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Art in Manila is comprised of Orenda on guitar and vocals, Adrianne Verhoeven on keys and vocals, Dan McCarthy also on keys, Steve Bartolomei on guitar, Ryan Fox on bass guitar, and Corey Broman on drums.\u003cbr\u003e \u003cbr\u003e Set the Woods on Fire, Art in Manila's debut album, was recorded in Omaha, Nebraska, by Joel Petersen (The Faint, Broken Spindles) and mixed in Athens, Georgia, with longtime Orenda Fink collaborator Andy LeMaster (Now It's Overhead).\u003cbr\u003e \u003cbr\u003e The CD sleeve and booklet are made from 100% post-consumer recycled materials.\u003c\/p\u003e\n\u003cp\u003eRelease Date: August 7th, 2007\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTRACK LIST\u003c\/strong\u003e\u003cbr\u003e01. Time Gets Us All \u003cbr\u003e02. Our Addictions \u003cbr\u003e03. The Abomination \u003cbr\u003e04. I Thought I Was Free \u003cbr\u003e05. Set the Woods on Fire \u003cbr\u003e06. Golden Dawn \u003cbr\u003e07. Anything You Love \u003cbr\u003e08. 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The music was made by some of his friends he had been spending some time with: a duo called Azure Ray (Orenda Fink and Maria Taylor) who had just released their debut s\/t CD on Athens based WARM Records: I wasn't sure what it was, but the sound of that CD had an instantly classic feel to it. Almost as if we had uncovered some sort of hidden treasure, I quickly became just as fanatical as he was about the band.\u003cbr\u003e\u003cbr\u003eA few of us were sitting around one night talking about the future of the label and Conor told everyone about these amazing voices and charming personalities and how we should talk to them and see what their plans were. Always having trouble appreciating the inherent beauty and perfection of female vocals, I was hesitant. The few that have intrigued me in the past were also ones that lacked any sort of luster. Though this is certainly not the case with Azure Ray. We played the CD and there was an instant attraction from everyone in the room. The electronic drum loops of the opening track, courtesy of Eric Bachman, provided a perfect underlying pulse for Orenda and Maria to harmonize over while they openly sang the tales of their own personal lives, relationships, disappointments, and optimism. Everyone was impressed and thought this was something the label should persue. \u003cbr\u003e\u003cbr\u003eShorty after that experience, Azure Ray was invited out on a West coast tour with Bright Eyes, acting as part of the backup band as well as the show openers. Instantly, the relationship between Saddle Creek and Azure Ray began to further develop. By the end of that tour Orenda and Maria had been given the \"you should put out a record on Saddle Creek\" pitch from the members of Bright Eyes enough times that they began to soften up to the idea. \u003cbr\u003e\u003cbr\u003eWe are pleased to now have the opportunity to release Azure Ray's new EP. November is a logical progression of the sound they claimed on their debut. 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It takes you to a steamy, triple-canopy jungle filled with sounds of howling animals in heat, animals angered by passion, combating ambiguous lust with lyrical therapy and slithering, intertwining guitars. Stylistically, Beep Beep draws from the past, absorbing traditional art rock elements (XTC, Klaus Nomi, Wire, Kate Bush), while simultaneously exuding present and future genres. Each song is a symbiotic relationship between driving, angular rock and bold, effeminate textures. The lyrics stand alone as titillating prose, exploring themes of office culture as well as religious, environmental, and sexual deviance.\u003cbr\u003e \u003cbr\u003e The record was engineered by AJ Mogis at Presto! Recording in Lincoln, NE and mixed by Andy LeMaster (Now It's Overhead) at Chase Park Transduction in Athens, GA. 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His previous three Broken Spindles CDs have been mostly based on traditional rock and electronic instrumentation and are known for their personal, electronic sound. They are introspective, moody, and dark. With his latest and most personal Broken Spindles release, \"Document Number One,\" Petersen ventures into exciting territory. \u003cbr\u003e \u003cbr\u003e For this album, Petersen composed for a 22-piece string orchestra, and often lets the orchestral players dominate the songs. The CD began as a score for an independent film, then Petersen expanded and changed the music to express his vision rather than be in service to the needs of a movie. The result is the all-instrumental \"Document Number One\" which breaks new ground while continuing the explorations of a musical innovator. 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The dynamics of each song and across the album are more evident, from the opening 1-2 punch of \"Over and Over\" and the bass growl of \"ADD\", through the sharp riffs and aggressiveness of \"Work Party\", the plaintive \"Plans,\" and into the hit-in-the-making \"Let's Get Married.