January 28, Why is the whole world not listening to Marah? Tagged with marah , nick hornby. Keep your fingers crossed. I hope I get another chance. Nice to run into another Marah fan and fellow blogger.. Well written. Subscribe to this tasty feed. I tweet things. It's amazing. About Me. That Was Cool. Nao Negue Seu Coracao Feat. Sunflowers Feat. Roy Ayers Instrumental B4. Queira Bem Feat. Marcos Valle Instrumental C1.
Day By Day Feat. Gary Bartz Instrumental C2. Gotta Love Again Feat. Marcos Valle Instrumental C3. Forever More Feat. Synchronized Vibration Feat. Roy Ayers Instrumental D1. Viajando Por Ai Feat. Marcos Valle Instrumental D2. Gravity Feat. Roy Ayers Instrumental D3. Marcos Valle Instrumental D4. Beauty Feat. African Sounds Feat. Roy Ayers Instrumental D6. Marcos Valle Instrumental.
Chisos 2. Climbing Bear 3. Woodpecker 4. Spring 5. Flying 6. Camouflage 7. Swimming 8. Stories In Stone 9. Summer Nightfall Owl Hunting Sunrise Big Horns Autumn Cubs Pallid Bats Rains Legacy Bird Family Winter Human History Co-op 2. All You Can Do 3. Silver Fir 4. Dolly 5. Love Is Not Enough 6. How Do You Leave 7. Time Comes In Roses 8. Red Light Heaven 9. Olivia, In A Separate Bed Sometimes 2. True Love 3.
Lake June 4. GSM 5. Around Again 6. Hope 7. Joy 8. One Bottle 9. Blindsided Hue Junior Day League Follow PiccadillyRecs. Lung Vanities Melodic Records. Includes MP3 Download Code. Indies exclusive Double sided poster. Free mix CD. Reverse board outer However, it quickly became apparent that a repeat performance was of no interest to the band.
Words and melodies were coming so quick and easy. Tom was sending tunes across and I was having a lot of fun playing around with a new way of singing which was freer, more expressive, more instant and more melodic. Merging silky vocals, strutting grooves, enveloping textures, and a sparkling blend of electronic and pop music. I reflected on how we played live shows and romanticised about launching onto the stage in a bundle of energy and starting the party, no messing. The directness comes from making music more intuitively, and more from a place of fun.
We were writing music that affirmed how much we missed dancing in sweaty rooms, enjoying the company of a collection of beautiful friendly strangers. They lost a member in Tom Derbyshire, moved from Manchester to Todmorden and fell in love more with dance music and the shifting sense of community and inclusivity that came with these changes.
That needed to happen for us to get somewhere new and I think before the change in line-up we were in limbo a bit. The songs were then further refined in the studio of band member Chris Mulligan guitar, bass, keys , a producer in his own right, who helped to further refine the arrangement and directness of the songs. It is very comforting, creatively, to know that initial ideas will always be further developed and expanded when played by Alex drums , Chris and Hannah keys, vocals.
He infuses all the tracks with such an infectious, wonky energy. Despite being written in isolation and remoteness the album is rooted in very real physical spaces. Then when we moved to Todmorden it was the same.
Seeing Andrew Weatherall down the road from our flat at The Golden Lion - it just felt like an exciting time for us and I wanted to consume as much new music as possible. Because of this voracious appetite for new music and the experiences that come with that hunger, influences on the album are vast: the aforementioned Weatherall, Robyn, Todd Terje, Grauzone, Kelly Lee Owens, Helena Hauff and countless others.
It marries pulsing synths, galloping drums and a vocal take that is both caramel smooth but also fervently intense. Sitting with and walking in the abundance of the natural world has fed into some of the playfulness and light spirit of the album.
Just in time for when we crave those the most. Indies exclusive blue This is Barnett at her most relaxed, creative and joyful. Limited edition white Also includes a bonus 7" featuring an exclusive song from the recording sessions. The CD edition includes a Preorder the album this week and be in with a chance of winning an exclusive test pressing of the album.
