Lisa/Liza // Ocean Path TAPE
![Moontype // I Let The Wind Push Down On Me LP [COLOR]](//tobirarecords.com/cdn/shop/files/a0061997849_16_b8268e82-1164-4f35-ab2e-a6354ec5c535_medium.jpg?v=1754049522)
Lisa/Liza // Ocean Path TAPE
¥2,174
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アメリカ・メインのフォーク作家Lisa/Lizaが、2025年6月に同国シカゴのインディーレーベルOrindal Recordsからリリースしたカセットです。
彼女が10代から20代前半に制作したベッドルーム・フォーク5曲を収録。DLコード付属。
以下、作家本人による解説です。
"Ocean Path は、私が10代から20代前半にかけて初めて作った曲を振り返ったもので、「Gamble 」のような初めてのレコーディングも含まれている。私にとっては、若き日の自分からの手紙でもある。
このカセットは、記憶の道をたどり、私たちが常に自分らしく、そしてこれからあるべき姿になり、成長していることを思い出させてくれる。
今、これらの曲をカセットという形で保管し、居場所を与えることには、安らぎと誇りがある。
私はミュージシャンになりたかったし、自分の内なる世界を他の人たちと分かち合いたかった。そして今、それが私をどこへ導いてくれたのかがわかり、目の前に示された道に感謝の気持ちを感じている。"
レーベルその他作品はこちら /// Click here to see more Orindal Records releases available at Tobira.
----------------------------
Cassette in norelco case. Includes DL code.
Tracklist:
- Summer's Dust 06:29
- Looking Glass 05:59
- Gamble 02:51
- Shark's Teeth 06:10
- Then You Shall See 05:49
Liza Victoria:
"Ocean Path is a look back at the first songs I made in my teens and early twenties, including some of my very first recordings, such as “Gamble.” For me, it is a letter from my younger self.
This cassette leads down paths of memory, reminding me we are always becoming and growing into who we are and what will be.
There is a peace and sense of pride in holding these songs now in the form of a curated cassette, giving them a place to be.
I wanted to be a musician, I wanted to share my inner world with others. And now I see where that lead me and feel gratitude for the path set out before me.
Each song holds time between it, at least a year between each, love and memory, and different worlds of view, threads between them.
As much as I hope this cassette shares a small piece of me with others, it is also a little sign on the road that says “keep going.”
Knowing all there is that encourages the path to roll forward, friends, different lives, and loves met along the way, encouraging me to hit record and to sing a little louder. It feels hopeful and is a feeling of being held."
Artist : Lisa/Liza
Label : Orindal Records
Cat No : ORD85
アメリカ・メインのフォーク作家Lisa/Lizaが、2025年6月に同国シカゴのインディーレーベルOrindal Recordsからリリースしたカセットです。
彼女が10代から20代前半に制作したベッドルーム・フォーク5曲を収録。DLコード付属。
以下、作家本人による解説です。
"Ocean Path は、私が10代から20代前半にかけて初めて作った曲を振り返ったもので、「Gamble 」のような初めてのレコーディングも含まれている。私にとっては、若き日の自分からの手紙でもある。
このカセットは、記憶の道をたどり、私たちが常に自分らしく、そしてこれからあるべき姿になり、成長していることを思い出させてくれる。
今、これらの曲をカセットという形で保管し、居場所を与えることには、安らぎと誇りがある。
私はミュージシャンになりたかったし、自分の内なる世界を他の人たちと分かち合いたかった。そして今、それが私をどこへ導いてくれたのかがわかり、目の前に示された道に感謝の気持ちを感じている。"
レーベルその他作品はこちら /// Click here to see more Orindal Records releases available at Tobira.
----------------------------
Cassette in norelco case. Includes DL code.
Tracklist:
- Summer's Dust 06:29
- Looking Glass 05:59
- Gamble 02:51
- Shark's Teeth 06:10
- Then You Shall See 05:49
Liza Victoria:
"Ocean Path is a look back at the first songs I made in my teens and early twenties, including some of my very first recordings, such as “Gamble.” For me, it is a letter from my younger self.
This cassette leads down paths of memory, reminding me we are always becoming and growing into who we are and what will be.
There is a peace and sense of pride in holding these songs now in the form of a curated cassette, giving them a place to be.
I wanted to be a musician, I wanted to share my inner world with others. And now I see where that lead me and feel gratitude for the path set out before me.
Each song holds time between it, at least a year between each, love and memory, and different worlds of view, threads between them.
As much as I hope this cassette shares a small piece of me with others, it is also a little sign on the road that says “keep going.”
Knowing all there is that encourages the path to roll forward, friends, different lives, and loves met along the way, encouraging me to hit record and to sing a little louder. It feels hopeful and is a feeling of being held."
Artist : Lisa/Liza
Label : Orindal Records
Cat No : ORD85
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{"id":8875774148858,"title":"Moontype \/\/ I Let The Wind Push Down On Me LP [COLOR]","handle":"moontype-i-let-the-wind-push-down-on-me-lp-color","description":"\u003cp\u003eアメリカ・シカゴのインディ〜バンドMoontypeが、2025年5月にシカゴのインディーレーベルOrindal Recordsからリリースしたレコードです。\u003c\/p\u003e\n\u003cp\u003eインディーロック〜エモ・ロック11曲を収録。オレンジ盤です。DLコードと歌詞カード、ポスターが付属。\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=474388678\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/track=3059307125\/transparent=true\/\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/orindal\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/orindal\"\u003ehere\u003c\/a\u003e to see more Orindal Records releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e----------------------------\u003c\/p\u003e\n\u003cp\u003eIncludes DL code. 12\" Coral Wonder vinyl.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e1. How I Used to Dance 03:25\u003cbr\u003e2. Let Me Cry 03:57\u003cbr\u003e3. Long Country 04:16\u003cbr\u003e4. Four Hands ii 03:39\u003cbr\u003e5. Walking in the Woods 04:58\u003cbr\u003e6. Crushed 05:30\u003cbr\u003e7. Anymore 04:05\u003cbr\u003e8. Four Hands i 03:30\u003cbr\u003e9. Click Clack 01:04\u003cbr\u003e10. Starry Eyed 06:28\u003cbr\u003e11. Let Me Be 04:55 \u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"bcTruncateMore\"\u003eOrindal Records\u003c\/span\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"So much of Moontype’s life-affirming magic is from the evolving confidence and relentless creative playfulness of its lead singer and bassist Margaret McCarthy. As the leader of the Chicago indie rock outfit, her music tackles soft and vulnerable emotions with striking clarity and immersive, unorthodox melodies. 