#belgian funk

[reirecords]

Rei Records is a community focused cassette tape label with it’s roots in the incredibly diverse online alternative music scene.

Starting in 2023 amidst a huge revival in popularity of cassette tapes as a music medium, the label's main goal is to provide both a dependable and consistent partner for underground musical projects and a label for alternative music fans with customer service on a professional level.

We’re building upon more than a decade of experience organising concerts and managing volunteers within Do-It-Yourself & alternative music culture. We've established a name in the Vaporwave scene as artists under different monikers, experienced many do's and dont's of different labels and only want to try and expand on what we love with a community that is close to our hearts.

Rei Records is antifascist and an ally to all and we have no interest in doing business with people that aren’t.

[jlf23tumble]

Hello Jen! I noticed you always share songs by non-american/english speaking artists, and I’ve been wanting to expand my music taste for a while because I’m sure there’s a lot of great stuff out there beyond what I’m used to hearing on the radio and good old favorites, but I just don’t know where to start. Have you got any tips, recommendations or some favorites of yours to share?

Ooooh, I love this!!! I tend to go more vibes vs. lyrics, and because of that, I end up with a lot of vintage, but if you want more modern, I think spotify can really help? I'll just share some random musings via YouTube, if that helps, too, no real order.

One of my very favorite songs is Waters of March, which is pure vintage Brazilian, but any bossa nova, sign me up. For modern Brazil, I'm more recently obsessed with Ludmilla, who KILLED IT at Coachella. If you want to explore all things Brazil, I have to shout out my beloved Bhia, @aboutmetamorphosis, who not only gifted me with the world's best spotify playlist, but also regularly introduces me to some AMAZING shit, like this list.

If you're looking for modern Belgian/French, I'm a huge Stromae fan, and he has too many songs to count, but you can listen to my fave album here, Racine Carree. For vintage French, where to even start?? I'd say Francoise Hardy, then spin out from there, dig deep into the various artists making up the Ye-Ye Girls (and Boys). Similarly, there's some fun vintage Italian, like Mina or Raffaella Carra. Allllll of that stuff can be found/dug deep into via scopitone collections.

Generally speaking, collections are the way to go, I'm a big fan of Skatalites, which I want to say I found through some of the Cult Cargo CD collection/sets from a while back? I'll bet it's all on spotify, but I still have rando CD collections covering, Bombay the Hard Way, Nigerian funk, funky Fraulines, you get the picture, lmao. For more modern music, I was honestly surprised to hear so much new stuff out of Coachella, like the aforementioned Ludmilla and Saint Levant, whose Nails song killed me.

And yeah, I know I'm not even TOUCHING kpop, but it's so vast, so deep, you don't have to dig to far to find current/past glory...if you find new faves, lmk, and if this is way off the mark, lmk that, too! Happy to dig with you!

[randomvarious]

Today's mix:

Fuse Presents Hell by Hell 2000 House / Techno / Deep House / Electro / New Wave

Goddamn, man, I'm not gonna say outright that this mix in particular is the greatest shit in the world—although it's pretty close!—but the ethos behind it certainly represents what has ultimately led to some of the most astonishing sets that we've ever had the pleasure of witnessing as a species. There's this late 70s-and-80s-rooted spirit that's equal parts unpredictable and eclectic, in which the overall route of the set doesn't feel pre-planned at all, because the DJ takes risks by linking tracks together that you yourself would never expect to hear in succession. The overall journey from point A to point B that you get taken on is one that's long and winding and full of surprises, and the DJ themselves doesn't really have any particular destination in mind to begin with either, because the perpetual question that's always most immediately on their mind is, "hmm, what banger do I want to play next? 🤔"

And I feel like this flying-by-the-seat-of-its-pants approach to DJing has largely faded from the limelight and has gradually been replaced by either the DJ who specializes in one specific dance subgenre that's in one specific range of BPMs for a whole set, or the DJ who just plays mindless EDM claptrap from a pre-loaded USB stick 😒. All of it's so safe and hermetically sealed shut. Where's the danger, the fun, and variety of it all?

See, what you really have to understand here is that there was no place on the planet that was more sonically diverse than your typical late 70s and 80s dancefloor. House, freestyle, synthpop, disco, hi-NRG, pop, post-disco, art punk, art rock, art pop, electro, hip hop, funk, boogie, post-punk, new wave, dance-pop, dancehall, two-tone ska, glam rock, sophisti-pop, soul, alternative dance, R&B, etc., etc., etc., all had the potential to be played at any given moment during a set, and the ultimate job of the DJ was to craft a breathtaking sonic collage out of any of it.

And that's exactly what Germany's DJ Hell channeled here with this commercial mix from 2000 for the second ever installment in Belgian club Fuse's own series. But what's more is that while Hell was deriving his inspiration from an attitude of a bygone era, he also happened to have about an extra decade of music at his disposal that his spiritual predecessors didn't. And the 90s ended up seeing a mega-expansion on the frontiers of electronic and dance music entirely, so while Hell certainly picks out his classics from super popular acts like Donna Summer and Frankie Goes to Hollywood, on here you're also gonna find stuff from contemporary dance legends like Todd Terry and Carl Craig, different flavors of rock from Tuxedomoon, Sparks, and the Flying Lizards, Brazilian-sampled techno from Andrew McLauchlan, and deep house from Bougie Soliterre. In reality, almost none of this track list makes any lick of sense on paper, but that's the inherent beauty of the whole thing, folks! Once you put it on and get a taste of Orange Lemon's (Todd Terry's) "Extended Club Mix" of "The Texican," you really start to get a feel for the vision that's been laid out here, and it's one that's mindbendingly motley, and more in the vein of how a lot of old DJ sets used to be!

The best DJs to me are the ones who appear to be doing it purely off the dome and are just living right in the moment while barely thinking ahead. They know how to wow a crowd with a memorable blend of classics, a contemporary hit, and obscurities from any decade, place, or genre, but they make adjustments if and when they feel the need to as well. And above all else, they possess an uncanny ability to play songs that you don't see coming—or that you never even knew existed in the first place—while also convincing you that the choice they made is one that's both thrilling and logically sound. It's a tough act to balance, like a halftime gimmick who rides a unicycle and spins plates on a long rod that sits on their chin while also juggling bowling pins, but DJ Hell is someone who clearly has the knack for it and puts it on full display here.

The world could always use more of this kind of DJing in it, especially when so many of us now have access to more music than we know what to do with that's all sitting right at our fingertips.

