El dúo Suzumeno Tears está formado por Miyuki Sato, vocalista y kavalista especializada en folk búlgaro, y Agatha, cantautora y guitarrista que creció escuchando a los Beatles, pero que se ha fascinado con las tradiciones folclóricas japonesas, como el Goshu Ondo y otras melodías folclóricas y minyo. Un álbum que combina brillantemente canciones folclóricas japonesas y balcánicas de una forma encantadora y única. Además, este álbum no estaría completo sin los talentosos músicos Yoshio Kuge, Masatsugu Hattori y Tomoko Kageyama, entre otros, quienes complementan el folclore musical con sus piezas instrumentales.
1. Kawaigaranse (Japanese trad. Goze-Uta)
2. Zaraita Bushi (Japanese trad from Kanagawa pref. & Bulgarian trad.)
3. Hietsuki Bushi (Japanese trad from Miyazaki pref.)
4. Toichinsa (Japanese trad from Toyama pref.)
5. Shiiba Dachintsuke Bushi (Japanese trad from Miyazaki pref.)
6. Itokuri Bushi (Japanese trad from Amami Island)
7. Dimka Beli Na Rekata (Bulgarian trad.)
8. Akita Daikokumai (Japanese trad from Akita pref.)
9. Polyphony Goshu Ondo (Japanese trad with excerpts of Tuvan song and Bulgarian trad.)
10. Mandra Mea (Aromanian-Serbian trad.)
La llegada de Tunng hace 20 años supuso un punto de inflexión para el folk británico, ya que unió sus temas pastorales con una electrónica suave y un sentido del humor a menudo surrealista. A veces se trataba de horror folk en la calle, en la que la gente se transformaba en liebres; en otras, se trataba de una domesticidad alucinante. El grupo sigue en activo: un grupo de seis miembros reunido en torno al dúo central formado por Mike Lindsay y Sam Genders.
De hecho, este octavo álbum de estudio, el primero en cinco años, los devuelve conscientemente a sus inicios, convirtiéndose en una especie de homenaje a ellos mismos; incluso hay un regreso de un personaje favorito, Jenny, todavía impaciente por el cambio. Su configuración predeterminada sigue siendo unas guitarras acústicas que caen lideradas por la voz suave de Genders, pero los acompañamientos siguen siendo tan inventivos como siempre. Sixes llega en una maraña de percusión deformada y campanas que retumban, mientras que Levitate a Little se basa en drones de instrumentos de viento de madera y Yeekays vuela con un riff funk africano. Las canciones son astutas y alusivas.
1.
Everything Else 05:15
2.
Didn't Know Why 04:06
3.
Sixes 02:44
4.
Snails 05:10
5.
Laundry 04:41
6.
Drifting Memory Station 04:14
7.
Deep Underneath 05:29
8.
Levitate a Little 03:23
9.
Yeekeys 03:25
10.
Coat Hangers 05:15
A passion for exploration comes naturally to Xylouris White, the ruggedly visionary duo formed of Cretan lute player George Xylouris and Australian drummer Jim White. For their debut album, 2014’s Goats,
Xylouris White compared themselves to the titular animals, wandering
fearlessly through rough-hewn terrain. Two years later, they showed how
far their horizons could reach on 2016’s majestically expansive Black Peak, named after a mountain top in Crete.
Just 15 well-toured months later, the duo’s exploratory instincts drive them further onwards still on their third album, Mother, released 19th January on Bella Union, and named to denote “new life”. As Xylouris puts it, “Mother is the extension of Goats and Black Peak.
Three things, all part of a whole. Goats are mothers, Zeus was raised
on Amaltheia’s milk, Black Peak is Mother Earth… Mother Earth is the
mother of everything.” The duo have shared a first track from the album
titled “Only Love”, which is steaming HERE, while the album is available to preorder here.
Across Mother’s nine tracks, Xylouris White nurture
fecund growths from the spaces between their instruments. Sometimes the
songs drive with an invigorating urgency; sometimes they brood, plead,
yearn and lull. The duo seem to discover each other anew at every turn,
teasing the songs out from their fluid chemistry with the kind of
virtuosity that knows when to listen, accommodate and learn afresh. “A
theme of the album is the significance of simplicity and a child-like
approach,” Xylouris explains. “So, we connect mother and child and play
instruments as toys. Xylouris White is still gestating.”