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For this record, I didn't shy away from dark or hard things, like loneliness, sadness, anger, and disconnection.” During that time, the band’s lineup grew with the additions of Patter’s Joe Suihkonen, whose other\u003cspan class=\"bcTruncateMore\"\u003e band the Deals has featured collaborations from McCarthy and Moontype drummer Emerson Hunton, and Andrew Clinkman of Spirits Having Fun. “Getting asked to join this band was a beautiful thing for me,” says Clinkman. “It was exciting to be able to play with what was my favorite band already.” \u003cbr\u003e\u003cbr\u003eThe first show the new lineup played with NNAMDÏ at Metro in 2022 found them gelling instantly. “Immediately it felt like this is what it was supposed to be,” says McCarthy. Adding an extra guitar brought muscle and endless possibilities to their sound too. Still, the band wanted to nurture this newfound energy so they decided to skip tours and regular live shows for weekly jam sessions and practices. “The most important thing about this band is how we work on music in fleshing out a song together,” says Hunton. “With Joe and Andrew, once we realized that Margaret could just still bring in a shell of a track, we’d play it, not talk about it, and see where things land, there was a feeling that everything would work out.” These frequent meetups allowed everyone to get comfortable with each other and with playing music without hesitation. As Suihkonen puts it, “Writing songs with Moontype feels freer than any other band I've ever been in.” \u003cbr\u003e\u003cbr\u003eOne of the earlier songs is the lead single “Long Country,” which connects the sonic and emotional threads between the first iteration of Moontype and this new one. Over glistening guitars, McCarthy coos, “I wanna feel good every hour of the day.” Eventually, the track curls into something more menacing and eerie. The tempo slows and guitars leisurely strum as she sings, “The truth will hurt too much, the walls you built are strong enough \/ Nothing can set you free, so steel yourself, go forward blindly.” It eventually peaks into a blistering wall of sound and throughout, it’s unpredictable and thrilling—a testament to McCarthy’s vivacious melodic sensibilities. “There's something special about having Margaret’s bass and vocals as a starting point for a song,” says Clinkman. “It creates this inherent counterpoint to the song. That middle textural ground is so open to fill in, and provides an amazing opportunity for the rest of us to flesh that space out.” \u003cbr\u003e\u003cbr\u003e“All of these songs span from my twenties,” says McCarthy. “There are changes that happen during every time of life, but definitely that one was full of upheaval.” Opener “How I Used to Dance” finds her reflecting on a younger version of herself. Over a flutter of strings, she sings, “Oh, how I used to dance \/ in my room, before I went to bed” reminiscing on nighttime walks in a small town and late nights with her best friend. “It’s a song about missing the past and grappling with how things have changed,” she says. “I had so many rituals for myself–small emotional moments that made me feel better. That era was kind of the beginning of me understanding what it feels like to feel good being alone. Now, it’s just a lot more comfortable for me.” Even when I Let the Wind Push Down On Me hones in on the mundane, McCarthy’s observant lyrics know where to find the light. \u003cbr\u003e\u003cbr\u003eAs McCarthy became more at ease with herself and her writing, the songs came together seamlessly. Even tracks that initially presented challenges, like the yearning single “Four Hands ii,” turned into North Stars once the band figured out where it should go. This ineffable creative rhythm gave them the confidence to hit the studio. First was a session in Chicago at Jamdek Studios where they’d track each tune as straightforwardly as possible. “This was our “Rock Band” session,” jokes Hunton. Then, they intentionally gave themselves a few months to sit with the material before they decamped to Maryland and New York to record with Katie Von Schleicher and Nate Mendelsohn. There, they worked on overdubs, vocals, and tweaking the arrangements. 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It feels like an extension of myself.”\u003c\/span\u003e \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Moontype\u003c\/p\u003e\n\u003cp\u003eLabel : Orindal Records\u003c\/p\u003e\n\u003cp\u003eCat No : ORD84\u003c\/p\u003e","published_at":"2025-08-01T21:01:19+09:00","created_at":"2025-08-01T21:00:28+09:00","vendor":"Tobira Records","type":"","tags":["folk \/ left-field pop","lp","new","orindal"],"price":398000,"price_min":398000,"price_max":398000,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":47573151809786,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":null,"requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Moontype \/\/ I Let The Wind Push Down On Me LP [COLOR]","public_title":null,"options":["Default Title"],"price":398000,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":null,"requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/a0061997849_16_b8268e82-1164-4f35-ab2e-a6354ec5c535.jpg?v=1754049522","\/\/tobirarecords.com\/cdn\/shop\/files\/0038783016_10.jpg?v=1754049688"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/a0061997849_16_b8268e82-1164-4f35-ab2e-a6354ec5c535.jpg?v=1754049522","options":["Title"],"media":[{"alt":null,"id":36464914202874,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/a0061997849_16_b8268e82-1164-4f35-ab2e-a6354ec5c535.jpg?v=1754049522"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/a0061997849_16_b8268e82-1164-4f35-ab2e-a6354ec5c535.jpg?v=1754049522","width":700},{"alt":null,"id":36464920854778,"position":2,"preview_image":{"aspect_ratio":1.333,"height":900,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/0038783016_10.jpg?v=1754049688"},"aspect_ratio":1.333,"height":900,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/0038783016_10.jpg?v=1754049688","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eアメリカ・シカゴのインディ〜バンドMoontypeが、2025年5月にシカゴのインディーレーベルOrindal Recordsからリリースしたレコードです。\u003c\/p\u003e\n\u003cp\u003eインディーロック〜エモ・ロック11曲を収録。オレンジ盤です。DLコードと歌詞カード、ポスターが付属。\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=474388678\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/track=3059307125\/transparent=true\/\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/orindal\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/orindal\"\u003ehere\u003c\/a\u003e to see more Orindal Records releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e----------------------------\u003c\/p\u003e\n\u003cp\u003eIncludes DL code. 12\" Coral Wonder vinyl.