And by the way, I didn't really get into specific tracks with this post here, but "Desire," by 69, which is just a nice alias that was used by Carl Craig, is one of the most stunning combinations of string synth and drum break that I think I've ever heard in my life. Good lord, what a tune that is! 🤯

Listen to the full mix here.

Highlights:

Speedy J - "Evolution" Ché - "The Incident (Wet Dream Mix)" Orange Lemon - "The Texican (Extended Club Mix)" Liaisons Dangereuses - "Avant-Après Mars" Tuxedomoon - "What Use" 69 - "Desire" Mitsu - "Shylight" Donna Summer - "I Feel Love (Patrick Cowley Megamix)" Sparks - "Beat the Clock" Phuture - "Rise From Your Grave (Wake Side)" Foremost Poets - "Pressin On" Bougie Soliterre - "Superficial (Main Vocal Mix)" G Strings - "The Land of Dreams" Frankie Goes to Hollywood - "Two Tribes (Annihilator Mix)" Dopplereffekt - "Rocket Scientist" Andrew Mc Laughlan - "Love Story" Filippo "Naughty" Moscatello - "Disco Volante" The Flying Lizards - "Steam Away"

[brookstonalmanac]

Birthdays 8.14

Beer Birthdays

Eugene L. Husting (1848)

Brandon Hernández (1976)

Five Favorite Birthdays

Halle Berry; actor (1968)

Mila Kunis; Ukrainian-American actor (1983)

Gary Larson; cartoonist (1950)

Steve Martin; comedian, actor, writer, banjo player (1945)

Bruce Thomas; English bass player (1948)

Famous Birthdays

Russell Baker; essayist (1925)

Emmanuelle Béart; French actress (1963)

Catherine Bell; actor (1968)

Herman Branson; African-American physicist, chemist (1914)

Sarah Brightman; English singer-songwriter (1960)

John Brodie; San Francisco 49ers QB (1935)

Lodewijk Bruckman; Dutch painter (1903)

Sharon Bryant; R&B singer (1956)

Kevin Cadogan; rock singer-songwriter, guitarist (1970)

Méric Casaubon; Swiss-English author (1599)

Yannoulis Chalepas; Greek sculptor (1851)

Darrell "Dash" Crofts; singer-songwriter and musician (1940)

David Crosby; rock singer (1941)

Charles Jean de la Vallée-Poussin; Belgian mathematician (1866)

Mstislav Dobuzhinsky; Russian-Lithuanian-American artist (1875)

Slim Dunlap; singer-songwriter and guitarist (1951)

Tracy Caldwell Dyson; chemist and astronaut (!969)

Richard R. Ernst; Swiss chemist (1933)

Erica Flapan; mathematician (1956)

Francis Ford; actor and director (1881)

John Galsworthy; English writer (1867)

Alice Ghostley; actor (1926)

Larry Graham; soul/funk bass player and singer-songwriter (1946)

Buddy Greco; singer, pianist (1926)

Marcia Gay Harden; actor (1959)

Jackée Harry; actress (1956)

Robert Hayman; English-Canadian poet (1575)

Lee Hoffman; author (1932)

Leopold Hofmann; Austrian composer (1738)

Doc Holliday; dentist, wild west gambler (1851)

James Horner; composer (1953)

Ernest Everett Just; African-American biologist (1883)

Jan Koetsier; Dutch composer (1911)

Margaret Lindsay Huggins; Anglo-Irish astronomer (1848)

William Hutchinson; founder of Rhode Island (1586)

Magic Johnson; Los Angeles Lakers (1959)

Stanley A. McChrystal; American general (1954)

John McCutcheon; folksinger (1952)

Paddy McGuinness; English comedian (1973)

Lionel Morton; English singer-songwriter, guitarist (1942)

Bruce Nash; film director (1947)

Frank Oppenheimer; particle physicist (1912)

Hans Christian Ørsted; Danish physicist and chemist (1777)

Susan Saint James; actor (1946)

Paolo Sarpi; Italian writer (1552)

Ben Sidran; jazz and rock keyboardist (1943)

Stuff Smith; violinist (1909)

Danielle Steel; writer (1947)

Jiro Taniguchi; Japanese author and illustrator (1947)

Bruno Tesch; German chemist (1890)

Ernest Thayer; "Casey at the Bat" writer (1863)

Pieter Coecke van Aelst; Flemish painter (1502)

Carle Vernet; French painter and lithographer (1758)

Claude Joseph Vernet; French painter (1714)

Earl Weaver; Baltimore Orioles manager (1930)

Wim Wenders; German film director (1945)

Lina Wertmüller; Italian film director (1926)

[sunburnacoustic]

An interview with Matt Bellamy in the Guardian, 17 August 2001. By Will Hodgekinson.

Matt Bellamy is the slight, angular, 23-year-old lead singer of the rock band Muse. He's sharing a flat in north London with a friend from his hometown of Teignmouth and the band's drummer, Dom. The flat has the air of a temporary home with only the bare necessities present and standard regulation furniture fills up the space between a piano in one corner and a computer in the other. For a flat occupied by three rock'n'roll-involved young men, it's surprisingly clean.

"We've been here a couple of months," says Bellamy, who talks in a rapid monotone. "I lived in Exeter for six months and I'll probably be here for six months before hopefully moving to the States. I'm living my life in six-month chunks at the moment."

Laying down roots is not on the current agenda. "If I'm in the same place for too long, I can't write anything. When things are changing, that's when the writing kicks in, whether that change be moving house, or losing a girlfriend, or making a new bunch of friends. Because that's when I get the urge of wanting to be in touch with the one thing that is constant, which is the feeling I get from making music. That's why the last album was called Origin of Symmetry - it's important to have that base when everything is in flux."

Being a child of the 21st century, Bellamy has dispensed with the notion of a record collection for something far more transportable - music stored on computer. "Since Napster went, the program you need is Morpheus, which can not only download music, but films and other computer programs as well. Perhaps I shouldn't be saying this, but I've got AI and all these films that haven't come out yet downloaded on to my computer. And with songs, you download the ones you want from somebody else's machine and form your own playlist."

When he's away from the computer, Bellamy uses a wristwatch-sized MP3 player to listen to music. "You plug a lead into the computer and put on the songs you want, so you can walk around with this and the quality is brilliant. It costs about £250. I'm on planes a lot and they always tell me to turn off my Walkman during take-off, but this is so small that they can't even see I've got it on. When you put these headphones on, it's absolute cut-off from the outside world. You can't hear kids crying or anything."

