If you happened to be one of the lucky folk who managed to grab a subscription edition of the latest issue of Electronic Sound magazine, then inside not only were you graced with a John Foxx cover replete with a firsthand account by the man himself about the coming to be of his scene defining […]
via john foxx — the sunday experience
I won’t cry poverty, but I do regret not having the funds to pick this one up!
As I prepare to spend Christmas alone in Beijing, it’s nice to be able to enjoy the dulcet sounds of the King of the Cameo, Robert Goulet.
Aloha Got Soul’s latest release is a reissue of a rare psychedelic Christian folk record by a Hawaiian project called ʻĀina, which, according to their Bandcamp album site, “means land or earth in ʻŌlelo Hawaiʻi, the Hawaiian language.”
It’s definitely a product of the 1970s, full of hippy vibes, a naïve sense of idealism, and themes which would be recognizable to people who go to Pentecostal Churches. There was nothing bad about this release at all. It was a smooth, mellow and enjoyable listen.
Much love to Habibi Funk who shared this video via their Instagram page. Unfortunately, I can’t find anything on Saleh Al Day, but what I’m hearing here is wonderful!
Thanks to the Good Lord above for giving the world Steve Feigenbaum and Cuneiform Records, who continue to release, digitally, their amazing wares.
David Borden and Mother Mallard have their roots in American minimalist music. This particular release is the middle section of a 12-part series of variations for minimalism in the same way the Goldberg Variations were for Johann Sebastian Bach and classical music.
Arwa Haider writes an article for the BBC on how bootleg music is spread throughout one of the most anti-pop-music cultures on the face of the Earth.
¡Sabor! I didn’t expect something so salsa-ish to ever come from Hungary, but Barrio Latino Hungría does a stellar job in updating the Latin Jazz sound quite nicely.
The Blog That Celebrates Itself (TBTCI) has become one of my go-to labels for great covers of indie and post-punk music done in a style not unlike shoegaze music. This one is a gem because the theme is girl groups, and each of these Brazilian unknowns does a stand-up job reworking the originals into something quite modern-sounding,
Kudos to Wirephobia, an experimental/noise project based out of Erbil, Kurdistan in Iraq, for doing their part in developing a local noise music scene in what one could imagine is a hostile area.
The music on Kurdistan, released in 2016, is a pastiche of ethnic recordings and bolts of feedback, radio emissions and it all seems to work quite well.
Taiwan’s 草莓救星 (We Save Strawberries) are dream pop which would make Hope Sandoval smile, I’d gather.
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