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e1. How I Used to Dance 03:25\u003cbr\u003e2. Let Me Cry 03:57\u003cbr\u003e3. Long Country 04:16\u003cbr\u003e4. Four Hands ii 03:39\u003cbr\u003e5. Walking in the Woods 04:58\u003cbr\u003e6. Crushed 05:30\u003cbr\u003e7. Anymore 04:05\u003cbr\u003e8. Four Hands i 03:30\u003cbr\u003e9. Click Clack 01:04\u003cbr\u003e10. Starry Eyed 06:28\u003cbr\u003e11. Let Me Be 04:55 \u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"bcTruncateMore\"\u003eOrindal Records\u003c\/span\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"So much of Moontype’s life-affirming magic is from the evolving confidence and relentless creative playfulness of its lead singer and bassist Margaret McCarthy. As the leader of the Chicago indie rock outfit, her music tackles soft and vulnerable emotions with striking clarity and immersive, unorthodox melodies. Their second album, I Let The Wind Push Down On Me, serves as a reinvention for the band—not just for their new and expanded lineup—but for how McCarthy navigates the changes in her own life and the messy feelings she sings about. Out May 23 via Orindal Records, the LP is a patient document of feeling things out, being easy on yourself, and finding the beauty in small moments. \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eFollowing the 2021 release of Bodies of Water, Moontype’s critically acclaimed first album, the band underwent a recharging period of major and minor transformations. “I have gotten better at being alone, and found ways to feel strong and powerful in myself,” says McCarthy. “I'm better at having the relationships I want to have and setting the boundaries I want to set. For this record, I didn't shy away from dark or hard things, like loneliness, sadness, anger, and disconnection.” During that time, the band’s lineup grew with the additions of Patter’s Joe Suihkonen, whose other\u003cspan class=\"bcTruncateMore\"\u003e band the Deals has featured collaborations from McCarthy and Moontype drummer Emerson Hunton, and Andrew Clinkman of Spirits Having Fun. “Getting asked to join this band was a beautiful thing for me,” says Clinkman. “It was exciting to be able to play with what was my favorite band already.” \u003cbr\u003e\u003cbr\u003eThe first show the new lineup played with NNAMDÏ at Metro in 2022 found them gelling instantly. “Immediately it felt like this is what it was supposed to be,” says McCarthy. Adding an extra guitar brought muscle and endless possibilities to their sound too. Still, the band wanted to nurture this newfound energy so they decided to skip tours and regular live shows for weekly jam sessions and practices. “The most important thing about this band is how we work on music in fleshing out a song together,” says Hunton. “With Joe and Andrew, once we realized that Margaret could just still bring in a shell of a track, we’d play it, not talk about it, and see where things land, there was a feeling that everything would work out.” These frequent meetups allowed everyone to get comfortable with each other and with playing music without hesitation. As Suihkonen puts it, “Writing songs with Moontype feels freer than any other band I've ever been in.” \u003cbr\u003e\u003cbr\u003eOne of the earlier songs is the lead single “Long Country,” which connects the sonic and emotional threads between the first iteration of Moontype and this new one. Over glistening guitars, McCarthy coos, “I wanna feel good every hour of the day.” Eventually, the track curls into something more menacing and eerie. The tempo slows and guitars leisurely strum as she sings, “The truth will hurt too much, the walls you built are strong enough \/ Nothing can set you free, so steel yourself, go forward blindly.” It eventually peaks into a blistering wall of sound and throughout, it’s unpredictable and thrilling—a testament to McCarthy’s vivacious melodic sensibilities. “There's something special about having Margaret’s bass and vocals as a starting point for a song,” says Clinkman. “It creates this inherent counterpoint to the song. That middle textural ground is so open to fill in, and provides an amazing opportunity for the rest of us to flesh that space out.” \u003cbr\u003e\u003cbr\u003e“All of these songs span from my twenties,” says McCarthy. “There are changes that happen during every time of life, but definitely that one was full of upheaval.” Opener “How I Used to Dance” finds her reflecting on a younger version of herself. Over a flutter of strings, she sings, “Oh, how I used to dance \/ in my room, before I went to bed” reminiscing on nighttime walks in a small town and late nights with her best friend. “It’s a song about missing the past and grappling with how things have changed,” she says. “I had so many rituals for myself–small emotional moments that made me feel better. That era was kind of the beginning of me understanding what it feels like to feel good being alone. Now, it’s just a lot more comfortable for me.” Even when I Let the Wind Push Down On Me hones in on the mundane, McCarthy’s observant lyrics know where to find the light. \u003cbr\u003e\u003cbr\u003eAs McCarthy became more at ease with herself and her writing, the songs came together seamlessly. Even tracks that initially presented challenges, like the yearning single “Four Hands ii,” turned into North Stars once the band figured out where it should go. This ineffable creative rhythm gave them the confidence to hit the studio. First was a session in Chicago at Jamdek Studios where they’d track each tune as straightforwardly as possible. “This was our “Rock Band” session,” jokes Hunton. Then, they intentionally gave themselves a few months to sit with the material before they decamped to Maryland and New York to record with Katie Von Schleicher and Nate Mendelsohn. There, they worked on overdubs, vocals, and tweaking the arrangements. The distance between the two sessions allowed them to reimagine and recontextualize the material. “We made a record in Chicago. Then we went to Maryland and broke it,” says Suihkonen. \u003cbr\u003e\u003cbr\u003eI Let the Wind Push Down On Me is an album of confronting dark emotions and coming out stronger. Where their debut Bodies of Water concerned itself with the healing powers of nature, this LP creates a colder world. On “Starry-Eyed,” McCarthy sings, “Borrowing a bottle I take sips \/ till I forget \/ What I started for \/ Oh \/ Why do I keep opening that door? \/ Every time I think it’s closed, there’s more.” While the song with its shoegaze-inflected riffs captures how things can feel heavy on your chest, it’s sung with such a lightness that it feels like a relief. “For that song, I took myself on a writing retreat, sat there, and wrote for a week, and that song actually came out of that.” \u003cbr\u003e\u003cbr\u003eWhile so much of McCarthy’s writing came from periods of solitude, she found power through the creative process and her bandmates. “Writing songs can be a lonely endeavor, but I have these amazing bandmates,” she says. “When we’re together, it becomes something different and more powerful than when I was alone. The power that I'm trying to feel in my own self can be multiplied when we're all playing together. It feels like an extension of myself.”\u003c\/span\u003e \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Moontype\u003c\/p\u003e\n\u003cp\u003eLabel : Orindal Records\u003c\/p\u003e\n\u003cp\u003eCat No : ORD84\u003c\/p\u003e"}
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アメリカ・シカゴのインディ〜バンドMoontypeが、2025年5月にシカゴのインディーレーベルOrindal Recordsからリリースしたレコードです。 インディーロック〜エモ・ロック11曲を収録。オレンジ盤です。DLコードと歌詞カード、ポスターが付属。 レーベルその他作品はこちら /// Click here to see more Orindal Records releases available at Tobira. ----------------------------...