That ongoing gestation is a remarkable extension of
already remarkable back-stories. Xylouris is a scion of one of Greece’s
most revered musical families. His father is legendary singer and lyra
player Psarantonis. Jim White, meanwhile, has commanded international
attention for more than two decades as part of Australia’s Dirty Three.
Now New York-based, White has often been called on to collaborate with
numerous alt-A-listers (including: Bonnie ‘Prince’ Billy, PJ Harvey, Cat
Power and Smog), where he redeploys the rolling momentum of free-jazz
to variously supple, sensitive and seismic ends. Most recently he
performed with Kurt Vile and Courtney Barnett on their acclaimed album
“Lotta Sea Lice”.
Album opener “In Medias Res” finds the duo already in
motion, feeling their way around one another, seeking out ways to bring a
song to full bloom. Proving they can also be thrillingly direct when
the mood takes them, “Only Love” follows with a brilliantly barrelling
sense of momentum, White’s powerhouse percussion urging Xylouris’s
liquid-fingered lute-playing and impassioned baritone on to increasing
heights of urgency.
From here, Xylouris White proceed as if by intuition,
feeling their way around new terrain. “Motorcycle Kondilies” is muscular
and epic, White’s rimshots providing on-alert accompaniment as
Xylouris’s reaching vocal and dancing lute lines build in intensity. If
the marching rhythm and pretty lute melody of “Spud’s Garden” highlights
the duo’s occasional elegant side, “Daphne” and “Achilles Heel”
showcase Xylouris White’s at their most hypnotic and brooding. “Woman
from Anogeia” hosts a particularly emotive vocal from Xylouris; “Call
and Response” is the duo at their freeform finest, circling each other
querulously, again teasing at possibility. Finally, resolution is
embraced openly on the tactile and reverberant “Lullaby”, as lovely a
track as any Xylouris White have birthed.
As on Black Peak, Mother’s labours benefited
from the midwifery of choice collaborators. Fugazi’s Guy Picciotto
produced once again. Also on hand this time was Anna Roberts-Gevalt of
old-time folk duo Anna & Elizabeth, whose earthy violin/viola lines
and exquisitely sighing vocals can be heard on the track “Lullaby”.
The result is an album of extraordinary accomplishment
from two supremely seasoned players who’ve kept a close kinship with the
richly, rewardingly inquisitive instincts of their youth. In Xylouris’s
words, “It’s the natural maturity of fruits as they ripen. As fruit
matures by the rhythm of nature, so the music grows at its own pace. So,
here are two maturing fruits giving the taste of their present maturity
– and they’re still children.”
1
In Medias Res
3:26 2
Only Love
3:30 3
Motorcycle Kondilies
7:15 4
Spud's Garden
3:53 5
Daphne
5:07 6
Achilles Heel
3:07 7
Woman From Anogeia
2:17 8
Call and Response
3:24 9
Lullaby
4:12
The theme of the EP is a personal tale of being lost in you own mind, unable to breach the surface. The tears, joy, frustration and hard work put into making this record, definitely made its way into the music.
It’s been almost three years since the journey of making the songs for the EP started in Liverpool, UK. We've been in and out of various studios whenever money allowed for it. And when it didn't, we recorded in our living rooms and rehearsal spaces. In between this, we also moved back to our motherland of Norway, and there the EP was completed in Oslo, NO, late 2016.https://kalandra.bandcamp.com/
1. Heal My Soul
2. Concrete Landscapes
3. Lullaby
4. Across The Sea
5. What Do You Know About Love?
6. Outro
Kalandra proviene de Noruega: Oslo para ser exactos. La banda está formada por Katrine Stenbekk a la voz, Jogeir Daae Mæland a la guitarra, Florian Bernhard Döderlein Winter a la guitarra y Oskar Johnsen Rydh a la batería. Estoy descubriendo que esta banda hace música que dobla géneros.
La banda toca un estilo etéreo e inquietante de pop alternativo. Si bien el pop alternativo puede significar muchas cosas diferentes, creo que Kalandra se inclina más hacia la etiqueta alternativa. Su música tiene una voz aireada y maravillosa y definitivamente ofrece sensibilidad pop. Sin embargo, algunas de sus canciones tienen un poco más de ventaja con muchas guitarras, estructuras climáticas y agallas honestas, sin mencionar tiempos de ejecución que están fuera del ámbito del pop. El álbum flota entre atmósferas espaciosas y una autoconciencia realista que encuentro refrescante.
