Sunday, April 3, 2022

Grimalkin Records June Releases

June 17, 2022: Get Wavy Volume 1: The 2021 Wavy Awards was an invite-only red carpet event celebrating historically excluded artists, such as women, non-binary, LGBTQ+, BIPOC, and artists who identify as having disabilities. Supported by The Mayor's Office of Media and Entertainment (MOME), the Wavy Awards took place at the Abrons Arts Center in New York City on October 23rd, 2021. The event was the first awards show to fully incorporate self-description for low vision audience members. It also featured ASL interpreters, and live-closed captioning by SignNexus. 

Get Wavy Volume 1 is a compilation of songs which include several of the 2021 Wavy Award winners and nominees.
75% of proceeds go towards supporting the 2022 Wavy Awards this upcoming October 2022. 25% goes to Grimalkin and helps us sustain our work


Read about The Wavy Awards and our partners MOME, RAMPD, and The Music Inclusion Coalition (MIC)  in VarietyBillboardThe New York TimesThe Hollywood ReporterBlack Enterprise, and Downtown.

Founded by Rebecca Autumn Sansom who runs Blonde Records, an indie label repping women, GNC, and artists of color. The Wavys celebrated artists featured on Blonde Music News Seasons 1 and 2 (2020/2021). In 2022 Blonde Music News will officially become Wavy Music News (WMN) and The Wavys 2022 will celebrate artists featured on WMN 2021/2022.

The 2021 Wavys team included: M Vang, Clare Jaymes, Krystal McRae, Nancy Grim Kells of Grimalkin Records, Eva Wagner, Gabby Love, Kelly Young, Rachel Sieff, Kristyn Potter, Michael Lawrence, and Bentley Robles.

The first single I Saw God In the Waiting Room by Medusa releases May 20 and the full compilation releases on June 17.

May 20, 2021: The first single I Saw God In the Waiting Room by Medusa releases from Get Wavy Volume 1.

From Medusa about this song: In the spring of 2020, my partner's mother was diagnosed with lung cancer. The first time I met her, she was going through chemotherapy; the next time I saw her, she was dead. We dug her grave, then spent the next year thousand-yard-staring because of earth shattering existential dread. I Saw God in The Waiting Room is the story of how we dealt with losing not only her, but also our youthful ignorance. The track is lyrically literal and sonically bare, a departure from my usual character voices and abrasive production. The only way I can think to explain this choice is by asking: in a film, what is the only thing more gut wrenching than hearing a scream? A cut to silence.

Medusa (they/them) s a nonbinary ‘revenge-pop’ musician based in Buffalo, New York. Their signature production - described by Soundriv as “a breakthrough collection of LGBTQ hymns,” and by Bucketlist as “the most inventive [expletive] music we’ve heard in a long time” - features samples like cheerleading chants and wolf howls as often as distorted basslines. Medusa claims to write visceral pop music “by any means necessary,” then makes good on the promise. Tackling serious subjects with a hint of camp, the artist grabs their demons by the throat and imprisons them into a time signature. Then, like the infamous Gorgon herself, they return to their cave until it is time to defend themselves again.

May 2022:

May 13, 2022: Michael Rider (they/them) is a dream pop singer-songwriter and they release their fourth studio album CycleThe album is partially inspired by their first album Lighthouse passing its ten year anniversary, which was originally released in 2011. 

After years of working with several producers to create their last full-length album TemptationRider decided to take the creative process in a different direction, opting to work in- depth with three collaborators: Brooklyn-based pop artist M the Myth, Voyager Sound Studio’s Nathan Feler, and multi-instrumentalist Richard L. Entrup. Although the majority of the album was made over Zoom, Rider described the process as being “intuitive, seamless, and fun” and calls the record one that made itself.

The album revisits themes discussed in their previous works, namely their pursuit of healthy relationships, both romantically and with themself. Rider reflects on why they find themself stuck in a cycle of toxicity where they fall into the same kind of destructive love time and time again. The lyrics also delve into the duality present in the different phases of life one encounters and how one must embrace its dialect in order to find balance both internally and externally. “Looking at both sides of the coin gives me the insight to challenge myself and hopefully make a positive personal change.” The track list is a response to itself, with the topics in the first half of the album being reversed in the back half.