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{"id":8875736301818,"title":"Moontype \/\/ I Let The Wind Push Down On Me LP","handle":"moontype-i-let-the-wind-push-down-on-me-lp","description":"\u003cp\u003eアメリカ・シカゴのインディ〜バンドMoontypeが、2025年5月にシカゴのインディーレーベルOrindal Recordsからリリースしたレコードです。\u003c\/p\u003e\n\u003cp\u003eインディーロック〜エモ・ロック11曲を収録。DLコードと歌詞カード、ポスターが付属。\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=474388678\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/track=3059307125\/transparent=true\/\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/orindal\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/orindal\"\u003ehere\u003c\/a\u003e to see more Orindal Records releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e----------------------------\u003c\/p\u003e\n\u003cp\u003eIncludes DL code. 12\" black vinyl.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e1. How I Used to Dance 03:25\u003cbr\u003e2. Let Me Cry 03:57\u003cbr\u003e3. Long Country 04:16\u003cbr\u003e4. Four Hands ii 03:39\u003cbr\u003e5. Walking in the Woods 04:58\u003cbr\u003e6. Crushed 05:30\u003cbr\u003e7. Anymore 04:05\u003cbr\u003e8. Four Hands i 03:30\u003cbr\u003e9. Click Clack 01:04\u003cbr\u003e10. Starry Eyed 06:28\u003cbr\u003e11. Let Me Be 04:55 \u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"bcTruncateMore\"\u003eOrindal Records\u003c\/span\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"So much of Moontype’s life-affirming magic is from the evolving confidence and relentless creative playfulness of its lead singer and bassist Margaret McCarthy. As the leader of the Chicago indie rock outfit, her music tackles soft and vulnerable emotions with striking clarity and immersive, unorthodox melodies. Their second album, I Let The Wind Push Down On Me, serves as a reinvention for the band—not just for their new and expanded lineup—but for how McCarthy navigates the changes in her own life and the messy feelings she sings about. Out May 23 via Orindal Records, the LP is a patient document of feeling things out, being easy on yourself, and finding the beauty in small moments. \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eFollowing the 2021 release of Bodies of Water, Moontype’s critically acclaimed first album, the band underwent a recharging period of major and minor transformations. “I have gotten better at being alone, and found ways to feel strong and powerful in myself,” says McCarthy. “I'm better at having the relationships I want to have and setting the boundaries I want to set. For this record, I didn't shy away from dark or hard things, like loneliness, sadness, anger, and disconnection.” During that time, the band’s lineup grew with the additions of Patter’s Joe Suihkonen, whose other\u003cspan class=\"bcTruncateMore\"\u003e band the Deals has featured collaborations from McCarthy and Moontype drummer Emerson Hunton, and Andrew Clinkman of Spirits Having Fun. “Getting asked to join this band was a beautiful thing for me,” says Clinkman. “It was exciting to be able to play with what was my favorite band already.” \u003cbr\u003e\u003cbr\u003eThe first show the new lineup played with NNAMDÏ at Metro in 2022 found them gelling instantly. “Immediately it felt like this is what it was supposed to be,” says McCarthy. Adding an extra guitar brought muscle and endless possibilities to their sound too. Still, the band wanted to nurture this newfound energy so they decided to skip tours and regular live shows for weekly jam sessions and practices. “The most important thing about this band is how we work on music in fleshing out a song together,” says Hunton. “With Joe and Andrew, once we realized that Margaret could just still bring in a shell of a track, we’d play it, not talk about it, and see where things land, there was a feeling that everything would work out.” These frequent meetups allowed everyone to get comfortable with each other and with playing music without hesitation. As Suihkonen puts it, “Writing songs with Moontype feels freer than any other band I've ever been in.” \u003cbr\u003e\u003cbr\u003eOne of the earlier songs is the lead single “Long Country,” which connects the sonic and emotional threads between the first iteration of Moontype and this new one. Over glistening guitars, McCarthy coos, “I wanna feel good every hour of the day.” Eventually, the track curls into something more menacing and eerie. The tempo slows and guitars leisurely strum as she sings, “The truth will hurt too much, the walls you built are strong enough \/ Nothing can set you free, so steel yourself, go forward blindly.” It eventually peaks into a blistering wall of sound and throughout, it’s unpredictable and thrilling—a testament to McCarthy’s vivacious melodic sensibilities. “There's something special about having Margaret’s bass and vocals as a starting point for a song,” says Clinkman. “It creates this inherent counterpoint to the song. That middle textural ground is so open to fill in, and provides an amazing opportunity for the rest of us to flesh that space out.” \u003cbr\u003e\u003cbr\u003e“All of these songs span from my twenties,” says McCarthy. “There are changes that happen during every time of life, but definitely that one was full of upheaval.” Opener “How I Used to Dance” finds her reflecting on a younger version of herself. Over a flutter of strings, she sings, “Oh, how I used to dance \/ in my room, before I went to bed” reminiscing on nighttime walks in a small town and late nights with her best friend. “It’s a song about missing the past and grappling with how things have changed,” she says. “I had so many rituals for myself–small emotional moments that made me feel better. That era was kind of the beginning of me understanding what it feels like to feel good being alone. Now, it’s just a lot more comfortable for me.” Even when I Let the Wind Push Down On Me hones in on the mundane, McCarthy’s observant lyrics know where to find the light. \u003cbr\u003e\u003cbr\u003eAs McCarthy became more at ease with herself and her writing, the songs came together seamlessly. Even tracks that initially presented challenges, like the yearning single “Four Hands ii,” turned into North Stars once the band figured out where it should go. This ineffable creative rhythm gave them the confidence to hit the studio. First was a session in Chicago at Jamdek Studios where they’d track each tune as straightforwardly as possible. “This was our “Rock Band” session,” jokes Hunton. Then, they intentionally gave themselves a few months to sit with the material before they decamped to Maryland and New York to record with Katie Von Schleicher and Nate Mendelsohn. There, they worked on overdubs, vocals, and tweaking the arrangements. The distance between the two sessions allowed them to reimagine and recontextualize the material. “We made a record in Chicago. Then we went to Maryland and broke it,” says Suihkonen. \u003cbr\u003e\u003cbr\u003eI Let the Wind Push Down On Me is an album of confronting dark emotions and coming out stronger. Where their debut Bodies of Water concerned itself with the healing powers of nature, this LP creates a colder world. On “Starry-Eyed,” McCarthy sings, “Borrowing a bottle I take sips \/ till I forget \/ What I started for \/ Oh \/ Why do I keep opening that door? \/ Every time I think it’s closed, there’s more.” While the song with its shoegaze-inflected riffs captures how things can feel heavy on your chest, it’s sung with such a lightness that it feels like a relief. “For that song, I took myself on a writing retreat, sat there, and wrote for a week, and that song actually came out of that.” \u003cbr\u003e\u003cbr\u003eWhile so much of McCarthy’s writing came from periods of solitude, she found power through the creative process and her bandmates. “Writing songs can be a lonely endeavor, but I have these amazing bandmates,” she says. “When we’re together, it becomes something different and more powerful than when I was alone. The power that I'm trying to feel in my own self can be multiplied when we're all playing together. It feels like an extension of myself.”\u003c\/span\u003e \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Moontype\u003c\/p\u003e\n\u003cp\u003eLabel : Orindal Records\u003c\/p\u003e\n\u003cp\u003eCat No : ORD84\u003c\/p\u003e","published_at":"2025-08-01T20:58:41+09:00","created_at":"2025-08-01T20:41:43+09:00","vendor":"Tobira Records","type":"","tags":["folk \/ left-field pop","lp","new","orindal"],"price":373300,"price_min":373300,"price_max":373300,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":47573111046394,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":null,"requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Moontype \/\/ I Let The Wind Push Down On Me LP","public_title":null,"options":["Default Title"],"price":373300,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":null,"requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/a0061997849_16_b8268e82-1164-4f35-ab2e-a6354ec5c535.jpg?v=1754049522","\/\/tobirarecords.com\/cdn\/shop\/files\/0038783040_10.jpg?v=1754049522"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/a0061997849_16_b8268e82-1164-4f35-ab2e-a6354ec5c535.jpg?v=1754049522","options":["Title"],"media":[{"alt":null,"id":36464914202874,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/a0061997849_16_b8268e82-1164-4f35-ab2e-a6354ec5c535.jpg?v=1754049522"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/a0061997849_16_b8268e82-1164-4f35-ab2e-a6354ec5c535.jpg?v=1754049522","width":700},{"alt":null,"id":36464905683194,"position":2,"preview_image":{"aspect_ratio":1.333,"height":900,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/0038783040_10.jpg?v=1754049522"},"aspect_ratio":1.333,"height":900,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/0038783040_10.jpg?v=1754049522","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eアメリカ・シカゴのインディ〜バンドMoontypeが、2025年5月にシカゴのインディーレーベルOrindal Recordsからリリースしたレコードです。