Send + Receive Editions – none 2.98GB FLAC
Saturday, February 22, 2025
Thursday, February 20, 2025
VA - 1994 - Ambient 4 - Isolationism 2xCD
Nirgiv – 8 39810 727.31MB FLAC
Tracklist:
1-1 KK Null / Jim Plotkin – Lost (Held Under) 7:44
1-2 Jim O'Rourke – Flat Without A Back 4:47
1-3 Ice – The Dredger 6:36
1-4 Raoul Björkenheim– Strangers 4:42
1-5 :Zoviet France: – Daisy Gun 7:38
1-6 Labradford – Air Lubricated Free Axis Trainer 3:22
1-7 Techno Animal – Self Strangulation 6:04
1-8 Paul Schütze – Hallucinations (In Memory Of Reinaldo Arenas) 8:17
1-9 Scorn – Silver Rain Fell (Deep Water Mix) 5:25
1-10 Disco Inferno – Lost In Fog 5:02
1-11 Total – Six 5:34
1-12 Nijiumu – Once Again I Cast Myself Into The Flames Of Atonement 9:10
2-1 Aphex Twin – Aphex Airlines 6:18
2-2 AMM – Vandoevre 7:28
2-3 Seefeel – Lief 6:07
2-4 'O'Rang – Little Sister 6:59
2-5 E.A.R. – Hydroponic 6:18
2-6 Sufi – Desert Flower 6:23
2-7 David Toop / Max Eastley – Burial Rites (Phosphorescent Mix) 5:59
2-8 Main – Crater Scar (Adrenochrome) 6:09
2-9 Final – Hide 7:27
2-10 Lull – Thoughts 8:02
2-11 Thomas Köner – Kanon Part One: Brohuk 10:35
VA - 2011 - Bridges 2x12''
Self-released – none 221.39MB FLAC
TRACKLIST:
A Jim Denley & Espen Reinertsen – Bergerslagbrook
B Burkhard Beins & Jon Mueller – Netterden Channel
C Mats Gustafsson & Nate Wooley – Rhine
D Eric Carlsson & Steven Hess – Waal
Wednesday, February 19, 2025
Monday, February 17, 2025
Vanligt Folk - 2025 - Dischorealism
iDEAL Recordings – none
Dischorealism was initially intended to be a conceptual work about ”milk” but we quickly got tired of the idea and the result was partly something completely different. Nevertheless, partly the same in the sense of sucking the life out of somebody, exploiting and over consuming trust in any form. Dischorealism explores the cost of dual nature and circulates around themes such as friendship, sex, violence and drug abuse.
Dischorealism is IMAGE and SOUND and a collaboration between Vanligt Folk and videoartist Tobias Toyberg. This is the SOUND part of the collaboration.
Bambi - 2025 - TRAP OR DIE
| Baila Ella Records – Not |
Michalina Włodarczyk (born 28 October 2003), known professionally as Bambi, is a Polish trapper and songwriter.
In 2018, Bambi appeared in the blind auditions for the inaugural season of The Voice Kids with the song "Sweet Creature" by Harry Styles. The song's performance resulted in 3 coaches' seats being turned around. She was invited to the teams of Tomson and Baron, Dawid Kwiatkowski and Edyta Górniak. Bambi chose Tomson and Baron. She did not make it to the live episodes, having been eliminated at the battle stage…
On 1 January 2023, Bambi signed a contract with Bailla Ella Records, which is owned by Young Leosia. On 10 February, she released her first full-fledged single under the BE banner entitled "IRL", which topped the Polish charts, resulting in a gold certificate 3 months after the premiere.
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I honestly thought this was a parody album on first listen. Had to dig deeper than Wikipedia and translate some articles to learn this is straight up Polish pop, Rising Stars/Who's Got Talent division Bronze medalist stuff. Nothing I or probably anyone else on this site listens to.
But the music hit me like the first time I listened to Die Antwoord with the twist of being ultra-pop instead of anti-pop. The mixing and production on this album are as close to perfect as I can imagine. Speed rapping in Polish should be an Olympic event.