1.
Borders 05:29
2.
The Waiting Game 04:06
3.
Slow Motion 05:19
4.
Naive 03:14
5.
Virkelighetens Etterklang 04:42
6.
Ensom 04:30
7.
Brave New World 03:59
8.
On The Run 04:39
9.
Wonderland 05:08
10.
With You 04:11
11.
It Gets Easier 05:06
Wah Wah 45s are very proud to announce the release of Kalba, the first album from Ghanaian xylophone master Isaac Birituro and Leeds-based producer and singer- songwriter Sonny Johns AKA The Rail Abandon.
The boundary crossing duo were introduced to the world via the first two singles released in early 2019, Yesu Yan Yan and Für Svenja, and the reactions to the project have been overwhelmingly warm.
There are many differences between Isaac and Sonny, but a powerful similarity–– which gives Kalba its element of relatability–– is that desire to hear the usual done unusually and play with the shared influence of the music from afar. Named after the town in North Ghana where Isaac resides, the album is a combination of differences; a magnifying glass over the Venn diagram of our lives, the unfathomable meeting of parallel lines.
“It was clear to me that, though he played a traditional instrument in a traditional way, Isaac was influenced by the Western tinged music that filled the streets of Accra – in fact his father, Edmund, introduced him with “He plays the modern way!” Partly dismissive, mostly proud," said Sonny. "And as this Viking sat before him played the guitar, it sounded too much like the stringed instruments of Mali for it to be just a coincidence.”
There are so many stories behind each track on this album, but the common denominators are clearly the importance of community, of preserving and presenting local cultures, the ardent desire to contribute to changing the world around us, and, of course, the love and power of music created from a genuine place.
Isaac and Sonny shared a feeling once the recording was done: “The moment we sat down to listen to the first days recordings, we both could hear far more than had been picked up by those microphones.” The album was recorded in St Mary's Church, and the energy of the place seems to have been perfectly captured by the way it has been constructed: the sounds, the melody, the words and the emotions behind them all con- tribute to transpose the audience into the very heart of Kalba. Which is no small achievement.
Kalba also features a string of very special guests including Seb Rochford, Leafcutter John, Raph Clarkson, and Elliot Galvin, who have lent their musical brilliance to making this record a reality and giving it such a particular, warm sound.
The project came about thanks to the wonderful team at Rüt’n’Rock Festivals, especially Tim Becker and Svenja Albers, and part of the proceeds from this album will be directed to funding their mission of building a school in Kalba, in order to continue to use education as a way to impact on people’s lives in the most positive and sustainable way.
1.
Yesu Yan Yan 05:11
2.
Highlife 05:37
3.
Bo Ma 03:54
4.
I Know (I'm OK) 04:57
5.
Da Po 00:27
6.
Für Svenja 03:32
7.
Nye Fo Chen 04:41
8.
La Cocina 03:34
9.
Bo Le De Ma 03:50
10.
So Ma 04:35
El líder de Arab Strap, Aidan Moffat, no es el candidato más obvio para lanzar un álbum de Navidad. Él presenta sus conciertos como "inadecuados para los niños". Sus narraciones en gran parte misantrópicas cuentan historias de peleas, combates y escenas de una naturaleza sexual. Este año, Here Lies the Body, que combinó a Moffat y su compatriota del álbum Hubbert del álbum escocés de Glasgow, fue una selección de "canciones de cuna carnales".
Y sin embargo, después de divertirse tanto grabando A Ghost Story For Christmas como single, decidieron hacer un álbum completo. Se conecta con la realidad navideña, donde el lado opuesto del resplandor de la chimenea puede ser la desolación solitaria.
Las campanas de trineo presentan A Ghost Story ..., la oscura pero deliciosa rumoración de Moffat sobre el abandono, donde: "El espacio cuelga más pesado, como una ausencia en una habitación". El piano y el sereno violín de Hubbert enmarcan las narraciones de una manera hermosa, aunque un sub-clubbier sub-y ecos de El primer gran fin de semana de Arab Strap: conduzca el Sendero del deseo, antes de la triste, pero conmovedora contemplación del proceso, de Tales Shall You Be. Regístrese para recibir el correo electrónico de Sleeve Notes: noticias de música, comentarios audaces y extras inesperados Lee mas
La revelación es un tratamiento completo del éxito navideño de Mud en 1974, Lonely Christmas, mientras Moffat se adentra en los falsos diseños originales de Elvis Presley para revelar más sobre el corazón oscuro de la canción: una casa vacía, un amante difunto: “Vacío, soledad y una Navidad apagada. árbol."
