#konono

[omegaremix]

Spring 2022 Mixtape.

John Cale: “Sun Blindness Music”

Alan Vega: “Murder One”

Paper Dollhouse: “Space III”

Crusaders, The: “A Ballad For Joe (Louis)”

Freestyle Fellowship: “Blood / Bullies Of The Block”

Waveless: “Cicada Song”

Cult Of Luna: “Cold Burn”

Killing Joke: “I Am The Virus”

Kontravoid: “Maskerade”

Chris Connelly: Largo 22

Congotronics International: “Where’s The One”

Prurient: “Mask Of Nails”

Caroline Polachek: “Billions”

Meg Myers: “Desire”

Gang Starr & J. Cole: “Family And Loyalty”

Boy Harsher: The Runner

Tracks: “Bottleneck”

Caparezza: “Come Pripyat”

Innocent, The: “Back In My Life”

Three Times Dope: “Funky Dividends”

Congotronics International: “Banza Banza”

Prurient: “Seductress Of The Nightingale”

Julia Shapiro: “Shape”

Mr. Elevator: “Brobdingag”

Killing Joke: “Lord Of Chaos”

Xibalba: “Stone Heart”

Boy Harsher: “Run”

Twin Tribes: “Fantasmas”

Bad Omens: “Dethrone”

Ruste Juxx: “Black Fist”

Smirk: LP

Paper Dollhouse: “Lunar I”

Option 30: self-titled

Deeper In: “Sicayda”

Spread Joy: “St. Tropez / Semantics”

Incendiary: “Survival”

Maneskin: “I Wanna’ Be Your Slave”

Shame: “This Side Of The Sun”

Incendiary: “Rome Is Burning”

Xibalba: “Fuck You Pelon”

Black Dresses: “Static”

[frozen-fountain]

I'll throw the Korean band Jambinai into this list. They combine folk instruments with bass, guitar, and drums to make experimental post-rock that sometimes sounds impossibly cinematic and beautiful:

And sometimes sounds like hell:

Elsewhere, Konono Nº1 and Mbongwana Star are both Congolese groups making really cool and rhythmically fascinating dance music with traditional and self-built instruments salvaged from scrapyard junk:

bro i LOVE indigenous fusion music i love it when indigenous people take traditional practices and language and apply them in new cool ways i love the slow decay and decolonisation of the modern music industry

[trashpandaqc]

an unexpectedly nice audio/video combo

[mitjalovse]

We have noticed that many musicians who exemplified the 90's had a different response towards the noughts and that meant each of them also finished the decade on one's own way then. Björk, for instance, did her own thing. Then again, she's Björk and we are not, so can we really say we are surprised? Listen, she even made – check the link – Timbaland go into the territories he never went into. To be honest, she didn't visit them before as well – her curiosity continues to astound me –, yet I'm sure many were surprised that their collaborations yielded this. They probably assumed she would've made a strange R&B – that would've been something and I hope she is interested in doing something like this –, she just did what she always does.

[dustedmagazine]

Various Artists — Creiriau Y Delyn Rawn / Relics of the Horsehair Harp (Amgen)

Imagining new music is nothing new. Individually or collectively, spontaneously or through painstaking craft, research, and development, legions of music-makers have tried to come up with something sufficiently novel out of sounds and (sometimes) words that it hooks listeners’ attention. You can be sure that someone’s at it right now. But you probably won’t lose the farm if you bet it on the notion that the sequential imagining that went into the conception and execution of Creiriau Y Delyn Rawn is an unprecedented process that has yielded a remarkable outcome.

The Welsh language title translates into English as Relics Of The Horsehair Harp. It was produced by harpist Rhodri Davies as a companion to Telyn Rawn, a solo album that he released on his Amgen label. Telyn Rawn is named after the instrument that it introduced, a horsehair harp that Davies commissioned to be made by a couple harp makers and a leatherworker. Harps have a particular cultural resonance in Wales, since despite the instrument’s popularity, the art of making them nearly died out before making a comeback as part of a larger resurgence of Welsh culture. The original telyn rawn was made from wood and equine byproducts. After the sturdier Italian triple harp made it to the British Isles in the 1600s, it replaced the telyn rawn so thoroughly that for a couple centuries the triple harp was actually known as the Welsh harp (it was replaced by the pedal harp in the 20th century) while its predecessor was practically forgotten. When Davies, whose wide-ranging music encompasses free improvisation, modern composition, Konono-inspired junkyard noise, and rock and roll, got curious about those early harps, no one knew how to make one. The instrument on Telyn Rawn was designed using descriptions in early Welsh poetry and a couple pages addressing harp-tuning practices in a 17th century manuscript by Robert ap Huw.