\"\u003c\/p\u003e\n\u003cp\u003eRelease Date: February 3rd, 2009\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eTRACK LIST\u003c\/strong\u003e\u003cbr\u003e01. Over and Over \u003cbr\u003e 02. A.D.D. \u003cbr\u003e 03. Little Things \u003cbr\u003e 04. Two Years \u003cbr\u003e 05. Read the Will \u003cbr\u003e 06. Work Party \u003cbr\u003e 07. Bones \u003cbr\u003e 08. Plans \u003cbr\u003e 09. Let's Get Married \u003cbr\u003e 10. 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With bassist Chris McCarron and drummer Andrew Barr (The Slip), the band set up in an old converted church outside of Montreal and recorded 9 songs with the helping hands of Justin Vernon (Bon Iver). The tenth and final track \"Troubled\" was recorded in Eau Claire, Wisconsin, at Vernon's parents' home. \u003cbr\u003e \u003cbr\u003e The album opener, \"Yuppy Flu\", and the two songs that follow, \"Death By Fire\" and \"The Man Who Breaks Things (Dark Shuffle)\", are stealthy nods to Land of Talk's much ballyhooed debut EP, \u003cem\u003eApplause Cheer Boo Hiss\u003c\/em\u003e. Powell is as unrelenting in her appraisal of the world as she's ever been, and it's a world as pitiably venal as it is lovingly rendered. These songs might easily have sat in tandem with the urgent rawness of the EP tracks but with Powell's sense of story and Vernon's fresh perspective, they find better use on the new album. Here they set a perfect bridge from the jangling dissonance and ferocious doubled voicings of the debut, towards the road-weathered clarity and reflectiveness she has now begun to own so fully - a narrative string from there, to here, and beyond. \u003cbr\u003e \u003cbr\u003e When the titular track hits four songs in, it's clear why \u003cem\u003eSome Are Lakes\u003c\/em\u003e is the album's anthem call, as much a nostalgic tramp through summers past and love unending as a backhand ode to the very album it appears on. It's a statement of intent with a sea change at its heart. \"It started at a summer lake \/ a sentence and a name \/ If only for a moment's sake\/ We called it and it came\" Powell sings. The fierce spotlight of Powell's attention points inward and has begun exposing a more private side of the nascent iconoclast. There's nothing fragile in it. The honesty makes it steel. 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With understated grace and aplomb, she writes the sort of classic, sad songs once favored by the first ladies of American songwriting. Her soulful melodies and honeyed vocals conjure those leaked from radios on nights we fell asleep in the backseats of our parents' cars. Without leaning on nostalgia, Maria's first solo full-length, \u003cem\u003e11:11\u003c\/em\u003e, evokes the artistry of greats like Carole King, Laura Nyro and Rickie Lee Jones while it spans the spectrum from acoustic folk to electronic dream pop. \u003cbr\u003e\u003cbr\u003e\u003cem\u003e11:11\u003c\/em\u003e's all-star cast features the talents of Cursive's Gretta Cohn, Now It's Overhead's Andy LeMaster, and Bright Eyes' Conor Oberst and Mike Mogis. 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Bushido Karaoke travels from the Old West (\"Song of the Scaffold\") to the modern one (\"Hidden Leaves\"), from Australia to Mesopotamia (\"Old World New World\"), to hell and back (\"Standing in Line at the Gates of Hell\") and into the caverns of history.\u003c\/p\u003e\n\u003cp\u003eRelease Date: June 21st, 2005\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eTRACK LIST\u003c\/strong\u003e\u003cbr\u003e01. Pelf-Help \u003cbr\u003e 02. Booze \u0026amp; Pills \u003cbr\u003e 03. Standing in Line at the Gates of Hell \u003cbr\u003e 04. Continental Grift \u003cbr\u003e 05. Old World New World \u003cbr\u003e 06. Hidden Leaves \u003cbr\u003e 07. Father Time \u003cbr\u003e 08. I'm Not Afraid to Die \u003cbr\u003e 09. Rock \u0026amp; Roll Can't Save Your Life \u003cbr\u003e 10. Burned My Hands \u003cbr\u003e 11. Dave D. Blues (How to Make It Sting Like a Career) \u003cbr\u003e 12. Billy Boy Blues (Day of the Dead) \u003cbr\u003e 13. Exquisite Corpse \u003cbr\u003e 14. 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Mogis, whose talents extend from behind the mixing console as players on the recording.\u003cbr\u003e \u003cbr\u003e The instrumentation of \u003cem\u003eOld Blood\u003c\/em\u003e is referential to the Lullaby staples of guitar, vibraphone, strings, and banjo, extending the formula with piano, organ, tympani, and loads of guest vocals. The resulting sound is both raw and ornate. Revisited themes of spring, rebirth, solidarity, florescence, and distress establish a unity of imagery amidst sporadic changes in song dynamic. The songs were selected from a long and arbitrary collection of demos that have been in the works for years. The name \"Mayday\" is significant in that Ted and friends have held a small concert billed as Mayday each May 1 for the last six years.