#EP Calypso Jazz

[demujeresblog]

The Beachers junto a Idania Dowman presentan el EP Calypso Jazz

The Beachers y la dama del jazz, Idania Dowman se unen y presentan un EP de dos canciones que incluye la nueva versión del clásico del Jazz What a Wonderful World y  Lypso Jazz. Este EP es una colaboración única y emocionante que combina la energía de The Beachers con la habilidad vocal de Idania Dowman, para crear un sonido único y refrescante que se adentra en la tradición del calypso y el…

[noloveforned]

despite it being both my birthday and bandcamp friday i've managed to put together a radio show which means no love for ned is set to air tonight on wlur from 8pm until midnight. listeners on the go have the option of catching up with last week's show on mixcloud at any time.

no love for ned on wlur – october 27th, 2023 from 8-10pm

artist // track // album // label cibo matto // know your chicken // viva! la woman // warner bros. courtney barnett // different now // split 7" w/ kurt vile // suicide squeeze earthling // i'm waiting for you // dance // king rvg // nothing really changes (sleaford mods remix) // nothing really changes remixes ep // fire screensaver // future trash // decent shapes // upset! the rhythm why bother? // when the radio is off // calling all goons // feel it wimps // never leave the house // city lights // youth riot superchunk // in between days // misfits and mistakes: singles, b-sides and strays 2007–2023 // merge homework // if you believe me // homework cassette // gold mold golden apples // park (rye) // banana sugar fire // lame-o anna hillburg // girl girl girl // tired girls // speakeasy studios sf lael neale // faster than the medicine // star eaters delight // sub pop the american analog set // long limbs // for forever // hometown fantasy anohni and the johnsons // go ahead // my back was a bridge for you to cross // secretly canadian amirtha kidambi // (part one) // solo live // forplay society jeff parker // four folks // international anthem at public records, volume five // international anthem atlantis jazz ensemble // enlightenment // celestial suite // marlow andreas røysum ensemble // røysification // mysterier // motvind mike reed featuring marvin tate // hold me, hold me // the separatist party // astral spirits l’rain // knead bee // i killed your dog // mexican summer billy woods and kenny segal // soft landing // maps // backwoodz studioz greenflow // i got'cha // solutions // qca blu and real bad man featuring planet asia // hebrews // bad news // real bad man prince and the new power generation // cream (take two) // diamonds and pearls (super deluxe edition) // legacy the sprouts // doorbell // eat your greens cassette // tenth court girl ray // hold tight // prestige // moshi moshi calypso // dune // oh boy! 7" // metadrone red pants // watch the sky // not quite there yet // meritorio jeanines // each day // each day 7" // slumberland the hermit crabs // goodbye my friend // saw you dancing // matinée

[moribamarcano]

Apart from my writer/publisher membership at ASCAP, I'm now also a beneficiary member of #COTT. I brought my dad out of retirement with #DoSomethingForPan, recorded late 1990's, released 2001. The #BossaNova style production was part of what was meant to be an ep single featuring #ElevateTheWomen & #Charlotte. We made those 3 recordings in #StThomas with #SoundEngineering wiz #JamesAnderson, who also performed as a #ClassicalGuitarist there. I wanted dad's return to recording #OriginalMusic to have an international flare. Since his last recordings in the 1970's, most of his time was spent in the #USVI where he did mostly hotel gigs. Though they were diehard fans of #calypso & #pan, the people of the #USVirginIslands were also die hard fans of jazz, r&b, pop, rock & reggae. It was a cosmopolitan #CaribbeanAmerican community, that I had become a part of. I wanted the recordings to reflect that, so I made 'Elevate The Women' a reggae styled production, & 'Charlotte' a pop ballad styled production. Ultimately the ep single we made was never officially released. #LordSuperior #MoribaMarcano #Caribbean #music #culture #people #Trinidad #PortOfSpain #NewYork #LosAngeles

Image: Moriba Marcano at the Copyright Organisation of Trinidad & Tobago head office in Port-Of-Spain, Decmber 2022.

[alexadd77]

Perez Prado and his orchesstra (Feat Shorty Rogers) - Voodoo Suite 7" 1956? Germany. A Pérez Prado le encargaron una obra de alto vuelo e impacto, que uniera los sonidos afro, con el mambo y los elementos básicos del jazz americano. Imprescindible e inusual resulta la sección de percusión que experimenta con elementos afrocubanos en formatos jazzísticos en resumen un curioso y gran disco. Edición alemana en doble siete pulgadas del Lp dividido en dos. Aquí el primero con las partes 1 y la 4. #perezprado #mambo #calypso #tropical #dancing #7" #45rpm #vinylcollection #paint #vintage #voodo #voodoosuite #jazz #percusion #ep #vinylcollectionpost #vinylcover #vinylcollector #artwork #recordcover #recordcollection #recordcollector https://www.instagram.com/p/CDWmjDhJjhd/?igshid=mltr86yurkju

[dustedmagazine]

Eero Koivistoinen with Friends – Jappa: The Complete Jazz at Polytechnicum Recordings 1967-1968 (Svart)

Christened “the Holy Grail of Finnish Modern Jazz” in its accompanying marketing copy, Jappa: The Complete Jazz at Polytechnicum Recordings 1967-1968 instantly has a lot to live up to in terms of truth in advertising. Saxophonist Eero Koivistoninen acts as a partial common denominator for compiled content, appearing on two of the four EPs organized sequentially on the single disc release. His “friends” are an assemblage of compatriots, most of whom were galvanized in the same 1960s hot house of European Jazz influences that included both American origins and Continental extrapolations.

Koivistoninen’s Jappa kicks the compendium off with a bang and the altoist leading a lean and energetic cooperative trio with bassist Pekka Sarmanto and drummer Edward Vesala. Self-styled conguero Pekka Tirkkonen joins the group for the free jazz-meets-Calypso “O.K. Song” and a pair of cellists add string colors to the lush ballad “Spanish Lady & Lovable Miss P.” but it’s the opening title piece that commands the most attention. Eric Dolphy and Ornette Coleman echo out of the trio’s ambling, intervallic triangulations and Koivistoninen ekes a convincingly combative rasp from his reed.  The Pop Art inspired collage cover art with EC-era comic panels, specifically a telltale barking machine gun, reveals a contemporaneous Teutonic influence.

Recorded a year later, XYZ directs attention to a septet led by multi-instrumentalist Pentti Hietanen most notable in a historical context for the presence of a youthful Teppo Hauta-Aho on bass who assumes a prominent presence on par with the leader. Hietanen plays grand piano on the title piece and hoists pocket trumpet on “Irwin” and the band jockeys between punchy horn charts and rhythm section passages that skirt playfully with dissonance. Mingus and George Russell sound like arguably influences, but Hietanen and his crew definitely have their own bag. Once again, the cover art apes underground comics tropes with a topless geriatric motorcyclist depicted at once mired in and escaping a psychedelic funhouse.

Koivistoninen’s back in the picture for Tune In, teaming up with fellow altoist Pekka Pöyry. The latter man leads on a Hauta-Aho composed dirge blues “Scamp” while Kovistoninen takes the reins on the racing steeplechase that is “Interruptus.” The two appear together on “Lorna,” a kissing cousin to Coltrane’s “Naima” in its balladic contours. The final EP included is the most leftfield, gathering selections from winners of recording competition. Tommi Parko recites, sings and noodles away on piano and guitar across a handful tracks, while other pieces briefly showcase instrumentalists without making much of lasting impression. At just short of eighty-minutes and even with the jazz-distant, arguably amateur experimentations that close it out the Svart label’s bombastic claim around this collection’s significance aren’t just ballast.

Derek Taylor

[thesunlounge]

Reviews 353: Island Sounds from Japan 2009 - 2016

The newest release from Time Capsule carries the completely irresistible title of Island Sounds from Japan 2009 - 2016 and finds label co-founder Kay Suzuki curating a miniature compilation aiming to present a personalized window into modern Japanese music. I say personalized because, rather than seeking to reflect what is contemporaneously popular, this release celebrates what Kay calls the “Island Sound,” which comprises a sort of loose and tropically-minded ideology dedicated to expanding genre boundaries and fusing musical traditions from all around the world. Thus across the vinyl’s five tracks, we are treated to a Caribbean-tinged reggae rewrite of a legendary jazz classic, a polychromatic surf slide and Hawaiian psych groove out, a fried and freaky mutant disco stomper led by chugging funk basslines, slashing fuzz riffs, and southern blues slide guitars, and an elegiac fusion of Aino folk, Afrobeat, and dub exotica made in tribute to the profound grief experience by both Syrian refugees and oppressed indigenous cultures within Japan’s own borders. As well, Island Sounds from Japan 2009 - 2016 sits nicely alongside the recently released Oto No Wa: Selected Sounds of Japan 1988​-​2018 in the following sense. While many reissue labels have their sights set on Japan’s musical past, with most of the focus being given to the rare groove, jazz, city pop, and environmental ambient music of the 70s and 80s, the curators of both Island Sounds of Japan 2009 - 2016 and Oto No Wa: Selected Sounds of Japan 1988​-​2018 choose instead to spotlight lesser known and ever more modern corners of Japanese music, thus collecting together the kind of leftfield oddities and impossibly creative genre mashups that will inspire future generations of obsessive crate diggers, balearic minded DJs, and visionary producers.