When Davies finally set about playing the thing, he did not revive antique repertoire; he improvised short pieces equally informed both by his research and his own practice of playing freely, alone and with musicians like John Butcher, Andrew Leslie Hooker and the trio IST. Intricately plucked or vigorously bowed, some of the album’s eighteen tracks hinted at folkloric models, while others undid dense knots of sound that burst with harmonics and radiated overtones. Telyn Rawn came out during that first COVID summer, which was bad for many things, but was not so bad for spending some of that time that one wasn’t gigging cooking up new ideas. After its release, Davies reached out to friends and associates with this request: “I asked each contributor to imagine that the musical material improvised in 2020 was an ancient musical form that had fully existed in the medieval period, and that each of their responses were to have happened centuries after the imagined formation of the Telyn Rawn pieces.”

Such a brief can be taken in many directions, depending on the respondent’s experiences, equipment, and willingness to dig a new network out of someone else’s wormhole. Sixteen participants gave a response to one or two specific tracks from Telyn Rawn. Laura Cannell’s  opening piece, “The Tattered Skies Above,”  wastes little effort on interpreting Davies’ “Penriwh.” Instead, she constructs a fanfare from overdubbed recorders whose jolting sonorities and processional air establishes a through line linking a span of fantasized centuries. Next up, Orphy Robinson makes like a free-bopping jazz man. On “Nude, Lewd, Rude, Mood Food” he transfers bits of Davies’ intricate “Gorchan Sali” to a salaciously bulbous-sounding marimba, accelerates the tempo and lets it rip. Jem Finer plays “Y Geseg Fedi” pretty faithfully, simply transposing bowed harp to hurdy-gurdy; guitarist C. Joynes is similarly respectful to “”Dygan tro’r Ebill.” Credited as playing computer and mouse, “C. Spencer Yeh” visits a cut-and-splice surgical strike upon Davies’ recording of “Afon “Dewi Fawr;” Pat Thomas might do something similar on the turbulent electronic eruption, “Maddad.”

Not only does Davies have a strong musical personality that transcends the particular harp he plays and the century his head’s in; he has picked his emissaries wisely. Despite the disparity of instrumentation and approach exhibited by the sixteen contributing musicians, Creiriau Y Delyn Rawn feels pretty cohesive as it carves out an imaginary timeline of musical evolution.

Bill Meyer

[slcr303]

Kule Kule - konono no.1

[tiatira]

REVELESÕN 2

Kabuñ eo ilo Epesõs ej jutak kin kajur in lemnok im lemnok ko an.

Meletlet eo emol ej tellok jen meletlet eo ekwojarjar, kar katakin jen Jesus ilo Bible eo Ekwojarjar. Kin menin, jejjab maroñ in k��mman nana. Jet rar katakin bwe juon bōro eo ejjab jerbal ak juon eo ej jerbal kin nana ej jikin jerbal eo an devil eo.

Jerbal eo ad moktata ej aikuj in lemnok einwot an Anij im Jisōs lemnok!

Jisōs ekōnaan bwe meletlet eo ad en jerbal ñan kajimwe kij!

Menin ej menin letok eo moktata: yokwe yuk make im yokwe ro jet einwot an Jisōs yokwe kij.

Kabuñ eo ilo Smõrna ej jutak kin maroñ eo ad ñan lo im roñjake.

Māletlet eo ekwojarjar ej kakkōl im katakin jān er. 

Katak ko an rej itok jen ad riit Bible eo im katak ko remol an Anij.

Jej aikuj barāinwōt lale tōl eo an enjeļ in kōjparok ro ad!

Rej barāinwōt jipan̄ joļo̧k meļeļe ko renana.

