#Glitterbeat

[zef-zef]

Afropunk Futurism Fantastic new album by Avalanche Kaito.

Avalanche Kaito - Borgo From Avalanche Kaito - Talitakum (Glitterbeat, 2024)

fav tracks: Borgo - Tanvusse - Talitakum - Machine (The Mill)

Kaito Winse (flute, mouth bow, vocals) Nico Gitto (guitar) Benjamin Chaval (drums, synths and electronics)

[burlveneer-music]

Avalanche Kaito - s/t LP

A Burkinabe urban griot (vocalist and multi-instrumentalist  Kaito Winse) meets a Brussels noise punk duo. A new alloy that deconstructs both traditional and futurist knowledge. This thrilling ensemble is releasing their self-titled debut album hot on the heels of their acclaimed 4-song EP Dabalomuni (January 2022), that The Wire called “freaked, juddering electronic punk.” A mysterious matrix that echoes disparate (but strangely compatible) sonic strands:  deep griot traditions, Fugazi, Can, 70s era Zappa, Black Midi, the full throttle rush of Nyege Nyege Tapes.

[andistecher]

Gordan - Šara (official video)

Taken from Gordan (out May 10, Glitterbeat Records) Pre-orders: https://idol-io.ffm.to/gordan Video by Luka Papić, Branka Majstorović, Svetlana Spajić

[dustedmagazine]

Parchman Prison Prayer — Some Mississippi Sunday Morning (Glitterbeat)

Parchman Prison, located in northwestern Mississippi, has a storied reputation in American song — a fact that sits anxiously alongside the penitentiary’s notorious history. The facility was racially segregated through much of the 20th century, its forced-labor regime operating much like a 19th century plantation. Incarceration at Parchman was so dehumanizing that Roy Haber’s investigation into the prison in the early 1970s lead a Mississippi federal judge to declare it in violation of the US Constitution and an affront to “modern standards of decency.” More recently, Jay Z filed a class-action lawsuit against Parchman, in protest of brutal conditions that persist. The prison’s notoriety is registered in blues recordings referencing “Parchman Farm” by Bukka White and Mose Allison (and Blue Cheer would eventually make a hair-raisingly noisy cover of Allison’s tune) and in WPA-period folk-blues collections from the prison by Alan and John Lomax. Some Mississippi Sunday Morning adds to that musical story, to complicated effect.

The record is in part the work of musical documentarian Ian Brennan, who got permission to capture a February 2023 Sunday session of gospel music at Parchman Prison. Chaplains invited men who sing at the Prison’s various worship services to perform for Brennan, and some of the resulting music is profound. There is a mix of acapella performances and songs with more and less instrumental accompaniment. The acapella voices are particularly compelling for their immediacy; “Step into the Water,” “It’s in My Heart” and “Solve My Need” (which sounds as though it has been recorded from the bottom of some sort of unthinkably deep pit) are hugely effective, fully realized renditions, more moving for being so unadorned.

The “Sunday morning” context with which the record is packaged makes sense, given the devotional nature of many of the performances. But that comes with ambivalences. See “Break Every Chain,” in which the singer insists, “There is power in the name of Jesus / To break every chain.” For ardent believers, that likely resonates with the “power” referenced. For listeners who do not share that ideological orientation, Parchman looms and problematizes: every chain? One of the most powerful moments on Some Mississippi Sunday Morning is “Gotta Run,” through which a tenor voice repeats “I gotta run” again and again, over midtempo handclaps and a set of doo-wop-adjacent backing voices. The urge to move, to run, to find a line of flight is palpable, echoed but also limited by the performance’s pace. It’s simple, harrowing and real. When those moments emerge — as they do elsewhere on the record — this is potent music, charged by Parchman’s awful, materially and equally real presence.