This last year has seen Albarn return to the music in lockdown and develop the work to 11 tracks which further explore themes of fragility, loss, emergence and rebirth. The result is a panoramic collection of songs with Albarn as storyteller. The album title is taken from a John Clare poem Love and Memory. Idles Crawler Partisan. Crawler pressed on Eco-Mix vinyl production uses leftover wax that's already in the factory, meaning each record is different and the colour is completely random.
Records may vary from beautiful blues, vibrant reds, glowing greens and everything in between. Every copy is unique. Crawler mastered at Cat Number PTKF Release date 12 Nov '21 Format Info Crawler mastered at half-speed 45rpm , pressed on deluxe double heavyweight g black vinyl, housed in a gatefold jacket with printed inner sleeves. Crawler pressed on black Release date: Expected 21 Jan ' There are, of course, numerous moments that will inspire absolute mayhem in a packed concert venue, but there are also fresh textures and experiments that push IDLES into thrilling new territory.
He has boundless passion for making the best song possible. Telling my own story. Not trying to tell everyone else's story. Not trying to fix the world — just talking about how I am fixing mine.
Limited Edition Double Portico Quartet announce Monument, the electronic driven follow-up to their acclaimed ambient-minimalist suite Terrain, presenting the band at their most direct It's rare that a band releases two albums within six months of each other, rarer too that while both are so different, they are both as epochal in terms of the band's output as Terrain and Monument are to Portico Quartet.
The irony is that Monument, a stripped-back, intentionally direct album, was the album that the band set out to write in May , before the dream like long-form Terrain came into focus.
Briefly they were two halves of the same record, but the band ended up developing these two distinct bodies of work concurrently. And although they were written side-by-side and recorded at the same sessions, they are records best understood as distinct from each other, each with opposing ideas and forms.
Monument is one of Portico Quartet's most accessible, direct records to date. If Terrain addressed the darker side of how Duncan Bellamy and Jack Wyllie made sense of the pandemic, then Monument resonates as an ode to better times. If not quite a dance record, it nonetheless pulses with an energy, radiance and a scalpel sharp focus. Jack Wyllie explains: "It's possibly our most direct album to date.
It's melodic, structured and there's an economy to it that is very efficient. There's not much searching or wastage within the music itself, it is all finalised ideas, precisely sculpted and presented as a polished artefact. It has perhaps a more overtly electronic edge to its sound — there are more synthesisers and electronic elements than we have used before and the music is often streamlined and rhythmic".
After the ethereal, stage-setting of Opening, the album kicks into overdrive with Impressions, a short energetic track that pairs a club influenced groove with hang drum and close, delicate saxophone. It's the balance between these elements that push and pull the track through a selection of melodic and rhythmic re-configurations, contrasting human touch with a machine-like focus.
Ultraviolet is a kaleidoscopic, krautrock inspired track with a haunting introduction and an insistent pulse. The wistful Ever Present builds from a simple piano refrain; a nostalgic melody line floats over the top as drums and bass groove insistently underneath, before reaching a euphoric peak. The title track Monument builds around a looping vocal sample, drums and an enigmatic melody, the ending giving way to a gauzy, weaving synth line.
The power here is in its economy and luminosity. AOE flips back and forth, like a dial that's been switched. Mining the tension between a pastoral inflected cello and saxophone melody, with an abrupt shift to jilted live drums, wailing delayed saxophone and a flickering synth line. It's a marriage of instrumental minimalism with drum machines and synths. Finally, the album closes with On The Light, a track that transmits a sense of suspense and freedom, driven by the twitching drums of Bellamy and evocative sax of Wyllie.
It offers the perfect bitter-sweet and evocative ending to Portico Quartet's latest Monument. Nolan Potter is putting us home recording freaks to shame.
