Back in 2020 he mixed the Black Bra record. He also did a great deal of work on the Stone Jack Jones record Black Snake, as well as the Jack Silverman EP, Now What. We eventually struck up a friendship and he informed me that he was finishing up his solo record, his very first.

Quite frankly I was dumbstruck. Moutenot has been making records for no less than forty years but never managed to put out his own work? I couldn’t believe it but I was beyond enthusiastic to get involved.

On that note, I am overjoyed to present Microcosm, the debut solo record from Roger Moutenot. It’s approximately 25-minutes of instrumental soundscapes across 10 different tracks; each with their own identity but working together to weave an immersive and, quite frankly, fascinating journey.

There’s no waiting around for this one. It’s available in full on Bandcamp and all streaming services right now. Go give it a listen and let yourself soak in it. Headphones are great. Playing it loud is great. Sitting and actively listening to it is optimal but it works as a soundtrack to driving around or people watching on a busy corner.

Microcosm is just a tiny glimpse into the world of Roger Moutenot. The door is now open and we all get a chance to step inside.

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Renowned Producer Roger Moutenot Debuts Solo Album: Microcosm

Nashville, TN – After decades of crafting sonic landscapes for renowned artists across genres, Roger Moutenot announces his debut solo album, Microcosm (yk Records, 2024). With a rich history in the recording industry, Moutenot’s musical journey unfolds through ten tracks that seamlessly weave together his vast experiences and newfound inspirations.

Moutenot’s engineering and production prowess spans the spectrum, touching on genres ranging from jazz to folk, rock to noise.While his credits include luminaries like Yo La Tengo, Sleater-Kinney, Lou Reed, and They Might Be Giants, his influence extends far beyond these iconic names.

In recent years, Moutenot explored composing film scores alongside longtime friends Robin Eaton and Jack Silverman. These partnerships opened up new avenues of sound, allowing Moutenot to break free from conventional structures. Reflecting on this evolution, he notes, “In all the years I’ve been writing, since the early days in my basement in ’74, I’ve been trying to write something that had intention yet felt effortless, Microcosm represents that to me.”

The album’s conception is a departure from Moutenot’s collaborative work, emerging from a period of introspection and creative solitude. The album’s genesis took shape within the confines of Moutenot’s Haptown studio, where an array of instruments and gear were at his fingertips. With the freedom to explore various sonic realms, Moutenot found his flow, piecing together tracks that began with drum patterns or chord structures, building layer upon layer.

The album’s tracks operate as individual movements within a larger musical narrative, fusing together the diverse influences that have shaped Moutenot’s remarkable career. Microcosm is a testament to his technical prowess and artistic vision, capturing the essence of his journey as a musician and producer. It signifies a new chapter, one that invites listeners to embark on an authentic sonic journey, as Moutenot delves into uncharted territories and welcomes them along for the ride.

Microcosm is set to release on Jan 25, 2024 (TODAY), and it promises to captivate both long-time fans and newcomers alike. For more information, visit rogermoutenot.com and follow Roger Moutenot on Instagram, @rogermoutenot.

If you’re the type of person to read the liner notes, you may have noticed that two names pop up very regularly on many yk Records releases; Patrick Damphier and John Baldwin, Jr. Both have provided a great deal of assistance in mastering our catalog and now that you’ve seen their names, you won’t stop seeing them.

Patrick is primarily a recording artist (we released his wonderful full-length Say I’m Pretty and a remix EP!) and studio wizard. The fact that we’re getting his ears for mastering is a real special treat.

John Baldwin, Jr is part of a collective of mastering engineers called Infrasonic Sound. This crew of audio experts has an immense wealth of knowledge that, quite frankly, goes beyond my comprehension. Fortunately, full comprehension is not required to enjoy listening in on a conversation.

This episode of Recording Studio Rockstars features John Baldwin, Jr and two of his fellow Infrasonic engineers; Pete Lyman & Brandon Towles.

It’s not a deep dive into the technical process of how to master but it is an engaging conversation between a group of seasoned audio professionals geeking out with one another.