Jonathan Shaw

[tomorrowhittoday]

Altin Gun, guarda il video di "Rakıya Su Katamam"

Altin Gun, guarda il video di “Rakıya Su Katamam”

10 Marzo Glitterbeat e ATCO pubblicheranno il nuovo album degli Altin Gun intitolato “Aşk”. In anteprima potete vedere il videoclip di “Rakıya Su Katamam”:

[valsnonsense]

Please forgive me for this I'm fucking delusional don't look at me-

Okay yeah Prince D and Guy Diamond. Crackiest of crack ships but I'm lowkey obsessed with them. My only explanation for how they meet is D notices Tiny Diamond's exceptional hip-hop music and meets Guy through him. D can't help but think that Guy is cute and starts hitting on him and Guy just trips head over heels for the Funk Prince.

Tiny, in the other hand, is upset. How dare this Funk loser come in and steal his dad. The AUDACITY. The INJUSTICE. The sheer GALL. Tiny has officially declared war on this link giraffe looking mf you wanna go to war let's go to fawkin wAR-

(Tiny warms up to him eventually)

I'm so sorry for this please ignore me and my insanity-

[swvlswvl]

Best Music of 2022: SVL’s Picks

Previously: 2021 2020 2019 2018 2017 2016 2015 2014

Might post more thoughts later, but for now: These are the albums I couldn’t get enough of in 2022. Truly an amazing year for new music!

TOP 40 ALBUMS

Bartees Strange, Farm to Table (4AD)

Pusha T, It's Almost Dry (G.O.O.D./Def Jam)

Alvvays, Blue Rev (Polyvinyl)

Sunflower Bean, Headful of Sugar (Mom + Pop)

The Smile, A Light for Attracting Attention (XL)

FKA Twigs, Caprisongs (Young/Atlantic)

Zora, Z1 (Get Better)

Bad Bunny, Un Verano Sin Ti (Rimas)

Soccer Mommy, Sometimes, Forever (Loma Vista)

Alex G, God Save the Animals (Domino)

Wilco, Cruel Country (dBPM)

Taylor Swift, Midnights (Republic)

Beyoncé, Renaissance (Parkwood/Columbia)

Angel Olsen, Big Time (Jagjaguwar)

Kurt Vile, Watch My Moves (Verve)

Empath, Visitor (Fat Possum)

Ribbon Stage, Hit With the Most (Perennial)

Katie Alice Greer, Barbarism (FourFour)

Trupa Trupa, B Flat A (Glitterbeat/Lovitt)

Pictoria Vark, The Parts I Dread (Get Better)

Blackpink, Born Pink (YG/Interscope)

Spoon, Lucifer on the Sofa (Matador)

Interpol, The Other Side of Make-Believe (Matador)

Saba, Few Good Things (Pivot Gang)

Say Sue Me, The Last Thing Left (Damnably)

Bruce Springsteen, Only the Strong Survive (Columbia)

Flasher, Love Is Yours (Domino)

Mitski, Laurel Hell (Dead Oceans)

Charli XCX, Crash (Asylum)

Lucrecia Dalt, ¡Ay! (RVNG Intl)

The Weeknd, Dawn FM (XO/Republic)

Tomberlin, I Don't Know Who Needs To Hear This... (Saddle Creek)

Billy Woods, Aethiopes (Backwoodz)

Cola, Deep in View (Fire Talk)

Flo Milli, You Still Here, Ho? (RCA)

Phoenix, Alpha Zulu (Glassnote)

Grace Ives, Janky Star (True Panther)

Belle and Sebastian, A Bit of Previous (Matador)

Jana Horn, Optimism (No Quarter)

Los Bitchos, Let the Festivities Begin! (City Slang)

[hotnew-pt]

Ana Lua Caiano vence Globo de Ouro de Melhor Canção #ÚltimasNotícias #Portugal

Hot News Ana Lua Caiano venceu na noite deste domingo, 29 de Setembro, o Globo de Ouro de Melhor Canção para o tema “Deixem O Morto Morrer”, que integra o seu álbum de estreia, Vou Ficar Neste Quadrado. A cantautora também estava nomeada nas categorias de Melhor Intérprete e Artista Revelação. O disco foi editado este ano pela alemã Glitterbeat, que se centra precisamente em músicas…

