Locust Music New & Current Releases
The Uses of Infinity
Locust 123 180 gram lp/CD
The lonesome banjo picker returns! Recorded in one take in a de-sanctified century old cathedral in Northern Minnesota, The Uses of Infinity is a 6 part cosmic hobo’s dream suite for 23 string banjo. Cast in the drifting nebula of the whole tone scale, Paul Metzger plucks, picks, bows and spins his way through a 40 minute odyssey making for his most ambitious and adventurous musical trip to date.
Milo Fine /Paul Metzger/ Davu Seru
Locust 121 180 gram lp
Filleted over two sides of wax, here we have a rare meet up of three of the brightest lights in the twin cities’ musical orbit. On March 21, 2009, Paul Metzger – best known for his transcendental gypsy raga guitar and banjo meditations – jumped in the ring with percussionist Davu Seru and veteran multi-instrumentalist Milo Fine for an evening of uncompromising spontaneous composition. Medusa’s Lair is stunning, inscrutably wily, living music.
One time edition of 300 lps pressed on 180 gram virgin vinyl.
Milo Fine: Drum Set (Bowed Cymbals), B Flat Clarinet, Prepared Piano Remains, Voice
Paul Metzger: Modified Guitar
Davu Seru: Drum Set
Neck To Neck
Locust 120 180 gram lp
Neck To Neck is a head scratching slab of warped primitive synth punk cut at Paul Dillon’s Complex studios in Leeds by a young Tom Fazzini in exile from a madness inducing tenure as a London postal carrier . Originally released in 1984 on Gordon A. Hope’s short lived A-mission label (which also counted releases by Asmus Tietchens & O Yuki Conjugate),Tom Fazzini’s combination of minimal synth and brutalist /absurdist industrial songs had more in line with the broader discomforts of the early 80s international tape network, Family Fodder, LAFMS,Flying Lizards and Ralph records than the agit pop that dominated the Leeds music scene at the time.Once an outsider, always an outsider.
Features new liner notes by Tom Fazzini & previously unpublished photos.Remastered and pressed up on 180 gram virgin vinyl. one time edition of 500
Locust 119 CD / 180 Gram lp
Described by Kris Kristofferson as “one of the three best songwriters in the country,” Kentucky native Jay Bolotin’s songs have been championed by the likes of Merle Haggard and Porter Wagoner, among many others.
Yet Jay’s eponymous debut – released on the major subsidiary Commonwealth United label – had the halflife of a mayfly when it went into circulation in 1970 and today it remains as phantasmic as the prairie ghosts that have long populated his native Kentucky.
However hasty or uncertain the release of the album may have been some 40 years ago, one thing is certain: in a darkened room in New York City at the end of a Kentucky childhood, a 20 year old Jay Bolotin cut a singularly enchanted album of unhurried, low key loner ballads with the confidence and honesty of a seasoned journeyman.
Jay Bolotin is an unqualified singer songwriter gem that will appeal to fans of Leonard Cohen, Townes Van Zandt & Alex Chilton. Features Kenny Lyon on Bass & Mark Taber on Piano & Harpsichord- both veterans of the Providence, Rhode Island scene, The Fugs’ Bobby Mason on percussion and David Mowry on guitar.
Deluxe 180 Gram vinyl featuring new liner notes and lyrics inserts.
CD packaged in a trifold digipak with previously unpublished photos.
Remastered & reissued for the first time since it’s elusive ‘release’.
Starless & Bible Black
The Shape of The Shape
Locust 118 180 gram lp / digipak cd
On their Sophomore release, The Shape of the Shape, Manchester, England’s Starless & Bible Black have drawn together the sounds of ‘70s Topanga Canyon country-rock, ‘80s Mancunian jangle, and space-age psych tinged drones to make a dynamic, warm and woodsy second album. Gone are the dulcimers and banjos of the first record, replaced by an electrifying wall of Telecaster and Moog, and standing in the center of this bold, widescreen sound resides the earthy
and husky voice of Hélène Gautier.
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Recorded at Bryn Derwen within the wilds of the Snowdonian mountains, and during all night sessions in the relative tranquility of their local village hall, Shape Of The Shape is an album of contrasting styles, themes and approaches that coheres beautifully into a seamless entity. We get guided through verses and choruses of swamp rock, gothic bluesy chanson and smoky acoustic ballads, as well as a jazz-folk tinged instrumental – after all, the band take their name from the classic 1965 Stan Tracey cut – but the apogee of this collection is the driving drone-choral opus, Les Furies – sung in French, this is a very Gallic observation of after hours culture. And while this album traverses all these different styles, the band never deny the importance of a fine tune and a fine song.