\u003c\/p\u003e\n\u003cp\u003eインディーロック〜エモ・ロック11曲を収録。DLコードと歌詞カード、ポスターが付属。\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=474388678\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/track=3059307125\/transparent=true\/\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/orindal\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/orindal\"\u003ehere\u003c\/a\u003e to see more Orindal Records releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e----------------------------\u003c\/p\u003e\n\u003cp\u003eIncludes DL code. 12\" black vinyl.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e1. How I Used to Dance 03:25\u003cbr\u003e2. Let Me Cry 03:57\u003cbr\u003e3. Long Country 04:16\u003cbr\u003e4. Four Hands ii 03:39\u003cbr\u003e5. Walking in the Woods 04:58\u003cbr\u003e6. Crushed 05:30\u003cbr\u003e7. Anymore 04:05\u003cbr\u003e8. Four Hands i 03:30\u003cbr\u003e9. Click Clack 01:04\u003cbr\u003e10. Starry Eyed 06:28\u003cbr\u003e11. Let Me Be 04:55 \u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"bcTruncateMore\"\u003eOrindal Records\u003c\/span\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"So much of Moontype’s life-affirming magic is from the evolving confidence and relentless creative playfulness of its lead singer and bassist Margaret McCarthy. As the leader of the Chicago indie rock outfit, her music tackles soft and vulnerable emotions with striking clarity and immersive, unorthodox melodies. Their second album, I Let The Wind Push Down On Me, serves as a reinvention for the band—not just for their new and expanded lineup—but for how McCarthy navigates the changes in her own life and the messy feelings she sings about. Out May 23 via Orindal Records, the LP is a patient document of feeling things out, being easy on yourself, and finding the beauty in small moments. \u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eFollowing the 2021 release of Bodies of Water, Moontype’s critically acclaimed first album, the band underwent a recharging period of major and minor transformations. “I have gotten better at being alone, and found ways to feel strong and powerful in myself,” says McCarthy. “I'm better at having the relationships I want to have and setting the boundaries I want to set. For this record, I didn't shy away from dark or hard things, like loneliness, sadness, anger, and disconnection.” During that time, the band’s lineup grew with the additions of Patter’s Joe Suihkonen, whose other\u003cspan class=\"bcTruncateMore\"\u003e band the Deals has featured collaborations from McCarthy and Moontype drummer Emerson Hunton, and Andrew Clinkman of Spirits Having Fun. “Getting asked to join this band was a beautiful thing for me,” says Clinkman. “It was exciting to be able to play with what was my favorite band already.” \u003cbr\u003e\u003cbr\u003eThe first show the new lineup played with NNAMDÏ at Metro in 2022 found them gelling instantly. “Immediately it felt like this is what it was supposed to be,” says McCarthy. Adding an extra guitar brought muscle and endless possibilities to their sound too. Still, the band wanted to nurture this newfound energy so they decided to skip tours and regular live shows for weekly jam sessions and practices. “The most important thing about this band is how we work on music in fleshing out a song together,” says Hunton. “With Joe and Andrew, once we realized that Margaret could just still bring in a shell of a track, we’d play it, not talk about it, and see where things land, there was a feeling that everything would work out.” These frequent meetups allowed everyone to get comfortable with each other and with playing music without hesitation. As Suihkonen puts it, “Writing songs with Moontype feels freer than any other band I've ever been in.” \u003cbr\u003e\u003cbr\u003eOne of the earlier songs is the lead single “Long Country,” which connects the sonic and emotional threads between the first iteration of Moontype and this new one. Over glistening guitars, McCarthy coos, “I wanna feel good every hour of the day.” Eventually, the track curls into something more menacing and eerie. The tempo slows and guitars leisurely strum as she sings, “The truth will hurt too much, the walls you built are strong enough \/ Nothing can set you free, so steel yourself, go forward blindly.” It eventually peaks into a blistering wall of sound and throughout, it’s unpredictable and thrilling—a testament to McCarthy’s vivacious melodic sensibilities. “There's something special about having Margaret’s bass and vocals as a starting point for a song,” says Clinkman. “It creates this inherent counterpoint to the song. That middle textural ground is so open to fill in, and provides an amazing opportunity for the rest of us to flesh that space out.” \u003cbr\u003e\u003cbr\u003e“All of these songs span from my twenties,” says McCarthy. “There are changes that happen during every time of life, but definitely that one was full of upheaval.” Opener “How I Used to Dance” finds her reflecting on a younger version of herself. Over a flutter of strings, she sings, “Oh, how I used to dance \/ in my room, before I went to bed” reminiscing on nighttime walks in a small town and late nights with her best friend. “It’s a song about missing the past and grappling with how things have changed,” she says. “I had so many rituals for myself–small emotional moments that made me feel better. That era was kind of the beginning of me understanding what it feels like to feel good being alone. Now, it’s just a lot more comfortable for me.” Even when I Let the Wind Push Down On Me hones in on the mundane, McCarthy’s observant lyrics know where to find the light. \u003cbr\u003e\u003cbr\u003eAs McCarthy became more at ease with herself and her writing, the songs came together seamlessly. Even tracks that initially presented challenges, like the yearning single “Four Hands ii,” turned into North Stars once the band figured out where it should go. This ineffable creative rhythm gave them the confidence to hit the studio. First was a session in Chicago at Jamdek Studios where they’d track each tune as straightforwardly as possible. “This was our “Rock Band” session,” jokes Hunton. Then, they intentionally gave themselves a few months to sit with the material before they decamped to Maryland and New York to record with Katie Von Schleicher and Nate Mendelsohn. There, they worked on overdubs, vocals, and tweaking the arrangements. The distance between the two sessions allowed them to reimagine and recontextualize the material. “We made a record in Chicago. Then we went to Maryland and broke it,” says Suihkonen. \u003cbr\u003e\u003cbr\u003eI Let the Wind Push Down On Me is an album of confronting dark emotions and coming out stronger. Where their debut Bodies of Water concerned itself with the healing powers of nature, this LP creates a colder world. On “Starry-Eyed,” McCarthy sings, “Borrowing a bottle I take sips \/ till I forget \/ What I started for \/ Oh \/ Why do I keep opening that door? \/ Every time I think it’s closed, there’s more.” While the song with its shoegaze-inflected riffs captures how things can feel heavy on your chest, it’s sung with such a lightness that it feels like a relief. “For that song, I took myself on a writing retreat, sat there, and wrote for a week, and that song actually came out of that.” \u003cbr\u003e\u003cbr\u003eWhile so much of McCarthy’s writing came from periods of solitude, she found power through the creative process and her bandmates. “Writing songs can be a lonely endeavor, but I have these amazing bandmates,” she says. “When we’re together, it becomes something different and more powerful than when I was alone. The power that I'm trying to feel in my own self can be multiplied when we're all playing together. It feels like an extension of myself.”\u003c\/span\u003e \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Moontype\u003c\/p\u003e\n\u003cp\u003eLabel : Orindal Records\u003c\/p\u003e\n\u003cp\u003eCat No : ORD84\u003c\/p\u003e"}
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アメリカ・シカゴのインディ〜バンドMoontypeが、2025年5月にシカゴのインディーレーベルOrindal Recordsからリリースしたレコードです。 インディーロック〜エモ・ロック11曲を収録。DLコードと歌詞カード、ポスターが付属。 レーベルその他作品はこちら /// Click here to see more Orindal Records releases available at Tobira. ----------------------------...