[celtic-cd-releases]

https://www.facebook.com/landlessmusic

https://landless.bandcamp.com/album/l-ireach

https://open.spotify.com/album/7b4OyZHLcf3VqjGUHBtQbo

[o-the-mts]

Albums of the Month: L​ú​ireach by Landless

  Album: L​ú​ireach  Artist: Landless Release Date: June 7, 2024 Label: Glitterbeat Records Favorite Tracks: The Newry Highwayman Blackwaterside Lúireach Bhríde The Grey Selkie of Sule Skerry Death and the Lady The Hag Ej Husári Thoughts: Back in the 1980s, The Pogues combined traditional Irish tunes and instrumentation with punk sensibilities and invented Celtic Rock.  Nowadays, it feels hard…

[sonmelier]

61. Altın Gün | Aşk

🇳🇱 Pays-Bas & 🇹🇷 Turquie | Glitterbeat | 40 minutes | 10 morceaux

Le groupe amstellodamois aux racines turques renoue magnifiquement avec l’inspiration vibrante de ses deux premiers albums, après deux autres opus assez décevants. On retrouve sur Ask toute la vitalité et tout le caractère irrésistible de leur musique chaleureuse et bigarrée, revisitant l’anatolian rock avec un panache et un enthousiasme diablement communicatifs.

[hiphopraisedmetheblog]

FAKE STREAMS ARE NOTHING NEW, BUT THE RECORDINGS BUSINESS IS ONLY JUST WAKING UP TO THE SCALE OF THE PRACTICE.’

The following op-ed comes from Pascal Bittard, founder of France-based independent distributor IDOL. IDOL‘s roster includes Erased Tapes, Fire Records, Glitterbeat, Gondwana, Kitsuné, Local Action, Soundway, SRD, Ubisoft and Bandai Namco, while it also works directly with artists including La Femme, Ibrahim Maalouf and Lomepal.Fake streams are nothing new, but the recordings business is only just…

[burlveneer-music]

Saagara - 3 - Wacław Zimpel and four Carnatic musicians from southern India

Saagara’s new album 3, is the third installment of this acclaimed collaboration between Polish producer/multi-instrumentalist Wacław Zimpel and four virtuosic musicians from the Carnatic musical tradition of southern India: percussionists Giridhar Udupa (ghatam), Aggu Baba (khanjira) and K Raja (thavil) and violinist Mysore N. Karthik. It’s a buzzing juxtaposition of dense Indian rhythms and pulsating electronic patterns. An album of deeply transformative compositions that navigate tradition and experimentation as they move towards the universal. On 3 the music is not as contemplative as it was on the previous two albums. Acidic electronic post-club sounds now counterpoint the traditional instruments, and the instruments themselves are filtered through contemporary processing. Saagara’s 3 is also more studio-based and conceptual. Zimpel devised electronic sequences and then got together in a Warsaw studio with Udupa, who began by adding konnakol (vocal percussion) rhythmic patterns to the sequences. Zimpel’s production grew from there – developing additional electronic textures, manipulating the sound of individual instruments, and deconstructing or reducing the instrument tracks altogether. As a result, the boundary between the acoustic and the electronic, the tradition and the future, is blurred. Saagara’s new album brings the ancient ritual of Carnatic music, a music that carries the listener from one state to another, into a dance with electronic music and its techniques, beats and synthesis. The whole thing unfolds in a cosmic trance; an inspired and buzzing juxtaposition of dense Indian rhythms with pulsating electronic patterns. 

[andistecher]

Gordan mirror the mysticism of legends and stories from the Balkan region, creating a music that stretches between expressiveness and abstraction; tradition and the avant-garde. The visceral vocals of Svetlana Spajic (Marina Abramovic, Robert Wilson, Antony and the Johnsons) are both rooted and deeply interpretive. In turn, drummer Andi Stecher (STECHER, Billy Bultheel, Orchestre Les Mangelepa) and Guido Möbius on bass and electronics, employ sonic strategies that steer the songs in inspired and unpredictable directions.