Island Sounds from Japan 2009 - 2016 (Time Capsule, 2020) Saxophonist Akira Tatsumi made his name with The Determinations, an Osaka-based ska band operating throughout the 90s and early 00s. Following the group’s dissolution, Tatsumi dove ever deeper into Caribbean musical forms such as calypso and soca and following a solo album in 2013, he began to brainstorm ways he and his fellow musicians could develop a more distinctive musical identity…something “they could export to the world instead of merely following their influences.” Thus a regular jam out called “Akira Tatsumi presents Island Jazz Session” was born, featuring an ever-shifting collective of jazz and reggae musicians who eventually recorded an EP under the name Speak No Evil, the centerpiece of which is an inspired re-interpretation of the Wayne Shorter classic of the same name. Stabbing piano chords bring in a throbbing riddim, with hi-hats guiding the flow, snare rimshots cracking, piano chords skanking on waves of tropical sunshine, and Shinichiro Akihiro’s palm-muted guitars scratching on the beat. Tanko’s sensual basslines bob the body and work through zany high note accents as familiar horn themes flow over the mix, with Tatsumi’s alto and Motoharu’s tenor and soprano singing together through moaning reveries, descending through cinematic refrains, and bleating in bombast as Pablo Anthony’s martial snare rolls and proto-fusion drum fills break free from the riddim glide to bash and crash towards the sky. Eventually, we settle down into a deep reggae zone out while the saxophonists alight on dizzying solos, with hyperkinetic blues spirals and circular marathon cascades intertwining and occasionally shrieking towards free jazz desperation. Then comes a dreamy piano solo from Tetsuya Hataya, which intersperses blazing runs and percussive cluster chords as the entire length of the keyboard is explored. After these solo passages, we return to Shorter’s classical horn themes, with pleading blues melodies and soar ascents married to a sun-soaked Kingston skank. And following a false ending, everything drops back in heavier than before…the bass now locked into a sinister pulse while ghostly dub pianos underly a panning panorama of alien saxophone mesmerism.

The second track comes from AQATUKI, a group formed by “two guitar kids” Taaki and Chen who, together with a fluid collective of musicians, have been developing their own strand of psychedelia since the late 90s, one equally influenced by 70s space rock and 90s rave. However, for “Wakanoura,” Taaki, Chen, and friends are in bathing in rays of tropical sunshine, as the track is based around a Chen’s gemstone guitar harmonics, which themselves take inspiration from the junkyard-sourced idiophonics of Konono Nº1. As the prismatic guitar layers spread out across an infinite ocean surface, tight psych rock beats from Toda3 and Moro enter to sway the body while Taaki’s slide guitar glides between textures of Hawaiian rock and surfadelic splendor. Aknee’s bass chugs along and brings atmospheres of 50s pop romance as Chen’s crystalline harmonic webs flow into shimmering seaside arpeggios…the whole thing bringing visions of sunset skies and dolphins dashing through coral reefs. In fact, the liner notes explain that, in addition to taking inspiration from Konono Nº1, “Wakanoura” in finds the band lost in nostalgic revery as they collectively remember a beautiful sunset bar they played in the titular location. At some point, the track erupts in small scale as rimshots rain over the stereo field, basslines move down low, and double-time hi-hats add further propulsion to the rhythmic flow, with my mind drifting to the drug-induced balearica of Pharaohs and the post-rock exotica of Cul de Sac…especially as shimmering webs of polyrhythmic six string harmony support increasingly far out slide guitar explorations. Descending surf chords signal another transition, with the rhythms evolving into a sort of equatorial breakbeat while basslines dance on sunbeams, fuzzy slide hooks refract rays of tropical light, and distorted surf-psych licks hold down the groove. Elsewhere, we lock into a sort eternal two-note loop of tropical island fantasy…with everything breathing in unison and seeking out an eternal horizon…all before the cycles are broken by a glorious guitar solo, which rides high in the sky as tapped ride cymbals spread golden wavefronts in every direction.

Just as Aqatuki found themselves backpacking to India and Southeast Asia in the 90s to bathe in psychedelic radiance, so did Altz, who also took inspiratios from “Japanese punk originator[s]” Murahachibu and a host of other avant-rock bands discovered in his youth. Around the turn of the millennium, the artist began producing on his own via a computer and MPC, and has since enjoyed a prolific and eclectic career, with releases appearing on well known labels such as DFA, EM Records, and Bearfunk. “Orympia Rocks,” which comes from Bear Funk’s Hibernation (Vol. 1) sampler, slams right away into crushing disco kicks and ringing cymbals, with strange reverb effects spreading outwards into exo-planetary caverns. Chugging punk funk basslines cut in and out alongside chopped and mangled fuzz guitar riffs, which drop in and out from all sides of the mix or suddenly rocket across the spectrum while everything else flows and transforms through dub delay chains. After a surprising cut to silence, we drop back into the groove, with stoned basslines and muscular disco house freakbeats stomping beneath a grease-soaked cascade of country-fried slide guitar…a completely strange and inspired mash up that, as told by the liner notes, was inspired by Altz spinning southern rock classics such as The Allman Brothers and Lynyrd Skynyrd. The result comes off like something from the wildest reaches of the Mind Fair universe…with everything anxious, unsettled, and stubbornly refusing to lock in, preferring instead to tease out various elements while maniacally subverting well known forms of disco, house, funk, and stoner rock into a maddening dancefloor fever dream. Bleeping and blooping synthesizers beam in from faraway galaxies, crazed whistles zoom skywards, and occasionally, the slide guitar flies solo over the drums...its tremolo-soaked blues meditations fly solo before everything devolves into a storm of dubwise chaos. Later, laughing children induce LSD visions that obscure the mutant disco rock groove out and towards the end, after the drums disperse, the southern rock slide guitars transform towards Hawaiian tropicalia as calming ocean waves crash to shore.

In the liner notes, Kay Suzuki presents a beautiful and personal meditation on Keiichi Tanaka’s unique talents as well as his tragic passing. Indeed, Tanaka was a world traveller, having ventured as far as Mali, Senegal, and Morocco to learn a wide swath of rhythmic folk traditions. Coupled with a private lesson from Afrobeat legend Tony Allen, these experience established Tanaka as a distinctly skilled and diverse drummer…something that was on full display in his band Kingdom Afrorocks. After Kingdom Afrorock dissolved in 2014, Tanaka relocated from Tokyo to Hokkaido and reconnected with deep dub and Ainu folk fusionist OKI, who encouraged Tanaka to record a solo album, which eventually led to Keta Iicna Hika. However, Tanaka passed before seeing the LP’s release, which is all the more heartbreaking given how incredible the music is, with the record hinting at a deeply creative musical mind who was only just beginning to explore the full reaches of his artistic imagination. Taken from Keta Iicna Hika, “City of Aleppo” sees Tanaka and OKI creating a unique sort of blues inspired by the bombing of Aleppo, wherein mystically aligned basslines snake up and down through Afrobeat and tradition folk drum accents led by urgently tapped hats, four-four kicks, and sparse snare smacks. Sawing scrapes background kaleidoscopic layers of Ainu folk psaltery, with buzzing spiderwebs and psychotropic spirals woven from OKI’s tonkori and mukkuri. And the whole thing ebbs and flows in intensity to evoke the way sorrow hits in waves…as moments of apparent calm give way to dense cascades of pain and anguish, with the exotica drum gallop erupting into climactic flamboyance while infinite string webs evoke the spiritual suffocation of Aleppo’s occupation, as well as the historic oppression of the Ainu people at the hands of Japan’s government. OKI’s dub version of the track from Keta Iicna Hika is also included, which brilliantly deconstructs everything into miasma of oscillating echo and prismatic future folk. Basslines dance over beatless stretches, dubwise fx chains mutate and morph the Afro-Aino rhythms amidst echoing bursts of plucked string violence, and the mix is increasingly overwhelmed by psychedelic editing, with elements dropping unexpectedly, black smoke drone clouds cycling through chasms of silence, and cavernous drum fills ricocheting beneath waterfalls of fractalized psaltery.

(images from my personal copy)

[onestowatch]

Welcome to Jackson Lundy’s Amalgamation of Sound [Premiere]

We’re excited today because we have an exclusive premiere from emerging singer/songwriter Jackson Lundy. In the vein of Ones to Watch favorites such as Brasstracks, Tom Misch, Jordan Rakei, and others of that ilk, Lundy is able to fuse R&B, Jazz, Folk, and many other genres into unescapable grooves. Originally from New York, the songwriting major at Berklee College of Music is gearing up to release his debut EP later this year.

