Devendra Banhart Ma Nonesuch. This is Banhart's first album since 's Ape in Pink Marble.
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Ma, bursting with tender, autobiographical vignettes, displays a shift from the sonic experimentation of his previous albums to an intricate, captivating story-telling and emotional intimacy. Banhart favors organic sounds to accompany his voice and guitar, the arrangements bolstered by strings, woodwinds, brass, and keyboards. The song's video features a full circle journey of vignettes that play on the dream-like quality of intimate activities. The video, colorfully directed by Giraffe Studios, also features guest cameos and a brief infomercial pleading for donations to the I Love Venezuela Foundation.
Twin Peaks Lookout Low Communion. For Lookout Low, the five of them - guitarists Cadien Lake James and Clay Frankel, bassist Jack Dolan, multi-instrumentalist Colin Croom, and drummer Connor Brodner - committed to work countless hours in their studio and practice space. Meeting daily, they demoed 27 songs and relentlessly rehearsed them, eventually whittling down to a select ten tracks.
Often, they thrived on the thrill of live recording, going with the magic of the original first take. This life-affirming burst of adrenaline seeps into every facet of the LP.
The rest of 'Lookout Low' is just as superb, ranging from more relaxed soul-led pieces to giant party anthems. The Time For Peace Is Now compiles fourteen songs that, while recorded over four decades ago, speak now more than ever. The tracks are a subset of s-era gospel, not directly talking about Jesus or God, but instead tackling how we live with ourselves and each other. These are undeniably soulful, passionate, and urgent songs from obscure 45s, dug up from a long dormancy in attics, sheds and rated across the American south.
Compiled by Gospel guru Greg Belson. The church borrowed—or rather commandeered—the guitar, bass, drums, and other instruments used to backup Motown, Stax, and other popular labels—to give power to the songs they supported. Saturday night and Sunday morning music began to interweave, which was especially felt when the church choirs sang Gospel. Gospel was the soul of America. This album is reflective of the dichotomy of the sacred and the secular.
The music here is in some sense the same as the music of the club. Like many Blues songs, the problem must first be named before it can be solved.agblusmelen.cf
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The problem is named in the beginning and a possible solution is presented. The album is a culmination of years spent collaborating with the likes of Robyn, Jazmine Sullivan, Seinabo Sey and Cosima among many others. Post modern pop with plenty of heart. Lost Girls is another brilliant full-length in Khan's incredible, acclaimed discography, mixing sounds she's always loved -- heavy bass lines, synth arpeggios, Iranian pop beats, cascading choruses -- with some of her finest songwriting to date.
It's an album full of romance, an homage to Los Angeles, to being a kid in the 80's, to films that touched and changed her life. Spanning 10 tracks, Lost Girls sees Khan dreaming up her own fully formed parallel universe, creating an off-kilter coming of age film in which gangs of marauding female bikers roam our streets, teenagers make out on car hoods and a powerful female energy casts spells and leave clues for us to follow. Brilliantly produced and brilliantly written throughout, this is sure to go down as her best LP to this point, a dreamy triumph.
Fitting, then, that their name translates as The Sword. Someone told me there had already been a band with that name so I flipped it into French. All delivered by Emmanuelle in a sultry Gallic drawl which will send a frisson of recognition through anyone familiar with her iconic roles in, among many others, Frantic, Venus In Fur and Bitter Moon all directed by her husband, Roman Polanski.
Then I became a model and then very quickly after that I did Frantic and became an actress. It worked for me, but in my heart I always wanted to do music.
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There were some really interesting sonic things I would add, like a track of the craziest feedback, to give a song a weird ambient quality. He made the whole thing darker, more interesting and more psychedelic. Hazy, all-encompassing and beautifully balanced, with drones and jams being brilliantly balanced with undeniable grooves and feel. A brilliant outing. Like the Swedish flat-pack record shelves that attempt to house the vast amounts of vintage vinyl that goes into a multi-volume compilation like this, its time to prepare your own musical penchants and preconceived ideas about DIY music and hear them slowly strain, crack and break.
Various Artists J-Jazz Vol. Following the sell-out success of our landmark compilation, J-Jazz: deep modern jazz from Japan , BBE Music is thrilled to present another exploration into the very finest Japanese modern jazz. J-Jazz 2 builds on the solid foundation of the first compilation and sees co-compilers Tony Higgins and Mike Peden once again pick choice sections from their own record collections.