\u003cbr\u003e \u003cbr\u003e Ted has spent the last couple of years playing in Cursive, as well as backing up Bright Eyes, Dave Dondero, Azure Ray, Simon Joyner, and The Good Life. 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Following a split EP in 2004 with Bright Eyes (\u003cem\u003eOne Jug of Wine, Two Vessels)\u003c\/em\u003e and second album \u003cem\u003eThe Hate Yourself Change\u003c\/em\u003e in 2005, the band released their third full-length album \u003cem\u003eYou May Already Be\u003c\/em\u003e Dreaming in 2008.\u003c\/p\u003e\n\u003cp\u003eLP Reissue Release Date: August 19th, 2022\u003cbr\u003eCD and Digital Reissue Release Date: March 10th, 2009\u003cbr\u003eOriginal Release Date: 2001\u003c\/p\u003e\n\u003cp\u003e\u003cem data-mce-fragment=\"1\"\u003eAvailable in stores on January 19th, 2024\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eTRACK LIST\u003c\/strong\u003e\u003cbr\u003e01. The Tin Man \u003cbr\u003e 02. Dances Fantastic \u003cbr\u003e 03. Lucifer's Lament \u003cbr\u003e 04. Jesus' Choir \u003cbr\u003e 05. Anita \u003cbr\u003e 06. It's Worse When You're Young \u003cbr\u003e 07. Brooklyn \u003cbr\u003e 08. Did You Disappoint Your God? \u003cbr\u003e 09. Meetings for Surrender \u003cbr\u003e 10. At Least the Pain Is Real \u003cbr\u003e 11. State of Town \u003cbr\u003e 12. 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First, Bellows realized that he wanted to re-work a number of song ideas on his own following that arduous but exciting process, the band experienced a flood that destroyed portions of their equipment. If that wasn't enough, Bellows unfortunately found himself in a self-described 'barroom tussle' that resulted in the complete and tragic blowout of his left eardrum. Fortunately, he and his ear recovered fully, and Neva Dinova was able to resume recording. \u003c\/p\u003e\n\u003cp\u003eFrom the spacious guitar washes of \"A Man and His Dream\" to the sweeping, dusty strength of \"Clouds\", this is the band's most fluid and realized effort to date. \u003cem\u003eYou May Already Be Dreaming\u003c\/em\u003e was self-recorded in the corner of a friend's warehouse space in Omaha, NE, and later mixed with the help of Ian Aeillo at Presto!, Mike Mogis' recording studio, in the fall of 2007.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOriginal Release Date: April 8th, 2008\u003c\/span\u003e\u003cbr\u003e\u003cspan mce-data-marked=\"1\"\u003eLP Reissue Release Date: August 19th, 2022\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan mce-data-marked=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eAvailable in stores on January 19th, 2024\u003c\/em\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTRACK LIST\u003c\/strong\u003e\u003cbr\u003e01. Love from Below \u003cbr\u003e02. Will the Ladies Send You Flowers? \u003cbr\u003e03. Clouds \u003cbr\u003e04. Supercomputer \u003cbr\u003e05. Tryptophan \u003cbr\u003e06. Squirrels \u003cbr\u003e07. She's a Ghost \u003cbr\u003e08. Someone's Trippin' \u003cbr\u003e09. What You Want \u003cbr\u003e10. Funeral Home \u003cbr\u003e11. It's Hard to Love You \u003cbr\u003e12. No One Loves Me \u003cbr\u003e13. Apocalypse \u003cbr\u003e14. 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But if the previous two records were dream-like, \u003cem\u003eDark Light Daybreak\u003c\/em\u003e is more akin to waking up. The range of Clay Leverett's drumming and the variations of Maria Taylor and Orenda Fink's vocals shine through, adding to each song the expertise of musicians who stand back, listen, then bring exactly what needs to be there. Dark Light Daybreak runs the songwriting gamut, leaving not a moment to be missed.\u003c\/p\u003e\n\u003cp\u003eRelease Date: September 12th, 2006\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eTRACK LIST\u003c\/strong\u003e\u003cbr\u003e01. Let the Sirens Rest \u003cbr\u003e 02. Estranged \u003cbr\u003e 03. Walls \u003cbr\u003e 04. Believe What They Decide \u003cbr\u003e 05. Night Vision \u003cbr\u003e 06. Type A \u003cbr\u003e 07. Dark Light Daybreak \u003cbr\u003e 08. Meaning to Say \u003cbr\u003e 09. Let Up \u003cbr\u003e 10. 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Tours, record sales, photo shoots, interviews, and the like immediately followed.\u003cbr\u003e \u003cbr\u003e \u003cem\u003eFall Back Open\u003c\/em\u003e marks another two years of sleepless nights and the next step down the path to NIO glory. At once celebratory, frustrated, and heartbreaking, the music of \u003cem\u003eFall Back Open\u003c\/em\u003e is diverse without being stylistically inconsistent. From dark, beat-driven sensuality to bright, country-tinged melodies, the band's epic tones and distinctive vocals provide threads of unity that run throughout. The talents of the band are augmented by guest vocals from Michael Stipe and Conor Oberst, giving you something to write and\/or talk about before any of the more important things.