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{"id":8875066491130,"title":"Duffy x Uhlmann \/\/ Doubles LP","handle":"duffy-x-uhlmann-doubles-lp","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003ePerfume GeniusやHand Habitsのバックバンドメンバーとして共演してきたアメリカのギタリストDuffy x Uhlmannが、2023年9月に同国シカゴのインディーレーベルOrindal Recordからリリースした共作アルバムです。\u003c\/p\u003e\n\u003cp\u003eギター2本による即興アンビエント・フォーク〜アンビエント・ジャズ11曲を収録。DLコード付属。\u003c\/p\u003e\n\u003cp\u003e以下、Rosie Stocktonによる解説です。\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cem\u003e\"Duffy x Uhlmannは、スピードと遅さの境界を曖昧にし、互いの地平線を目指しながら、互いのピークとフラリーを引き受け、速度でコミュニケーションする。これらのワンテイク即興演奏は、Uhlmannの兄弟の家で借りたテープレコーダーで録音された。彼らの絶え間ないモチーフは、絶え間なく戻ってくることであり、片方が迷い込んでも、もう片方が追いかけてくるか、あるいは家に呼び戻されることを知っている、お互いがコミットする安定した鼓動である。ここでは、秩序よりも流動性が優先され、それぞれの音は木の皮に刻まれたイニシャルのように通り過ぎていく。\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eDuffy x Uhlmannは、Perfume GeniusとHand Habitsで活動した後、初の共作『Doubles』に着手した。彼らはギターを手にし、2人の音楽的な親密さが言葉なしに表現されている。\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003e彼らは直感を受け入れ、信頼を頼りに、音の瞑想を織り成す。DoublesのA面は、2本のギターの会話で構成されている。感情をループさせ、音を編み込み、キスをし、互いの文章を完成させる。最終トラックではダビングや編集は一切行わず、作曲の即時性により、まるで私たちが彼らと一緒に部屋にいるような感覚になる。\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eA面は、きらびやかな親密さを確立しているが、B面は、過去1年間のツアーで一緒に演奏したサウンドを取り入れた、音をかき集めたようなトーンになっている。自己を素材とするこのアルバムの後半は、記憶の触感を取り入れるために、サイドAの存在感を解体する。旅先や世界からのサンプルを使ったこれらの楽曲は、糊付けされた記憶のスクラップブックである。聴いていると、時間に媒介されながら世界に存在することの歯ごたえと静けさが感じられる。\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eどのような瞬間においても、真のプレゼンス（存在感）を育み、維持することは最も難しいことのひとつである。それが提供されたとき、私はそれを貴重な贈り物のように大切にする。本作を聴きながら、私はDuffy x Uhlmannの寛大さに身をゆだねる。\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eこれらの曲の中にある親密さは、影のように踊っている。私はこの音楽をポケットに入れ、使い古された石のように手のひらに乗せたい。彼らは甘い生々しさを与えてくれる。それは曲が終わっても余韻を残し、言葉が消え去った瞬間に体を打つ。\"\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2911860649\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/orindal\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/orindal\"\u003ehere\u003c\/a\u003e to see more Orindal Records releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e----------------------------\u003c\/p\u003e\n\u003cp\u003eIncludes DL code. 12\" black vinyl.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eHalf Smile\u003c\/li\u003e\n\u003cli\u003eEuphoric Recall\u003c\/li\u003e\n\u003cli\u003eEtch\u003c\/li\u003e\n\u003cli\u003eBraid\u003c\/li\u003e\n\u003cli\u003eGlacial Fanfare\u003c\/li\u003e\n\u003cli\u003eGold Tooth\u003c\/li\u003e\n\u003cli\u003eSaunter\u003c\/li\u003e\n\u003cli\u003eWhich One is You\u003c\/li\u003e\n\u003cli\u003eSumac\u003c\/li\u003e\n\u003cli\u003eTumbler\u003c\/li\u003e\n\u003cli\u003eIn the Spirit of Fair Play\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan class=\"bcTruncateMore\"\u003e Rosie Stockton\u003c\/span\u003e\u003cspan\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e\"Blurring the limits between speed and slowness, Meg Duffy \u003c\/em\u003e\u003cem\u003e(guitar) and Greg Uhlmann (guitar) communicate in velocities, \u003c\/em\u003e\u003cem\u003eunderwriting each other’s peaks and flurries as they ache \u003c\/em\u003e\u003cem\u003etoward a mutual horizon. These one-take improvisations, \u003c\/em\u003e\u003cem\u003erecorded in Uhlmann’s brothers’ house on a borrowed tape \u003c\/em\u003e\u003cem\u003erecorder, unfold like a game of truth or dare. Their constant \u003c\/em\u003e\u003cem\u003emotif is an unceasing return, a steady heartbeat they mutually \u003c\/em\u003e\u003cem\u003ecommit to, knowing when one wanders off, the other will either \u003c\/em\u003e\u003cem\u003efollow or call them home. Here, flushness overrides order, each \u003c\/em\u003e\u003cem\u003enote saunters by like initials etched into tree bark: a devotion \u003c\/em\u003e\u003cem\u003eboth passing and eternal.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eAfter playing in Perfume Genius and Hand Habits, Duffy and \u003c\/em\u003e\u003cem\u003eUhlmann embarked on their first record together, Doubles. A \u003c\/em\u003e\u003cem\u003etestament to the wordlessness of their musical intimacy, Duffy \u003c\/em\u003e\u003cem\u003eand Uhlmann take up the guitar in order to make an imprint of \u003c\/em\u003e\u003cem\u003ethe slowness and presence of their improvisational practice. \u003c\/em\u003e\u003cem\u003eThey weave together a sonic meditation, embracing intuition \u003c\/em\u003e\u003cem\u003eand relying on trust. Side A of Doubles consists of two guitars \u003c\/em\u003e\u003cem\u003ein conversation: looping feelings, braiding sound, blowing \u003c\/em\u003e\u003cem\u003ekisses, and finishing each other’s sentences. Less\u003cspan class=\"bcTruncateMore\"\u003e of an echo and more of nod, the songs unfold in radical, mutual witnessing. Refraining from any over dubs or edits on the final tracks, the immediacy of the compositions makes it feel like we are in the room with them.\u003cbr\u003e\u003cbr\u003eWhere Side A establishes a glistening intimacy, Side B takes on the tone of sonic scavenging, incorporating sounds from their past year of touring together. Taking the self as source material, the second half of the album dismantles the presence of Side A in order to incorporate the tactility of memory. Using samples from the road and from the world, these compositions are a scrap book of glued and chopped up sound. When I listen, I feel the crunchiness and static of being-in-the-world as it is mediated by time. Without us knowing, our devices capture sounds we may have missed the first time around. And they land like a sucker punch, snapping us back to the present, tuning our attention to what surrounds us.