Lundy dropped his first single, “Calypso”, in 2017. It’s a mellow groove driven by smooth guitar licks, a silky bass line, and trumpets. A preview of the type of vibe he’s capable of. Today, we have the premiere of two new songs from Lundy, “Loverboy” and “Me & You.” Both songs are co-produced with Brasstracks and Jake Carter. “Loverboy” is a joyous love letter featuring the iconic upbeat horns of Brasstracks. Speaking on the song, Lundy says:

“Had a real blast throughout the making of “loverboy”. When my friend/collaborator Jake Carter recorded key bass on the tune, I kept urging him to be goofier with it and not to hold back. I wanted every lyric and instrument to represent my idea of “dumb love”. The song is about being so enamored with someone, you’d do anything for them. It’s a bit childish and reckless. One of the last additions to the song was the horn line played by Ivan Jackson who also produced the song. At first I was shocked by them and how abruptly they come in. Now that line is probably my favorite part of the song. It matches the songs intent perfectly.”

“Me & You” is different but just as good. Taking a more mellow approach to this song, Lundy said:

“‘Me & You’ is a song that I wanted to make feel warm and comforting. Similar to a good relationship, just meant to be easy. It’s a really nostalgic song to me, a visual song with washed out colors. Kinda like the two kids who fall in love in Wes Anderson’s “Moonrise Kingdom.”

We’re very excited to premiere these songs and we can’t wait for Jackson Lundy’s EP to arrive. In the meantime, stream “Loverboy” and “Me & You” below:

Jackson Lundy · Jackson Lundy Presents "Loverboy" and "Me & You"

[houseatthefootofthemountain]

The end of the year (as I knew it)- Part 1

The best additions to the House shelves during 2019- each one made the year more tolerable.

The Shifters- Have a Cunning Plan (Trouble in Mind Records)

Gutsy, scratchy lo-fi post punk tunesmiths from the Fall/Wire tradition. Twin guitars rattle, Casio keys sparkle and vocals, part spoken part sung, tell home truths. Not stumbling just staggering, not shambolic just shameless- the real deal.

Weyes Blood- Titanic Rising (Sub-Pop)

Natalie Merring’s brave plunge into trickier MOR waters inexplicably emerges from the flotsam. A voice that resonates and swoons KD Lang like around melodies of emotion from somewhere deeper. As she said to live audiences ‘ it’s ok to write songs, right?’ On the evidence of tunes like ‘Movies’ and ‘Picture me better’ you can only say ’yeh’…

Yonotan Gat – Universalists (Joyful Noise/tak: til)

Yonotan Gat, sonic traveller and guitar adventurer redefining the power trio with brilliant assistance from Gal Lazer and Sergio Sayeg. Surf fuzz guitar, ragas, jazz, fusion, chants and swirling storms of rhythm. Sometimes the fades leave you wanting but this is still music that transports.

Ustaad Saami- God is a Terrorist (Glitterbeat)

Defiantly hushed and demanding concentration, his stretched sufi chants unravel and capture you with a quiet, mesmeric insistence.

Kokoroko- Kokoroko EP (Brownswood Recordings)

This South London quintet take an afrobeat starting point and add hip-hop, calypso,soul and spiritual jazz into the mixer to deliver a fresh, rootsy brew. With a frontline brass trio bringing melodious spirit to the funky rhythms, pumping bass, tumbling guitar/ keys combinations and communal vocals, their sense of community welcomes you in. 

Kelly Lee Owens (Smalltown Supersound)

Inventive electronica structured with a songwriter’s sensibility that oozes warmth and hints of danger. Modern pop that dreams are made of, delivered with panache, bounce and techno flavouring.

[jaceyourself]

End of Year Wrap-Up 24/12/2018

Happy Merry to all you readers!

I’ve had a great year but all us music fans have had an even better one! Streaming services mean that now more than ever we can experience the musical output from all corners of the globe (though overwhelmingly the English-speaking parts of it) to understand different points of view, learn of the goings on in other parts of the world and most importantly indulge ourselves in a bit of a boogie. All the moods, genres and feels you could think of are out there, so over the holiday period perhaps try and listen to something new. Who knows it might break the tension with that younger/older relative round the xmas table when you find they also happen to like k-pop/jazz-funk/grindcore or at the very least you can bicker about the tragedy of the current album charts (Greatest Showman: 21 weeks!). To aid you in your quest for knowledge/excitement/small-talk I have spent almost 30 minutes curating a best-of for both albums and singles in the year of 2018. 

(NB even with my album-a-day policy, there’s no way I can get through everything I want to within the 365, so if your fave appears ignored, let it be known that I probably haven’t heard it yet. The full list of everything I’ve listened to this year is at the bottom)

So in no particular order:

Albums 

Jinx Lennon- Grow A Pair!!!

The Beths- Future Me Hates Me

The Pistol Annies- Interstate Gospel

Travis Scott- ASTROWORLD

Mount Eerie- Now Only

Cardi B- Invasion of Privacy

The 1975- A Brief Inquiry Into Online Relationships

The Aces- When My Heart Felt Volcanic

Singles

Confidence Man- Out The Window

Cardi B- I Like It

Janelle Monae ft. Grimes- Pynk

Lori McKenna- People Get Old

SOPHIE- Immaterial

Marie Davidson- Work It

Car Seat Headrest- Stop Smoking (We Love You)

BLACKPINK- AS IF IT’S YOUR LAST

The 1975- It’s Not Living (If It’s Not With You)

https://open.spotify.com/user/jaceyourself/playlist/1kFex3QLVv0l3cCqjVC6dT?si=_GqTJXrOSoSXYaMC9ra_lg

Have a great festive period and I’ll see you in 2019 :D

2018 Albums what I listened to

Floating Points- Reflections – Mojave Desert

James Elkington- Wintres Woma

Miguel- War & Leisure

Ride- Weather Diaries

Sidney Gish- No Dogs Allowed

Emperor X- The Orlando Sentinel, Oversleepers International

Broken Social Scene- Hug of Thunder

MC5- Kick Out The Jams (Live)

Public Service Broadcasting- Every Valley

JJ Doom- Key to the Kuffs

HAIM- Something To Tell You

Camila Cabello- Camila

Sheer Mag- Need To Feel Your Love

Taylor Swift- reputation

Shabazz Palaces- Quazarz vs The Jealous Machines

This Is The Kit- Moonshine Freeze

Japanese Breakfast- Soft Sounds From Another Planet

Tune-Yards- I can feel you creep into my private life

Jupiter & Okwess- Kin Sonic

Various Artists- The Passion Of Charlie Parker

Waxahatchee- Out In The Storm, Great Thunder

Offa Rex- The Queen Of Hearts

Dizzee Rascal- Raskit

Alvvays- Antisocialites

Childhood- Universal High

Marmozets- Knowing What You Know Now

Declan McKenna- What Do You Think About the Car?

Paul Heaton- Crooked Calypso

Lana Del Rey- Lust For Life

Charles Lloyd New Quartet- Passin’ Thru (Live)

Rip Rig & Panic- Circa Rip Rig + Panic

Avey Tare- Eucalyptus

Justin Timberlake- Man Of The Woods

Rio Mira- Marimba del Pacifico

Oddisee- The Iceberg

Aimee Mann- Mental Illness

Katie Von Schleicher- Shitty Hits

Arcade Fire- Everything Now

Girl Ray- Earl Grey

Ezra Furman- Transangelic Exodus

Randy Newman- Dark Matter

Dead Cross- Dead Cross

Chronixx- Chronology

Mondo Cozmo- Plastic Soul

Kesha- Rainbow

Lal & Mike Waterson- Bright Phoebus

Steve Reich- Pulse / Quartet

Orchestra Baobab- Tribute to Ndiouga Dieng

Ratboy- SCUM

Prince- Dirty Mind, Controversy, 1999, Purple Rain, Parade, Sign ‘O’ The Times

Stanley Cowell- No Illusions

Oneohtrix Point Never- Good Time Original Motion Picture Soundtrack

Downtown Boys- Cost Of Living

Screaming Females- All At Once

Rob Luft- Riser

Sibusile Xaba- Open Letter To Adoniah

Jen Cloher- Jen Cloher

Everything Everything- Fever Dream

Grizzly Bear- Painted Ruins

Bob’s Burgers- The Bob’s Burgers Music Album

Superorganism- Superorganism

Maren Morris- HERO

Courtney Marie Andrews- Honest Life, May Your Kindness Remain

Stefflon Don- Real Ting Mixtape

Ghostpoet- Dark Days + Canapés

Young Fathers- White Men Are Black Men Too, Cocoa Sugar

Queens Of The Stone Age- Songs For The Deaf

Thurst- Cut to the Chafe

John Moreland- Big Bad Luv

Aruan Ortiz- Cub(an)ism [Piano Solo]