Kabuñ eo ilo Pergemõm ej jutak kin maroñ eo ad ñan konono.

Inem, ñan emõn eo ad make im an ro jet, jej aikwij konono wõt men ko remõn, ekkar ñan katak ko an Jesus.

Jāje eo ruo mejān ej lo in loñid. Naan ko am rej jolok men ko renana ilo jitõb im men ko ilo kanniek.

Jerbal ko am rej aikuj in walok ilo ien ko rejimwe.

Kabuñ in Thaietaira ej jutak kin buruer.

Eñjake in yokwe eo emol ej walok ilo e. Eļapļo̧k ad iakwe āinwōt Jisōs, būruwōd rej erom ļapļo̧k aer m̧akūtkūt, lan̄lōn̄ im kajoor.

[strixcattus]

Conlang Year Days 290–304

Time to translate a short text into Lecizao!

"Short text." Ha. I guess 250 words isn't exactly a long text... but still. That's a lot for my first translation over five sentences.

I wanted to use either the first couple paragraphs of a science-fiction story or a good monologue from one of my time loop games, to fit the theme of the conlang—and I found something that managed to tick both boxes. It's well worth a read if you haven't yet seen it.

(So are the rest of the author's works, but I shouldn't recommend any of them until after you've gone through this post, or else you'll leave to read them and never come back.)

Let's get on with the translation! I've done a bit of a process post for creating vocabulary here, so let's skip all the lead-in and put the translation directly under the cut. It's the first line and the two following paragraphs.

Zaoci koiji Selozejulu

Zaocizaokesi tio ja tami juiko maledu.

Denesi ne deinemula lako, nai luoci. Suo lia zaoci gakani ciako ne deikata tio jitaoli kainu (ni ne deijima neju ne deilanu jitaoli, muime. Suonai lako touna ne deinai neju time laoli.) Janai neiso ne la madi logo, niu suokemetano ne deisonoli ne godi metene. Zei nesi tio la dinulu kuola koiji zaocici jima tio lijaiza dio taoli ne deikoi ne deikuogo tio ja tami kunu ne nujunu ki la mia no la deiji koiji teneka nomagale sie deikoisiluda taise jou mudu kuola ne doneili gako neju ne taoli sie deikune ne la zuo naminai dio ja sopai lianonami liaci, sie diosiluda deilena sou koda kojui pasele dio ja mia ku sie deinai neju no la deiji koiji tomekeda zei deinai no la mejuma kite sie deinotai deinelatinai neju ne jia julili lianolo deitinai liaci, seku sidimo tio lijaiza ne ja miacinai saoli.

Suodenesio ne deikelisi naneju ki jita mia kui tao jou zaocici zapa, node suonesi kadosi dio ja dekake deikidu tile duoko, zei suonesi nami dio ja deitekiga kojui konono mekasinai tio kesaoli kui jia keisuli. Teikesi ne jia pailupai duonu sie laisi likana tida kune tio kesaoli situdi jou mudu kuola, piodi lenesi tio ja nina kunu sie nodiekesi ne jia pailupai duonu sou koda kao godi lia kali kitule tio taoli ne deidiema tio jia lodada kojui nina kunu dakosona no ki kasegaoli tani. Nai tio la sekoinai niseito dio suo lia zaoci lako ne taoli niu suotama jineju. Denesio ne deigako neju jineju dio mazu kolena zaocizaoci zela, zei janai nani neju diopoi sie nemulano ne ja migemi piodi goudi. Leiso touna ne deikazo ne ja laomioli dio ja kiazu juiko diaci kokaize ne la keme zopoi pailupai sou neju.

Gloss

Time of Breakfast

Time-looping NOM the child my again.

Think.they ACC INF.don’t-know I, is true. Not one time told.they me ACC INF.happen NOM this to-them (or ACC INF.can they ACC INF.do this, possibly. Not.be I sure ACC INF.be it which one.) Maybe am.I ACC a parent bad, if not.proved.I ACC INF.deserve ACC that trust. But is NOM a number only of times can NOM one at which ACC INF.see ACC INF.drag NOM the child their ACC themselves through a day with a lack of patience bored and INF.anticipate fast too slightly only ACC each-thing say they ACC that and INF.show ACC zero surprise at the event most.surprising even, and afterwards INF.come to down of.the stairs at the day next and INF.be they with a lack of sense-of-place but INF.be with a love-of-life new and INF.tend INF.fail-to-predict they ACC the things most.able INF.predict even, before find NOM one ACC the connection obvious.