\u003cbr\u003e \u003cbr\u003e When Andy isn't crafting the dark, melodic pop of Now It's Overhead, he's touring and recording with Bright Eyes, working at his studio in Athens with bands like Azure Ray and R.E.M., or finding the occasional hour or two to sleep.\u003c\/p\u003e\n\u003cp\u003eRelease Date: March 9th, 2004\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eTRACK LIST\u003c\/strong\u003e \u003cbr\u003e01. Wait in a Line \u003cbr\u003e 02. Surrender \u003cbr\u003e 03. Profile \u003cbr\u003e 04. Turn \u0026amp; Go \u003cbr\u003e 05. Fall Back Open \u003cbr\u003e 06. The Decision Made Itself \u003cbr\u003e 07. Reverse \u003cbr\u003e 08. Antidote \u003cbr\u003e 09. 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For our first full-length release from a non-Nebraska based band, we are proud to present Now It's Overhead, consisting of our friends Andy LeMaster (vocals, instruments, recording), Orenda Fink (bass, keyboards, trumpet, vocals), Maria Taylor (keyboards, vocals), and Clay Leverett (drums, vocals).\u003cbr\u003e \u003cbr\u003e Now It's Overhead's self-titled debut book-ends the life-span of a relationship from hopeful beginnings to a hopeless ending and all points in between. The album's dark melodic pop sensibilities are not unlike those found in earlier works of bands like The Cure, Depeche Mode, and REM, yet are combined with lush sonic layers shared by bands like My Bloody Valentine and Spiritualized. Generally refreshing with a few eerily haunting tracks, this is a beautiful sounding and carefully sculpted composition. \u003cbr\u003e\u003cbr\u003e Maria Taylor and Orenda Fink, also of Azure Ray, lend the lush airiness of their voices and harmonies to several songs, although it is Andy that handles the main vocal duties. Acoustic and electronic drum loops provide the circulatory system for these multi-layered tracks. With beats that compliment each song effortlessly, it's not surprising to learn that Andy and drummer Clay Leverett have played music together since their early days in middle school. \u003cbr\u003e \u003cbr\u003e This record is a sophisticated collection of airy pop songs full of atmospheric keyboard sounds, layered breathy background harmonies, coronary beats, and soulful lead vocals. Select moments of sparseness punctuate dense layers of lushness. 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In fact, what may seem as unusual at first can quickly become the obvious. \u003cbr\u003e\u003cbr\u003e So what was the binding element for O+S, the musical collaboration between Orenda Fink (Azure Ray, Art in Manila) and Scalpelist (aka Cedric LeMoyne of Remy Zero)? Location? Friendship? Or perhaps, a mirrored love of music, sprinkled with some good ol' fashioned timing?\u003cbr\u003e \u003cbr\u003e Fink's stint in Azure Ray and their Omaha-based record company Saddle Creek, led her to the \"Gateway to the West,\" which has since become her adopted home. The local esteemed Bemis Center of Contemporary Arts, widely reputed for its strong conviction to support and encourage art, invited Fink to partake in an art residency: one of the aural nature. She quickly accepted the challenge and with no guidelines in place, Fink discerned exactly how she wanted to tackle this project. Her inquisitive and spiritual nature led her on a series of excursions to collect sounds, ranging from homebase Omaha to a church in Alabama and ultimately Haiti. \u003cbr\u003e \u003cbr\u003e Fink invited her old friend LeMoyne to participate in the art project and he soon found himself taking residence at the Center in Omaha, where their early meetings took place in the basement. Fink opened her Pandora's Box of sounds and Lemoyne began to mold them into structures. LeMoyne explains: \"We'd take samples of sounds of Haitian rituals, street noises or whatever, then cut them into loops. We'd arrange them into forms and write songs with them, or she might have started a song and I would take some of these sound materials to create bodies of music around it.\" \u003cbr\u003e \u003cbr\u003e As the \"experiment\" began to take shape, both recognized the potential beyond the Bemis residency and decided to graduate from the art project to a true musical entity. \"We didn't know what would happen and that was afforded by the fact that it was an art residency- we had freedom,\" Fink says. \"Ultimately, it ended up working really well. We created a cohesive work.\" \u003cbr\u003e \u003cbr\u003e The result is a beautifully haunting collection that would make Angelo Badalamenti proud. \"We listened to a lot of David Lynch soundtracks, 10cc and old 4AD records,\" confesses Fink. \"I was looking for this balance of light and dark. You don't know why it is dark because it is actually very light sounding. 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