Mount Eerie- Now Only

The War On Drugs- A Deeper Understanding

Various Artists- Pop Makossa

Liane Carroll- The Right to Love

Fickle Friends- You Are Someone Else

Nadine Shah- Holiday Destination

Various Artists- Howsla

George Ezra- Staying at Tamara’s

The Doors- The Doors

Filthy Friends- Invitation

Susanne Sundfør- Music For People In Trouble

LCD Soundsystem- LCD Soundsystem, Sound of Silver, American Dream

Mogwai- Every Country’s Sun

Kacey Musgraves- Golden Hour

The National- High Violet, Sleep Well Beast

The Klezmatics- Wonder Wheel

Hercules & Love Affair- Omnion

Mount Kimbie- Love What Survives

The Aces- When My Heart Felt Volcanic

Matthew Bourne- Isotach

Finished- Cum Inside Me Bro

Forced Into Femininity- I’m Making Progress

Heron Oblivion- Heron Oblivion

Hamell On Trial- TACKLE BOX

Confidence Man- Confident Music For Confident People

Swet Shop Boys- Cashmere

Princess Nokia- 1992 Deluxe, A Girl Cried Red

Steely Dan- The Royal Scam, Aja

King Gizzard & The Lizard Wizard- Nonagon Infinity

Sparks- Hippopotamus

J. Cole- KOD

Fat Tony- Macgregor Park

L’Orange and Jeremiah Jae- The Night Took Us In Like Family

Little Simz- Stillness In Wonderland

Lady Leshurr- Queen’s Speech

RAY BLK- Durt

Brand New- Science Fiction

Janelle Monae- Dirty Computer

Rolling Blackouts Coastal Fever- Talk Tight

Fred Thomas- Changer

Myra Davies- Sirens

Laraaji- Sun Gong

The Killers- Wonderful Wonderful

Descendents- Milo Goes To College

Frank Turner- Be More Kind

The Horrors- V

Moses Sumney- Aromanticism

Arctic Monkeys- Whatever People…, AM, Tranquility Base Hotel & Casino

Oxbow- Thin Black Duke

Dee Byrne’s Entropi- Moment Frozen

Mike Stern- Trip

The Vampires- The Vampires Meet Lionel Loueke

Gogol Bordello- Gypsy Punks: Underdog World Strike, Super Taranta!, Seekers And Finders

Umphrey’s McGee- Zonkey

Hard Working Americans- We’re All in This Together

Courtney Barnett- Tell Me How You Really Feel

Jllin- Black Origami

Various Artists- Rough Guide to the Music of West Africa

Wolf Alice- Visions Of A Life

The Young’uns- Strangers

Fever Ray- Fever Ray, Plunge

CHVRCHES- Love Is Dead

Oumou Sangaré- Oumou, Mogoya

Charlotte Gainsbourg- Rest

Daniel Avery- Song For Alpha

Daphni- Joli Mai

Kanye West- ye

Cécile McLorin Salvant- Dreams and Daggers

Trio Da Kali, Kronos Quartet- Ladilikan

Kelela- Take Me Apart

Bob Dylan- The Times.., Another.., Bringing.., Highway.., Blond.., John.., Nashville.., New.., Blood..

Lily Allen- Alright(,) Still, It’s Not Me(,) It’s You, Sheezus, No Shame

Fanfare Ciocarlia- 20

Wolf Parade- Cry Cry Cry

SOPHIE- OIL OF EVERY PEARL’S UN-INSIDES

Zara McFarlane- Arise

St. Vincent- MASSEDUCTION

Margo Price- All American Made

Bebe Rexha- Expectations

Motörhead- Under Cöver

Orchestre Les Mangelepa- Last Band Standing

Drake- Scorpion

Various Artists- Gentle Giants: The Songs Of Don Williams

Noga Erez- Off The Radar

Baxter Dury- Prince of Tears

John Maus- Screen Memories

Lankum- Between the Earth and Sky

Shamir- Revelations

Years & Years- Palo Santo

Converge- The Dusk In Us

Canzoniere Grecanico Salentino- Canzoniere

Fred Hersch- Open Book

A. Savage- Thawing Dawn

Big Thief- Capacity

Kelly Clarkson- Meaning Of Life

Dirty Projectors- Lamp Lit Prose

Robt Sarazin Blake- Recitative

Shed Seven- Instant Pleasures

Spinning Coin- Permo

Call Super- Arpo

Laura Perrudin- Poisons & antidotes

Ellen Andrea Wang- Blank Out

Lori McKenna- The Tree

Wu-Tang Clan- Enter The Wu-Tang (36 Chambers)

Lee Ronaldo- Electric Trim

Deer Tick- Vol. 2

The Paranoid Style- Underworld U.S.A.

Youssou N’Dour- Set, Joko- From Village To Town, Nothing’s In Vain, Seeni Valeurs

Gaika- BASIC VOLUME

Kasai Allstars- Around Felicite

Carly Rae Jepsen- Emotion

Noel Gallagher’s High Flying Birds- Who Built The Moon?

Anna Ternheim- All the Way to Rio

U2- Songs of Experience

Mônica Vasconcelos- The São Paulo Tapes

Travis Scott- ASTROWORLD

Nabihah Iqbal- Weighing of the Heart

Van Morrison- Versatile

Jim James- Tribute to 2

Criolo- Espiral de Ilusão

Maciej Obara Quartet- Unloved

N.E.R.D- NO ONE EVER REALLY DIES

The Beths- Future Me Hates Me

Maryam Saleh- Lekhfa

Naomi Bedford- Songs My Ruiner Gave to Me

Jens Lekman- Night Over Kortedala

The Spirit of the Beehive- pleasure suck

Tom Rogerson- Finding Shore

Paul Jacobs- Pictures(,) Movies and Apartments

Ariana Grande- sweetener

Rina Sawayama- RINA

Marcel Khalife- Andalusia of Love

Gunter Hampel- Bounce (Live at Theater Gütersloh)

BAYNK- Someone’s EP

Omar Souleyman- To Syria(,) With Love

Blood Orange- Negro Swan

Open Mike Eagle- Brick Body Kids Still Daydream

First Aid Kit- Ruins

Shame- Songs of Praise

Homeboy Sandman- Veins

Playboi Carti- Playboi Carti

Eminem- Kamikaze

Troye Sivan- Blue Neighbourhood, BLOOM

Joey Bada$$- ALL AMERIKKKAN BADA$$

Priests- Nothing Feels Natural

Rhiannon Giddens- Freedom Highway

King Krule- The OOZ

Django Django- Marble Skies

Bon Iver- For Emma(,) Forever Ago

Calexico- The Thread That Keeps Us

Mary Gauthier- Rifles & Rosary Beads

Hookworms- Microshift

Aphex Twin- Collapse EP

Rae Morris- Someone Out There

Field Music- Open Here

Rhye- Blood

Shopping- The Official Body

MGMT- Little Dark Age

Christine and the Queens- Chris

Alela Diane- Cusp

Sonic Youth- Sister

Brigid Mae Power- The Two Worlds

Deafheaven- Sunbather

Various Artists- American Epic: The Collection Disc 1, 2, 3

Rich Krueger- Life Ain’t That Long

Lil Wayne- Tha Carter V

Modern Mal- The Misanthrope Family Album

Rejjie Snow- Dear Annie

U.S. Girls- In a Poem Unlimited

The Orielles- Silver Dollar Moment

Tal National- Tantabara

Marie Davidson- Working Class Woman

Superchunk- What a Time to Be Alive

Brandi Carlile- By The Way(,) I Forgive You

Car Seat Headrest- Twin Fantasy

Loma- Loma

Quavo- QUAVO HUNCHO

Marlon Williams- Make Way For Love

Nipsey Hussle- Victory Lap

Insecure Men- Insecure Men

Kendrick Lamar- Black Panther

Rapsody- Lalia’s Wisdom

Khalid- Suncity

Tracey Thorn- Record

Anna von Hausswolff- Dead Magic

Jinx Lennon- Grow a Pair!!!