Out via Glitterbeat records - May 10th !

Preorder here: https://idol-io.ffm.to/gordan

[dustedmagazine]

Dust Volume 10, Number 6, Part I

Infinite River

We’re halfway through the year and swamped with mid-year activities (look for our round-up next week), but the records continue to pile-up and we continue to make time for as many as possible.  This month, the slush pile yielded a wide range of music, from Burkina-Faso-ian griot to microtonal composition to snarling black metal to improvisation and jazz. 

Our reviews are split in two parts because of Tumblr's arbitrary limits on sound samples. See Part II here. Contributions included Jennifer Kelly, Bryon Hayes, Andrew Forell, Christian Carey, Jonathan Shaw, Bill Meyer, Jim Marks, Justin Cober-Lake and Alex Johnson.  Happy summer!

Avalanche Kaito — Talitakum (Glitterbeat)

Another of those cross-cultural, Afro-European collaborations that are so often great—see recent works by Chouk Bwa & The Ångströmers, Ndox Electrique and Group Doueh/Cheveux—Avalanche Kaito sets Burkina Faso griot to a rattling, pummeling noise punk beat.  I like “Lago” best, where a clatter of mixed percussion and serrated, distortion crusted guitar dart in and around a keening call and response.  Near the end of a recent long-distance drive, I listened to it 14 times in a row without wearing it out.  Still the title track is fantastic as well, its guitars stabbing in like Fugazi, its drums boxy and agitated, its spatter-painted words dicing the beat into eighths and sixteenths.  The “Kaito” in the band name comes from grioteer Kaito Winse.  The Avalanche comes from the falling-down-the-stairs-but-still-on-beat mix of strident punk and West African syncopation.

Jennifer Kelly  

Ayal Senior — Ora (Medusa Editions)

Toronto’s 12-string warrior Ayal Senior workshopped the songs that became Ora at a monthly residency he has at the Tranzac Club, a haven for the city’s most adventurous musical minds. His comrades Kurt Newman (pedal steel, electric guitar) and Andrew Furlong (bass) joined him on the journey, and together they slowly worked the sonic skeletons into fleshy bodies of song. The trio brought scene veterans Blake Howard and Jay Anderson on board to add drums and percussion when they laid the sounds to tape. Their flourishing rhythms complete the image: five beams of light passing through the prism of Senior’s celestial vision. The guitarist bills Ora as the spiritual successor to 2022’s Az Yashir, yet while that record embraced a post-COVID sea change, Ora is bathed in the light of tranquility. Senior’s folk devotionals draw warmth from the presence of his pals, taking on raga and kosmische adornments as they languidly unfurl. These hymns are beauty incarnate, guitar-centric mantras in service of the cosmic mystery that surrounds us all.

Bryon Hayes

Beams — Requiem for a Planet (Be My Sibling)

Beams is an alt.country ensemble, playing rock and folk instruments in delicate, otherworldly ways.  The voices especially — Anna Mērnieks-Duffield primarily but fleshed out in harmonies by Heather Mazhar and Keith Hamilton—float in translucent layers, mixing eerily with the meat-and-potatoes sonics of guitar, bass and drums.  As the title suggests, Beams main subject is the earth itself, its fragility, its rising temperature, its trajectory towards unlivability.  Yet though there are lessons here, in songs like “Heat Potential,” Beams steers clear of polemics.  “It’s All Around You,” especially envelopes and enfolds. Its string-swooping, gorgeously harmonized arrangements lift you up and out of the mess we’re in.  “Childlike Empress” with its well-spaced blots of keyboard sound, its ghostly, tremulous singing, is an eerie elegy for the world’s natural beauty.  The album is its own thing, but it might remind you of certain twang-adjacent Feelies side projects, Speed the Plough and Wild Carnation especially. 