Srsly, I hate every style of song on this album but have never heard any of them performed or produced this well. Made me grin. Even the autotuning is enjoyably slick. I kept trying to dismiss this one but the longer I listened the more I noticed that every break, segué, opening and closing was perfect. Musical clichés set to 11 and performed/mixed at 110%.
Andy Emler - 2025 - Le Temps est parti pour rester
PEEWEE! – PW1016
Andy Emler's Music has this peculiarity, he composes to highlight the soloists who will interpret the work he hears. After some experiments in composition, for string orchestras, for brass instruments or even saxophones, a clarinet orchestra imposed itself on him.
Usually gathered as a quartet, this time it is eight clarinets that will be accompanied by Claude Tchamitchian, Eric Echampard and Andy Emler. Time has gone to Stay is an ode to this instrument offering a wide wealth of registers. The team, as virtuoso as it is facetious, promises an unforgettable concert both by the music and by the humanity that emerges from them when they are reunited.
John Surman - 2025 - Flashpoints and Undercurrents 2xCD
Cuneiform Records – Rune 515/516
Recently celebrating his 80th birthday and one of Europe’s foremost jazz musicians, John Surman is a masterful improvisor, composer, and multi-instrumentalist (baritone and soprano sax, bass clarinet, and synthesizers/electronics). For nearly 60 years, he has been a major force, producing a prodigious and creative body of work that expands beyond jazz. Surman’s extensive discography as a leader and a side man numbers more than 100 recordings to date and has featured dozens of prominent artists worldwide. Surman is most popularly known for his longstanding association with the German label ECM, who began releasing Surman’s recordings in 1979. Every period of his career is filled with highlights, which is why Cuneiform is exceedingly pleased to release for the first time ever this amazing document of the late 60s 'Brit-jazz' scene.
Surman lived in London during the 1960’s and thrived in the exploding music scene. ‘60s London was the world’s center of popular music, and Surman was a key figure in its core, working with dozens of notable jazz and rock musicians. First appearing on record on a 1966 Peter Lemer recording on ESP, during the 60s, Surman played with Mike Westbrook, John Mclaughlin, Dave Holland, Chris McGregor’s Brotherhood of Breath, Alexis Korner, Mike Gibbs and many others. He listened to everything and worked with scores of bands in London’s melting pot, playing everything from free jazz to hard bop, mainstream jazz, blues, the then-emerging jazz rock, and South African township music.
By the end of the 60s, the British Jazz emerging from London was recognized world-wide as one of jazz’s most vital and creative manifestations. In 1968, Miles Davis visited Ronnie Scott’s and subsequently recruited two Surman collaborators, Holland and McLaughlin, for his American band. Surman’s activities intensified; he appeared on at least 8 recordings, including a compilation live at Ronnie Scott’s, and then played the ‘68 Montreux Jazz Festival with his Octet, winning its award for best soloist. He began recording solo albums, his first in ’68 featuring pianist John Taylor and bassist Dave Holland. Surman would surpass these activities in 1969, his busiest year of the decade. He appeared on 11 recordings that year, including McLaughlin’s Extrapolation, and by the end of the year, he left England to begin working as part of a new, Belgium-based unit called The Trio, which would prove to be a watershed in Surman’s career, launching his international profile.
At the time of the recording released here, Surman had just finished recording his second album as a leader, How Many Clouds Can You See, so Flashpoints and Undercurrents is a unique chance to get an expanded view of his formative work as a leader and also at the early work of his musical compatriots who appear with him here. For this occasion, Surman led a ten-piece ensemble featuring the cream of modern British jazz players as well as two Austrian musicians.
What's doubly valuable about this release is that it contains a large amount of pieces never recorded elsewhere. Captured in excellent stereo sound, this release is a exceptional and hugely important document that will blow the minds of Brit-jazz fans and will open the ears, eyes and minds of those who don't know the great and distinctive work of these fine musicians!
