre- Moorhead, MN (full band w/ Wilco)
16- CrossroadsKC- Kansas City, MO (full band w/ Wilco)
17- The Fabulous Fox Theatre- St. Louis, MO (full band w/ Wilco)
12- The Troubadour- Los Angeles, CA (solo w/ Margo Price)
13- The Troubadour- Los Angeles, CA (solo w/ Margo Price)
14- Great American Music Hall- San Francisco, CA (solo w/ Margo Price)
17- Mississippi Studios- Portland, OR (solo w/ Margo Price)
19- Imperial- Vancouver, BC (solo w/ Margo Price)
21- The Olympic- Boise, ID (solo w/ Margo Price)
22- The State Room- Salt Lake City, UT (solo w/ Margo Price)
24- Bluebird Theater- Denver, CO (solo w/ Margo Price)
28- Ancienne Belgique- Brussels, Belgium (w/ Wilco)
29- Centrale- Gent, Belgium (w/ Bombino)
2- DR Koncerthuset- Copenhagen, Denmark (w/ Wilco)
3- Sentrum Scene-Oslo, Norway (w/ Wilco)
4- Annexet- Stockholm, Sweden (w/ Wilco)
5- Pustervik- Goteberg, Sweden
7- Tempodrom- Berlin, Germany (w/ Wilco)
9- TivoliVredenburg- Utrecht, Netherlands (w/ Wilco)
12- Fabrique- Milan, Italy (w/ Wilco)
14- Museumsquartier- Vienna, Austria (w/ Wilco)
15- Volkshaus- Zürich, Switzerland (w/ Wilco)
16- Casino de Paris- Paris, France (w/ Wilco)
20- Bush Hall- London, United Kingdom (full band)
It has been four years since UK based Michael Kiwanuka has bequeathed the public with a proper full length record - so naturally when we heard that his upcoming album Love & Hate debuts today we had to find a way to share our pure excitement with the world. For a limited time we are offering Kiwanuka's soul swelling Blue series that first graced our turntables back in February 2014 for the nice price of $4, grab one today!
Who are you reading this Summer?
Bliss is reading Phillip Pullman. Blackwell likes Chuck Klosterman. Kim relaxes to Nayyirah Waheed, and Swank is motivated by Chris Hedges & Joe Sacco.
THIRD MAN BOOKS BOOKS BOOKS SUMMER SALE 20% OFF @thirdmanbooks.com
This month, L&SM offers a pairing of two hour-long documentaries, which - despite having been made more than 30 years apart - find striking commonality in their study of the personalities and hardships of two New York neighborhoods. On one side is Khalik Allah's staggering FIELD NIGGAS, a hypnotic exercise in video-portraiture which affords an unsettling but wholly empathetic depiction of the nighttime corner-dwellers at East Harlem's 125th Street & Lexington Avenue. On the other side is Diego Echeverria's rediscovered 1984 study of the historically Puerto Rican and Dominican area of South Williamsburg known as LOS SURES; an area that has been subjected to drastic gentrification in the decades following the film's production.
Together, these works exemplify cinema's ability to function as a milepost for the ever-evolving culture and landscape of a community, while concurrently offering proof to the adage that the more things change, the more they stay the same.
HD Video, 60min
"The combination is simple: a lot of slow motion portraiture combined with a soundtrack of snippets of people's conversation and interview. This straightforward method yields one of the most powerful and compassionate statements on race, on politics, on class, on policing, on drugs, that I've encountered in contemporary American cinema."
- Zach Campbell, Critics RoundUp
"The result is an intimate movie with a metaphysical grandeur, a detailed local inquiry that displays the crushing power of societal forces as well as the passion and vitality of those who endure."
- Richard Brody, The New Yorker
Praised in the pages of of The Guardian and The New York Times, and christened by Time Magazine as Harlem's "official" street photographer, Khalik Allah has earned notoriety for his ability to capture visceral, unflinching images of marginalized subjects in a manner that is untethered to liberal or conservative proselytization. By expanding his still photographic work to the realm of video, he allows his subjects to speak for themselves, offering a rarely extended form of agency to those in front of his lens. The resulting work is every bit as contextually complex and is it visually mesmerizing. Most recently, Allah has earned mainstream acclaim for his work as a contributing cinematographer on the near universally-celebrated filmic accompaniment to Beyoncé's LEMONADE.
HD Video, 57min
“An authenticity that has been captured by no fiction film I’ve ever seen.”
– L.A. Weekly
“Both an invaluable record of pre-gentrification Brooklyn and an ode to a community’s resilience.”
In the early 1980s, Diego Echeverría took a 16mm camera into the streets of the Southside of Williamsburg, then a primarily Puerto Rican neighborhood and one of the city’s poorest, most crime-ridden areas. Still, amidst the urban blight, Echeverría finds a thriving street culture in which music, breakdancing, and graffiti abound.
Los Sures skillfully represents the challenges residents of the Southside faced: poverty, drugs, gang violence, crime, abandoned real estate, racial tension, single-parent homes, and inadequate local resources. The complex portrait also celebrates the vitality of this largely Puerto Rican and Dominican community, showing the strength of their culture, their creativity, and their determination to overcome a desperate situation. Beautifully restored for the 30th anniversary premiere at the New York Film Festival, this documentary is an invaluable piece of New York City history.