\u003cbr\u003e\u003cbr\u003eTrue presence in any given moment is one of the most difficult things to cultivate and sustain. When it is offered, I treasure it like a rare gift. Listening to Doubles, I sink into the generosity of Duffy and Uhlmann’s offerings. In songs like “Glacial Fanfare,” I whisper to myself: it hurts now and it’s gonna hurt more, but then it’s gonna stop hurting. In “Euphoric Recall,” I understand how even the worst storms can offer gentleness. In “Braid,” I know trust is about bodies in contact, feet hitting the ground day after day. I return to the urgent question posed in the title of the track: “Which One Is You?” The answer is a low steady bass marked by chaotic and bright fluctuations of sound. The sonic response leaves me knowing: Both. All.\u003cbr\u003e\u003cbr\u003eThe intimacy in these songs dances like shadows - providing relief even as they slip away. I want to put this music in my pocket and hold it in my palm like a worn down stone. Duffy and Uhlmann give us a sweet rawness that reverberates even once the song is over, hitting the body the very moment words fall away.\"\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Duffy x Uhlmann\u003c\/p\u003e\n\u003cp\u003eLabel : Orindal Records\u003c\/p\u003e","published_at":"2025-08-01T10:07:41+09:00","created_at":"2025-08-01T10:07:04+09:00","vendor":"Tobira Records","type":"","tags":["ambient","folk \/ left-field pop","jazz","lp","new","orindal"],"price":378000,"price_min":378000,"price_max":378000,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":47571109150970,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":null,"requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Duffy x Uhlmann \/\/ Doubles LP","public_title":null,"options":["Default Title"],"price":378000,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":null,"requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/do1_340323f4-c961-495c-8d51-8745ccfa15a5.jpg?v=1716678665","\/\/tobirarecords.com\/cdn\/shop\/files\/do2_a0eda9cc-f0cb-4124-8fd5-23469ad24406.jpg?v=1716678665"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/do1_340323f4-c961-495c-8d51-8745ccfa15a5.jpg?v=1716678665","options":["Title"],"media":[{"alt":null,"id":34147319546106,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/do1_340323f4-c961-495c-8d51-8745ccfa15a5.jpg?v=1716678665"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/do1_340323f4-c961-495c-8d51-8745ccfa15a5.jpg?v=1716678665","width":700},{"alt":null,"id":34147319578874,"position":2,"preview_image":{"aspect_ratio":1.0,"height":1200,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/do2_a0eda9cc-f0cb-4124-8fd5-23469ad24406.jpg?v=1716678665"},"aspect_ratio":1.0,"height":1200,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/do2_a0eda9cc-f0cb-4124-8fd5-23469ad24406.jpg?v=1716678665","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003ePerfume GeniusやHand Habitsのバックバンドメンバーとして共演してきたアメリカのギタリストDuffy x Uhlmannが、2023年9月に同国シカゴのインディーレーベルOrindal Recordからリリースした共作アルバムです。\u003c\/p\u003e\n\u003cp\u003eギター2本による即興アンビエント・フォーク〜アンビエント・ジャズ11曲を収録。DLコード付属。\u003c\/p\u003e\n\u003cp\u003e以下、Rosie Stocktonによる解説です。\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cem\u003e\"Duffy x Uhlmannは、スピードと遅さの境界を曖昧にし、互いの地平線を目指しながら、互いのピークとフラリーを引き受け、速度でコミュニケーションする。これらのワンテイク即興演奏は、Uhlmannの兄弟の家で借りたテープレコーダーで録音された。彼らの絶え間ないモチーフは、絶え間なく戻ってくることであり、片方が迷い込んでも、もう片方が追いかけてくるか、あるいは家に呼び戻されることを知っている、お互いがコミットする安定した鼓動である。ここでは、秩序よりも流動性が優先され、それぞれの音は木の皮に刻まれたイニシャルのように通り過ぎていく。\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eDuffy x Uhlmannは、Perfume GeniusとHand Habitsで活動した後、初の共作『Doubles』に着手した。彼らはギターを手にし、2人の音楽的な親密さが言葉なしに表現されている。\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003e彼らは直感を受け入れ、信頼を頼りに、音の瞑想を織り成す。DoublesのA面は、2本のギターの会話で構成されている。感情をループさせ、音を編み込み、キスをし、互いの文章を完成させる。最終トラックではダビングや編集は一切行わず、作曲の即時性により、まるで私たちが彼らと一緒に部屋にいるような感覚になる。\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eA面は、きらびやかな親密さを確立しているが、B面は、過去1年間のツアーで一緒に演奏したサウンドを取り入れた、音をかき集めたようなトーンになっている。自己を素材とするこのアルバムの後半は、記憶の触感を取り入れるために、サイドAの存在感を解体する。旅先や世界からのサンプルを使ったこれらの楽曲は、糊付けされた記憶のスクラップブックである。聴いていると、時間に媒介されながら世界に存在することの歯ごたえと静けさが感じられる。\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eどのような瞬間においても、真のプレゼンス（存在感）を育み、維持することは最も難しいことのひとつである。それが提供されたとき、私はそれを貴重な贈り物のように大切にする。本作を聴きながら、私はDuffy x Uhlmannの寛大さに身をゆだねる。\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eこれらの曲の中にある親密さは、影のように踊っている。私はこの音楽をポケットに入れ、使い古された石のように手のひらに乗せたい。彼らは甘い生々しさを与えてくれる。それは曲が終わっても余韻を残し、言葉が消え去った瞬間に体を打つ。\"\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2911860649\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/orindal\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/orindal\"\u003ehere\u003c\/a\u003e to see more Orindal Records releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e----------------------------\u003c\/p\u003e\n\u003cp\u003eIncludes DL code. 12\" black vinyl.