Not.think.I ACC INF.live PST.they through this day in many too times yet, because not.are.they frustrated at the joke INF.wake-up good my, but not.are.they surprise at the INF.attack of.the monster announced.be NOM PRES.that in the news. Eat.they ACC the toast their and do.they conversation polite seem NOM PRES.that rote too slightly only, until comes NOM the sibling their and puts.they ACC the toast their to down with that one way make NOM that ACC INF.become NOM the eyes of.the sibling their wider with realisation sudden. Be NOM a reaction would.notice at not one time I ACC that if not.look-for it. Think.I ACC INF.tell they them at three about times previous, but maybe is it before and not-noticed.I ACC the signal until there. Do.I sure ACC INF.hold ACC the smile at the face my when push ACC a plate of toast to them.

Write-Up

Grammatically, I’m not sure if there’s anything particularly standout? Though it’s not impossible that in the past week I’ve fully forgotten about some grammatical wrangling or another. Much of the passage is left tenseless to describe things that tend to happen, rather than events that are actively occurring at only a single point in time. There is surprisingly (for a time loop story) only one instance of noun tense outside of the first paragraph’s relative clauses—the first sentence of the second paragraph (deikelisi naneju ki jita mia, “they lived through this day”), in which it highlights that past time loops are in the past lived experience of the narrator’s child, but not in the objective past.

In at least one place (nemulano ne ja migemi piodi goudi, “I didn’t notice the signal until then”), the word for “there” is used to mean “then.” Times are often conceptualised as places in Lecizao—the boundary between when to use “there” and when to use “when” is fuzzy, but when speaking of eras or specific events, they’re pretty much always treated as places. When talking about trigger events (deikazo ne ja laomioli… diaci koikaze ne la keme, “keep the smile… when pushing a plate”), “when” is always used.

As far as vocab goes, there are a couple of fun words. Zaocizao (time loop, also “be stuck in a time loop”) and pailupai (toast) are both examples of a new kind of derivation I’m trying out, where a word (zaoci, time, or pailu, bake) is reduplicated and then its final syllable is dropped to make the word more efficient. It’s not very common—it only appears when such a formulation forms a sort of literal representation of the resulting concept—but it produces words that are incredibly fun to say. I also want to highlight the word nemula, which appears a couple of times—I’d actually outsourced its definition when it wouldn’t fit into any of the new vocabulary ideas I already wanted to add, and then ran with the suggestion as far as I could go. Its most basic definition is “not know” or “not notice” or “miss,” but the overarching connotation is that you use it when, by all rights, this should be something you’re aware of, or the same connotation as “oblivious” in English. It’s also good to use when the reason you don’t know about something is that you’ve forgotten it.

I had to create a derivational strategy for words like “connection” (miacinai) and “reaction” (sekoinai). Lecizao doesn’t encourage it, but you can treat infinitive verbs as nouns if you really need to (dio ja deitekiga, “at the attack”)—but that only creates a noun meaning the action itself. There’s the -uli/-oli suffix, the most common way of nouning verbs, but that means more of a tool or implement. (It’s used in laomioli, “smile,” but since you need to have a smile in order to be smiling, that flies.) What I needed was a way to create a noun meaning the result of a verb. So I decided to use the passive voice. I nouned it in the same way as I nouned the infinitive deitekiga, and that’s how I came out with miacinai and sekoinai.

That's it for this part of Conlang Year. Happy Halloween and I'll see you again once I've got some amount of a writing system to show!

(If you want something to read in the meantime, then boy do I have the recommendation for you (same author as the short story my translation is from). This was in my pool of possible texts, but I disregarded it due to how much jargon was in its opening paragraphs.)

[vroooom2]

Finally managed to find an album that I used to listen a lot in my mp3 player, when I studied PoliSci & IR.

About a month ago, the music came back to my memory. I couldn't remember the name of the instrument, but reminded the form and how it's played....