Jennifer Kelly

DELTAphase — Synced (Falling Elevators)

Process. DELTAphase founder Wilhelm Stegmeier contacts a disparate group of musicians and provides them with a key, beat, tempo for seven pieces of music and allows them complete stylistic and compositional freedom. Each of 10 musicians contributed to one or more of the seven pieces, without knowing who else was involved. Stegmeier, seeking synchronicities and serendipity, collates and adds to the contributions and collages them within the given parameters. Result. The musicians, Merran Laginestra, Beate Bartel, Thomas Wydler, Brendan Dougherty, Lucia Martinez, Antonio Bravo, Andreas Voss, Eleni Ampelakiotou, Dominik Avenwedde, Kilian Feinäugle and Stegmeier come from classical, jazz, electronic and post rock backgrounds, and the music occupies liminal interstices between and across genres. There’s lots of layered percussion, electronic backgrounds and guitar interplay from the squalling electric duel on “Phase Lock” to Bravo’s jazzy riffing on “One by One” which also features Laginestra’s  impressionistic piano. That combination is a standout on an album that can occasionally meander into cul-de-sacs. Remote collaboration has become a commonplace since the pandemic but the caliber of the musicians here and Stegmeier’s skill in pulling their contributions together make Synced a fascinating exploration of compositional process.

Andrew Forell      

   

Taylor Deupree — Sti.ll  (Greyfade)

A recent microtrend involves making acoustic realizations of electronic compositions, the latest being a new version of Taylor Deupree’s lauded 2002 electroacoustic recording Stil. Sti.ll follows suit, with a reworking for acoustic instruments by Deupree and Joseph Branciforte. The bespoke Greyfade book that accompanies Sti.ll is handsome and contains a QR code to download the digital recording. The acoustic versions can sometimes fool you into thinking that you are listening to the original synth sounds, which is part of the game. “Stil.” is nearly twenty-minutes long, for vibraphone and bass drum. The vibes play both textural passages and, simultaneously, repeating dyadic melodies. The bass drum errs on the side of gentle effects rather than thwacking. Another standout track is “Temper,” for multiple clarinets and a shaker. The composition moves through a series of repeated intervals, descending fourth, ascending minor third, et cetera, with harmonic underpinning from the other clarinets and constant pulsation contributed by the shakers. Hard for clubbing, but these pieces would work quite well in a concert.

Christian Carey

Emma dj — Lay2g (Danse Noire)

Paris based Finnish producer Emma dj has the tendency to get distracted by novelty which interrupts the flow of this set and disrupts individual tracks often enough to leave the listener frustrated. If that’s the point, all well and good, but I suspect it’s not, which makes you wonder if this is all in service of the producer rather than the audience. That’s fine if there’s challenge in the music, which here, there is not. He collides bits and pieces of dance punk, chiptunes, video game soundtrack and the detritus of underground sub-sub genres into a messy mélange — a potluck casserole thrown together for a class reunion no one’s attending. It’s particularly annoying for the moments when, by design or serendipity, Emma produces a dish worth eating like “RR.dnk” for instance that sprays warped synth stabs against cowbell hi-hat, thumping kick drum and a stumbling bass line without succumbing to the over seasoning of vocal samples, jokey blips and burps or overwrought exhortations to dance. With a little more focus and balance, he may well produce something pretty good but this is only halfway there.

Andrew Forell

Incipient Chaos — S/T (I, Voidhanger)

There are times when some listeners just want a record of snarling, muscular black metal — thematics and scannable cultural politics be damned. If that sounds good to you, this new self-titled LP from French band Incipient Chaos rages and rips with all the right sorts of aggressivity. It seems that one takes chances with one’s ethics (if not one’s immortal soul) doing this sort of impulse listening in black metal: Is this NSBM? Does anyone have the skinny on that? Do we need to dig into the various “Is this band sketch” subreddits and descend into that 9th Circle of gossip-mongering and reaction? Lucifer smiles; so does Advance Publications. Is that a distinction without a difference? Meanwhile, we can note that Incipient Chaos has released this record on a politically reliable label, and while it’s unusual not to get a lyric sheet from I, Voidhanger (uh oh…), that may just be typical black metal shtick: the words are obscured because they are sooooo evil. Whatevs. The riffs are strong, if not world-changing, and the compositions have drama, if not overwhelming tragedy. Check out the guitar-centric middle portion of “Ominous Acid,” which is hugely satisfying. The down-tempo opening minutes of “Dragged Back from the Abyss” will remind you of the best of Aosoth. It’s all a lot of…fun?

