Iceblink – “Carpet Cocoon” CS
1 / 24 / 2020
Iceblink – Carpet Cocoon
Iceblink is a homespun, intimate project conjured by Lynn Avery in Minneapolis. As a trans woman, everything she creates is about her experience and Lynn describes Carpet Cocoon as her comfort album, music to retreat to in the winter. Informed by her passion for mixtapes, oddities and crate digging blogs, the album is eclectic yet cohesively spun around the aesthetic of a bedroom new age album. Sonically, it has a fuzzy and rounded vibe incorporating nylon string guitars through vocoders, textural Prophet synthesizers, flutes and filtered saxophone. The effect of Carpet Cocoon is stunning and personal, melancholic yet idyllic, a spiritual ritual of baths for lying on your bedroom floor.
Danny Scott Lane – “Memory Record” CS
11 / 15 / 2019
Danny Scott Lane – Memory Record
Memory Record is the second solo album from LA based producer Danny Scott Lane. It’s an album with a unique vision, encapsulated by its wide palette including woody percussion, bells, morphing synthesizers, natural field recordings, plucky keys, early-digital synth tones and warm, aqueous pads. Accompanying Lane on many of these tunes is the gorgeous flute of Ei Talley II.
Memory Record derives its name and purpose from Lane’s grandfather who after being diagnosed with Alzheimers gifted Lane and his brother microcassette recorders and encouraged them to record and document their memories in a physical form. Taking his advice to heart, Lane sculpted the meandering and fleeting feeling of memories beautifully on Memory Record.
Danny Scott Lane – “Join” video
11 / 8 / 2019
Blue Tomorrows – “Without Color” CS
9 / 13 / 2019
Blue Tomorrows – Without Color
Blue Tomorrow’s debut album Without Color is a breezy collection of homespun psychedelic pop tunes crafted by Sarah Nienaber (also of Candace and Web of Sunsets). Time is marked by memories and milestones but the rest is in-between. You aren’t who you were and you’re not you just yet. An idle space for creativity to gestate. During these in-between moments, Sarah recorded at home in her basement studio in Portland, Oregon. She used hazy guitars, drum machines, gentle synths and her own voice to form Without Color, an album of shimmering, languid beauty. A perfect autumnal album for ushering in whatever’s next.
Crystal Myslajek — “Cove” CS
9 / 6 / 2019
Crystal Myslajek – Cove
Crystal Myslajek has been a steady force in the Minneapolis underground music community for years, notably in the groups IE and Brute Heart. Cove is her first truly solo endeavor, wherein she composed and played each element. The music is comprised of delicate interlocking piano cycles, layered vocals, uncluttered synthesizer pads and subtle melodic hooks. Cove was conceived over a year and a half, recorded at home and more formally on a grand piano. The entire creative process coincided with the birth of her second child. The resulting music is as beautiful, soulful and intimate as all that connotes.
Blue Tomorrows – “Sound of Moving” video
8 / 16 / 2019
IE — “Pome” CS
7 / 8 / 2018
IE – Pome
IE (pronounced “eee”) is a five-piece from Minneapolis devoted to experiences of hypnotic minimalism— sonic rituals from the future and ambient, desert soundscapes. Their shows feature sustained tones, electronic whirrs, slow beats, video and film projections, metaphysical recitations, and carefully crafted atmospheres.
In 2017, IE received a extraordinary gift: an eight-person hot tub from their eccentric handyman. After a year of bathing in its therapeutic waters, the band’s minimal vibes began to take on startling evolutions into new harmonic fields and cultic auras. With the inclusion of two new members, IE wrote their first full-length album. The album includes three entirely new songs with vocals (Amulets, Gloam, and Moon Shot) and three classic IE jams that are here polished into studio recordings (Empty Vessel, Idol Horizon, and Nebula). Moon Glyph is thrilled to unveil the fruits of these sessions with their brilliant new cassette— Pome.
Courtesy — “HEY” CS
5 / 4 / 2018
Courtesy – HEY
Courtesy has crafted an unclassifiable electronic blend of off-kilter atmospheric synths, otherworldly vocal harmonies, deep-house grooves, and weirdo-funk bass lines all sewn together via a persistent Oberheim DX drum machine. Throughout Courtesy’s three albums there has been a loose thread mirroring evolution and their process—from an amorphous single-celled Idmatic, to the lizard-like mass of reflexes represented in Slow Bruise, to the stumbling, playful, and exaggerated toddler of HEY.
Now a trio with the addition of Doug Malone, Courtesy’s new album was inspired by plastics, young bodybuilders as a metaphor for pop personas, the feeling of Andre Agassi’s pastel/neon Nike apparel line, and Ronald McDonald now wanting to be referred to as Ron. HEY is unabashedly weird yet accessible and all the more brilliant for it.