VA - 2025 - To Say I Was Here: Arabic, Greek, Judeo-Spanish, and Turkish Speaking Jewish Recording Musicians, 1907-69
Canary Records – none
The discs that were the dominant commercial recording medium during the first half of the 20th century are composed of a mixture of shellac (the secretion of the Asian lac beetle), carbon, and over 80% finely ground stone. They are literal rocks that remember the music of people who are now gone. They remain monuments to their lives and the art of the performers who made them.
The practice of leaving stones on graves is a way of expressing the permanence of the meaning of the lives of the dead. The old, stone 78rpm discs are rarely revisited, but in listening to them again and surrounding them with context, we hope that the music can take root in the hearts of people living today. Experiencing them dignifies the musicians' contributions, expressions, and lives.
Each spiral-inscribed disc they left behind can be both a memorial to them, telling us that they were once here, and an opportunity to contribute to the permanence of the memories of the musicians and their audiences.
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"[Nagoski's work opens] up a counter history of modern life in which artists outside of the mainstream are granted a central role, and the affective labor they performed is recognized as constitutive to the communities they served. The archive of old records is a conduit to a history of American life that takes seriously immigrant communities and how they are given shape by listening practices. In turn, contemporary listeners (who may not identify with the groups represented) are encouraged to make the music live again as a form of aesthetic experience, but one that holds an invitation towards ethical contemplation.
...
The precise pathway between the post-Ottoman world and the outsider arts scene that Nagoski operates in is circuitous, abstract and suggests the outline of a science fiction narrative, or a utopian impulse. ... [The] music rejects political violence associated with identity politics and instead opens up a discussion of shared needs, as symbolized by the sociality that music uniquely provides—structuring community and providing the language of memory that gives life its mythic powers."
-- Jeremiah Lockwood, Reseach Fellow at the Lowell Milken Center for Music of American Jewish Experience at UCLA
Tracklist
1. Badriyya S‘ādeh – Maʿa s-salāmeh yā ḥilū (Peace Be Upon You) (03:29)
2. Ibrahim Effendi – Koniali (Sweetheart From Konya) (03:18)
3. Joseph Moskowitz – Turkish Melodies (03:03)
4. Shehadi Ashkar – Taxim Hujaz Car (03:17)
5. Moses Cohen – Wana Mali, pts 1+2 (What Is Wrong With Me?) (06:32)
6. Amalia – Turnam Nerdan Galior (Crane, Where Are You Coming From?) (03:14)
7. Moise Effendi & Smyrna Quartette – Telegrafin Teleri (Telegraph Wires) (03:07)
8. Isaac Angel & Stamboul Quartette – Bir Yun Oladjak (There Will Be a Day) (03:56)
9. Zaki Mourad – El helwa di wei keffa di, pts 1+2 (He Is the Best of Us) (06:45)
10. Isaac Algazi – Anna ke'av zedoni (Like a Cloud, My Wickedness) (02:53)
11. Amalia – Sabah Taxim (04:18)
12. Amalia – Ali Pasas (Ali Pasha of Ioannina) (03:09)
13. Jack Mayesh – Yo Soporta con Passencia (I Bear with Patience) (03:45)
14. Victoria Hazan – Mis Penserios Me Trusheron, gazel (My Thoughts Have Tricked Me) (02:59)
15. Victoria Hazan – Huzam Gazel (03:15)
16. Sarah Behar – Aman Doktor (Oh, Doctor) (02:21)
17. Louis Matalon – Konyali: Hani Benim Elli Dirhem Pastirmam (Sweetheart From Konya: Where is My 50 Drachma of Cured Meat?) (02:52)
18. Stella Haskil – Bir Allah (By God) (03:15)
19. Roza Eskenazi – Her Yer Karanlik (Darkness Pervades Everywhere) (03:13)
20. Roza Eskenazi – E Protomagia (The First of May) (03:08)
21. Hakki Obadia & Joseph Sugar – Debke Festival (02:19)
22. Hakki Obadia – Taxim Rast, viola (02:15)
Total length: 01:16:23
PARQUET COURTS
2012 - Light Up Gold
Dull Tools – none 189.23MB FLAC
2013 - Light Up Gold (2CD Rough Trade Edition) 669.17MB FLAC
What's Your Rupture? – WYR?0313
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