Dulc-i-tone

Art Museums

S.h.o.p.p.i.n.g.

Dulc-i-tone

***The sleepy beauty of the ART MUSEUMS' debut album Rough Frame (Woodist) appeared seemingly out of nowhere, but their apparent off-the-cuff casualness and unpretentious brilliance come as the logical bubbling up of years absorbing the arcane musical corners of the ‘60s, ‘70s, and ‘80s—where utopian folk visions, pop-art obsessions, giddy punk and new wave sheen all make perfect sense. The few who have seen The Art Museums have been lucky to hear bits of their backlog of as-yet-unreleased songs,and now the first treasures are finally seeing sunlight: 'Feel Like Dreams' is a boyish reverie that soars along pre-prog Genesis-style keyboard chords above crisp drum machine cracks. It's all really unexpected and works like you wouldn't believe! And ‘S.H.O.P.P.I.N.G.?’ Well, without hyperbole, we can say that it is, to us, the most enjoyable one minute, forty-five seconds put on tape in a long, long time. The Style Council stripped of pomp and set to a thunderous low-end of rumbling electronic drums, 'S.H.O.P.P.I.N.G.' is disposable in all the right ways, the perfect mod-pop soundtrack to your no-longer-dull walk down the street. REALLY! Beautiful full-color, heavy-duty glossy glued sleeves. First pressing of 500.

New Faultlines

Ancient Seas

Dulc-i-tone

***A perfect final offering from Dulc-i-Tone's fine family of beautifully handmade and fucked-up musical treasures, NEW FAULTLINES are San Francisco's best garage-pop sleepers. Brilliantly home-recorded by brothers LUKE and ZACH ROBBINS, the band makes lazy pop melodies with languidly lovely harmonies like only brothers can make. Despite their garage-punk pedigree (Zach booked the former hub of SF sloppy garage-punk, Pissed Off Pete's, and played alongside Traditional Fools members in the surf-punk band SLEEPY BEACH), New Faultlines take a much gentler angle, with a sound that more closely recalls LA's early-’80s Paisley Underground and the reverbed-out pop of mid-’80s England. The layered guitars and rolling bass of A-side "Ancient Seas" somehow channel both "Chronic Town"-era REM's Rickerbacker jangle and Felt’s best atmospheric guitar work. The fifteenth record in fifteen years from Dulc-i-Tone, New Faultlines’ debut single represents the final installment from the label that brought you now-collectable records from The Aislers Set, The Mantles, Ganglians, Eat Skull, Six Organs, and The Scrotum Poles. Hand-stamped records, limited to 300.

Finches

Human Like A House

Dulc-i-tone

Human Like a House is the debut album from the effortlessly charming San Francisco duo The Finches. It gracefully rides the line between folk and pop, and singer-songwriter Carolyn Pennypacker Riggs brings to mind such unclassifiable wonders as Vashti Bunyan, The Marine Girls, and Mirah. Together with guitarist Aaron Morgan (Roots of Orchis), The Finches' musical storytelling attracts fans both near and far.  The Finches self-released CDEP sold over 1200 copies without any distribution and they've performed with many of their peers including Lavender Diamond, Jose Gonzalez, Mt. Eerie, The Evens, Magnolia Electric Co., and Michael Hurley. Now Dulc-i-Tone Records steps in to bring their fine talents to the world with the release of Human Like a House.  Aside from songwriting duties, singer Riggs also creates all the artwork for Finches releases. Human Like a House is packaged in a deluxe chipboard digipack featuring twelve of her beautiful woodcut drawings. Guest Alissa Anderson of Vetiver plays cello on the song "Two Ghosts," but otherwise the album is literally a family affair: chiefly recorded by Morgan's father David, Human Like a House features both band members' mothers singing harmony. Riggs' mother Susan also lends her fantastic recorder talents to the album's centerpiece "The House Under the Hill."