Label: Moderna Release: Chasing The Present Release Date: February 21st, 2020 Bandcamp Tidal Spotify chasingthepresent.com Today I am running with an exclusive premiere of a piece by Snorri Hallgrímsson from an upcoming release by the same title on Moderna. “Chasing the Present” is the title track from the soundtrack for the award-winning documentary by Mark…
Thanks to Mike Borella at Avant Music News who posted this just now. A big loss for all ECM and jazz fans…
Sad news as drummer Jon Christensen, who performed on many ECM recordings, has passed away. In the late 1960s Christensen played alongside Jan Garbarek on several recordings by the composer George Russell. He also was a central participant in the Jazz band, Masqualero, with Arild Andersen, and they reappeared in 2003 for his 60th anniversary. He appears on many recordings on […]
Matthew Thrift at the British Film Institute pens an article on the history of the amazingly psychedelic ‘acid western’. What an appropriate name. Just click the link and it will take you to the article.
This was an accidental discovery, found browsing Youtube for new music, and it looks like luck was on my side today, as I would probably have not found out about Emilie Levienaise-Farrouch, a French pianist who has enthralled me this evening.
On her Bandcamp website, there is an incredibly detailed essay with notes discussing the album and its creation. The paragraph which caught my attention follows:
Compared to Emilie’s 2015 debut, ‘Like Water Through The Sand’, the feel of the new album appears generally darker and grittier, though in an organic way. It’s more grounded and less cold, with the piano recorded using warmer microphones and preamps. The string writing uses more extended playing techniques, such as bow overpressure on viola and cello, and multiphonics on bass guitar. Emilie also explains that “although the piano has always been a way of expressing how I feel and I wanted to create pieces that featured melodies, I wanted to use the fact the piano is a percussive instrument that can handle strength, rhythm and force just as well as gentle, intimate playing.” This powerful, emotive physicality is clearly audible on tracks like ‘Redux’, ‘Fracture Points’ and ‘Époques’. There are other pulsating/ rhythmical elements running through the record – from chopped up field recordings of waves (‘The Only Water’) to looped bowed bass guitar in ‘Ultramarine’, and the effects applied to the piano throughout ‘Morphee’.
Though seminal artists like Max Richter, Dustin O’Halloran and Jóhann Jóhannsson should be seen as reference points, Emilie has carved a niche of her own on her sophomore release. All praise to 130701 and FatCat Records for releasing yet another gem.
It’s nice when I get to tell one group of friends about another. When I was young, my brother and many of our mates would go to what we knew then to be “industrial dance clubs.” These were fun times, but the music was what I remember most. Stark, brutal, with quasi-militaristic beats, perfect for stomping up a floor with your heavy boots. My old friend Ryant Takai has continued mining in this field, and his latest project, Pyroclastic, continues on that nasty, thudding, beat-heavy tradition. As someone who was working with electronic body music during the late 1980s, it is fair to say that he has been continuing hitting that perfect beat for the past 30 years. If anyone can go 30 more, he can.
I wasn’t expecting to get into this album, but as I started pouring through the tracks, I realized that Male Tears found a little corner of the music-sphere were O.M.D., Erasure, and a quaalude-fueled early Roxy Music sound touch together. Corny cover aside, the music is a nice trip down memory lane.
I have to give a lot of credit to Elvis Costello. His collaborations always surprise me. And in this case, both he and guitarist Bill Frisell do wonders to an already avant-romantic work in Charles Mingus’ staple, Weird Nightmare.
You haunt my every dream
Tell me what’s your scheme?Can it be that you’re a part
Of a lonely broken heart?Weird nightmare
Why must you torment me?
Pain and miseryIn a heart that’s loved and lost
Take away the grief you’ve causedCan’t sleep at night
Twist, turn in fright
With the fear that I’ll live it all again
In my dreamsYou’re there to haunt me
When you say she doesn’t want me
I’ve been hurt
Do you know what that means?Weird nightmare
Take away this dream you’ve born
Mend a heart that’s tornThat has paid the price of love
A thousand fold
Bring me a love
With a heart of gold…Weird nightmare
Rainer Trueby Presents Soulgliding. Label: BBE Music. For the past three decades, Rainer Trueby has enjoyed a successful DJ-ing career, and has been a familiar face in the DJ box at top clubs and festivals all over the world. Still this globetrotting DJ has managed to find the time to run his own long-running and […]
Living in China, one can see that, despite the façade of wealth, this is a land of missed opportunities, even when it comes to music. Excepting the underground music scene in places like Shanghai, Dalian, Hong Kong, and here in Beijing, to a point, thanks to Fruity Shop and other amazing record stores, pop music here is garbage. It was bad during the 1970s as well. Taiwan, on the other hand, had music that was funky, lively and energetic.
Yu Ying Ying is a fine example of this. She released scores of albums in Taiwan, and this treasure came into my feed last night. How I didn’t discover this cherry before is anyone’s guess, but Yu’s work is definitely worth hunting for.
During the 1970s, Japan was home to an amazing jazz and funk scene which has been poorly documented in the West. Thankfully, some amazing crate-diggers are putting a few lost gems into the forefront of the reissue market. This album is by drummer Akira Ishikawa, and the album blends funk, jazz and his love of African rhythms.