On the little MP3 player is a catholic range of music. Along with tracks by Rage Against the Machine, Weezer, American lo-fi favourites Grandaddy and funk-rockers Primus are blues tracks by Robert Johnson and European classical excerpts. "When I was about 10 my dad played me Robert Johnson, and that was the first time I heard music that made me feel something, even though what I'm playing on piano these days isn't blues but music from European history, be it folk, classical, or flamenco. I'm into Jeff Buckley's voice a lot too, as he was one of the first male singers who made me comfortable about singing in a female range."

Another favourite is the Belgian rock band Deus. "One of the best rock bands from Europe. They're too experimental for radio here so they've never made it, but they're huge in Belgium. They jump across all kinds of styles and will play anything from blues to disco in the same track. They've been around for about 10 years, and they did a tour supporting PJ Harvey in England, but apart from that, they've never had much exposure."

All of this feeds into Muse's own sound - emotional, heartfelt rock popular with troubled young men. "Chris, the bass player, is into his metal, and for some reason he's also obsessed by the Beach Boys, and he's got all those outtakes of Beach Boys tracks that you can get. Dom's into percussive things like Buddy Miles and the Aphex Twin. We all like Rage Against the Machine, while I listen to a lot of classical music and the other two don't really go there. We meet in the middle of all our tastes with what we do in the band."

From playing us noisy American rock on his computer, Bellamy goes to knocking out some astonishingly accomplished classical piano. "I play the piano for ages because I enjoy the experience of doing it. It's always been something of an escape, if you like," he says. "Then something will come from that and there will be the start of a new song, even if at that point it's just expressing a state of mind, a feeling of loneliness or whatever. I wrote a lot of the last album on tour, so I would often find a piano backstage at a venue, and just play it all day."

Occasionally, there's time for that most traditional of listening pleasures, the record. "Our producer, John Leckie, has opened me up to people like Tom Waits and Captain Beefheart, and even Jimi Hendrix who I don't think I would have listened to otherwise. After a day's session he would pull out a few records and play them in the dark. It was cool."

[animusiem]

Billboard USA Exclusion Zone Episode 21 (01/13/2024)

Now that all the Christmas stuff is gone, what do we have to replace all of the Christmas songs? Well seems like we are still stuck with what 2023 had to offered. Regional Mexican, J-Pop, old songs that went viral on TikTok, and some legacy songs just debuted. And yet looking at the chart reset I think showed a bigger picture that I will get to on my blog, stay tuned. Enough stalling let's get into these meaty lists of new arrival

--------------------------------------------------------

49. "Goat" by Number_I

You know the year hasn't even started yet and we might have a contender for the worst song of the year. Like imagine if Fleeting Lullaby by Ado was remixed by a B-tier boyband and the productions sounded like the backwash of Gen 3 boyband group sound...you get this.

51. "Rompe La Dompe" by Peso Pluma, Junior H, Oscar Maydon

This is probably the most well produced Peso Pluma song in corridos scene. I love how chill the song is. Definitely needed after...that car crash the size of opening lap of Belgian GP in 1998 proportion.

64. "Wherever u r" by UMI ft. V from BTS

Seems like V beside making solid RnB album, also want to platform small RnB artist as well. And it's a great song to boot as well. I'm instantly hooked by UMI's voice with the melodic guitar, spacious production, and just immaculate atmosphere which is perfect for the sort of cut about long distance longing. I do think the percussion is a bit loud. But hey it's still a high recommendation

114. "Poco A Poco" by Xavi ft. Los Dareyes de La Sierra

Seems like the train of regional Mexican sound is still rolling because we have a newcomer by the name of Xavi. He's not Spanish by the way he's from Arizona. But, he has been going up on the chart with La Diabla which is a good song. And this one might be better due to the fact that there's a slap bass in it.

132. "Maria Mariah" by Silva MC, DJ F7, C NO BEAT & MC Meno Dani

10/10 would Brazilian funk again.

154. "Modo DND" by Xavi & Tony Aguirre

I feel like the reason why I've been positive with Xavi because in terms of corridos tumbados, his sounds are very full and competently produced for once. I love the horn lines here the most because it's kinda like all over the place.

161. "Murder On The Dancefloor" by Sophie Ellis-Bextor

TikTok strikes again and this time it might be their best find yet. Coming from the Saltburn ending where Barry Keoghan "dancing" to this song, we have quite possible the reason why Future Nostalgia existed in the first place. I'm glad that Americans are listening to this two decades later. The lush nu-disco production that didn't aged a day with the liquid guitar, tight bass, and the strings. Every seconds of this song is just tight and controlled which could be attributed to Gregg Alexander aka the bald guy with the bucket hat from New Radicals. The guitar solo is just an icing on the cake on otherwise fantastic tune.

162. "Husn" by Anuv Jain

Never thought I would hear a song from India like this to be honest. But hey it's a nice surprised to hear this type of sounds in other languages that I am not familiar with.

170. "Overdrive" by Ofenbach ft. Norma Jean Martine

It's kinda cool how dance genre has probably its stronger year in 2023. This is the first one I'm listening to this year and yeah the streak keep on going here. Never have I heard more beautiful piano house since...shit probably Hold My Hand.

172. "Alucin" by Eugenio Esquivel X Grupo Marca Registrada X Sebastian Esquivel

This is probably the best "Edm mixed with regional mexican" song I've heard. Though when your competition is a song by Fuerza Regida featuring Marshmello...yeah

186. "Let Me Love You" by DJ Snake ft. Justin Bieber

Not gonna lie, the sound of DJ Snake just didn't hold up so well with time. This song in 2024 sounds so empty and devoid of anything interesting.

190. "Have You Ever Seen The Rain" by Creedence Clearwater Revival

Meanwhile this song is timeless and could be played at any time where you are feeling down or just sick of the bullshit get thrown at you.

191. "Livin On A Prayer" by Bon Jovi

Just listening to this one song and you will get why hair metal was at one point the biggest genre in the world in the mid 80s.

193. "Poker Face" by Lady Gaga

Meanwhile just listened to this song and you'll get why Lady Gaga is an icon and deserved her acolades.

197. "Be A Flower" by Ryokuoushoku Shakai

Wait so this is the song that became an opening for an anime about ancient China? Why does this bang so hard????

