[Music] Donnacha Costello – Together

Some sad news.  No, no, not a passing!  Donnacha Costello, the second-finest composer based in Dublin (sorry, folks – Daniel Figgis is still number one in these parts) is taking time off from recording music.

In an act of magnanimous generosity, however, he is offering the whole of his digital back catalog for the more-than-fair price of €15.

Together is a perfectly drone-laden slice of ambient heaven, relaxing to the ear, and a fine way for Donnacha to say farewell until he is ready to grace experimental music with his return.

[Music] Bill Seaman ~ The Topologies of Blue — a closer listen

The gold standard for post-rock blogs.

https://w.soundcloud.com/player/?url=https%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F586010016&color=%238c947c&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true

Bill Seaman‘s The Topologies of Blue is a little sweet and a little scary, like a Sour Patch Kids commercial in reverse. The album is inspired by Gestalt psychology and the treatment of blue conditions. The packaging ~ lovely in letterpress ~ includes disturbing imagery. To listen is to be lulled into a narcotic haze, beautiful yet […]

via Bill Seaman ~ The Topologies of Blue — a closer listen

[Music] Various Artists – The Library Archive: Funk, Jazz, Beats and Soundtracks from the Vaults of Cavendish Music


Though I’m enthralled with library music at the moment, thanks to my friend Chris, who has served as a bit of a guru for me, I’m disappointed to see that there isn’t much in the way of literature documenting how these classic discs came to be.  Thankfully, through the work of labels like BBE Music, we’re being treated to some remarkable compilations, giving a synopsis of the brilliant music we managed to miss out on.

From the Bandcamp site:

Join two of BBE’s most prolific artists and compilers, Mr Thing & Chris Read on a voyage into the mysterious, strange and wonderful world of Library Music, courtesy of Cavendish Music. Founded in 1937 and originally known as Boosey & Hawkes Recorded Music Library, Cavendish Music is the largest independent Library Music publisher in the UK and also represents a host of music catalogues across the globe.

During the Library Music heyday of the 60s and 70s, thousands of original instrumental tracks were produced across a broad range of genres for companies like Cavendish, who then created vinyl and tape collections, often arranged by theme or mood, for their customers in radio, television and film. Cult British TV shows such as The Sweeney and The Professionals as well as documentaries and feature films relied heavily on these catalogues, and companies like KPM, De Wolfe and Boosey & Hawkes went a long way toward defining the sound of British popular culture at the time.

Never commercially available, music created for these libraries that never made it to the promised land of TV or Radio was destined to languish in Cavendish Music’s vast London vault; only recently unearthed by a new generation of DJs and producers searching for rare gems or a perfect sample.

Mr Thing & Chris Read were first invited to examine the contents of the Cavendish Music archive in 2014 as part of WhoSampled’s ‘Samplethon’ event in which producers created new tracks against the clock using sample material mined from the catalogue. Whilst digging through box upon box of records and tapes looking for interesting sounds, the pair also discovered a host of 70s library music which has not only stood the test of time, but deserves to be heard in its original form.

From dramatic big band numbers reminiscent of Lalo Schifrin’s film scores to atmospheric proto-hip hop instrumentals produced before the genre’s existence, right through to fairly straightforward jazz and funk cuts; this amazing collection of music is sure to inspire and delight DJs and beatmakers the world over.

[Music] Massive Suits Quartet – Full Moon Wizard


Spaceship jazz.  These guys have coined a perfect term for themselves.  We have free jazz, dark jazz, all sorts of jazz, but this release by France’s Massive Suits Quartet has to be one of the most enjoyable ones of 2019.

There are touches of that ur-spaceship jazz cat Sun Ra, a wee bit of percussive hip-hop beats far off in the distance, and a vibe that would not feel too out of place in a cocktail lounge.

MSQ have left a very good impression.

[Music] Félix Blume – Death in Haiti: Funeral Brass Bands & Sounds from Port au Prince


French sound artist and engineer Félix Blume produces something voyeuristic and creepy, yet engaging and life-affirming at the same time.  This album is a collection of brass music played at funerals in Haiti’s capital, Port-au-Prince.

According to the website, there are featured in these ‘performances’ 15 dead, 15 funerals, 16 funeral processions, 1 procession with no dead, 5 churches, 1 cemetery, 1 wake, all recorded, including the wails and sobbing of those who lost their loved ones.  There is a feeling that death has been conquered and mocked, however, in the same way New Orleans funerals tend to be.

This is field recording at its most engaging, at least for me.

[Music] Akira Sakata & Chikamorachi with Masahiko Satoh – Proton Pump

Avant-garde bebop seems to be the most fitting way to describe this release featuring saxophonist Akira Sakata & Chikamorachi (drummer Chris Corsano and bassist Darrin Grey) along with pianist Masahiko Satoh.  No less than Jim O’Rourke gushes over the the musicianship of this improvisers, but this isn’t a racket-filled noise blast.  The musicianship is astounding, free, and engaging, something a lot of improvisers can’t seem to make happen unless they’re truly something special.  It seems that Sakata has been making music since the 1960s, so I have a bit of exploring to do on his previous work.

[Music] Jeremy Dutcher – Wolastoqiyik Lintuwakonawa


Jeremy Dutcher is a Canadian tenor and composer of Wolastoq hertiage.  He has done an amazing service in preserving the cultural heritage of his people, and the interpretations of this music remind one, as is described on his Bandcamp page, as having the same feeling of Antony and the Johnsons as well as the works of Rufus Wainwright’s more operatic moments.  I look forward to Jeremy digging deeper into his roots.