It goes without saying that John Baldwin, Jr is an incredibly talented individual and a downright delight to spend time with. He’s both strongly opinionated and dependably flexible at the same time. Any of his work on the yk catalog of works is top tier but I gotta say he turned it up a notch or three with The Mahaffey Sessions 1999; a record that was never officially released and had been sitting on DAT tapes in a closet for twenty-four years. Impressive he preserved and presented it so perfectly.

Long story short, good podcast! Go listen.

The Nashville Scene has an annual “Stories to Watch” issue in which they cover.. well.. stories to watch for the year. For 2024, they turned their gaze on Streaming and the Music economy. Music editor Stephen Trageser interviewed me for my take on the topic, which you can see in the early January issue.

Here’s the most relevant excerpt:

Eades notes that, along with old-school tactics like getting fans on an email list, Bandcamp remains a significant part of YK’s approach. People know to come to Bandcamp to find music and the stuff that goes with it, so there is a built-in audience that a stand-alone web store can’t match. While those who purchase music downloads are in the minority, a band like rock veterans Tower Defense can see some income from printing up a cool T-shirt and bundling it with a download, as they did with their recent EP Never Mind the Menagerie. If Bandcamp does disappear, Eades is keeping an eye on up-and-coming alternatives including Nina, Sone and Ampwall. 

“I don’t know that I have a magic answer,” says Eades. “Our sort of North Star for everything is, ‘Just enjoy the work.’ Enjoy writing songs, recording songs, making videos, things that are sort of the creative part of it. Like, really let yourself enjoy that, and let that roll into the promotional part of it, because [that] can be such a slog.”

The last bit may sound a little eye-roll-y but I stand by the idea that focusing on getting paid, focusing on follower counts or streams is only going to end in disappointment. Focusing on the enjoyment of the songwriting and unleashing it into the world is the real joy. Sure, everyone wants giant spikes in listenership but those numbers don’t make a release good nor bad. It’s healthy to remember that.

It’s completely incomprehensible to me that 2023 was, in fact, a single year. So many events occurred in the last ~365 days that it feels like a much much longer timeline. Personally speaking, I narrowly avoided the tech downsizing, treaded water on the other side of that and eventually got a new job. Yes, dear reader, yk Records is not my full time career! Surprise! Despite those changes, the label had a great year and there’s a ton of fantastic music to share. I personally guarantee you’re in for a treat.

I’m going to run through each of the artists and releases that found their way into the world in 2023 in their own posts (brevity is the soul of wit but I do love to gab).

While I have you here, please check out this 2023 Sampler Playlist, dive into the full list of releases or just click on an album cover below that tickles your fancy.

There’s a thirteenth release (The Features, Some Kind of Salvation) that should be included in that list but it’s release is spanning 2023 and 2024, so I’m vaguely counting it across both years. It’s the little details.

2023 saw the launch of General Trust, a new release cadence for Tower Defense, fantastic new EP’s from New Man, No Stress and The Medium and some truly great albums from The Features, Talking With Hands, sugar sk*-*lls and Telefone. We struck a nice balance between physical and digital releases; a theme that will continue into next year.

Speaking of 2024, there are a number of great surprises on the docket already. While I can’t spill the beans on everything quite yet, I can say that there will definitely be new music from The Robe, General Trust, Tower Defense and Talking With Hands. That’s nowhere close to the full list but hopefully enough to keep you checking back for more.

The Mahaffey Sessions 1999

A little history; I’ve been a fan of The Features since I saw them in high school, way back in 1996, 1997. I specifically recall they played the original incarnation of RocketTown in Franklin, TN – a Christian venue owned by Michael W. Smith that later relocated to downtown Nashville. I don’t think the venue vibe was for me but as a youth, it was eye-opening to see a local band that had such an impact.

When I went to college, I somehow ended up working at a small indie label in Murfreesboro, TN called Spongebath Records. The label’s roster consisted of a bunch of great local bands including Self, Fluid Ounces, The Katies and… The Features. In hindsight, The Features never really got much of a chance to prove themselves as they only released an EP and a 10″. However, since I worked at the label I also knew that they had recorded a full-length record* as mixes made their way around the office.