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eHalf Smile\u003c\/li\u003e\n\u003cli\u003eEuphoric Recall\u003c\/li\u003e\n\u003cli\u003eEtch\u003c\/li\u003e\n\u003cli\u003eBraid\u003c\/li\u003e\n\u003cli\u003eGlacial Fanfare\u003c\/li\u003e\n\u003cli\u003eGold Tooth\u003c\/li\u003e\n\u003cli\u003eSaunter\u003c\/li\u003e\n\u003cli\u003eWhich One is You\u003c\/li\u003e\n\u003cli\u003eSumac\u003c\/li\u003e\n\u003cli\u003eTumbler\u003c\/li\u003e\n\u003cli\u003eIn the Spirit of Fair Play\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan class=\"bcTruncateMore\"\u003e Rosie Stockton\u003c\/span\u003e\u003cspan\u003e :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e\"Blurring the limits between speed and slowness, Meg Duffy \u003c\/em\u003e\u003cem\u003e(guitar) and Greg Uhlmann (guitar) communicate in velocities, \u003c\/em\u003e\u003cem\u003eunderwriting each other’s peaks and flurries as they ache \u003c\/em\u003e\u003cem\u003etoward a mutual horizon. These one-take improvisations, \u003c\/em\u003e\u003cem\u003erecorded in Uhlmann’s brothers’ house on a borrowed tape \u003c\/em\u003e\u003cem\u003erecorder, unfold like a game of truth or dare. Their constant \u003c\/em\u003e\u003cem\u003emotif is an unceasing return, a steady heartbeat they mutually \u003c\/em\u003e\u003cem\u003ecommit to, knowing when one wanders off, the other will either \u003c\/em\u003e\u003cem\u003efollow or call them home. Here, flushness overrides order, each \u003c\/em\u003e\u003cem\u003enote saunters by like initials etched into tree bark: a devotion \u003c\/em\u003e\u003cem\u003eboth passing and eternal.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eAfter playing in Perfume Genius and Hand Habits, Duffy and \u003c\/em\u003e\u003cem\u003eUhlmann embarked on their first record together, Doubles. A \u003c\/em\u003e\u003cem\u003etestament to the wordlessness of their musical intimacy, Duffy \u003c\/em\u003e\u003cem\u003eand Uhlmann take up the guitar in order to make an imprint of \u003c\/em\u003e\u003cem\u003ethe slowness and presence of their improvisational practice. \u003c\/em\u003e\u003cem\u003eThey weave together a sonic meditation, embracing intuition \u003c\/em\u003e\u003cem\u003eand relying on trust. Side A of Doubles consists of two guitars \u003c\/em\u003e\u003cem\u003ein conversation: looping feelings, braiding sound, blowing \u003c\/em\u003e\u003cem\u003ekisses, and finishing each other’s sentences. Less\u003cspan class=\"bcTruncateMore\"\u003e of an echo and more of nod, the songs unfold in radical, mutual witnessing. Refraining from any over dubs or edits on the final tracks, the immediacy of the compositions makes it feel like we are in the room with them.\u003cbr\u003e\u003cbr\u003eWhere Side A establishes a glistening intimacy, Side B takes on the tone of sonic scavenging, incorporating sounds from their past year of touring together. Taking the self as source material, the second half of the album dismantles the presence of Side A in order to incorporate the tactility of memory. Using samples from the road and from the world, these compositions are a scrap book of glued and chopped up sound. When I listen, I feel the crunchiness and static of being-in-the-world as it is mediated by time. Without us knowing, our devices capture sounds we may have missed the first time around. And they land like a sucker punch, snapping us back to the present, tuning our attention to what surrounds us.\u003cbr\u003e\u003cbr\u003eTrue presence in any given moment is one of the most difficult things to cultivate and sustain. When it is offered, I treasure it like a rare gift. Listening to Doubles, I sink into the generosity of Duffy and Uhlmann’s offerings. In songs like “Glacial Fanfare,” I whisper to myself: it hurts now and it’s gonna hurt more, but then it’s gonna stop hurting. In “Euphoric Recall,” I understand how even the worst storms can offer gentleness. In “Braid,” I know trust is about bodies in contact, feet hitting the ground day after day. I return to the urgent question posed in the title of the track: “Which One Is You?” The answer is a low steady bass marked by chaotic and bright fluctuations of sound. The sonic response leaves me knowing: Both. All.\u003cbr\u003e\u003cbr\u003eThe intimacy in these songs dances like shadows - providing relief even as they slip away. I want to put this music in my pocket and hold it in my palm like a worn down stone. Duffy and Uhlmann give us a sweet rawness that reverberates even once the song is over, hitting the body the very moment words fall away.\"\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Duffy x Uhlmann\u003c\/p\u003e\n\u003cp\u003eLabel : Orindal Records\u003c\/p\u003e"}
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Perfume GeniusやHand Habitsのバックバンドメンバーとして共演してきたアメリカのギタリストDuffy x Uhlmannが、2023年9月に同国シカゴのインディーレーベルOrindal Recordからリリースした共作アルバムです。 ギター2本による即興アンビエント・フォーク〜アンビエント・ジャズ11曲を収録。DLコード付属。 以下、Rosie Stocktonによる解説です。 "Duffy x Uhlmannは、スピードと遅さの境界を曖昧にし、互いの地平線を目指しながら、互いのピークとフラリーを引き受け、速度でコミュニケーションする。これらのワンテイク即興演奏は、Uhlmannの兄弟の家で借りたテープレコーダーで録音された。彼らの絶え間ないモチーフは、絶え間なく戻ってくることであり、片方が迷い込んでも、もう片方が追いかけてくるか、あるいは家に呼び戻されることを知っている、お互いがコミットする安定した鼓動である。ここでは、秩序よりも流動性が優先され、それぞれの音は木の皮に刻まれたイニシャルのように通り過ぎていく。Duffy x Uhlmannは、Perfume...
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