199. "One Dance" by Drake ft. Wizkid & Nyla

One Dance is a good song but this song marked the exact point where Drake stopped trying most of the times because his status as #1 hit makers has been sealed.

200. "Lean On" by Major Lazer ft. DJ Snake & MO

It's a good even great EDM song but it's pale in comparison to its competition at that time.

I highly recommend everyone listening to these songs

[byneddiedingo]

Brendan Gleeson and Colin Farrell in In Bruges (Martin McDonagh, 2008) Cast: Colin Farrell, Brendan Gleeson, Ralph Fiennes, Clémence Poésy, Jordan Prentice, Eric Godon, Zeljko Ivanek, Jérémie Renier, Thekla Reuten. Screenplay: Martin McDonagh. Cinematography: Eigil Bryld. Music: Carter Burwell. Martin McDonagh's In Bruges is a bloody little gem about two hitmen, Ray (Colin Farrell) and Ken (Brendan Gleeson), who have been sent by their boss, Harry (Ralph Fiennes), to the picturesque Belgian city of Bruges to await further instructions. Brooding, depressed Ray thinks Bruges is a "shithole," whereas Ken is rather taken with the medieval architecture, the cobblestone streets, and the canals. Ray's deep funk stems from guilt: While carrying out a hit Harry ordered -- we never find out why -- on a priest (Ciarán Hinds in an unbilled cameo), Ray accidentally killed a small boy who was standing behind the priest, waiting his turn in the confessional. Ken drags Ray around the city, trying to raise his spirits with sightseeing, but the only thing that works is Ray's discovery of a crew making a film on location and particularly of the pretty Chloe (Clémence Poésy), a production assistant who is actually a drug dealer. Ray is also enchanted that one of the actors is what he calls "a midget" named Jimmy (Jordan Prentice), which allows him to investigate his theory that little people are particularly inclined to be suicidal. Wait, I'm getting lost in the filigree that In Bruges is full of. To return to the main plot, it turns out that the real reason Harry has sent Ray and Ken to Bruges is so Ray can have a good time before Ken kills him. But to understand that, you have to go back into the filigree again: Harry has his own personal gangster code, one article of which is that you must never kill a child, so Ray has to pay the price, but since one of Harry's few happy memories is of the time he spent at the age of 7 in Bruges, he naturally assumes that the trip will be so delightful for Ray that he can die happy. Writer-director McDonagh's imaginative intricacies of characterization and motive might have resulted in only a somewhat twee black comedy if it weren't for the brilliance of his performers, especially Farrell in a part that turned him from a second-string leading man to a specialist in eccentric characters in oddball independent films like Yorgos Lanthimos's The Lobster (2015). In Bruges is crowded with unexpectedly colorful secondary characters, including Zeljko Ivanek as a Canadian whom Ray insults in a restaurant by mistaking him for an American; Jérémie Renier as Chloe's former boyfriend, who attacks Ray but winds up getting shot in the face with his own gun, loaded with blanks; and Thekla Reuten as Marie, the proprietor of the boutique hotel where Ray and Ken are staying, who meticulously takes down a message to them from Harry, who modifies every word in the message with "fucking." It's true that the film ends in a bloodbath, but somehow the tone McDonagh has established, with the help of a fine score by Carter Burwell, allows it to transcend its violent excesses. Farrell and Gleeson play off each other so well that McDonagh inevitably had to reunite them someday, as he did in The Banshees of Inisherin (2022).

[jamieroxxartist]

🎨 An Online #ArtShow Everyday! 🎨

Good Morning Social Media! Today’s featured #Spotify #Album: #DavidBowie’s #DiamondDogs; Mei Ling and I feature a new playlist daily.

👉 It’s what We have on here in my Art Studio while I Paint and work this morning.

You can Listen as well, for FREE, both here at the Link and on the Pop Culture BLOG at my website: www.JamieRoxx.us enjoy :)

🎧 #SpotifyPlaylist: https://open.spotify.com/album/72mfhbEsMtXR6s7v9UhKe3

👨‍🎤 Today in Pop Culture History: On May 24, 1974 #DavidBowie released his eighth studio album #DiamondDogs. The cover art features Bowie as a striking half-man, half-dog grotesque painted by Belgian artist Guy Peellaert. It was controversial as the full painting clearly showed the hybrid’s genitalia.

#GlamRock #ProtoPunk #Soul #ArtRock #Funk

🎨 Featured here: A Custom #Commissioned #Painting I Painted last year:

‘A Dog’s Dream’ 2022, acrylic and oil blend on canvas, 24"x36" by @ArtistJamieRoxx #JamieRoxx (www.JamieRoxx.us) This Sold Painting is Not Available. . . . #Blog #Art #LifeattheBeach #ArtistsLife #BestFriends #SharPei #Painter #WorkingArtist #NeoNoir

[whatsonmedia]