I kept those recordings with me. From CD to MP3, Winamp to iTunes to streaming; they’ve always been close by.

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Cut to 2022 and I have been steadily running yk Records since 2009. I’ve got ninety plus releases out in the world and the 100th release is on the horizon. As anyone would, I wanted to make it into somewhat of an event. Something extra special.

So, I wrote up a Hail Mary of an email to Matt Pelham asking if he’d be interested in releasing the recordings from twenty-four years prior. The Features went dormant around 2017, so I really wasn’t sure what level of interest (if any) they would have on revisiting such old material.

By some miracle beyond my comprehension, Matt wrote me back and was more than happy to mine the archives of the band for some new releases. I got to work right away and started gathering the proper materials.

Matt Mahaffey dug up the original recordings and entrusted me with them. It sounds over the top but it was a rush to walk into his home studio and receive these DATs because I’d revered the album for so long. I got them over to John Baldwin at Infrasonic Sound; a longtime friend of the label, an actual friend of myself, a huge fan of The Features himself and the absolute right person for the job. If you look at the inner matrix etching on the vinyl, you’ll see his handwriting etched in there as he mastered the record and cut the lacquers.

I reached out to Sam Smith to see if he’d work up some artwork for the release. He was game and requested we fetch photos of the bands equipment from that era so he could whip up a bit of a Xerox tribute to the 1999 era. I also talked to Kneill Dietz, whom I consider the foremost Spongebath Records historian, and he delivered a load of live photos on contact sheets from the era. Together, Sam whipped up a killer LP package.

By incredible happenstance, a new vinyl pressing plant opened in Smyrna, TN right around the time that I was looking for a manufacturer; Physical Music Products. If you aren’t familiar with the geography of Middle Tennessee you are forgiven but know that Smyrna is about 10 minutes outside of Murfreesboro; where the band had recorded the album. It was meant to be.

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The response to the release of the album has been fantastic. The Scene & The Tennessean both covered it. Lightning 100 carved out a special premiere broadcast of the album. Grimey’s had a listening party; for a 24-year old lost album! It even won a Best Of Nashville award.

To promote the record, I sat down with Matt Pelham, Roger Dabbs and Rollum Haas to discuss the album track by track. It’s an entertaining and enlightening interview if you are, like myself, curious what happened back in 1999.

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The press coverage was nice but, most importantly, fans of the band were extremely pleased to have proper, non-bootleg, recordings of an album that really should have gotten more of a chance back in 1999. Unsurprisingly, these songs have remained in heavy rotation for the duration (and likely for the foreseeable future).

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Some Kind of Salvation (2023 Remaster)

The success of The Mahaffey Sessions 1999 was an excellent kick in the pants to keep exploring the archives of The Features recorded material. It just so happens that 2023 is also the 15-year anniversary of the band’s second full-length album, Some Kind of Salvation. With that in mind, we set forth to see if we could make something special of it.

Brian Carter, one of the producers & engineers on the original album, unearthed 3 new b-sides from the sessions that had not ever been previously released. He mixed these new tracks and, again, we entrusted John Baldwin at Infrasonic Sound to master the album. In order to fit the new bonus tracks all together on one side of the double LP, the side breaks of the album had to be altered. I’m biased but I think it flows even better now.

Tom Burns was responsible for the original album artwork and was kind enough to deliver a massive Google Drive of raw materials, artwork, photos, videos and layouts for the project. His original artwork files were used in the creation of the new gatefold jacket 2xLP.

Once again we connected with Physical Music Products (PMP) in Smyrna, TN to manufacture the artwork and vinyl. At this time, the job is in the queue and should be ready to mail out in early 2024.

That is to say, the promotion cycle isn’t over yet for Some Kind of Salvation! There will need to be a follow-up post here to capture everything that comes from the release.

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All told, I’m absolutely flabbergasted that The Features were open to working with yk Records. I’m proud of it and, moreso, I’m excited for what we’re going to do in the future. We have some great plans for 2024 and I can’t wait to see them come together.