That the songs travel far, wide, up, down, backwards, and gamely spill out over the 5 minute mark with exceptionally loose interludes and diversions is just another marvel in this carnival of aural delights. Endless Boogie Admonitions No Quarter. Endless Boogie re-joins with its fifth proper studio album. Seven tracks of unrefined wisdom, mostly put to tape in improvised fashion with little to no warning. Recorded over two years and two sessions - at the pastoral tranquility of the Stockholm inland archipelago in , and in the dank, cramped basement of a Fort Greene, Brooklyn studio in February Eklow on crude direction, Sweeney on stealth glamour, the obscurantist clarity of Paul Major is, as always, as ever, on full display, the fierce reality of Mike Bones is crucial, and the stoic solidity of The Harry Druzd lays beneath it all.
Full grease, delivered with ease. Transparent turquoise First pressing includes art edition poster designed, signed and individually numbered by Lee Ranaldo.
Plus high definition audio download code. In Virus Times is an acoustic instrumental piece by Lee Ranaldo. Originally released as one track as part of a collaboration with Lucien Jean for Le Presses du Reel, the music was featured on a mini CD that accompanied a book that featured 2 short stories.
The poster design is based on an electron microscope photo of the Covid molecule. Hackedepicciotto The Silver Threshold Mute. The Berlin-based duo hackedepicciotto have returned with The Silver Threshold, their fourth full length album.
Cat Number Release date 12 Nov ' Cat Number Release date 22 Oct ' And with this, the album named after Tip Top is here. Wyndow Wyndow Summer Critics. Woven from threads sent across the wires, Wyndow strikes new ground. Who am I and do I see myself the way others see me? What follows is an exploration of the uncertain and the impermanent.
The songs on Wyndow exist in the space between waking and sleeping, hazy tales that unfurl and engulf the listener in a slightly uncanny sense of familiarity. Taking inspiration from the atmospheres and repetition of ecstatic minimalism and the joyful experimentation of Penguin Cafe Orchestra, songs were built from small fragments and loops, recorded spontaneously and sent to each other across the wires.
Recorded and produced in Liverpool with Iwan Morgan Euros Childs, Gruff Rhys, Cate le Bon and in Clydebank with multi instrumentalist Marco Rea Euros Childs, Alex Rex new textures with copious analogue synthesis and treated acoustic instruments were mined, even fretless bass was not off limits. The result is a melting pot of influences with both artists at the top of their game, reflecting on the smallest human experiences set against a galactic sonic canvas.
Limited edition green Limited edition blue Once again melding relatable words of life, love and late nights to the hip-shaking grooves that have ignited numerous festival stages, irrepressible indie-soul-funk six-piece Red Rum Club return with their head-bopping new single, Nightcalling. Their first new material of , the pin-sharp, three-minutes of pure cocktail-swilling, dancefloor-carving magic heralds the release of their third album, How To Steal The World.
Previous albums, Matador and The Hollow Of Humdrum scattered steamy, brass-flecked singles onto radio playlists and across festival fields, with the band somehow fusing a distinct English realism akin to Arctic Monkeys to the hands-high funk of Chic and disco chops of the Bee Gees. A band truly like no other, the 12 tracks that lie in wait on How To Steal The World promise yet another step up in their main stage ambitions.
While the club doors remain shut, it should be enjoyed blaring out of car speakers, cruising by on a late-night drive. The track is an energetic and cocky perspective of new love and the irrepressible excitement that accompanies it. New album from British composer, pianist and violinist Poppy Ackroyd. A departure from her joint work with Hidden Orchestra, "Pause" is a beautifully moving, sentimental and intimate series of piano pieces destined to stir the soul and rouse a broken heart this Winter.
Her unique flurries and arpeggios decorate pieces like "Seedling" and "Suspended", in keys which, reduced by lack of any classically training, I'd be able to identify as invigorating, soothing, warming and intensly thoughtful in equal measure.
Some tracks like ""Stillness" exist in an almost suspended state, their barely-moving arrangements and delicately effortless playing leaving the listener unable to recognize if 2 or indeed 10 minutes has expired at the track's closure. Indies exclusive crystal Produced by David Watts at Chairworks Studios, deep in the heart of Yorkshire, this album is bursting with working man grit and tales from the local boozer. Expect infectious riffs and refreshingly honest melodies that will travel round your mind for years to come.