Thursday Thrill: Unmissable Global Events for Every Music Lover

Get ready for an epic May 2024 with a lineup of unforgettable music festivals around the world! From the serene vibes of South Korea's Air House to the electrifying beats of Colombia's Baum Festival, London's eclectic GALA, Detroit's legendary Movement, and the intense Maryland Deathfest in Baltimore—there's something for everyone. Explore our guide and start planning your ultimate musical journey! The Air House Festival Gangwon, South Korea   24 to 26 May In the heart of Gangwon, South Korea, the Air House Festival offers a serene escape from the country's famously rapid "ppali ppali" culture, which emphasizes speed and efficiency. Since its inception in 2018, this three-day festival has become a beloved biannual event, attracting around 10,000 attendees, mostly locals. The founders encapsulate the festival's essence with three words: "respect, love, environment." The 2024 edition promises performances from festival regulars DJ Sin, Aphrodite, and Xanexx, alongside international talents such as Craig Richards from fabric, Berghain's Efdemin, and the emerging Belgian DJ Emily Jeanne. Official Website Baum Festival Bogotá, Colombia 24 to 25 May Colombia's premier electronic music event, the Baum Festival, returns to the sprawling Bogotá convention center, Corferias. From Friday afternoon to Sunday morning, festival-goers can immerse themselves in the beats of Colombian DJs like Funk Tribu, Nosssia, and j-roux, alongside international stars such as Jeff Mills, Seth Troxler, and Sama' Abdulhadi. The Berlin-based label Live From Earth, featured on RA's latest cover, will also be performing, bringing a fresh perspective to the techno scene. Official Website GALA Festival London, United Kingdom 24 to 26 May Since its launch in 2016, GALA has established itself as a cornerstone of London's festival landscape. The three-day event, set over the bank holiday weekend, is known for its eclectic and dependable lineup, featuring artists like Job Jobse, Novelist, CARISTA, Peach, and John Gómez. GALA's success is also attributed to its high-quality production and strong collaboration with the local community, ensuring its continued growth and popularity in the bustling capital. Official Website Movement Festival Detroit, United States 25 to 27 May Detroit, the birthplace of techno and ghettotech, hosts the renowned Movement Festival, a must-visit for electronic music enthusiasts. Celebrating its 24th year, this iconic festival is a hub for techno devotees and curious newcomers alike. The festival, alongside numerous off-site parties, showcases diverse sets and Detroit's signature fast mixing and unique dance style, the Jit. Known for its friendly Midwestern crowd, Movement offers an unparalleled sense of community and world-class music, making it a true celebration of Detroit's musical heritage. Official Website Maryland Deathfest 2024 Baltimore, MD 23 to 26 May Prepare for an intense weekend of extreme music at the Maryland Deathfest (MDF) 2024 in Baltimore. From May 23 to 26, this legendary festival will host a lineup of the most brutal and innovative acts in the underground metal scene. Highlights include Norwegian black metal legends 1349, the infamous Abbath with his solo project, and the nautically-themed technical death metal of Ahab. The roster also features: - Archgoat, delivering unrelenting aural blasphemy. - Arcturus, pioneers of Norwegian progressive black metal. - Bloodbath, featuring former members of Paradise Lost and Cannibal Corpse. - Broken Hope, exemplifying old-school American death metal. With dozens of bands representing every facet of extreme metal, MDF 2024 promises a relentless auditory onslaught. Whether you're a seasoned metalhead or new to the scene, MDF offers a unique opportunity to experience the raw power and creativity of underground extreme music. Get ready for a weekend of unforgettable performances in Baltimore. For more details and the full lineup, visit the official MDF Official Website Check out WhatsOn guide for more update on festival and events! Read the full article

[c-40]

A-T-4 059 Be Music & DoJo

Be Music Productions was the name used by members of New Order when they worked on productions and remixes for other artists. 1983/84 were probably their most prolific years and a lot of the tracks were made with Donald Johnson founding member and drummer of A Certain Ratio (DoJo)

Lets have a look at some of the tracks from 1984

Section 25 - Looking From A Hilltop (Megamix) best electro track to come out of the UK? I'm not sure about that, you'd have to ignore a lot of tracks, Thomas Dolby, Paul Hardcastle, Visage, John Rocca, AON, Newtrament, Greg Wilson's made-up electro for Street Sounds, ..., and Willesden Dodgers - I'd argue 122 BPM is a better electro track

That's out of my system. Section 25's Looking From A Hilltop (Megamix) is a terrific track though, really good! It comes from the band's third album From The Hip which was co-produced by Bernard Sumner. After the release of the Section 25's second album original guitarist Paul Wiggin left and Larry Cassidy's wife Jenny Cassidy, who had played keyboards on The Key Of Dreams, became a core member. The remix can be attributed to Bernard Sumner and Donald Johnson

52nd Street - Can't Afford (To Let You Go) (Unorganised Mix) 52nd Street's third single was produced and mixed by Stephen Morris and the jazz-funk of Look Into My Eyes is now well behind them. Diane Charlemagne replaces Beverly McDonald as lead singer, Charlemagne would go on to be the vocalist for Urban Cookie Collective and sing lead vocals on Goldie's Inner City Life

Marcel King - Reach For Love (New York Remix) the price of this has shot up innit! Marcel King had been in the soul vocal group Sweet Sensation. Reach For Love was produced by the same team as 52nd Street's 1983 single Cool As Ice / Twice As Nice Bernard Sumner, Donald Johnson, and I think Mike Pickering as Fruitz. The New York Remix comes from Mark Kamins who had remixed Love Tempo the year before after meeting artists on Factory Records in Manchester while on a promotional tour with Madonna

Surprize - In Movimento third and final release by Surprize from Bologna. The producer is listed as Bemusic no spaces, according to Discogs this refers to Peter Hook

Nyam Nyam - Fate/Hate Dub Nyam Nyam are from Hull. The band self-released their debut single When We Can't Make Laughter Stay and this came to the attention of Peter Hook who produced and mixed their Fate/Hate 12 for Factory Benelux, it's very Giorgio Moroder

Paul Haig - The Only Truth former singer of Josef K who put out a lot of work through Belgisn label Les Disques Du Crépuscule. Les Disques Du Crépuscule were very close to Factory, the founders set up Factory's Belgian counterpart Factory Benelux. Up until 1983 everything released on Factory Benelux was exclusive to that label and this continued to be the case for the Be Music productions released by the label. The Only Truth was produced by Bernard Sumner and Donald Johnson with Paul Haig

I'm going to look at the Thick Pigeon album Too Crazy Cowboys separately, it's a Be Music production as Stephen Morris and Gillian Gilbert play on and produce it

[sinceileftyoublog]

Laetitia Sadier & Radio Outernational Live Show Review: 3/12, Empty Bottle, Chicago

Laetitia Sadier

BY JORDAN MAINZER

Laetitia Sadier's set Tuesday night at Empty Bottle was a mix of idealism, determination, and empathy. Such a combination exemplifies the connotation of the very title of her first solo album in 7 years, Rooting For Love (Drag City). Like her work with Stereolab, Rooting For Love employs a wide array of instrumentation--guitar, bass, synth, organ, trombone, vibraphone, live and programmed drums, zither, vocals--to present songs that are simple-sounding in execution, but deceptively complex. For every foray into lounge funk, there's an off-kilter psychedelic freak-out; in combination with Sadier's spirituality and collectivism, it makes for an album that you can deeply explore as much as you can vibe to.

Tuesday, Sadier, on stage alone, pointed to her synthesizer and joked, "This is the band...It's the same every night." In a way, playing to recordings and samples seems to occupy its own, different level of difficulty, as you can't as easily improvise your way out of messing up. Thankfully, Sadier not only nailed it, but employed a looper and processed her scraggly guitar playing to build up and tear down her compositions, adding unexpected chaos for those in the crowd who had voraciously consumed the new record. "Protéïformunité" featured washy noise and a drum beat, Sadier immersing herself in the music to the point of dancing, as she sang mantras like "L’objectif est de limoger l’ignorance, d’interrompre le cycle sans fin de la souffrance,” or, "The goal is to remove ignorance, to interrupt the endless cycle of suffering." Again, as with Stereolab, Sadier showed that visionary ideas can sound, simply, pleasant.