J-Jazz 2 delivers more astonishing high quality jazz that will appeal the old school hard-core jazz head as much as those digging the current sounds of the current vibrant jazz explosion in the UK and USA. The specially chosen tracks on J-Jazz volume two span across 25 years of Japanese musical progression and invention. From the elegiac stark beauty of Serenade to a Dimly Lit Street and the modal vortex of Daguri, to the fierce post-bop freedom of Bull Trout and the mid-tempo bossa lilt of Vietnam, there is enough here to satisfy the most curious and demanding jazz fan seeking something extra special.
This is a set so deep that the listener is a cat, whiskey and coffee away from turning into a Murakami protagonist On the process that led Iggy and principal players Leron Thomas and Noveller to create this uniquely somber and contemplative entry in the Iggy Pop canon, Iggy says: "This is an album in which other artists speak for me, but I lend my voice By the end of the tours following Post Pop Depression, I felt sure that I had rid myself of the problem of chronic insecurity that had dogged my life and career for too long.
But I also felt drained.
And I felt like I wanted to put on shades, turn my back, and walk away. I wanted to be free. So this album just kind of happened to me, and I let it happen. One of the most recognisable figures in the punk community returns with his latest solo effort, shining with contemplative melodies and loungey percussive pieces, clearly showing a move towards a more freeform approach than his previous outings, with smooth jazzy horns and slow-burning developmental shifts. Lovely stuff, and perfectly illustrative of his mastery of a wide variety of disciplines. LP Info: gram black vinyl.
Perhaps it never will be. Having eaten, and drunk their tea, the men bring out their guitars, chat, remember old songs and let the music come. In those moments, the music can become like the fire, free, magical and impossible to stuff into a box. It rises up like a shower of sparks or a state of grace, without premeditation; the momentary manifestation of a friendship, a community, an environment, a history; the revelatory connection with something that belongs only to them, and goes beyond them.
Their discography stretching out over the last 17 years, all the tours and the international recognition have changed nothing: Tinariwen are still a desert band, only certain aspects of which the western music industry can ever hope to capture and present.
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Tinariwen existed long before any of their albums were recorded, and they still exist quite distinct from their discographic dimension. The story of Amadjar, the ninth Tinariwen album, begins at the end of October , at the Taragalte Festival of nomadic cultures in the Moroccan Sahara. After a concert and a sandstorm, Tinariwen hit the road and head for Mauritania, via southern Morocco, Western Sahara and the Atlantic coast.
The destination is important the band have to set up and record their album there, and hook up with the singer Noura Mint Seymali , but no more so than the journey itself. The journey to Nouakchott, capital of Mauritania, takes a dozen days or so. Every evening, the caravan stops to set up camp and the members of Tinariwen get to work under the stars — a whole lot better than being in a studio after all — to prepare for the recording, talking things through, letting their guitar motifs, thoughts and long buried songs come. Then, during a final camp in the desert around Nouakchott that lasts about fifteen days, to an audience of scorpions, the band record their songs under large tent.
In a few live takes, without headphones or effects. This nomadic album, recorded in a natural setting, is as close as you can get to Tinariwen. And that violin that appears on several songs and reminds you of the traditional imzad? In the end, Amadjar tells the story of several journeys: the one undertaken to prepare the album, and the one that Tinariwen take between two worlds, theirs and ours, with that constant need to pass from one to the other before coming back to the roots.
A return to the source of Tamashek poetry. In the middle of other more political songs, through always desolate, these words express deep distress and survival, but also movement. The best Tinariwen album will never be. But Amadjar is more essential than all the others. CD Info: Comes with page road trip booklet.
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Cat Number Release date 6 Sep ' Significantly, this collection of 21 tracks are from the very beginning of the bands existence. With little money, the band used them to demo new material. Many of the songs were written due to the fact a Peel session had been booked, not because the show loved the new songs - demonstrating the level of trust, confidence and love they had for the band.
Recording a Peel session was essential to the development of our songwriting skills while at the same time giving us amazing exposure and self-belief. Close It Quietly is a continual reframing of the known. You know your hair. You know your room. As the lineup has solidified into the most permanent expression of full-band Frankie Cosmos, the bandmates have felt more comfortable deviating from their default instruments and contributing bigger-picture ideas to continue pushing the sound forward. We have so much latitude to experiment with the instrumental music, and this time around we really took advantage of that.
Change happens in circles.
Encompassing aspects of late's grunge and shimmering pop-punk, 'Close It Quietly' will be on the player for some time to come. Originally released in , this sunkissed set with Wuta Wazutu is now extremely difficult and expensive to find in its original form. Funky, soulful and skanking, this has had everyone smiling in the shop this afternoon. Backed once again by a killer band of fellow Cuban musicians, the visionary singer, composer and songwriter has stripped everything back to the core.
Fitting into the Brownswood family circle perfectly!