Recycled and randomly Aesop and Blockhead have never done a full album together, until now. Almost instantly transporting you under railway bridges, to underground subway stations, crumbling corner shops and abandoned waste grounds. A sonic travelogue of prog funk, psychedelia, bygone West Coast jam music and watermelon rock.
The triumph of a working band! Now, in America , capping these strangest and sorest of times, the band returns with The Dharma Wheel, a six-track, minute dive into a joyous fantasy realm of exaggerated present. Two men loading rifles, beasts making time, they shot a boy from an orange tree and watched the colored birds take flight, watch the colors as they soar and dive.
Songs were shaped via the blast furnace of endless gigs, then recorded often mere hours after the band slipped the stage. The Dharma Wheel is an album of great depth, and one steeped in good vibes: a rich, glistening world of the ultra-vivid. At its core, The Dharma Wheel is the triumph of a working band, a transmission from a never-paused before arriving for our strange, bruised, spectacular now. It shines a light on the enduring strength of poignant lyrics and well executed melodies.
Indies exclusive Azucena Yet, for us, the border is no metaphor — too much real staring back at us. We embody the border. We our families have crossed it. We our stories are coated with its residues. And so… we cross the border of self through our art — out of necessity. Constant Smiles Paragons Sacred Bones.
Vineyard Grape Purple Through its recent forays into dream pop and shoegaze Control and synth-pop John Waters , Constant Smiles has learned how to incorporate its experimental inclinations more fluidly into the mix. Double clear vinyl in a Release date: Expected 11 Feb ' For this collection, Hopkins wanted to make something that faced the opposite direction, something egoless and introspective, made with total, raw honesty.
That place ended up being Tayos Caves in Ecuador, where Hopkins went on a life-changing creative expedition in He was given access to several lesser-heard talks from the 70s, and asked to set them to music. He sent me some starting points, including the beautiful choral vocals he recorded which open the piece.
What you hear is the first thing that came out - it just appeared in response to the words. Something that is more like having an experience than listening to a piece of music. Maybe something far more emotionally honest than I had been comfortable making before - a merging of music, nature and my own desire to heal.
The freedom from traditional rhythmic structures unlocked so much - it felt like I was free to explore a new form of rhythm, one that you discover when you just allow things to flow without letting yourself get in the way.
It works for the sober mind, but takes on a new dimension entirely when brought into a psychedelic ceremony.
In fact, it was while in that state that the title appeared to me. Psychedelic-assisted therapies are moving into legality across the world, and yet it feels like no one is talking about the music; the music is as important as the medicine. Fearless in their refusal to be pigeonholed, they touch on everything from driving rhythmic repetition, discordant guitar fuzz and hazy psychedelia, to late 60s-indebted folk and lilting melodic hooks, via twinkling piano ballads, drum machine rigidity and playful synth pop.
Claptone, the mysterious DJ and producer releases his third studio album, Closer. Closer has been in the making for over three years and showcases a natural development in sound for Claptone. Joining Claptone on his mission to embrace people, the album features a host of global collaborators. Closer also features a surprise and intriguing pairing between Claptone and American pop icon and showman, Barry Manilow.
Ajo Sunshine Castle Face Records. Justin R. Abutting field recordings captured from rodeos off Ajo Way, a stretch of highway that leads one westward out of Tucson Arizona directly into the sun, both acoustic instruments and gleaming walls of synthetic noise are framed in dour and dissonant chord shapes, crackling with overdriven drum mics and seasick waves of distortion.
All pin-hole size images from scenes never seen whole, strung together in but one version of complete, all making for a dazzling listen. About 40 years ago, in a record shop on Long Island during a weekend visit there to see my parents, i found a double-LP that looked like something i should definitely buy. I bought it and rushed back to my parents house, where i still had my old turntable in the basement, not far from my Jimi Hendrix and Zappa Crappa posters, and my framed portrait of John Cage.