Of course, while you wouldn't describe Sadier as a realist, she's also certainly unafraid to confront, and Tuesday, she performed the two most provocative tracks from Rooting For Love. "Don't Forget You're Mine", co-written with Veronique Vincent (of Belgian avant-rock band Aksak Maboul), tells the story of an academic couple whose more-successful husband is threatened by his wife's sudden success to the point where he torments her with psychological and physical abuse. It was here where Sadier warped her beatific guitar playing into something more fuzzy, as if to emphasize the skin-crawling nature of what she was singing about, contrasting the lovely timbre of her voice. On the studio version, she repeats, from the point of view of the abuser, "Get up, babe!" over siren-like instrumentation, like a plea to society to eliminate internal and external toxicity. "Cloud 6", meanwhile, started with chopping and screwing her operatic vocals, her trombone pulsating on the off-beat of the arpeggiated synth line, before turning more clear. Sadier waxed about how the process of fear encapsulates a wholesale turning away from humanity; "How can you be seen and known and loved when you have your armor on," she asked? The song ended with her most frank declaration: "This armor is keeping you from the gifts I've given you / I'm not fucking around / You're halfway dead." In the context of not only Sadier's songs that decry capitalism and war, but the world today in general, "Cloud 6" was a call to wake up.

Radio Outernational's Aaron Shapiro, Kenthaney Redmond, Hunter Diamond, & Wayne Montana

Opening for Sadier was local quintet Radio Outernational, who features three current members of funk-punk heroes The Eternals. While Radio Outernational haven't released any recorded music, they've been playing around town since last year, clear in their chemistry. Flutist and saxophonist Hunter Diamond and flutist Kenthaney Redmond effectively harmonized, one often trailing the other, especially on the songs that employed dual flute. Guitarist Aaron Shapiro offered funky licks rife with swirling wah wahs and prickly stabs. The rhythm section, bassist Wayne Montana and drummer Areif Sless-Kitain, propelled the slinky tunes, providing a bed for the other three players to flourish. Radio Outernational was a wholly appropriate opener for Sadier, as it was almost like they were the physical manifestation of the type of cosmic cooperation she sings and dreams about.

[randomvarious]

Technotronic - "Pump Up the Jam" 1989 House / Hip-House / Eurodance / New Beat / Eurohouse

Here we go, folks; it's the big one. Belgian dance project Technotronic's legendary debut single, 1989's "Pump Up the Jam," is, whether you like it or not, one of the most important songs in the history of music. And that's because it was the *very first* house track to ever *massively* cross over onto the American pop charts, managing to peak at #2 on the Billboard Hot 100, while also dominating many other charts across the globe as well. And in retrospect, as far as the music itself went, it wasn't really anything all that new; but for people who were completely unaware of the underground house tracks that had been pumping out of Chicago since the mid-80s, this song sounded like it could have been shot out of a cannon from Neptune, before incidentally puncturing our very own troposphere. Like, do you know what the #1 song in all of America was when this thing hit its eventual peak in January of 1990? Michael Bolton's "How Am I Supposed to Live Without You." So, imagine getting bludgeoned by that literal one-two punch on your contemporary hit radio station in the dead of winter thirty-three years ago. Nothing like that had *ever* happened before.

Now, yesterday I got into Technotronic's biggest ever controversy, which was that the lycra-clad girl in the iconically curious and candy-colored music video, who was the same person that appeared exclusively in the group's album art, and who also even went on TV multiple times to perform the group's lone hit herself, was actually a lip-syncing model named Felly who didn't even speak any English. But I'm not going to be relitigating much of that in this post today.

What I am going to be doing, however, is digging into how this track itself came to be made, because there really is quite a long and interesting backstory to it, and it doesn't even begin with anyone who was actually in Technotronic.

See, the tale of how "Pump Up the Jam" first came to fruition actually starts in Chicago in 1988, with this house track here by the legendary Farley "Jackmaster" Funk called "The Acid Life." Trip on this tune and you'll immediately hear where Technotronic derived one of the most recognizable intros in the history of contemporary music from:

The rippling rhythm of the acid bass pulsations? And the idea to set them between incessantly rattling, pressure-cooked hi-hats too? All of this was actually Farley's invention. Crazy, right?

Now, as far as I can tell, Farley was never officially credited on any of Technotronic's own records as a songwriter for "Pump Up the Jam," but according to a very informative Google-Translated Belgian article I was able to find, he still did end up receiving gains from it 🤘.

But this was really just a starting point for the song. After its first few bars, producer Jo Bogaert would end up taking his tune in a very different direction from that of Farley's. And the first sign was the little taste of string synth that he gave that would later go on to define a piece of Technotronic's own sound.

Now, Jo Bogaert had already become something of a successful musician in Belgium before he'd ever even met the other members of Technotronic. He was a pioneer of this genre that was pretty much only popular in Belgium called new beat, with a trio of hits between '87 and '88 that were released under the moniker of Nux Nemo: "Hiroshima," "Chinatown," and "Asian Fair."

But at a certain point, his productions would end up seeing diminishing returns from the record-buying public, and, as a result, his own label, Clip Records, had found itself struggling too. Bogaert had another idea though, and it was fueled by Farley "Jackmaster" Funk's "Acid Life." He, like so many other European musicians, had a dream of actually breaking big in America. And he would end up using part of an American record to actually do it.

So, with his near-reproduction of the open from "The Acid Life" to kick off his own tune, he ended up cobbling together a similar pair of raw, absolute stompers and pressing them to a 12-inch. Both tracks sampled some dialogue from Eddie Murphy's Delirious set, and under the alias of Pro 24's, Bogaert would title this record...wait for it... "Technotronic."

And these two tunes would end up serving as the blueprint for what would later become "Pump Up the Jam."

Now, "Technotronic" didn't do too badly in Belgium, but the CEO at one of the country's biggest labels, ARS Records, thought that it could maybe become a much bigger hit if Bogaert had agreed to make some changes to it. There was a fusion genre that set party rap lyrics to house beats that was gaining popularity in other countries called hip-house, and he thought Bogaert's song could be retooled into a smash if he followed that formula.