Gwenno- Le Kov

Judas Priest- Stained Class, FIREPOWER

Robyn- Robyn, Body Talk, Honey

The Magic Gang- The Magic Gang

Essaie Pas- New Path

Bob Dylan and The Band- The Basement Tapes

The Decemberists- I’ll Be Your Girl

Pistol Annies- Interstate Gospel

BCUC- Emakhosini (Bantu Continua Uhuru Consciousness)

Jack White- Boarding House Reach

Yo La Tengo- There’s A Riot Going On

Sidi Touré- Toubalbero

Lil Peep- Come Over When You’re Sober(,) Pt. 2

The Breeders- All Nerve

The Vaccines- Combat Sports

CZARFACE- Czarface Meets Metal Face

Laurence Pike- Distant Early Warning

Chopteeth Afrofunk Big Band- Bone Reader

Leo Kalyan- The Edge

Hayley Kyoko- Expectations

Tristen- Sneaker Waves

Thelonious Monk- Les Liaisons Dangereuses

Brad Mehldau & Mark Guiliana- Mehliana: Taming The Dragon

Amy Rigby- Til The Wheels Fall Off, Little Fugitive, The Old Guys

BLACKPINK- BLACKPINK IN YOUR AREA

Rose Cousins- Natural Conclusion

Nora Jane Struthers- Champion

Lilly Hiatt- Trinity Lane

The Rolling Stones- The Rolling Stones, The Rolling Stones No. 2, Out of Our Heads, Aftermath

MAST- Thelonious Sphere Monk

The 1975- A Brief Inquiry Into Online Relationships

Jhene Aiko- Trip

Don Bryant- Don’t Give up on Love

EMA- Exile in the Outer Ring

Small Believer- Anna Tivel

Vera Sola- Shades

Cardi B- Invasion of Privacy

Darkthrone- A Blaze in the Northern Sky

Sarah Shook & the Disarmers- Years

Goat Girl- Goat Girl

Vic Mensa- HOOLIGANS

Unknown Mortal Orchestra- Sex & Food

Alasdair Roberts, Amble Scuse & David McGuiness- What News

Kali Uchis- Isolation

Wye Oak- The Louder I Call, the Faster It Runs

Migos- Culture II

Hinds- I Don’t Run

DRINKS- Hippo Lite

Alexis Taylor- Beautiful Thing

Jenny Wilson- EXORCISM

[travismjustm]

#Repost @soularsounds! Let My boy @nobel.m take you on a journey on “Nothing Knew Under The Sun” - - — @nfinite.music has released his new EP #NothingKnew available on all streaming platforms now! This project features appearances by more of #Soular’s own @ocean.fire @travismjustm and @officialstevelegacy! Support the Art! Click the link in bio! #GoodVibes #SoulMusic #GoodMusic #IndieArtist #IndieArt #Cali #Atl #HTX #Spotify #Tidal #AppleMusic #Amazon #Soundcloud #GramFam #Rap #HipHop #Calypso #Funk #Jazz #NewMusic #Indie #UndergroundMusic #Underground #KnowMore #OneLove

[superfan99records]

Mellow Guitar Pop For Sunsets. Introducing ‘Cape Weather’. 

Every time we think we’ve found the most Super Fan band of them all another one pops it’s head up and yes they do usually come from California but what can we say, I guess we have a thing for that? The latest discovery that we can’t wait to share with you is LA based Cape Weather who effortlessly tick every box of our Technicolor criteria. Just push play on opening track ‘Never Say’ and you’ll know exactly what we mean. There’s echoes of 60s girl group vocals, calypso drum machines, garage grit to the guitar, whirring organs, basically all of the ingredients you’d expect from a release on the label. I had a chat with Natalie to learn a little more about the project ahead of the EP release.

Hey Natalie, how you doing? Describe where in world you are and what can you see out your window?

Hi Luke! I’m highly caffeinated and sitting in my bedroom in Highland Park (Los Angeles). Outside my window, you can see my backyard and garden. I’ve been spending a lot of time out there lately...working on bringing some rose bushes back to life in addition to always caring for my herbs and plants.

How did Cape Weather come about? What other musicians are involved or is it very much a solo effort?

Cape Weather is the collaboration between me and Eric Jackowitz. We got started as a band when I was living in Oakland, recording a solo EP and running into a lot of roadblocks. I couldn’t quite achieve the sound I was looking for and had some less than desirable experiences with other producers. Eric has been a good friend of mine for almost ten years now, so I would call him to vent and he suggested starting a band “just for fun”. I  started sending him songs, and he would send me back grooves, and it just sort of grew from there. Songs start in a variety of ways - I may send Eric the bones of something, he may send me a track to write to - we then work separately and together to build it. 

Who were the first band or artist you fell in love with and do you think they have any influence on your writing still today?

I fell hard for No Doubt and the Strokes in my teen years, but I’m also heavily influenced by classic, soul artists like Aretha Franklin, Dusty Springfield and jazz vocalists like Ella Fitzgerald Julie London and Astrud Gilberto. I think you can hear aspects of all of these things in the music I create today. 

When I listen to Cape Weather I hear echoes of 60s girl groups, calypso and a little garage grit too all through a washed out filter. How do you describe your sound?

Honestly, this is my favorite description of Cape Weather…it’s exactly how I hear it and I’m going to steal this for all my promotional material ;) Thank you.

You are good friends with Katie (Beauty Queen) whose record we put out over here not long ago, have you guys collaborated at all live or in the studio? Feels like the two projects would sit nicely together. You share a similar dreamy heartfelt pop sound.

I adore Beauty Queen’s Out Of Touch EP and I play in her band quite regularly. In the past, I’ve played synth, guitar, and sang backing vocals for her…Can’t promise anything, but a studio collaboration doesn’t seem too crazy….

I'm out in LA in December so how about some recommends. What's your fave bar, record shop and venue to play and hang out at?

These days, I pretty much stick to the East Side. Echo Park is cute - I usually grab a cup of Canyon Coffee from Honey Hi and walk the lake. I don’t hang at many record shops or bars, but I do frequent vintage stores. I love Worship and Lemon Frog in Echo Park, Bearded Beagle in Highland Park, the Goodwill in Los Feliz, and the Rose Bowl flea market if you’re ready for the big time.

I'm digging your gold Strat in pics I've seen of you playing live. Tell me a little about where that came from? Have you always loved Strats or do you record with other guitars too?

I have no allegiance to Strats and I never had the intention of buying one. I got that gold Strat in 2016 from Broken Guitars in Oakland, CA… I went in there with a plan to buy a much cheaper electric, but I saw the gold one on the wall and fell hard. It was way out of my budget, but after going back to  two or three times to play it, I charged the babe to my credit card and haven’t looked back. Erik Groysman and Sean Tracy also play guitars in Cape Weather and on the records they play with a variety of different types. It all depends on what the song is calling for.  

While we're nerding on guitar gear, do you have a favorite pedal? My current fave is a Frantone Cream Puff, I just can't get enough of it's sound and look. 

That Cream Puff pedal is so damn cute. I want one! My current favorite pedal is the JHS morning glory overdrive. I never have it drive too hard, but instead I use it to create a general sound of warmth and nostalgia. It’s also very easy on the eyes.

This EP brings together your singles to date but what's next with the project? Do you have an album in the pipeline?

Yes! We are just finishing mixing our latest EP - hoping for that to be released in early 2020.

Finally I switch to lazy A&R mode but I'm sure fans of the label would also like to know, what local bands or artists are you are a fan of that we should know about?

There are so many amazing artists living in Los Angeles… Johanna Samuels, Spooky Mansion, Rachel Goodrich, Pageants, KERA, AO Gerber, Beauty Queen...

Awesome! Lots to dig in to here so thanks for the recommends. See you in December! 

Cape Weather EP is out on Super Fan on 13.09.19 and available to pre-order today https://superfan99.bigcartel.com/product/capeweatherep

Watch the ‘Big Time’ video here https://www.youtube.com/watch?v=JL-xtXWwNSQ

[lisboabeat]

03.10.18 MUSICBOX HOUSE by Magazino w/ CRUZ

Para muitos, a quarta-feira é dia de ficar em casa. Para outros, ficar em casa envolve sentir uma batida incessante a pulsar da carpete, ser iluminado com claps vibrantes dos candeeiros e ficar electrificado pela corrente de cada tomada. A pensar em todos os que vivem o House como uma segunda casa, a Match Attack chama mensalmente um novo convidado para fazer curadoria das quartas-feiras no Musicbox Lisboa com artistas e djs que encurtam o corredor entre o club e o lar. Nenhum mês é igual e é assim que deve ser, porque regressar a casa deve ser mais do que apenas conforto — deve ser surpresa, descoberta e muita celebração. E a melhor forma de viver o House, é dançar em todas as suas divisões e sub-géneros. 

#ourhouseisyourhouse EVERY WEDNESDAY MUSICBOX LISBOA HOUSE by Match Attack #ourhouseisyourhouse EVERY WEDNESDAY MUSICBOX LISBOA

03.10.18 RIVE-ROUGE Mike Stellar  

“A procura da batida perfeita”, é a missão de Mike Stellar. Perde-se pelo bass, o nu-jazz, o breakbeat, as entranhas da deep-house e do techno e ainda pisca o olho ao funk. O ponto comum entre eles? O Groove. Apresentou ao público português músicos como jazzanova, Gilles Peterson, Rainer Truby, Nicola Conte, entre tantos outros. 4ª feira apresenta-se aqui, no rRouge. Começamos outubro a partir das 22h.

04.10.18 RIVE-ROUGE Thomass Jackson

Switchdance   É residente num dos maiores clubs de techno do México, o M.N. Roy, mas a sua cidade natal é Buenos Aires. Foi lá que as raves lhe despertaram os sentidos para a música eletrónica. Juntou-se à Sonic 360 (UK) e à Gigolo Records que o catapultou para o mundo. No início dos 2000 lançou EP"s como ̈SMOG CITY ̈ e "THINK PEOPLE”, já rodados pelos maiores nomes da cena eletrónica mundial. No ano passado, juntou-se a Inigo Vontier (MX), para fazer nascer a Calypso Records com o objetivo de promover artistas latino-americanos e colaborou com Red Axes em “The Beach Goths” - foi um ano de sorte! A música que faz é divertida, cristalina e dá vontade de dançar. Brinca com o techno com a sensualidade de quem dança o tango, e por isso, o encarnado fica-lhe bem. Tem encontro marcado rRouge, e vem acompanhado de Switchdance. Toca a partir das 22h.