Kalimba!

[omegaremix]

Kaz, 2015.

When Hanukkah started, I posted a video from Jewish rapper A. To The D. It was when Kaz, my French-Jewish ginger art-school friend, took note and thanked me in return by posting The Rolling Stone’s “Beast Of Burden” with my name on it.

“Give me some recommendations. You always had great taste in music!” said Kaz. She, like the other girl in the previous post, was one of the very few of the opposite sex I have met who were very high on the musical taste food chain. We’re both elitist, eccentrist, and trendy. We follow magazines, street culture, design, and everything else awesome.

So when she took me to task, I had to deliver. I was happy to do so, especially for a ginger. I told her to give me a few and within the next day I sent her a list of recommendations. Usually in the past I traded mixtapes, CD’s, and this decade MP3’s, so by going a step back and merely giving someone a list would be the most efficient way and the least time-consuming than sending everything over. It was even more personal than her checking out what I have done on my Ω shows and Ω+ because it was direct contact.

I told her that by giving her a lot of these recommendations, I knew I risked giving more of myself away, yet it was the only way to get the point across. I also told her to take what she could from this. She may not resonate with some of what I had to offer, but if she took anything for personal use or inspiration and ideas for her works, then I did my job.

**********

Here’s was a list of what I thought she should go with:

Atari Teenage Riot. Been a fan of theirs since the Nineties. She once told me that her brother was a massive Skrillex fan. I told her to have him listen to 1995 and especially Burn Berlin Burn!because that was my Skrillex back then. Christoph De Babalon’s If You’re Into It… and Alec Empire’s Golden Foretaste Of Heaven and Shivers.

All French artists I ever listened to: Stereolab’s “Ping Pong” and “Miss Modular”, Air “Sexy Boy”, Nineties Daft Punk, Stereo Total’s “Lunatique”, “Bambi” and “Patty Hearst”, and anything Costes. (See what I did there?)

Hipster stuff I got my hands on including AIDS Wolf, Xiu Xiu, XRay Eyeballs’ Splendid Squalor, Carbonas, Parquet Courts, and Cold Cave “Confetti”.

Alternative and generational defaults: Sonic Youth Daydream Nation, Made In USA, Beastie Boys, Beck pre-Midnite Vultures, Swervedriver “You Find It Everywhere”.

Noise, yelling, and screaming courtesy of Pharmakon and Consumer Electronics’ Estuary English and “Murder Your Masters”. I also usually think about the last four Whitehouse records and Prurient’s Bermuda Drain as well.

Hip-hop in CX Kidtronik, SpaceGhostpurpp’s “Mystical Maze”, Hieroglyphics’ 3rd Eye Vision, Company Flow’s Funcrusher Plus, Cage’s For Your Box, Arsonists, Serengeti, Funkdoobiest, and Mantronix for the old-school win.

Suicide’s first record (1977). I ordered her to listen to it and consider where and when that first record happened. Also, I directed her to Eighties Cabaret Voltaire and Einsturzende Neubauten.

Of course, punk: Sex Pistols, Public Image Ltd.’s Album, The Buzzcocks, The Avengers, The Professionals (because Steve Jones). The Dead Boys’ “Sonic Reducer”, Captain Sensible & The Damned’s “Jet Boy Jet Girl”, The Cigarettes’ “You Were So Young”, Iceage, The Brainbombs, and The Fall’s Totale’s Turns.

The Italians Do It Better label. The L.I.E.S. label, too.

And, some wild cards because she’s all about the travel: Ninos Du Brasil (Brazil), Konono no. 1 (Zaire / Congo), Les Ralizes Denudes (Japan), Omar Souleyman (Syria).

Things I discovered and listened to in 2013 because she didn’t ask me last year: Beach Fossils’ “Youth”, Boards Of Canada Tomorrow’s Harvest, Crash Course In Science “Cardboard Lamb”, Disclosure “When A Fire Starts To Burn”, Farah “Gay Boy”, S.M. Nurse, Gold Panda “You”, IO Echo “Carnation”, Lauro Nyro “Buy And Sell” (something something cocaine something cocaine), Savages “Flying To Berlin”, and Toll “Radio Moscow”.