Otra portada, Only You de Yazoo - una capella No. 1 de 1983 para Flying Pickets - también se presenta con sinceridad y belleza, después del humilde homenaje de Weihnachtsstimmung a los éxitos navideños: "Es Darlene y Mariah, y Kirsty y Shane y Noddy y Roy y las camareras. , mi favorito."
En otra parte, Moffat lee El abeto de Hans Christian Andersen sobre las pensativas cuerdas de Hubbert y profundiza en un viejo ensayo de Dickens para una parábola de la esperanza.
Su lado misantrópico amenaza con reaparecer en Ode to Plastic Mistletoe, un encuentro con un pub "lleno de niños pequeños snoggin ', polímeros sintéticos baratos sobre su noggin" y, sin embargo, como sucede a menudo en esta colección sombría, extraña pero extrañamente conmovedora y edificante , en algún lugar de las "luces de hadas de negociación" se encuentra el brillo de una nueva esperanza. Como el 2018 llega a su fin ...https://www.theguardian.com/music/2018/dec/14/aidan-moffat-rm-hubbert-ghost-stories-for-christmas-review-the-dark-heart-of-the-season
1
Fireside
2:13 2
A Ghost Story for Christmas
4:02 3
Desire Path
2:56 4
Such Shall You Be
2:12 5
Lonely This Christmas
4:20 6
Weihnachtsstimmung
2:52 7
The Fir Tree
4:07 8
Only You
3:35 9
Ode to Plastic Mistletoe
3:25 10
The Recurrence of Dickens
4:01
Born to a Belgian mother and an Italian father, Mélanie De Biasio learnt ballet from the age of three, and started playing the Western concert flute at eight. At the age of 12, she joined the Ensemble de l'Harmonie de Charleroi with whom she toured Canada for a month. During her adolescence, she further improved her voice and diction.
Being a fan of groups like Nirvana, she sang and composed in English in a rock band at age 15. She played in several groups before totally setting her mind to jazz with the trio Harmadik Fül. With them, she learnt to improvise while discovering the many facets of music. After three years of singing studies at the Royal Conservatory of Brussels, she was awarded a first prize with a distinction degree. After that, she toured in Russia, in which she gained further professional experience. This is when Steve Houben (Belgian jazz musician and saxophone professor at the Conservatory) asked her to appear in concert with him, allowing her to play in numerous festivals and other large music events in Belgium. +INFO
1.
Your Freedom Is The End Of Me 03:50 2.
Gold Junkies 03:19 3.
Lilies 04:02 4.
Let Me Love You 04:08 5.
Sitting In The Stairwell 02:49 6.
Brother 03:11 7.
Afro Blue 04:33 8.
All My Worlds 06:40 9.
And My Heart Goes On 06:00
La música es el corazón de la vida. Por ella habla el amor; sin ella no hay bien posible y con ella todo es hermoso. La música puede dar nombre a lo innombrable y comunicar lo desconocido. La música es sinónimo de libertad, de tocar lo que quieras y como quieras, siempre que sea bueno y tenga pasión, que la música sea el alimento del amor.
LEE
Creo que sería labor de los Ministerios de Cultura de cada país difundir la cultura musical y facilitar su acceso sin cortapisas.
Naturalmente queda a criterio de cada cual que,una vez escuchado, pueda adquirirlo en su tiend habitual, supuesto válido sólo para un reducido número de discos, ya que muchos de ellos no están en los circuitos comerciales convencionales y acceder a su compra en algunos casos será harto difícil cuando no imposible. En esta página no hay finalidad económica alguna. Única y exclusivamente el deseo de ayudar a que disfrutes con algo tan maravilloso como es la música.
Mi gratitud a los autores que nos hacen disfrutar de sus creaciones y también a todos aquellos que permiten que llegue a nosotros, facilitando que podamos ampliar nuestra cultura y sensibilidad, constituyendose así en un extraordinario regalo.
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