*for the sake of accuracy, The Features actually recorded two full-length albums while at Spongebath; neither of which were released. The first was with Richard Dortch and pre-dates Rollum as a band member. It’s a very different sounding band. The second is what would become The Mahaffey Sessions 1999.

General Trust is the pseudonym of Jay Leo Phillips; a musician best known to me for his work as the vocalist and guitarist for the post-punk band Apollo Up! However, he also had a stint in Forget Cassettes, as well as And You Will Know Us By the Trail of Dead. He’s performed as CHARGES, he’s drummed for The Prudish Few, he’s released solo material under his own name and he’s an excellent follow on Bluesky.

All that is to say, when JLP had a new project that he wanted to release via YK, I was all ears. General Trust is an intentional undertaking of independence. Being able to write and record at his home studio Haus des Handschuhs II has been advantageous to say the least but playing live has always been hampered by impracticalities. One goal of the project was to embrace self-sufficiency; eschewing any outside dependencies.

Additionally, and far more importantly, it’s a new aural direction that embraces sequencing, heavy synth and gloomy vibes.. while somehow still integrating his guitar work from previous bands. Unsurprisingly, it’s a unique concoction of his experiences being applied to a genre that embraces a dash of drama and a flair for leaning in. To say the least, it works.

All told, the new endeavor released seven songs in 2023; each providing a unique take and direction. You can get them all on Bandcamp or streaming – or just enjoy the embed above.

2024 holds much promise for General Trust. More songs will assuredly be released. New videos are in the works and live shows in abundance will take place. Follow @general_trust on Instagram, keep an eye out on Twitch and keep your ears peeled for more tracks; there will be plenty more.

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The sugar sk*-*lls full-length release for Star Time may have been one of the most ambitious undertakings that YK has tackled to date.

Originally, sugar sk*-*lls served as the pseudonym for Ben Marcantel; a nom de plume that he has released music under since 2010. Over the years, he would collaborate with other artists – a split release with hobbledeions, a 2014 re-recorded version of a 2013 song with meadownoise and Lindsay Johns, a cover of a Kyle Hamlett song recorded by Coupler, a split release with Financier featuring Tye Bellar, Tom Senter and Seth West, etc. etc.

That last collaboration turned into something more. Seth West (aka Gray Worry) and Tye Bellar started working more closely with Marcantel on a new batch of songs. Always open to a collaboration, Marcantel allowed that hive mind to form. Over the course of several years, many weekends and more than a handful of bottles of Disaronno, a large set of songs came to fruition.

The entire recording process is a tale unto itself but after a long process, they had eight songs that were cohesive, compelling and altogether emotional. Star Time was ready and we decided to make something grand of the release process.

Three singles were chosen to lead up to the album’s release. Each of these “maxi-singles” would have at least two remixes of the album track, preferably from an artist that we all greatly respected. Lastly, each single would also contain yet another artist covering a different album track from the unreleased Star Time. Each single would also have a music video.

In hindsight, the plan is ludicrous and I’m incredibly happy that we embraced it and made it happen. The inclusion of a cover song from the unreleased full-length felt like a strange move at the time but it allows these singles to maintain an extra level of interest now that the album is released.

“Becomes Me”

“Becomes Me” kicked things off with an incredible video by Dycee Wildman. She is the co-founder of the Defy Film Festival, a filmmaker in her own right and an incredibly visioned creator. Her video for the single is nothing the band would have ever conjured with their own brains and no one could be more pleased about it than us.

The maxi-single contains remixes from Negro Justice x Cal Cuttah and Robbie Lynn Hunsinger. The two could not be more divergent in their styles but that’s exactly what makes it so compelling! RIFFT provided a cover of “Nothing” that transformed the song into a mind-bending psychdelic stoner metal journey.

“Two-Chambered”

I’m happy to report that each of these maxi-singles is truly impressive. There’s not a weak one in the entire bunch, which is a real testament to how the band understood their vision for sharing Star Time with the world.