04.10.18 LUX FRÁGIL Zadig Gusta-vo

O discreto e simpático Sylvain Peltier, um daqueles raros casos de um DJ de techno que não tem medo de se rir em fotografias, regressa ao Lux para nos relembrar que atrás do ar bonacheir��o está uma verdadeira “fera” dos pratos. Zadig é o techno destilado e não adulterado. É o tipo de DJ que pode perfeitamente ser usado como exemplo para dar aqueles nossos amigos que nos perguntam “afinal o que é techno a sério?”. Ou dito de outra forma, o seu DJing apresenta-nos um techno sem gorduras, directo, objectivo e cheio de groove, onde a melodia serve como mera pincelada de cor em cima de uma afiadíssima base rítmica. A sensação acaba por ser algo como ver a música ao microscópio e descobrir as suas moléculas a dividirem e recombinarem-se para criar coisas absolutamente novas a partir de elementos que são sempre os mesmos. Ou talvez simplesmente música que nos pode levar a confundir as luzes da pista do Lux com estrelas. É que Zadig é mestre em teletransportar pistas inteiras sem que ninguém disso se aperceba. Beam us up!   

Texto: Nuno Mendonça

05.10.18 Fuse Matiné LOCO DICE (Open Air) ANALODJICA THE SLUM VAGABUNDS KIKO VIL

Sabemos guardar segredos. Mantemos o mistério até à última, mas todos sabemos que os segredos são melhores quando partilhados. A 5 de outubro, juntamos uma pequena multidão só nossa à efeméride, e Loco Dice é o cabeça de cartaz. O local surge por entre cantos e recantos, uma antiga casa senhorial que resiste aos sinais do tempo na quinta Molha Pão, localizada em Tala perto de Sintra. 

05.10.18 MICROCLUB Pedro Faria convida John-e

05.10.18  RIVE-ROUGE Elless & Benn Terra     

05.10.18 LUX FRÁGIL Nicolas Lutz Zé Salvador       

O misterioso Nicolas Lutz estreia-se na nossa Disco trazendo consigo música de todo o lado, disparada para um único alvo: a pista de dança. 

06.10.18 Kaesar | 5A - 06.10    

[franciscomartinezgich-blog]

Galería de Caratulas de la Discografía de Dire Straits (1978-2015) (Singles & EPs) por francisco martinezgich Por Flickr: La gira mundial de los Dire Straits que siguió al álbum en 1985-86 fue un auténtico éxito, incluyendo una aparición en Live Aid el 13 de julio de 1985, con Sting como vocalista invitado. La gira finalizó en el Entertainment Centre de Sídney, Australia, donde Dire Straits todavía mantiene el récord de apariciones consecutivas (21 noches), la última de las cuales es conocida por su versión calypso de "So Far Away" y una improvisación de la canción folk australiana "Waltzing Matilda". En un período de dos años, Dire Straits tocó 247 conciertos en más de 100 ciudades diferentes. Finalmente, en 1995, la banda anunció su disolución. Mark Knopfler se concentraría en proyectos en solitario y bandas sonoras para películas; muchas de ellas, en colaboración con el teclista de Dire Straits, Guy Fletcher. El bajista John Illsley, el único miembro junto a Mark Knopfler que se había mantenido desde los inicios, pasó a dedicarse a la pintura, en 2008 regresó al panorama musical con un álbum titulado Beautiful You y en 2010 publicó Streets Of Heaven. Otros antiguos miembros continuaron sus carreras musicales, como David Knopfler o el baterista Pick Withers, que pasó a trabajar en bandas de jazz.

[iowamusicshowcase]

Photo by Drew Morton http://www.drewmadestuff.com/

Once again, we have an usual pairing with today's IHearIC videos. The first is some pan drums. And the second features a cellist. "Tyler Swick is a freelance musician and music educator in Las Vegas, Nevada. Elementary music education was a late passion for Swick, discovering it at the end of his music education degree at the University of Kentucky. After the bell rings in the Clark County School District, he heads over to the College of Southern Nevada to work with the Coyote Calypso Steel Band as an arranger and participant. The Coyote Calypso Steel Band is where Swick received his first exposure to steel drums when they played at the Las Vegas Day of Percussion in 2004. Now Swick teaches private steel pan lessons at the college after rehearsal but when he's not playing pan at CSN, Swick lectures the History of Rock and Roll to undergraduates. ​Late nights and weekends are spent enjoying the vibrant music scene around Las Vegas, whether it's listening or performing." Iowa performance history: University of Iowa Steel Bands - PASIC 2013 UI Jazz Band ​Ottumwa Symphony Orchestra Reggae Against the Machine 5 O'Clock Somewhere Band Tin Can Duo - from Tyler Swick's home page Tyler Swick home page: http://www.tylerswick.com/ "Dr. Aaron Ziegler is a percussionist, educator, and arranger based in Toledo, Ohio. He currently serves as Adjunct Professor of Music at the University of Toledo where he directs the newly formed Rocket Steelband and teaches classes in Ethnomusicology, and Jazz History. He also maintains a private studio of concert percussion, marching percussion, and drum set students of all ages. "As a percussionist, drum set player, and steel pan player, Dr. Ziegler has performed throughout the midwest including the Detroit Institute of Arts, the Toledo Museum of Art, and the Iowa and Ohio days of percussion. He has also performed internationally at the Percussive Arts Society International Conference 2011 and 2013, the Inaugural International Panorama Competition in Trinidad & Tobago in 2015, and served as the percussion adjudicator for the 69th annual Hong Kong Schools Music Festival in Hong Kong, China in 2017. "Dr. Ziegler received his Doctorate of Musical Arts in Percussion Performance and Pedagogy with a secondary area in Ethnomusicology, as well as his Master of Arts from the University of Iowa, and his Bachelor of Music Performance from the University of Toledo. Dr. Ziegler proudly endorses Innovative Percussion sticks and mallets." - from Aaron Ziegler's home page Aaron Ziegler home page: http://www.aaronzieglerpercussion.com/ "Blake Shaw is an upright/electric bassist, composer, bandleader and private lesson teacher from Lisbon, Iowa who now resides in Iowa City. Shaw started on double bass at the age of 17 after becoming familiar with electric bass a few years before. He started his college career in the fall of 2008 at Kirkwood Community College. This is where he had his first classical lessons on double bass with Jeanette Welch. He moved on to the University of Iowa to pursue a Bachelor’s of Music in classical double bass performance, studying with professor Volkan Orhon and completing that degree in 2013. After a brief cruise ship gig in Australia, with the P&O Australia cruise line, following his BM degree Shaw came back to the US to start a Master of Arts degree at UI under the supervision of John Rapson, Damani Phillips, James Dreier and Steve Grismore while acting as one of the jazz department’s teaching assistants. Shaw was fortunate enough to play along side with several different guest artists during his years at UI such as: Wycliffe Gordon, O’had Talmor, Carmen Bradford, Terrell Stafford, Dave Pietro, and Dick Oatts. "Shaw’s influences come from various genres and instrumentalists. He has made it a mission to become diverse and proficient in different contexts. His experience stretches from jazz, rock, classical, bluegrass, to latin, funk, R&B, and anything in between. His main bass influences have been but aren’t limited to Dave Holland, Christian McBride and John Clayton. Current bands Shaw is booking with include but aren’t limited to The Blake Shaw Quintet, Goose Town, Elizabeth Moen, River Glen, Thrio, and The Clinton St Quartet. You can also find Shaw subbing in Christopher Merz’s Very Happy Band as well as Flash in a Pan. Side projects include Dana T’s bands, the Muscatine Community Orchestra and Eric Thompson’s Fun Time music Hour." - from Blake Shaw's home page Blake Shaw home page: http://blakeshawbass.com/ The IHearIC YouTube channel: https://www.youtube.com/user/IHearIC IHearIC videos on IMSC: http://iowamusicshowcase.blogspot.com/search/label/IHEARIC%20VIDEOS More IMSC posts featuring drums: http://iowamusicshowcase.blogspot.com/search/label/drums More IMSC posts featuring live performances: http://iowamusicshowcase.blogspot.com/search/label/live%20performance PREVIOUSLY ON IOWA MUSIC SHOWCASE: LOCK N LOAD - Our Interview With Dustin Conaway- Sept. 27, 2014 https://iowamusicshowcase.blogspot.com/2018/05/lock-n-load-our-interview-with-dustin.html OTHER SOURCES: The Iowa Hardcore Website http://iowamusicshowcase.blogspot.com/2018/05/other-sources-iowa-hardcore-website.html IHEARIC PODCAST - Episode 22: May Concert Recap and Diversity in Music (05/06/2018) http://iowamusicshowcase.blogspot.com/2018/05/ihearic-podcast-episode-22-may-concert.html JAZZMAN JOE VIDEOS - The CJC Big Band at Java Joe's in Des Moines on May 20, 2018 http://iowamusicshowcase.blogspot.com/2018/05/jazzman-joe-videos-cjc-big-band-at-java.html IOWA BLOCK RADIO CLASSIC - Ep.3 https://iowamusicshowcase.blogspot.com/2018/05/iowa-block-radio-classic-ep3.html THREE RANDOMLY PICKED PREVIOUS POSTS.... PLAYLISTS: Thanksgiving - Iowa Style http://iowamusicshowcase.blogspot.com/2017/11/playlists-thanksgiving-iowa-style.html IOWA MUSIC SHOWCASE PODCAST - Episode 46: Iowa Star Wars Music, Part 4 of 9 - May the Fortieth be with You! http://iowamusicshowcase.blogspot.com/2017/04/episode-46-iowa-star-wars-music-part-4.html IHEARIC VIDEOS - Dana T, a Violinist, and a Chorus http://iowamusicshowcase.blogspot.com/2018/05/ihearic-videos-dana-t-violinist-and.html OTHER IMSC WEBSITES AND LINKS: Feed: http://feeds.feedburner.com/IowaMusicShowcase Facebook: https://www.facebook.com/pages/Iowa-Music-Showcase/364796883703114 Twitter: https://twitter.com/iamusicshowcase Instagram: https://instagram.com/iowamusicshowcase