Treasure Hunt — “Space Jam” CS
11 / 26 / 2017
Treasure Hunt – Space Jam
Far out experimental collagist Treasure Hunt returns with a collaboration alongside Dennis Warren’s Full Metal Revolutionary Jazz Ensemble. Warren’s unique approach to improvisation is informed by his understanding of resonance and quantum mechanics, reading into musics on a molecular and deeply vibrational level. The collaboration began with three live recordings from FMRJE, split up into individual players parts (trumpet, saxophone, drums, flutes, congas, bongos, electric guitar, bass, etc) which were then shipped to Treasure Hunt who took these pieces, sampled and re-sampled and combined them alongside his own peculiar brand of synthesis and production. Together, these cosmic jokers crafted Space Jam, a bewildering and tripped out free jazz album blended with modern electronics, the kind of boundary pushing that would make Sun Ra proud.
Tara King th. — “Stellar Fantasies” CS
11 / 20 / 2017
Like its namesake implies, Stellar Fantasies floats in celestial space with synth, organ and machine guided tunes harkening back to old sci-fi soundtracks and cosmic experiments. Known for their baroque psychedelic pop, Tara King th. returns with a solo endeavor from Ray Borneo alongside a few other guest accompaniments. The album is full of driving, grandiose space opera vignettes purposefully fitted alongside quiet kosmiche-inspired drifters. Melodically brilliant as ever, Stellar Fantasies hits that perfect spot between memorable, experimental pop and far out mood pieces.
Henry the Rabbit — “Abraham’s Sausage Pot” CS
11 / 13 / 2017
Henry the Rabbit’s third album Abraham’s Sausage Pot is a mixed casserole of daydreaming psychedelic folk culled from his unreleased archives. Recorded in Copenhagen between 2011 to 2015, the album is full of instrumental reveries about spring time, anchorites, visionary fruits, flowers and bee colonies. Similar to its predecessor, Henry’s sonic palette blooms and flourishes with glockenspiel, strings, ukulele, chimes, egg shakers and percussive household objects. Abraham’s Sausage Pot is an album holding a quiet strength, a comforting coalescence of celestial voices and intimate homespun compositions of personality and gorgeous twinkling beauty.
Ivy Meadow — “Zodiac” CS
11 / 6 / 2017
Ivy Meadows – Zodiac
Ivy Meadows is the solo moniker of Camilla Padgitt-Coles, also of the psychedelic electronic project Future Shuttle. Zodiac is an expansive listen of blissful and transportive ambient and new age electronics, recorded in sequence and sculpted over time as Camilla closely listened on loop, gazing upward from the floor of her Brooklyn apartment. It was composed as the only musical component of Rachel Day’s Zodiac-themed mailing list which distributed prints, zines and other astrology-themed artwork.
Sonically these tunes cover a spectrum of breathy and otherworldly synthesizers, plucked and strummed autoharp, fuzzy electronics, bowed strings and synthetic bell tones. Zodiac is the perfect mellow accompaniment for a day of mindfulness.
Web of Sunsets — “Chaos Waltz” CS
5 / 15 / 2017
Web of Sunsets – Chaos Waltz
Web of Sunsets is a trio crafting pastoral psychedelic folk and wistful acid country tunes. Their sonics aptly compare to sepia-soaked memories or the final golden hour of sunlight. Webs is a uniquely collaborative project in that all three members (Sara Bischoff, Sarah Nienaber and Chris Rose) split duties between penning songs, playing guitar and singing across their catalog. Writing their fourth album, Chaos Waltz, the band was geographically split between Portland and Minneapolis, giving each songwriter even more autonomy and freedom to hone their particular vision. Blending and coalescing these three minds resulted in Chaos Waltz, a beautiful album of their distinctly dreamy and emotive power.
Larry Wish & His Guys — “Not From My Come From” CS
11 / 29 / 2016
Larry Wish brings together His Guys for a set of far-out pop tunes and outsider jams. A fixture of weirdo music in Minneapolis, Adam Werven (who is Larry Wish) wrote these songs over the course of three years at the Organ Haus. They were originally recorded as 4-track bedroom prog songs with Adam overdubbing each part, drums, cheap keyboards, etc. The songs are about daily observations, reflections, interactions, and trying to understand love and life without analyzing either to death. Not From My Come From features a band of talented and wonderful musicians who have learned the parts and applied their own stylized filters to them. It is the third album by Larry Wish & His Guys, and the first to include guitarist Nate Johnson on the electric guitar. The cover painting is by Adam’s Grandfather, Lawrence “Bump” Werven.
James Chen — “Taiwanese Folk Style” CS
7 / 25 / 2016
Walking home from school around 1962 in Chia-yi, Taiwan, James Chen heard wild guitar noises reverberating from a nearby building. Compelled by its tone and sound, he stumbled upon a local musician playing guitar and immediately inquired for a lesson. In the ‘80s he began to write songs at home, talking about cicadas molting in the summer, the pleasures of leisurely sipping tea, blooming Poinciana flowers and a wistful longing for his family after living in the States for many years. Lovely, personal works.
Cut to present day, James’ son Hewson (The New Lines) took his father’s tunes and alongside his bandmate Davis White, fleshed out the production adding additional guitar, synthesizer and drums. Hewson titled this Taiwanese Folk Style because growing up around his fathers music, this is what he thought traditional Taiwanese cultural music sounded like. Over 30 years in the making, this inter-generational collaboration is as beautiful as it is sublime.