The opener Tower is about feeling disconnected from others, while the closer Battle of Heart, is about the discomfort that comes when finally faced with intimacy and vulnerability. This back and forth continues through discussion of the desires and fears that come with love and accepting them. The introspective nature of the project mirrors both Rider’s personal growth and artistic maturity over the past decade, responding to the anger and confusion of their debut work.

Michael Rider (they/them) was born and raised in Richmond, Virginia, Rider migrated to New York City on a visual art scholarship in 2013. They played open mics at the Sidewalk Cafe, the birthplace of anti-folk, amongst contemporaries such as Brett Gleason, Siv Disa, and Prince Johnny. Inspired by the work of Tori Amos, Kate Bush, Joni Mitchell, Rider sings of the anxieties of life while mixing the traditional piano of their past with innovative electronic production, creating an ethereal pop experience.

Rider's album Cycle releases on Grimalkin on May 13, 2022. The pre-order for Cycle and final single, Baby I'm Scared, releases on April 8th, 2022. You can check out videos to the the first two singles Libra Season Boy and Before I Disappear

Artist receives 75% of all proceeds of digital only sales. The remaining 25% supports Grimalkin's label and mutual aid fund and helps us towards sustaining our work.

Per Michael, proceeds from tapes support Grimalkin Records and are used for artist and release development.

Lathe proceeds go back to Grimalkin and we break even if they all sell.


April 2022: April 15, 2022: Isobel Bess (she/her) aka (is) has been releasing experimental music under her own name and various others for the last two decades. With a varied palette of bass, synthesizers, field recordings, spoken word, and electroacoustic sound manipulation, her output maintains a hazy focus on texture, spatiality, and the possibilities of deep listening. She is the author of several books of poetry, the most recent of which is called anyway i saw a light there (is) resonates beyond and between the temporal boundaries of truncated futures, a discorporate signal encoding the unrealized. They are received in our present moment as a psychoacoustic phenomenon most closely approximated by digital Frequency Modulation synthesis.  Light Play is the first full-length collaboration between sound artist Isobel Bess and the discorporate extratemporal signal known only as (is). The album draws atmosphere from the speculative futures of writers like Samuel R. Delany, Arkady and Boris Strugatsky, and Octavia Butler to shape a sonic space of expansive synth textures, sparse beats, and interstitial static. The result is an ambient album for the apocalypse. Hovering somewhere between signal and noise, Light Play echoes back from (im)possible futures to ask a singular question of the uncertain present: what now? Its languid synths offer respite only as an ellipsis, Frequency Modulation as prelude to riot. What now? Artist receives 75% of all proceeds of digital only sales. The remaining 25% supports Grimalkin's label and mutual aid fund and helps us towards sustaining our work. Tape proceeds go to Project Safe Philly Sex Worker Relief Fund. All proceeds from the sale of lathes fund physical releases of other artists on Grimalkin Records. We break even if all of them sell. Huge thanks to Various Small Flames for premiering the full release for us on April 15 and to Astral Noize for premiering the first single on March 4. April 22, 2022: Infinity Knives (he/him) is an African born/Baltimore based musician often working with bands, orchestras, and singers to create the perfect culmination of left field electronic, hip-hop and sound collages, in the likes of Erik Satie, Ryuichi Sakamoto and Outkast.
This track is a remix by Infinity Knives of Spartan Jet-Plex's song My Way off of their album of the same name. Per Infinity Knives, proceeds will go to Grimalkin Records.

 Nancy Grim Kells
Founder/Facilitator at Grimalkin Records
501(c)(3) nonprofit
Gr on Bandcamp
Gr Patreon
Gr Website
Sole cat at Spartan Jet-Plex
SJP on Bandcamp
Team Member of the Wavy Awards
Feature in Variety
Co-Member of Merge & Legendary Thunderbirds of Death!
MERGE on Bandcamp
LTBOD on Bandcamp

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