“Two-Chambered” features remixes from Makeup and Vanity Set and Coupler; both giving a wonderfully unique new spin on the song, particularly in the final bridge that contains one of Sugar Sk*-*lls most heartbreaking sequences. Previous collaborator Kyle Hamlett joined forces with Luke Schneider for their Kyle Hamlett Duo project to cover “Undone,” a decidedly delicate and acoustic take on a unabashedly electronic song.

The video was created by Casey Pierce, a filmmaker we’ve enjoyed for his work with Twen, Jessie Baylin and even a little Gwar. Fun fact; the connection between Pierce and YK goes all the way back to 2010 thanks to Uncle Skeleton.

The video is a rather epic affair to say the least. It’s inspired by the 1982 cult classic, meditative, film Koyaanisqatsi by Godfrey Reggio. It spans space and time and, quite frankly, it’s incredibly satisfying.

“Crystal Orchids” featuring Cortney Tidwell

The maxi-singles were rounded out by the only track on the album featuring a lead guest vocalist, Cortney Tidwell. Her voice is absolutely sublime and if you are not familiar with any of her prior output, please indulge.

Remixes from Eve Maret, TAN and Both Eyes round out the remixes of the maxi-singles and they are, truly, wildly diverse from one another. I would have never expected to hear this particular trio back to back but it’s a wonderful listen. Meadownoise provides the final cover with “Honeycomb” – complete with a surprising use of accordion.

The video was created by Ben Marcantel himself; part visualizer, part programming and all immersive. The end of the piece has always felt quite satisfying in a way that invites additional viewings.

Star Time

Following up the release of three jam packed maxi-singles did not seem possible but, again, sugar sk*-*lls swung for the fences and knocked it out of the park.

The record, along with all of the remixes and covers, were printed to a double cassette offering. Tape 1 being the album and Tape 2 being a re-sequenced “mixtape” of all of the bonus material.

All of these promotional moves to garner more awareness of the album were impressive but none of them would be possible if the album itself wasn’t a compelling listen to begin with. From start to finish, Star Time finds its way through the largess expanses of the universe and the intimately personal of melancholy, longing and pain.. all wrapped in layers of thick synths, deep beats, vocoder and minute details that reward a proper headphone listen.

The trio played a handful of shows as well; a feat that Marcantel did not take on to often as a solo performer. Every show I attended, someone would remark how incredible their set was – rightfully so.

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Star Time was a beast of a record to unleash on the world but it felt great to have so many additional parties involved along the way. The subject matter of the record deserves care and introspection; which I hope we were able to provide.

I’m told that the eight songs that appear on Star Time are just the tip of the iceberg. The trio has worked up a much larger body of work that they’ve been refining and polishing. If you see them live, they’ve been playing them as of late. Exciting prospects for 2024 as far as I’m concerned.

The mastermind behind No Stress, Paul Horton, is a touring musician with Brittany Howard, a founding member of the jazz trio Concurrence, founding member of future group PS, a very good Instagrammer and a constant creator. His 2023 EP, Nocturne Op​.​1 No​.​1, came as a bit of a surprise for me as he had originally planned to release it himself before inquiring if I wanted to be involved. Of course I did.

The EP is a mind bending blend of samples, beats, soul, jazz, glitch, ambience and head bobbing good times. Much like 2021’s Prelude No. 1, this release defies categorization but invites a completely mesmerizing listening experience. The only drawback? The runtime is too damn short!

Shortly after the release, this review came down the @Threads tube from Forest Conner:

If you are a fan of the immortal J Dilla, I highly recommend checking out what

@no.s.t.r.e.s.s is doing. There’s clearly a respect for the past while at the same time communicating a forward momentum. Really great shit.

Conner is not a music critic, which makes that review hit even stronger. You gotta love it when an actual fan gets such delight from listening and understands the references being made.

Horton is an incredibly busy guy. I suspect 2024 will see numerous releases from him outside of the No Stress project but I’m really hoping he comes knocking on our door again for a Nocturne Op​.​1 No​.​2.

Get the full EP exclusively on Bandcamp. Stream “Here We Go” on your favorite streamer.