But creating a hip-house record would require the talents of a rapper, and Bogaert didn't seem to personally know any. However, he had heard from someone about this sixteen year-old biracial girl originally from Zaire (now the Democratic Republic of the Congo) named Ya Kid K, who was in a crew called Fresh Beat Productions, and who also had her heart set on recording an album. And as Ya Kid K likes to half-jokingly put it herself, she also happened to be the *only* female black MC in all of Belgium at that time too 😅.

So Bogaert sent out demos to some Belgian rappers and, fortunately, Ya Kid K ended up answering his call. She would take about fifteen minutes to write some inanely hooky lines over his track and then it would take another twenty minutes to record the whole thing itself. The first words out of her mouth ended up being "pump up the jam," so that's what they decided to call their song. They could've called it something like "Make My Day" instead, given how many times that that line was repeated, but M/A/R/R/S had a pretty big hit in "Pump Up the Volume" a couple years prior too, so Bogaert and Ya Kid K were probably trying to chase some of that tune's glory as well.

Bogaert would then release the record on his own Clip label under the name of Technotronik and take it to ARS. And upon hearing it, they were very impressed, but they also said that if they were to pick up the record, the vocalist would also have to be the star, and Ya Kid K didn't want to be in a music video or on an album cover. So, without her knowledge, they went and enlisted Felly to fill those roles instead.

ARS then released the record, and a bunch of labels in other countries picked it up too, and then, miraculously, this song was everywhere. Finally, there was this throbbingly weird and super catchy house tune with a very boisterous vocal that was awkwardly commanding us all to have a good time on the dancefloor; and it came equipped with rap lyrics that you could easily anthemically chant and a beat that you could seriously dance your ass off to as well, as Felly and some other kid would put on display for us in the music video themselves. Clearly, ARS was onto something with their vision for this earworm.

Now, were there better produced house tracks out there than this one in 1989 and 1990? Unquestionably. But because it happened to be unleashed upon a public that was largely unaware of house music altogether, this is the one that just so happened to really break down the barrier that was continually keeping house separate from pop.

And not long after "Pump Up the Jam" conquered, Madonna would drop "Vogue," a song that really managed to successfully mesh pop with house, and even featured a spoken-word rap on it too. It's not to say that Madonna was directly influenced by "Pump Up the Jam" to cut her own house track, but the extremely wide acceptance of Technotronic's debut single over the prior handful of months appeared to lay the groundwork for "Vogue" to then subsequently reign as the undisputed song of the summer for 1990. The door for dance music to finally make its return to the American mainstream for the first time since disco had died had finally been opened, and this unexpected triumph from Belgium seems to be the one that really kickstarted the whole trend. Jo Bogaert's dream of making a big American hit had come true, and Madonna, who loved working out to "Pump Up the Jam" herself, would take his group on her Blonde Ambition world tour as the opening act, with Ya Kid K as Technotronic's rightful frontwoman.

More fun videos here.

[brookstonalmanac]

Birthdays 8.14

Beer Birthdays

Eugene L. Husting (1848)

Brandon Hernández (1976)

Five Favorite Birthdays

Emmanuelle Beart; French actor (1965)

Halle Berry; actor (1968)

Mila Kunis; Ukrainian-American actor (1983)

Gary Larson; cartoonist (1950)

Steve Martin; comedian, actor, writer, banjo player (1945)

Famous Birthdays

Russell Baker; essayist (1925)

Emmanuelle Béart; French actress (1963)

Catherine Bell; actor (1968)

Herman Branson; African-American physicist, chemist (1914)

Sarah Brightman; English singer-songwriter (1960)

John Brodie; San Francisco 49ers QB (1935)

Lodewijk Bruckman; Dutch painter (1903)

Sharon Bryant; R&B singer (1956)

Kevin Cadogan; rock singer-songwriter, guitarist (1970)

Méric Casaubon; Swiss-English author (1599)

Yannoulis Chalepas; Greek sculptor (1851)

Darrell "Dash" Crofts; singer-songwriter and musician (1940)

David Crosby; rock singer (1941)

Charles Jean de la Vallée-Poussin; Belgian mathematician (1866)

Mstislav Dobuzhinsky; Russian-Lithuanian-American artist (1875)

Slim Dunlap; singer-songwriter and guitarist (1951)

Tracy Caldwell Dyson; chemist and astronaut (!969)

Richard R. Ernst; Swiss chemist (1933)

Erica Flapan; mathematician (1956)

Francis Ford; actor and director (1881)

John Galsworthy; English writer (1867)

Alice Ghostley; actor (1926)

Larry Graham; soul/funk bass player and singer-songwriter (1946)

Buddy Greco; singer, pianist (1926)

Marcia Gay Harden; actor (1959)

Jackée Harry; actress (1956)

Robert Hayman; English-Canadian poet (1575)

Lee Hoffman; author (1932)

Leopold Hofmann; Austrian composer (1738)

Doc Holliday; dentist, wild west gambler (1851)

James Horner; composer (1953)

Ernest Everett Just; African-American biologist (1883)

Jan Koetsier; Dutch composer (1911)

Margaret Lindsay Huggins; Anglo-Irish astronomer (1848)

William Hutchinson; founder of Rhode Island (1586)

Magic Johnson; Los Angeles Lakers (1959)

Stanley A. McChrystal; American general (1954)

John McCutcheon; folksinger (1952)

Paddy McGuinness; English comedian (1973)

Lionel Morton; English singer-songwriter, guitarist (1942)

Bruce Nash; film director (1947)

Frank Oppenheimer; particle physicist (1912)

Hans Christian Ørsted; Danish physicist and chemist (1777)

Susan Saint James; actor (1946)

Paolo Sarpi; Italian writer (1552)

Ben Sidran; jazz and rock keyboardist (1943)

Stuff Smith; violinist (1909)

Danielle Steel; writer (1947)

Jiro Taniguchi; Japanese author and illustrator (1947)

Bruno Tesch; German chemist (1890)

Ernest Thayer; "Casey at the Bat" writer (1863)

Bruce Thomas; English bass playe (1948)

Pieter Coecke van Aelst; Flemish painter (1502)

Carle Vernet; French painter and lithographer (1758)

Claude Joseph Vernet; French painter (1714)

Earl Weaver; Baltimore Orioles manager (1930)

Wim Wenders; German film director (1945)

Lina Wertmüller; Italian film director (1926)

[pratanumindpowerdevelopment]

Top Harmonica Players of The World and Their Contribution to Music

Several harmonica players have made significant contributions to the world of music, showcasing the versatility and expressive capabilities of this humble instrument. While it's challenging to definitively rank the "top" harmonica players, as personal preferences play a significant role, here are some influential harmonica players and their contributions:

Little Walter (Marion Walter Jacobs): Often regarded as one of the greatest harmonica players in history, Little Walter was a pioneer in Chicago blues. His innovative use of amplification and a wide range of playing techniques influenced countless musicians. His work with Muddy Waters and as a solo artist left an indelible mark on blues harmonica playing.