And finally, things I discovered and listened to in 2014 just in case she missed it: The Bug’s Angels & Devils, Atari Teenage Riot’s Reset, Function & Vatican Shadow’s Games Have Rules, Ariel Pink’s Haunted Graffiti “Round And Round” “Kinski Assassin” “Fright Night (Nevermore)”, Perfect Pussy, Ron Morelli, End Of A Year / Self-Defense Family, Whirr, Night School, Purling Hiss, DIIV “Wait”, Grimes, XXYYXX s/t, Mono/Poly “Ra Rise” “Alpha & Omega”, Leapling “Seventeen”, L.I.E.S. presents Music For Shut-Ins, Neon Indian, Lee Ranaldo “Hammer Blows”, Panda Riot, Ringo Deathstarr, Sleaford Mods (she hates Brits but these two curse every other word like she does, so it’s funny), Daedelus, Small Black’s Moon Killer Mixtape, Suicideyear, Elite Gymnastics, Nite Jewel “Lover”, Arca “Thievery”, BNLX, Clark “Herr Bar”, Cloudface, Naomi Punk, and 18+.

**********

Yes, it was a lot for her to digest. I gave her as much as possible and kept it in the ‘realm of Kaz’. A day later, she did thank me for the list. Now, only time will tell what she’ll take out of this. For those reading this, be more than welcome to take what you can as well.

[camplofi]

FLASHBACK: Both Sides On Bondfire

All comments, questions, and general feedback can be sent to radiobsots@gmail.com.  Record a voice message and send it my way or leave one at the Speakpipe page!

You can subscribe to Radio BSOTS via the following options: RSS feed ||| Apple Podcasts ||| Spotify Amazon Music ||| Goodpods ||| TuneIn ||| iHeartRadio

Connect with Camp Lo-Fi via social media: Twitter | Facebook | Instagram

This episode's track list:

1.  The Hot 8 Brass Band - "Homies" (2012) [Bandcamp] 2.  DJ EFN - "Paradise (feat. Talib Kweli, Wrekonize & Redman)" (2015) [Bandcamp] 3.  DJ Vadim And Sena - "Work Hard" (2015) [Bandcamp] 4.  Markis Precise - "Back To Life (feat. Eligh)" (2015) [Bandcamp] 5.  Blitz The Ambassador - "JuJu Girl" (2015) [Bandcamp] 6.  Core Rhythm And Zajazza - "Grown Folk Biz (feat. Homeboy Sandman And Eagle Nebula)" (2015)  [Bandcamp] 7.  Romare - "Nina's Charm" (2015) [Bandcamp] 8.  Semi Hendrix - "Jesus Pressed Mute" (2015) [Bandcamp] 9.  Sebastian Paul - "Birth" (2015) 10.  Public Enemy - "Corplantationopoly" (2015) [iTunes] 11.  Benjamin - "Those Memories (Sneak Up On Me)" (2015) [Bandcamp] 12.  NxWorries - "Link Up" (2015) [Bandcamp] 13.  The Greg Foat Group - "The Hunt" (2015) [Bandcamp] 14.  Mbongwana Star - "Malukayi (feat. Konono No. 1)" (2015) [iTunes]

For over eight years, Bondfire Radio was my home away from home, a place where I built community with a number of immensely talented people.  It was the place where I learned how to celebrate the successes of others and how to truly be a team player while championing music from unsigned, independent and major label artists as both a broadcaster and a music director.  Being a part of #teamBondfire was everything to me and I was gutted when it was announced that the station's end was unavoidable.  Our last broadcast day was on Saturday, December 30, 2023, and I truly believe that we went out on top.  That entire day was absolutely magical and I'm sure that a number of us involved are still trying to process what it all meant to us as individuals and as a collective.

With my Bondfire broadcast days behind me, I wanted to revisit an earlier episode from 2016.  In an attempt to bring the BSOTS on Bondfire broadcast experience to the podcast feed, I thought it would be wise to share some of the indie cuts that I was playing on the station during my first year.  It's a fun mix of tunes with some special guests along the way that offers an accurate overview of what my early broadcasts were like.  This one's for my Bondfire family and for anyone that never got the chance to hear my broadcasts live while the station was still around.  Best believe that I am #teamBondfire for life!