It may surprise you to know, dear reader, that Talking With Hands had the twenty-first release on YK Records back in 2013 with The World and Ourselves. Songwriter and every-instrument-performer Matt Smith blindly reached out to me in 2011 and sent me a record he had recorded with Jeremy Ferguson of Battle Tapes. Smith assumed my affinity for AIR, Jason Falkner and local band Kindercastle would be enough common ground for me to enjoy the record; he was right.

This isn’t a post about The World and Ourselves but the twin releases of Talking with Hands in 2023 are extra special because of that record released a full decade ago.

Pastiche

For 2023, we knew we wanted to release the second full-length album from Talking with Hands – an easy way to acknowledge the prior release and the ten years that had passed. We decided that releasing an EP before that event would serve as a nice way to re-introduce the project to the world and, thus, Pastiche was born.

The five song EP is comprised of all original songs but several of them were written as intentional tributes to the influences that shaped Talking With Hands. “Lucky” is the most clear nod to Smashing Pumpkins and their Siamese Dream era and “Terms and Conditions” serves as a Soundgarden tribute. Every artist is a result of their influences. Every bit of music put out into the world is a personalized filter of some prior inputs. Documentarian Kirby Ferguson put it best with his series Everything is a Remix.

Pastiche is an homage to some great influences and a glimpse into the diversity that Talking With Hands is exploring. “Cleanse” is a meditative ambient track and “Wasn’t Much” is an incredibly sweet acoustic tribute.

Get it on Bandcamp or stream it everywhere. Honestly, do both.

New Public Domain

Released exactly ten years after the debut, the sophomore full-length New Public Domain was unleashed for the world. Having ten years pass between your debut and your follow-up is not entirely surprising given how much time school, jobs and families can (and should) consume.

Fortunately, that ten years was more than ample opportunity for Matt Smith to expand his palette, his songwriting style and his recording prowess. New Public Domain was built entirely off of acoustic demos that Matt brought into his new Hyde Park home studio, Fun House. The resulting tracks are open and air-y but filled with layers and flourishes well worth a re-listen.

I quite like this announcement video we made.

It’s a great reflection of the excellent balance of humor, high art and collaborative DIY* that Talking with Hands is able to achieve. It’s also an effective teaser for a number of the tracks on the album. I’m convinced if someone hears the hook for “Talk Talk Talk” they’ll be undeniably drawn to hear the entire record!

New Public Domain has a few surprises worth taking note of. “World Song” and “Never My Love” are covers from Petula Clark and The Association respectively. While far from unknown tracks, they don’t stand out as completely obvious covers. “Memory’s Guest” and “Axis Aligned” are instrumental tracks, providing segues between portions of the record. Lastly (but not leastly), the title track “New Public Domain” is wildly different from the rest of the album – possibly a premonition of what may come on the next record or simply a means to make you pay extra attention to the thesis statement of the body of work. Whatever the reason, it’s great to hear even more diverse styles from the project.

Pick it up on Bandcamp and stream it all day, every day.

Oh, and the cover art for New Public Domain is a direct tribute to a very particular band. I won’t spell it out for you but I hope you catch it.

2024

The next Talking with Hands records** are already underway and being planned for a 2024 release. There will, hopefully, never be another ten year drought between albums.

*Yes, “Collaborative Do-It-Yourself” is an oxymoron but “Do It Ourselves” is not yet a common refrain.

**Yes, plural.

From the outside, 2023 was a quiet year for The Medium. Following up on their 2022 release, For Horses, they released a single for “She’s Got It” / “Moon Rocks” in 2023 – just two songs. However, those two songs may be the best they’ve put out into the world.

The lead track is mellow but gallops along. It’s psychedelic, it’s introspective, sweet and entirely catchy. I’m biased but it’s been in my heavy rotation all year. The b-side is equally as interesting, possibly moreso as it is an ode to a house plant.

There were some lineup changes with the band during the year but they still managed to hit the road with Future Crib for a long slew of dates. Frontman Shane Perry also released his own second solo album Frown Town 2 (not on YK but still well worth a listen!) and contributed to Country Death’s debut, Meat Bingo.

Pick up the single over on Bandcamp or streaming on your favorite streamer.