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20% off Constellation

Get a juicy 20% off all the following Constellation lovelies...
Please note that this promotion officially ended on Thursday March 10th 2016. Any discounted items may now have returned to full price, and other items may no longer be available at all. If you missed out on this promotion then sign up for our email alerts so that you stand a better chance of not missing out on the next one.
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Avec Le Soleil Sortant De Sa Bouche
Zubberdust!

The airtight experimental label Constellation continues to fly off the walls with their genres by enlisting Avec Le Soliel Sortant De Sa Bouche, a group based around the vocalist and bass player Jean-Sebastien Truchy, who used to make music with the abstract post-rock band Fly Pan Am. Now, he likes to make funky kraut rock, and the exuberant 'Zubberdust!' is the result.

Colin Stetson And Sarah Neufeld
Never Were The Way She Was

Available on 12” vinyl LP or CD from Constellation. Colin Stetson’s is renowned for his unique style with tenor and bass sax. Melding polyrhythmic blasts and clanks with prolonged and evolving drones as well as simultaneously vocalising through the mouthpiece. Joining forces with violinist Sarah Neufeld (Arcade Fire) is not new to them, having collaborated live many times over the years, but now it’s on record.

Eric Chenaux
Skullsplitter

Sometimes you gotta keep the unknowing masses at a distance. That’s what Eric Chenaux must have thought, because Skullsplitter is not filled with extremely hardcore techno. In fact, it’s overflowing with gentle and beautiful soundscapes, straight from his skull to the vinyl. Maybe that’s where the name comes from.

Esmerine
Lost Voices

Esmerine have been producing high quality chamber rock for several years now, and Lost Voices finds them in more of a ‘rock’ mood than ever before. The delicate precision of the arrangements is still there of course, as you would expect from a group that includes members of godspeed you! black emperor and Thee Silver Mt. Zion. On Montreal’s Constellations, of course.

Godspeed You! Black Emperor
Asunder, Sweet And Other Distress

We thought we'd lost them forever but here they are with their first single length album since their very earliest days. Recorded in late 2013/14 with Greg Norman (not the golfer but the Electrical Audio engineer), 'Asunder, Sweet and other Distress' is described as Godspeed's most focussed and best sounding record to date. Clocking in at an anaemic (for them) 40 minutes, all the usual touchstones are in place, so expect enormo-crescendos, strings and guitars in glorious unison and exhilarating noise and drone explorations. For those with an interest in stats, track count is at 4 this time whilst exclamation mark total is at a lowly 2.    

Jerusalem In My Heart
Mo7it Al-Mo7it

This 2013 record may have been Jerusalem In My Heart’s debut LP, but the project had been running for almost a decade prior to the release of Mo7it Al-Mo7it. An ongoing audio-visual series centred around the efforts of Lebanese producer/musician Radwan Ghazi, the sonic output of the project weds experimental electronica with classical Arabic modes. The potent, smoky productions here nod to Carla Bozulich and Suuns.

Jerusalem In My Heart
If He Dies, If If If If If If

Radwan Ghazi Moumneh has had a long relationship with Constellation, Montreal's banner-label for post-rock and any experimental music that grows from its roots. He's produced records for post-punkers Ought and avant-jazz artist Matana Roberts, made albums with folk-warper Eric Chenaux, and he also makes records under the moniker Jerusalem In My Heart. Mo7it Al-Mo7it, his debut record, collated stuttering electronics with improvised buzuk playing. His new record, the gorgeous If He Dies, If If If If If If, sees the two aspects of his sound interact more formally, while also incorporating field recordings of the Lebanese ocean and steadfast flute drone.

Land Of Kush
The Big Mango

Osama Shalabi's project Land of Kush is where esoteric sounds congregate: his mix of free whatever-you-want (as long as its improvised) is met with vocal howls and hums, strangely programmed electronic work in one big sonic ambiguation. The Big Mango uses this lens of odd sounds to consider gendered oppression in his own society, considering misogynistic violence and suppression.