Jonathan Shaw

Infinite River — Tabula Rasa (Birdman)

First came the space, now comes the rock. Infinite River’s first couple recordings had a definite COVID-era vibe to them. The Detroit-based ensemble started out as a trio, with Joey Mazzola and Gretchen Gonzales playing guitars and Warren Defever contributing tambura and a place to record. But a bliss-oriented drone might make less sense in a time when you can get out and play shows than it did when clubs were shut down and people didn’t want to go out than it does when stages are available and Steve Nistor, who drums for Sparks, is available to join in. Last year, Bryon Hayes invoked  Windy & Carl and Mountains when describing Infinite Rivers’ Prequel; “Sky Diamon Raga,” the track that kicks off Infinite River, is more like an arena rock dream of Chris Forsyth’s “The Paranoid Cat.” Much of the time this record feels rather like the Raybeats negotiating production ideas of the 1990s and 2010s, which means that the guitar tones will have you scratching your head to remember what’s being reference and how it’s been changed, but that the snare drum takes up entirely too much sonic real estate. Tellingly, the best moments come when the production is dialed back and the melodies take over, as on a Ventures-does-Coltrane interpretation of “My Favorite Things.”

Bill Meyer

Will Laut — Will Laut (Wavetrap)

Producer Ivan Pavlov AKA COH has collaborated with John Balance and Cosey Fanni Tutti, and the sounds of Coil and Throbbing Gristle are clear influences on his new EP with singer William Laut. Shot through with the feeling of dancing towards doomsday, Laut’s haunted murmur wavers just on the right side of cynicism and sleaze as he sings of living through hate, looking for the redemption of love or at least an opportunity to forget even for a few moments. COH lays down a minimalist carpet of synths and drum machines that use TG’s  “United” and Daniel Miller’s “Warm Leatherette” as templates. Most effective are the slow burn sarcasm of “Cryptoman” and the weary tango of “Wine of Love.” These are songs Brecht and Weill might have written if they had access to cheap keyboards and a primitive drum machine. Noirish, knowing and smart, the four songs on Will Laut are a speakeasy floorshow for the modern world. Highly recommended and hoping to hear more from this duo.

Andrew Forell

Niels Lyhne Løkkegaard and Quatuor Bozzini — Colliding Bubbles: Surface Tension and Release (Important)

Niels Lyhne Løkkegaard is a composer based in Copenhagen. On his latest EP he joins forces with the premiere Canadian string quartet for new music, Quatuor Bozzini, to create a piece that deals with the perception of bubbles replicating the human experience. In addition to the harmonics played by the strings, the players are required to play harmonicas at the same time. At first blush, this might sound like a gimmick, but the conception of the piece as instability and friction emerging from continuous sound, like bubbles colliding in space and, concurrently, the often tense unpredictability of the human experience, makes these choices instead seem organic and well-considered. As the piece unfolds, the register of the pitch material makes a slow decline from the stratosphere to the ground floor with a simultaneous long decrescendo.  The quartet are masterful musicians, unfazed by the challenge of playing long bowings and long-breathed harmonica chords simultaneously. The resulting sound world is shimmering, liquescent, and, surprising in its occasional metaphoric bubbles popping.

Christian Carey

[pierreism]

'Rakıya Su Katamam' by Altın Gün

From the forthcoming album Aşk (Glitterbeat Records/ATO Records) Out March 10 2023 Pre-order limited edition vinyl and stream the music here https://ffm.to/altingunask