My copy of Eno's "Discreet Music" was still on the turntable, having been left there years before, when i'd fled Long Island for good. I lifted it from the platter, gently slid it back into its sleeve, like a priceless religious artifact, and put Side A of the Dial-a-Poem LP on. I almost lost my mind while listening to it. One had a long list of names on the back, some famous, and some i'd never heard of before.
I bought both LP's, and an hour later, for the first time in my life, i was exposed to the art of Laurie Anderson, whom i'd never heard of before.
This was Her contribution was a piece called "Time To Go". It changed my life. I was just a kid, so there were a lot of moments like that, around then.
Nowadays, these moments can be had in seconds, with a click of the cursor. Words, for the very first time, had wielded the same power as music. And it was visceral.
Just like music. It ran deep. John Giorno died in , but he kept poetry alive like nobody's business. I was lucky enough to have spent some time with him in the early 's, when i was briefly a member of The Fugs, and often found myself surrounded by those Ginsberg called, " Ed Sanders who'd ushered me into that scene once told me that when he came to NYC, it was easy to go to a cafe, or to St Marks Church, and hear Burroughs, Corso, Ginsberg, and all the greats, reading their poetry.
He said that even if you were just a bum on the street, you could just walk right up to them, and start a conversation. They were totally accessible, if they were in the right mood at that particular moment. So i was shocked when Sanders told me he didn't approach any of them, not even once, til he'd been going to their readings for nearly ten years.
But I never went near them. Never approached them. Not even once", Sanders told me. For a while now, both have been pushing the envelope, applying jazz logic in all sorts of unconventional shapes and places, seeking out the new and unheard. A world you would have wished you had heard about a lot earlier. An unconstrained, four minute instrumental that feels like an extended snap- shot of a single moment in time, the melodies un- packing and re-packing themselves over and over.
Morten Schantz and Anton Eger have received world wide critical acclaim with artists such as JazzKamikaze, Phronesis, Marius Neset as well as their own solo projects. Bruno Mars, Anderson. Paak have announced the official release date for new album, An Evening With Silk Sonic — available November 12, The track was followed by a hugely popular social media campaign, LetSilkSonicThrive and was immediately welcomed by unprecedented critical acclaim. Paak raps and sings through a foggy haze.
Even so, the show was amazing, and a damn sight better than the vast majority of rock shows one might see especially in Nashville. Forced to assume lead guitar duties due to band member defections and firings, Bielanko handled them with aplomb alongside singing and audience-goading at the forefront of the crack team of gunslingers along for the occasion, taking the small crowd and music wherever he wanted them to go over the course of two hours and 6 tequila shots lined up at the base of his mic before starting.
Following the animated, sweat-drenched set, he hopped over to the merch table and sold t-shirts, stickers, and CDs in an all-business manner wholly different from the one used on-stage. Marah has been in the process of releasing its latest record Mountain Minstrelsy of Pennsylvania , the tenth under the moniker since , for a couple years now. As the story goes, Bielanko and keyboardist Christine Smith were at a flea market a few years back and on the lookout for a new dose of inspiration when they found a rare, year-old lyric book to which they named the album after called, Mountain Minstrelsy of Pennsylvania.
Mostly it was mountain music, gospel tunes, tales of woe and hardship, many fragmented or otherwise lost to history. Bielanko and Smith connected with the words and, according to Bielanko, sought a way to flesh the songs out so they might remain in and of the world. This down-home approach extended beyond their equipment. This includes an 8-year-old fiddle prodigy named Gus, who also picks a banjo and sings on two separate solo performances that made the final record.
The ultimate goal, Bielanko writes in press materials, was to capture a moment of life and music coming together as it happened, in keeping with the folk tradition, and conveying that on-record with no after-the-fact corrections. Instruments go out of tune, singers land off-key, and everybody rolls with what results. Sometimes it makes for a tough listen, but much more often it makes for something original and moving, shambolic and open-hearted, like the very band itself.
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