Last Ex
Last Ex

Timber Timbre chaps Simon Trottier and Olivier Fairfield dip their toes into experimental instrumental rock with new project Last Ex, which takes its name from an abandoned film which Timber Timbre recorded a soundtrack for a couple of years ago, which started the pair down this particular avenue. Mixing sweeping cinematic strings and Morricone-inspired guitar with elements of sound collage and tape manipulation and recommended for fans of "early Trans Am, early/mid Tortoise" in the press release, this could be interesting!

Matana Roberts
Coin Coin Chapter Two: Mississippi Moonchile

The second part of Matana Roberts' projected twelve-part jazz tapestry is an extremely confounding and yet gorgeously structured work, based around four-pronged suites of free jazz, operatic vocals, smooth spoken word narratives and gospel chants. The record rises and falls around these passages of music to show the personal and political implications of civil rights and racism in America. 

Matana Roberts
Coin Coin Chapter Three: River Run Thee

River Run Thee is the third entry in Matana Roberts' so far incredible 12-part musical tapestry (as she called it for part two, "sound quilting") about civil rights and the history of creativity in America. Roberts' discipline is jazz, specifically avant compositions on saxophone, but, as implied with her involvement with Montreal's Constellation label, she is interested in a plethora of experimental genres including post-rock, ambient, opera, gospel and a capella. River Run Thee almost completely departs from her jazz work for a record that takes drone and electro-acoustic noise as its base, while interconnecting different utterances of Roberts' voice as it appears and disperses. There's still sax in abundance, but this time it's processed and sustained to create a haunting sound. 

Ought
Once More With Feeling

Constellation's very own rock 'n' roll band, Ought, came screeching out of the barriers earlier this year, with a record that recalled guitar geniuses such as Slint, the Talking Heads, Television and all other creative riff-makers. 'Once More With Feeling' is the follow-up EP to 'More Than Any Other Day' and doesn't let up on the band's restless energy and zest for life. 

Ought
Sun Coming Down

Sun Coming Down is the much anticipated second full length from the Montreal quartet who have found love across the globe with their debut album which topped many end of year lists with it's twitchy economical sound and yelped David Byrne-like vocal delivery. This new album continues in that angular manner, an unpolished charge of politicised avant-rock.  

Sandro Perri
Spaced Out


  • Vinyl 12" (CST101LP)
  • In stock and ready to ship
  • Last copy

Siskiyou
Nervous

Siskiyou use whispered lyrics, stacked acoustic guitars and stripped back minimal melody and drums to evoke a tightly-wound man haunted by something unknown. Inspired by lead singer Colin Huebert's year of illness and anxiety, the record captures the internal psychological terror and unease of his experiences. The deluxe 180g LP also contains Drebert’s 12 x 12 ink drawings inspired by the album.

Thee Silver Mt. Zion Memorial Orchestra
Fuck Off Get Free We Pour Light On Everything

180g LP audiophile pressing includes art poster + dl. CD in gatefold paperboard jacket. Fuck Off Get Free We Pour Light On Everything is the first definitive document of the band's newfound sound and style as a quintet. It’s also their first single LP-length work since the band’s debut record as a trio almost 15 years ago, and features roadtested pummeling rock-outs “Fuck Off Get Free (For The Island Of Montréal)”, “Take Away These Early Grave Blues” and “What We Loved Was Not Enough” alongside the previously unheard lullabyes/minuets “Little Ones Run” and “Rains Thru The Roof At Thee Grande Ballroom (For Capital Steeze)” and the album centerpiece “Austerity Blues” with its closing lyric “Lord let my son live long enough to see that mountain torn down” sung in varying incarnations throughout the second half of this 14-minute epic. This lyric in many ways encapsulates Menuck's unflinching take on a world replete with shabbiness, greed and injustice, seen through the lens of parenthood, mortality, endurance and defiance.