[rocktails]

Noe Valdez: “La noción principal en Fungi es experimentar”

La escena de la música electrónica independiente en la Ciudad de Buenos Aires crece y se enriquece con nuevas expresiones. Uno de estos emergentes es, sin dudas, el sello discográfico Fungi. Recomendamos visitar algunos de sus espacios en la red.

El mismo se orienta a editar artistas nuevos en general con un estilo bien de vanguardia, sin temor a la experimentación dentro del amplio espectro de la música electrónica. Para conocer más de cerca dialogamos con Noe Valdez, (DJ bajo el seudónimo de Ex Mujer) y una de las fundadoras del sello.

¿Cuáles son tus principales influencias musicales?

¡Qué complicado responder esto! Me imagino que las influencias están ligadas estrictamente a lo emocional, a aquello que te abrió una puerta, a lo que vino después ¿No? Me resulta un poco injusto “elegir”, siento que toda la música que fui escuchando a lo largo de mi vida me dejó algo. Escucho de todo. Folklore, jazz, música concreta, industrial, pop, calypso, dancehall, dub, kraut-rock, rocksteady, afro-house, techno, vaporwave, madonna, soul, reggae, no sé, me gusta la música! Sin embargo lo que sí puedo decir es q haber ido a ver a fun people en 1995 me abrió un camino hermoso y me vinculó con ideas, como el DIY y el queer, que son centrales en mi vida y en mi ética de trabajo, tanto en la dirección de Fungi como en mi faceta de gestora cultural y DJ.

¿Y qué otros momentos claves en tu vida te vincularon con la música?

Mi abuela escuchando boleros y arpas paraguayas en su combinado, todos los sábados a la mañana. El descubrimiento del punk a los 8 o 9 años, fue un nacimiento para mí, y al crecer, descubrir la electrónica germinal y el mundo de los sintetizadores, supuso un cambio, una inocencia perdida y otra ganada. Conocer a mi papa Aphex Twin, a los 20 años; haber escuchado el primer track dub de mi historia, que fue Nice and Easy Dub Version de Horace Andy, y que me abrió la puerta al dub y a la cultura musical jamaiquina, que es algo que me apasiona. Un último Highlight fue haber descubierto el House gracias a ir a bailar, a la cultura de clubber. También añado como referencia a Arthur Russel y Moondog

¿Cuál fue el primer disco que compraste?

El primer CD que compré fue Dangerous de Michael Jackson en 1992, cuando tenia 8 años. También alguno de Abba, recuerdo, el que tiene tapa celeste, creo que es Voulez Vouz.

¿Y qué fue lo más reciente que escuchaste y te agrado mucho, tanto a nivel local como internacional?

Ahora mismo estoy en pleno romance con la África más underground que pueda haber en internet, tracks que los hace un nigeriano o un angoleño, en el garage de su casita, con sus cajitas de ritmo y lo suben a youtube y ahí está para que yo lo descubra y me enamoré. Dj Sanji, por ejemplo, que es un productor de balani (que es un género de electrónica originario de Malí). En esa estoy ahora, enamorada de África. También sintiéndome inocente de nuevo escuchando Chris & Cosey, como si fuera la primera vez. Inspiradores siempre. De acá estoy escuchando Shiitake, que es el proyecto de Manuela Suárez y que se trata de nuestro próximo release con el sello. Me siento profundamente conectada con ella y con su música.

¿Aparte de la música, qué otras artes te apasionan?

Mi vida esta estrechamente vinculada con las artes plásticas, consumo arte contemporáneo, estoy en contacto con él, ya que todos mis amigos y conocidos son artistas. He tenido mi etapa fotográfica con todo el rollo de sacar con película y demás, también estudié cine y luego me pasé al video. Durante varios años salí con una minidv en la cartera documentando todo lo que hacía, la noche de Bs As, sus personajes. Luego de algunos años dedicados exclusivamente a la música, hace poco volví a filmar, incluso, mostré dos videos en 2017, y tengo planes concretos con eso para este año.

¿Cómo surgió el sello Fungi, hacia qué espectro del amplio abanico electrónico está orientado?

Fungi antes de ser Fungi ya existía en mi cabeza, era un proyecto imaginario que siempre tuve en mente. Como otros mil proyectos más que siempre están ahí volando. En 2014 comenzamos a hacer música con Pablo Tomasin en nuestro propio estudio casero. Entre ensayos y charlas surge la idea de generar un espacio para dar a conocer proyectos experimentales, como el nuestro, que de otro modo no tendrían posibilidades de ser editados, dado su escaso carácter comercial jaja. Una noche de enero de 2016 cerca del mar le pusimos nombre al proyecto y comenzó a hacerse más real. Contactamos a un amigo nuestro que respetamos mucho y con su EP y el nuestro salimos al mundo en abril de 2016. La noción principal en Fungi es experimentar, se trata de difundir y producir proyectos de personas que estén aprendiendo, que con sus torpezas y sus errores crean experimentitos y se animan a no quedarse en ningún género. Es muy amplia la electrónica y no tenemos intención de limitarla, esa es su riqueza. Lo que si está claro es que, por ahora, no apuntamos a la pista de baile, a tracks pensados para la disco, pero quién sabe…

¿En qué soporte editan? Editamos en cassette, hicimos 4 ediciones con tiradas muy pequeñas (30 ejemplares numerados) con grabado y armado a nuestro cargo. Además cada proyecto también está en nuestro Bandcamp y con posibilidad de free download en alta calidad. Cada edición cuenta con la participación de un artista plástico que colabora con el arte de tapa y cada una de las ediciones es un objeto visualmente atractivo. (“una cosa es underground…otra cosa es mal hecho”).

¿Cuáles son los mas recientes lanzamientos y próximos planes?

En abril vamos a cumplir 2 años y hasta ahora presentamos 4 releases. Volll, Mulo, Virgenes y Marcelo Alzetta, todos proyectos muy diferentes y personales. Estamos contentos. Próximamente tenemos planeado lanzar a Shiitake, ya en etapa de pre-producción y algunos otros proyectos que tenemos en carpeta; y faltan ultimar algunos detalles. También queremos reeditar las primeras ediciones, ya que nos quedamos sin ejemplares y en el algún momento organizar unas jornadas de experimentación Fungi, encuentros de músicos, recitales, DIY, todo ¡Ideas nos sobran!

La entrada Noe Valdez: “La noción principal en Fungi es experimentar” se publicó primero en Rocktails.

from Noe Valdez: “La noción principal en Fungi es experimentar”

[themarsupials]

100 Best Albums of 2017, pt. 4

25. Fever Ray – Plunge

Karin Dreijer is half of The Knife, but the tone for her second album as Fever Ray is vastly more immediate and inviting than her band with her brother; all restless rhythms, dense electronic beats and nervous energy, it’s not exactly dance music, but it certainly can’t sit still. Most surprising, though, is the unbridled lust in her lyrics, making this perhaps the horniest album of the year.

 24. Protomartyr – Relatives in Descent

This Detroit band’s fourth album is a masterclass in restraint and release, in using moments of peace and patience to skillfully maximize the impact when the noise kicks in. Anchored by the mighty voice of Joe Casey – who spits his lyrics with all the vitriol of Nick Cave in the 80s – it’s a thrillingly dark listen.