Black Pioneers In Radio promo produced by Bondfire Radio co-founder Coole High.  ID drops courtesy of Fave, Kahlee, EJ Flavors, Core Rhythm, and Jonny Sonic.

Other key info: Macedonia on Mixcloud The Weeksville Project BSOTS On Bondfire archives

Another BSOTS podcast episode for the people...

[jefferyryanlong]

Infinite Pau Hana - January 24, 2024

Hour 1

The Navigator - Hurray for the Riff Raff Entrance - Hurray for the Riff Raff Brown-Baggin' - 24 Carat Black Stoned Soul Picnic - The 5th Dimension Ankh - Sun Ra Monk's Mood - Thelonious Monk Why? (Am I Treated So Bad) (live) - Cannonball Adderley Glory Glory Hallelujah - The Art Reynolds Singers Guinean - Herbie Mann Day O - Harry Belafonte Ki Sa Pou-n Fe - Atis Independan Brand New Feeling - The Awakening Row My Boat - The Four Mints

Hour 2

Body and Soul - Sarah Vaughan In a Sentimental Mood - Duke Ellington and John Coltrane R.I.P. - Elephant's Memory Aquarius - The Sergio Mendes Trio Walk on By - Dionne Warwick How Strong - Ken Parker Agnus Dei - Lalo Schifrin Empathy - Duke Pearson One Rainy Wish - The Jimi Hendrix Experience Bluette - The Dave Brubeck Quartet Alabama - John Coltrane Rain - SWV Gula Matari - Quincy Jones

Hour 3

Sorriso Selvagem - The Gentlemen Kule Kule - Konono No. 1 I Wan'na Be Like You (The Monkey Song) - Louis Prima Onyx Hop - Frankie Newton "T" Plays It Cool - Marvin Gaye Mali Sadio - Toumani Diabate Baja Bossa - Oliver Nelson The Magic of Your Mind - Al Wilson Cosmic Messenger - Jean-Luc Ponty Unity - The Comet Is Coming Takashi - Flying Lotus Best Life for You - The Bombillas You Got to Learn to Let It Go - Sam Waymon

KTUH - 90.1 FM Honolulu, 91.1 FM North Shore, ktuh.org

[hmgn3]

24-January 散財記録

02(tue) ・沼尾翔子 / Live at Ftarri - Lena (2023, CD) ・Moor Mother / Fetish Bones (2016, used LP) ・Kammerflimmer Kollektief / Hysteria (2000, used LP) ・Steve Waring / Albert A L'Envers - Le Stylo D'Einstein (1981, used 7inch) ・Galo Preto / Galo Preto (1981, used LP) ・Flor Du Xique Xique / O Canto Da Terra (1977, used LP) 03(wed) ・Svenska Folkjazzkvartetten / Folkjazz Anfaller (2022, used LP) ・ECD / 軽いハズミで (2005, used 12inch) ・Stock, Hausen & Walkman / Broccoli (1998, used 7inch) ・Eckard Koltermann & Kollégas / Umtriebe (1985, used LP) ・Raul De Souza / Colors (1975, used LP) ・Brass Ensemble of the Jazz and Classical Music Society / Music for Brass (1957, used LP) 07(sun) ・KUDU / I've Been Hit (2001, used 12inch) ・Amnesiac Godz & Country Teasers / Guided Missile Split Single (1999, used 7inch) ・Billie Holiday / A Portrait of Billie Holiday 1935~1942 (1979, used 2LP) ・浅川マキ / MAKI II (1971, used LP) 13(sat) ・Hochzeitskapelle & Japanese Friends / The Orchestra in the Sky (Kobe Recordings) (2023, 2LP) 18(thu) ・Sono / Hyperballad (2006, used 10inch) ・Kid Koala & Amon Tobin / Heavyweight Art Installation, Phase One: 1999 North American Tour, Live Painting Series (2000, used 7inch) 19(fri) ・Yves/Son/Ace / Unsung (2011, used LP) ・Kevin Shields / False Prophet (2006, used LP) ・It's a Blackbean and Placenta Christmas (1997, used LP) 20(sat) ・Aaron Joseph Russo / Baby Blue (2022, used 7inch) ・Project Mama Earth / Mama Earth (2017, used LP) ・Kammerflimmer Kollektief / Remixed Part 1 (2005, used 12inch) ・Nobukazu Takemura / Scope (1999, used LP) ・Algebra Spaghetti (A Children's Fantasypop Album) (1998, used LP) 22(sun) ・Kilder / Don't Hide (2021, used LP) ・Konono No. 1 & The Dead C / Split Series #18 (2005, used 12inch) ・Starving Artists Crew / Up Pops the Sac (2004, used 2LP) ・Ruins & Schlong / Ruins & Schlong (1994, used 7inch) ・Baby Laurence / Dancemaster (1976, used LP) ・The Pentangle / Light Flight (1973, used 7inch) ・Raymond Scott and His Orchestra / This Time With Strings (1957, used LP) ・Georges Jouvin Sa Trompette d'Or et Son Orchestre / Trumpet Fantasy (?, used 10inch) 25(thu) ・Thought Gang / Thought Gang (2018, used 2LP) 27(sat) ・Colophon / Spring (2002, used 10inch) ・Surfer's De Los Campeones / Checkered Flag (1963, used 10inch) 29(mon) ・Travel Through Time and Texture / Floating Bus Stop (2010, CD-R) ・water music (2006, CD) ・toreo sessions 5 2003.06.08 nanba bears / night in OSAKA (2003, CD-R) ・toreo sessions 6 2003.07.19 okayama pepperland / borzoi meets ju and taguti (2003, CD-R) ・Electric Ear / IIIIIII (?, CD-R) 30(tue) ・Pyrolator / Niemandsland (2022, used LP) ・Scout Niblett / It's Up to Emma (2013, used LP) ・Scout Niblett / The Calcination of Scout Niblett (2010, used LP)