Produced over 5 years by 60 artists at UnionDocs Center for Documentary Art, LIVING LOS SURES is an expansive project about the Southside of Williamsburg, Brooklyn. Known by its long-term Latino residents as Los Sures, the neighborhood was one of the poorest in New York City in the late 70s and early 80s. In fact, it had been called the worst ghetto in America. Today, it is the site of a battle between local identity and luxury lifestyle. With the restoration of LOS SURES, a brilliant work of cinéma vérité filmmaking as a starting point, the project has developed into a collection of 40 short films, the interactive documentary 89 STEPS, and the cinematic people’s history SHOT BY SHOT, demonstrating new possibilities for collaboration between an arts institution and its surrounding community to collect memories and share local culture.
Pearl Jam Ten Club Members PURCHASE HERE (must have a valid coupon to purchase)
On June 9th, 2016, Third Man Records was humbled to welcome Pearl Jam for a performance in our Nashville Blue Room live venue. Kept secret until the absolute last moment, the crowd of only 250 included lucky Ten Club members, mayors, NBA superstars, country music royalty, and possibly even a few stowaways. To call it a "warm-up” for their headlining set at Bonnaroo two nights later would be to vastly undervalue the evening. The band tore through a clutch collection of songs that spanned both deep cuts and fan favorites. A classic like “Deep” from Ten sits comfortably next to “Life Wasted” from their self-titled album Pearl Jam, and set-closer “Let Me Sleep” was originally recorded in 1990 (and was the band’s first-ever Ten Club release). The highlight of the performance came when Pearl Jam invited Jack White and his guitar to the stage to join on a song that clocked in at over seven minutes and featured wild dueling solos between White and Mike McCready, this epic performance left every mouth in the audience agape and every face on stage all smiles. Those seven minutes were truly some of the most memorable and historic in seven years since the Blue Room opened its doors.
Listen to a 30-second "sneak peek" clip below:
All this said, it should come as no surprise that this performance is the centerpiece of Third Man’s 29th Vault package: a black-and-gold, split-colored vinyl version of Pearl Jam’s set, recorded live direct-to-acetate and packaged in a stunning custom jacket, all soft touch coating and gilded gold metallic ink. While split-colors are normally only made available to attendees of the show, the opportunity to share this once-in-a-lifetime performance with the wide-reaching TMR and PJ world’s was too good to pass up
The following afternoon Eddie Vedder entered Third Man Records’ Voice-o-Graph recording booth and performed an arresting, solo acoustic song. Housed in a custom TMR Record Booth sleeve and pressed on clear transparent vinyl (just like the original) this disc captures a poignant moment for Vedder, and marks the event of yet another musical legend making exceptional use of the Third Man Recording Booth.
Third Man’s accomplished in-house photographer Jamie Goodsell documented the entirety of the evening’s events on his trusty SLR camera. These images have been compiled into a timeless photo book. This embossed, fabric-wrapped, 9” x 6” hardcover photo collection gives the viewer the ability to look behind the curtain, both into Pearl Jam and Third Man's worlds on a special night for both parties.
Rounding out Vault Package #29 are a 1” round metal lapel pin utilizing the custom Pearl Jam/Third Man mashup logo (printed onto silk-screened posters and complimentary beer koozies used that fateful night) in addition to a 3” circular patch of the same design, featuring gold thread and just begging to be sewn onto your motorcycle leather, denim vest, varsity jacket, backpack, wedding gown, pillowcase, coffin lining, underwear, etc, etc...
ALL of these items will ONLY be available as part of Third Man’s Platinum Vault Subscription service. For this Vault Package #29 ONLY, all members of Pearl Jam’s Ten Club will receive a SINGLE-USE coupon code entitling them to $15 off the cost of the package. Ten Club members active as of 6/30/16 have been sent their unique code as well as instructions to subscribe. Platinum Vault Subscriptions using this Ten Club coupon code WILL NOT RENEW for the next Vault cycle.
Subscribe early, subscribe often — Just make sure you subscribe by July 31st, the official deadline. It is our hope that Ten Club members will enjoy the experience of the Third Man Vault and Third Man Vault members will be incentivized to further explore Pearl Jam’s incredibly rewarding fan club.
Non-Ten Club members can sign up for a Platinum Vault Subscription through the usual process here.
Subscribe now by July 31st: thirdmanrecords.com/vault
“T.O.D.D.” is directed by Paris-based artist/filmmaker Will Benedict, in collaboration with Copenhagen-based artist Steffen Jørgensen. The music video – in which an alien discusses issues surrounding assimilation in an extra global context while drawing parallels with Europe's current migrant crisis with television talk show host Charlie Rose – will be included at the 9th Berlin Biennale for Contemporary Art, curated by New York-based collective DIS and continuing through the summer.
Founded two decades ago in Ann Arbor, Wolf Eyes recently headlined the first (and last) Trip Metal Fest, a remarkable Detroit gathering of experimental artists, noise rockers, and sonic improvisers. The three-day event received widespread national coverage, including a major feature in the New York Times.
I AM A PROBLEM: MIND IN PIECES was among 2015’s most highly praised recordings, proclaimed by The Quietus as “a must for all fans of fucked-up outsider rock.” The album “contains all the ominous suspense of a classic horror movie,” wrote Pitchfork. “Each track oozes with eerie tones and seat-edge momentum, such that something terrifying seems to always lurk around the corner.” I AM A PROBLEM: MIND IN PIECES “evokes classical Wolf Eyes in ways that count,” noted SPIN in an 8-out-of-10-rated rave, “but under that rich seasoning of clatters, slithers, feedback, and digested vocal malaise writhe songs.” “A gasping, heaving monster,” applauded Stereogum. “Parts of it sound a bit more like rock music than the things this band has made before.” Paste celebrated Wolf Eyes’ “utter disdain for normalcy,” noting that “hooking up with Third Man…might indicate immortality for an ensemble that could have just decided to fleece the noise genre’s fast-decaying corpse.”