 23. Vagabon – Infinite Worlds

A recurring theme in music this year was the passing of the guard between indie rock generations; where big-name comebacks were often underwhelming (many notable by their absence from this list) in favour of thrilling debuts from voices often overlooked in the genre. Case in point, Laetitia Tamko, the woman behind Vagabon, an American born in Cameroon; with Infinite Worlds, she achieved the kind of debut other artists only dream of; tight, direct, unnervingly raw and honest, and downright unforgettable.

 22. Oumou Sangare – Mogoya

Oumou Sangare turns fifty next year, and has been performing since she was five; for Mogoya, though, the Malian music icon hardly rests on her laurels. She’s managed to dance a fine line in successfully creating a contemporary update on her traditional Wassoulou sound, for a thoroughly empowering and danceable record that’s at once instantly recognizable as Malian, without being bound the “world music” tag.

 21. Cable Ties – Cable Ties

There were a lot of great punk and post-punk records in 2017; few, however, hit with the power of this Melbourne band’s debut LP. Every track grabs you within seconds, and the tightness of the band’s performance keeps you hooked throughout. They’re playing Laneway next month, and if they’re not huge afterwards, there is no justice in the world.

 20. Oddisee – The Iceberg

My second-favourite hip-hop album (after the obvious), this is the best release yet from the impressively prolific rapper; his words, delivered with clarity and eloquence, don’t beat around the bush; and paired with the organic, live-band sound, this record is an absolute breath of fresh air.

 19. Jens Lekman – Life Will See You Now

Whilst Jens Lekman has never played the singer-songwriter aesthetic straight, his fourth album totally dismisses the tag, finding musical inspiration in disco and calypso. It makes for a real treat of a literary pop record, especially with his none-more-idiosyncratic lyrics, touching on everything from dinner dates to models of tumours to the Cambrian explosion.

 18. Downtown Boys – Cost of Living

A bigger budget and a bigger audience helped the Rhode Island punks broaden their sound on their second album, allowing for longer and bigger songs. Their firepower, however, hasn’t dimmed a bit; like their debut, the impact of these bilingual, saxophone-fuelled songs of rage make Downtown Boys one of the most exhilarating bands working today.

 17. Flamingosis – A Groovy Thing

A year after his last great album, Bright Moments, Flamingosis presented his greatest, most fully-realised work yet in A Groovy Thing. Like a slightly-less-whimsical Avalanches, this all-samples album unfolds as impossibly inviting, pastel-toned jazz-funk; every track establishing a warm, fuzzy groove you’ll want to inhabit for as long as possible.

 16. Naomi Keyte – Melaleuca

The best South Australian LP of 2017, Naomi Keyte’s debut LP consists of gorgeously expansive pop-folk, with songs that evoke the rolling, golden hills and windswept beaches of the Adelaide region. An album of songs to lose yourself in, and to make you ache for home.

 15. Broken Social Scene – Hug of Thunder

Wikipedia describes Broken Social Scene’s lineup as varying between six and nineteen members; for Hug of Thunder, their comeback record after seven years away, they managed to distill the potential of such an enormous sound into laser-like focus, resulting in a thrillingly joyous indie-rock success.

 14. King Krule – The Ooz

I always hate it when young people are intimidatingly talented, a point proven by the astonishing creativity of Archy Marshall, aka King Krule. At just 23, he’s created, for the second King Krule album, a sound so unique, so immersive, that it essentially inhabits its own musical universe. Seamlessly crossing ideas across blues, trip-hop, rap, dub, dirty jazz and garage punk, this is a rich, complex and challenging listen, bountiful with tricks and treasures to discover for years to come.

 13. Kendrick Lamar – DAMN.

Kendrick Lamar’s conquering of popular music culture is now so complete that he barely warrants any further justification. Let’s just say his flow and wordplay are unparalleled, and the raw sound of DAMN., after the elaborate To Pimp a Butterfly, continues to surprise.

 12. Sheer Mag – Need To Feel Your Love

Sheer Mag’s debut LP is probably the most purely lovable rock album of the year; there’s no messing about with high concept ideas, just song after song of kickarse riffs and vocals. Drawing inspiration from wildly unfashionable sources – 1970s hard rock and 1980s power pop among them – Tina Halladay proves an absolute powerhouse of a singer, providing enough grit to temper the sugar rush of the music itself.

 11. Kelela – Take Me Apart

After a number of EPs and countless guest appearances, Kelela’s debut LP finally appeared, and it was a revelation. In somewhat similar territory to fka Twigs, she twists contemporary R&B sounds into strange new shapes, with a near-impossible attention to detail in the production of every song, making this record a treasure for the body and the brain in equal measure.

 10. Sampha – Process

Sampha Sisay has spent a few year playing guest vocalist, for Solange, SBTRKT and Drake to name a few. When his own LP finally arrived, it proved remarkably complex, deep and rewarding for a debut; fully fleshed-out and well-considered progressive soul music, it’s clear that Sampha’s been meditating on and distilling the sound of these songs for a while, resulting in a beautiful, thoughtful and moving album.

 9. Fleet Foxes – Crack-Up

Even among a near-flawless discography, Fleet Foxes’ first record in six years managed to be their grandest achievement. A tour de force of complex majesty, these massive, multi-sectioned songs hit every note of aural pleasure, even with the immediacy of a single like “White Winter Hymnal.”

 8. Lorde – Melodrama

Classic pop albums – not indie-pop, not art-pop, just straight pop – are a rare beast, especially those that a greater than the sum of their singles, and particularly those that follow world-conquering teenage debuts. Melodrama completely blows Pure Heroine away, cementing Lorde’s position as one the world’s great pop songwriters.

 7. Feist – Pleasure

At the time, and following her surprise hit “1234,” Feist’s Metals album seemed shockingly raw; now, it sounds downright opulent, such is the stark, unpolished nature of Pleasure. Here, Feist drifts ever further from the mainstream, pushing her vocals low in the mix, and letting the songs breathe with an uncluttered, unrefined, downright dirty sound.

 6. The Smith Street Band – More Scared Of You Than You Are Of Me

Hitting full throttle within seconds, then barely letting up for another moment, this album catapulted the Smith Street Band into Australian music’s big leagues. Its core is Wil Wagner’s voice and lyrics, which split some critics between disarmingly honest and direct on the one hand, and mere bogan rantings on the other. For my part, I found his soppy romanticism and vulnerable realisations utterly gripping throughout.

 5. Jay Som – Everybody Works

This album, from a woman otherwise named Melina Duterte, is the very epitome of not just indie rock in 2017, but independent music of any genre. Written, performed and produced entirely on her own, this is an album of intimacy, honesty, directness and identity-formation. Most importantly, despite the easy tags, there are no ballads or anthems here; rather, despite drifting from subtle bedroom pop to fuzzed-out noise, Duterte’s compositions are all about shades of grey, a true sign of a gifted songwriter with a bright future.

 4. LCD Soundsystem – American Dream

The fourth official LCD Soundsystem LP builds on the dance-punk template of three perfect previous records, taking it into stranger, hitherto-unexplored places; the wigged-out guitar frenzy of “Emotional Haircut,” and the apocalyptic rhythms of “How Do You Sleep?” among them. It’s all representative of James Murphys’ increasingly no-fucks-given approach, allowing himself to take ever-greater risks than before.

Or, for a shorter review: James Murphy makes another amazing record – no one is surprised.

 3. Thundercat – Drunk

Drunk feels like the album Thundercat has been teasing his whole career; after some false starts, EPs, great singles, great collaborations, Drunk is, finally, the bass virtuoso’s masterpiece. Over twenty-three tracks – none of which surpass four minutes – it’s a funk album made of small moments, intricate ideas and quirky humour. Whimsical, self-deprecating, and a whole lot of fun, it’s an endlessly loveable funk odyssey.

 2. Priests – Nothing Feels Natural

Coming from Washington, D.C., this is undoubtedly the most exhilarating rock record I’ve heard in years. From a post-punk template, Priests keep you guessing with elements of surf, garage, goth and even jazz (check out the jazzy breakdown in the opener, “Appropriate”). With Katie Alice Greer’s howls and sneers accompanying ideas of identity, intersectionalism, democracy and general disappointment with the state of the world, Priests have provided the perfect soundtrack for 2017.

 1.    Perfume Genius – No Shape

2017 was, of course, a landmark year for Australia’s LGBTIQ community, with the long-overdue legislation of marriage equality. The path to get there was tortuous, damaging and painful; yet, in the aftermath of the campaign’s success, the time is right to celebrate what should be the mundaneness same-sex monogamy. It’s in this context, then, that we receive Mike Hadreas’ fourth Perfume Genius record; a thoughtful pop album that’s at once vibrant, decadent, tender, sentimental and celebratory. A lot has changed for Hadreas between records; on his previous, Too Bright, he looked upon himself with disgust, and approached his queerness confrontationally; for No Shape, however, he has nothing left to fear, no reason to retreat. As a result, this album – 2017’s greatest – is all celebration and acceptance of self, all odes to devotion and redemption, and, at the end of the day, sheer reverence for his lucky boyfriend, Alan Wyffels.