[dustedmagazine]

Joe Goddard — Harmonics (Domino)

Photo by Louise Mason

Hot Chip’s Joe Goddard enlarges a euphoric, body-moving electronic aesthetic on this third solo album by inviting in collaborators, and though results vary, the best of these partnerships are extraordinary.

Some of these meetups are not surprising, as when Alexis Taylor and Al Doyle turn up for “Mountains.” Here a plurality of Hot Chip join in a blippy, boppy, spirit quest that asks existential questions amid rave-y bursts of synth and drum machine. Wild Beasts’ Hayden Thorpe, too, seems like a natural choice in “Summons,” executing wild operatic arcs of melody atop grumbling synth bass and pounding keyboards. But a couple of tracks featuring Goddard discovery Findia fall flat; they’re not terrible but feel a bit like by-the-numbers dance pop.

In fact, the further Goddard gets away from what you might expect, the better these cuts work. It’s the oddball entries that catch your ear.  Tom McFarland, of the UK dance-pop ensemble Jungle, flutters soulfully over eerie, trebly keyboard auras in “Ghosts,” stretching words into fluid glissandos. McFarland, perhaps reflecting the title, is a spare, spectral presence, but the chorus kicks in with a gospel weight and certainty, a triumph over frailty and doubt. The jazz saxophone player and pop collage-ist Alexander DePlume is another unexpected choice, blowing in over the glitchy flicker of “Revery” with slow, vibrato-laced tones, a florid, faintly old fashioned sound in an electronic forest. But the best of all is “Miles Away,” an unearthly mesh of the Guinean singer Falle Nioke’s resonating tones and the chiming of mbira. If there were a whole album of just this, I’d be all in, 100%.

Goddard sometimes tinged his old band’s tunes with melancholy taking the vocals, for instance, on the moody, soulful “Hungry Children,” but Harmonics reaches for positive affirmation. “Progress,” aided by Ibibio Sound System’s Eno Williams, percolates with good feelings. Its heavily effected vocals soaring over pulsing, tonally intricate Konono 1-style percussion and swinging brass. It lifts off effortlessly and takes you with it.

In the end, it feels wrong to call this album a solo record, since it is defined and elevated by the people Goddard works with. He’s been adventurous in seeking out partners, choosing some familiar ones and some that no one would have predicted, and the risks, especially, have paid off.  

Jennifer Kelly