Sonny Boy Williamson II (Rice Miller): Another iconic figure in blues harmonica, Sonny Boy Williamson II had a distinctive, expressive style. His work in the post-war Chicago blues scene, both as a solo artist and in collaboration with other blues legends, helped define the sound of the harmonica in electric blues.

Toots Thielemans: Toots Thielemans was a Belgian jazz harmonica player known for his exceptional skill and versatility. He played with a broad range of jazz greats, including Miles Davis and Quincy Jones. Thielemans' ability to seamlessly integrate the harmonica into various genres, including jazz and pop, showcased its potential beyond traditional blues settings.

Charlie Musselwhite: A stalwart in the blues scene, Charlie Musselwhite has had a long and influential career. His soulful and powerful harmonica playing has earned him recognition and respect in both traditional blues and contemporary music. Musselwhite's contributions extend to collaborations with artists across different genres.

Jean "Toots" Thielemans: Often confused with Toots Thielemans, Jean "Toots" Thielemans was a Belgian jazz harmonica and guitar player. He is celebrated for his harmonica work in jazz, contributing to numerous recordings and soundtracks. Toots' harmonica playing added a unique dimension to the world of jazz.

Kim Wilson: As the frontman for The Fabulous Thunderbirds, Kim Wilson has played a crucial role in keeping the blues harmonica tradition alive. His powerful and dynamic playing, along with his work as a vocalist, has made him a prominent figure in contemporary blues.

Howard Levy: Renowned for his extraordinary technical skill and versatility, Howard Levy has expanded the boundaries of harmonica playing. He is known for his work in various genres, including jazz, classical, and world music. Levy's pioneering use of the diatonic harmonica in genres beyond blues has influenced a new generation of players.

Jason Ricci: Jason Ricci is a contemporary harmonica player known for his innovative and experimental approach. He incorporates elements of rock, funk, and jazz into his playing, pushing the boundaries of traditional blues harmonica.

These harmonica players have not only showcased exceptional technical skill but also played pivotal roles in shaping the sonic landscape of their respective genres. Their contributions continue to inspire and influence harmonica players and musicians around the world.

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[thedrinkingshopsblog]

Exploring the World of Beer: A Journey Through Different Styles

Beer, the beverage that has been enjoyed by cultures around the world for centuries, comes in a vast array of styles, each with its own unique characteristics. From light and refreshing lagers to rich and robust stouts, the world of beer offers something for every palate. Join us on a journey through some of the most popular beer styles, as we uncover their origins, flavors, and the breweries that have perfected them.

Lagers: Crisp, Clean, and Refreshing

Lagers are known for their smooth and crisp profiles, making them a go-to choice for many beer enthusiasts. Explore classic lagers like the German Pilsner, characterized by its light maltiness and hop bitterness,or the American Lager, with its clean and approachable taste. Some popular examples include Pilsner Urquell and Budweiser.

Ales: Bold and Flavorful

Ales are a type of beer brewed with top-fermenting yeast strains, which typically impart robust flavors and aromas. They are known for their fuller body, higher alcohol content, and diverse range of flavors. Some popular ale styles include Pale Ale, India Pale Ale (IPA), Porter,and Stout. Ales offer a spectrum of taste experiences, from the hoppy bitterness of an IPA to the rich and malty profile of a stout.

Bitters: A Touch of Complexity

Bitters, also known as pale ales, bridge the gap between ales and lagers. They have a moderate bitterness, distinctive hop flavors, and a balanced malt backbone. Bitter styles include Extra Special Bitter (ESB)and English Bitter. Bitters are renowned for their nuanced flavors, offering a perfect blend of malt sweetness and hop bitterness.

India Pale Ales (IPAs): Hoppy and Bold

IPAs have taken the beer world by storm, offering a hop-forward experience that delights hop enthusiasts. From the classic English IPA, featuring balanced bitterness and floral hop flavors, to the American IPA, known for its intense citrus and pine notes, there is an IPA for every hop lover. Notable examples include Sierra Nevada Pale Ale and Stone IPA.

Stouts: Rich, Dark, and Velvety

A type of Ale, Stouts are the heavyweight champions of the beer world, known for their dark color, full-bodied nature, and complex flavors. Explore the roasty and chocolaty notes of the classic Irish DryStout, or indulge in the creamy and coffee-infused flavors of a decadent Imperial Stout. Guinness and Samuel Smith’s Oatmeal Stout are excellent examples of these styles.

Wheat Beers: Light, Fruity, and Refreshing

Wheat beers, with their distinctive cloudy appearance and refreshing character, are a favorite among many beer enthusiasts. Delve into the banana and clove flavors of a German Hefeweizen or enjoy the delicate balance of a Belgian Witbier with its hints of coriander and orange peel. Widely known examples include Schneider Weisse and Hoegaarden.

Sours, Lambics and Goses: Tart and Tangy Delights

For those seeking a unique and palate-tingling experience, sours and goses offer a delightful departure from traditional beer styles. Experience the mouth-puckering tartness of a Berliner Weisse or the saline-infused flavors of a traditional German Gose. Noteworthy examples include Anderson Valley Blood Orange Gose and Jester King Funk Metal.

Porters: Rich, Smooth, and Flavorful

Porters, often considered the predecessor to stouts, boast a wide range of flavors and aromas. Indulge in the chocolate and caramel notes of an English Porter or explore the robust and roasted flavors of a Baltic Porter. Popular examples include Fuller’s London Porter and Anchor Porter.

As you embark on your beer journey, remember that the world of beer is constantly evolving, with new styles and innovative breweries pushing the boundaries of flavor. So, whether you prefer the crispness of a lager, the hoppy punch of an IPA, or the velvety richness of a stout, there is a beer style waiting to be discovered and enjoyed.

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