Review: Fresh from the release of two tip-top twelves on Handy Records and Wolf Music, Malik Kassim brings his trademark Retromigration sound to the freshly minted LYAM label. Typically warm, woozy, bass-heavy and with plenty of intricate musical details - think Ron Trent, with a dash of the Burrell Brothers and the Detroit deep house swing of Andres - all four cuts are superb examples of the Dutch producer's approach to dancefloor dynamics. Highlights include the laidback, club-ready bump of 'Heat it Up', where undulating acid lines and synth-sax catch the ear; the shuffling, broken house sparkle of 'You Want That' (a genuinely sumptuous late-night delight smothered in spacey synth solos); and the mid-tempo, jazz-funk style title track, where loose-limbed live instrumentation and emotive solos come to the fore.
Coleridge-Taylor Perkinson: Louisiana Blues Strut: A Cakwalk (2:26)
Charles Ives: Violin Sonata No 4 Children's Day At The Camp Meeting I Allegro (1:55)
Charles Ives: Violin Sonata No 4 Children's Day At The Camp Meeting II Largo - Allegro (Con Slugarocko) (5:21)
Charles Ives: Violin Sonata No 4 Children's Day At The Camp Meeting III Allegro (1:41)
Aaron Copland: Hoe-down (2:55)
William Kroll: Banjo & Fiddle (2:56)
Eddie South: Black & Gypsy (2:48)
John Adams: Road Movies: I Relaxed Groove (4:56)
John Adams: Road Movies: II Meditative (5:23)
John Adams: Road Movies III 40% Swing (5:08)
Manuel Ponce: Estrellita (Arranged By Jascha Hifetz) (2:41)
Howdy Forrester: Wild Fiddler's Rag (2:07)
Leonard Bernsein: Somewhere From West Side Story Suite (Arranged By Raimundo Penaforte) (1:31)
Review: Violinist Augustin Hadelich's American Road Trip is an attempt to explore the musical landscape of his adoptive homeland with pianist Orion Weiss. The duo performs works by American composers spanning the 19th to 21st centuries and in doing so blends diverse influences such as European Romanticism, revivalist hymns, blues, jazz, and bluegrass. The album features pieces by Aaron Copland, Leonard Bernstein, Charles Ives, John Adams, Amy Beach, Coleridge-Taylor Perkinson and others, all of whom highlight the rich tapestry of American music. Hadelich, who moved to the U.S. at 19 and became a citizen in 2014, combines American passion with European nuance in his acclaimed performances.
Review: O Terno's evolution from 60s-inspired rock to their latest album shows a bold departure from mainstream expectations. While their earlier work hinted at potential commercial success akin to Los Hermanos, the band chose a path less traveled, embracing subversive melodies and instrumentation. Their latest offering is a perfect example to this artistic evolution. seamlessly blends intimate arrangements with a full-band approach, resulting in a captivating sonic experience. Tracks like 'O Bilhete' exude a raw, close-up intimacy, while 'E no Final' delivers cinematic grandeur. Lyrically, the album navigates diverse themes, from sociopolitical commentary to introspective musings. A standout collaboration with Devendra Banhart and Shintaro Sakamoto on 'Volta E Meia' adds depth, exploring themes of romance and self-discovery. Overall, is a beautifully crafted record that defies genre conventions, cementing O Terno's status as innovative trailblazers in the Brazilian music scene.
Bomb The Bass - "Empire" (feat Benjamin Zephaniah & Sinead O'Connor) (5:48)
I Want Your (Hands On Me) (4:35)
The Edge - "Heroine (Theme From Captive)" (feat Sinead O'Connor) (4:28)
Don't Cry For Me Argentina (5:36)
You Made Me The Thief Of Your Heart (6:12)
Just Like U Said It Would B (4:36)
This Is A Rebel Song (3:04)
Review: She might be more well known these days for her open letters to Miley Ray Cyrus or public struggles with mental health, but this So Far The Best of reminds us just why Sinead O'Connor is so famous in the first place. It brings together the very best tunes from her four albums and was originally released in 1997, so of course, includes her ubiquitous and global smash Number 1 'Nothing Compares 2 U' is included, as are earlier singles 'Troy' and 'Mandinka', all of which showcase her fearless style and a rich array of emotions. 'Heroine' and 'Just Like U Said It Would B' are included for the first time having in the past only been available on the US version.
Review: Tara Jane O'Neil's latest album, The Cool Cloud of Okayness, is a poignant reflection on transformation amidst adversity. Recorded in the aftermath of the devastating Thomas Fire, the album embodies resilience and renewal. O'Neil's ethereal vocals and spectral guitar work are complemented by a talented ensemble, including drummer Sheridan Riley and multi-instrumentalist Walt McClements. Together, they craft a sonic landscape that blurs boundaries between genres, challenging easy categorization. The album's themes of grief and hope are palpable, underscored by deft production and rock-solid bass lines. Each track feels like a journey, offering both solace and introspection. The Cool Cloud of Okayness is a powerful album of music used to heal and inspire, reminding listeners that even in the darkest moments, there is light and possibility.
Quarteto Em City - "Aleluia" (with Tamba Trio) (3:30)
Lena Platonos - "Bloody Shadows From A Distance" (3:05)
Ray Davies - "I Go To Sleep" (2:44)
Alfred Schnittke - "Piano Quintet, V" (3:21)
Agnes Obel - "Stretch Your Eyes" (Ambient acappella) (6:01)
The Bulgarian State Radio & Television Female Choir - "Pilentze Pee (Pilentze Sings)" (2:22)
Agnes Obel - "Glemmer D" (2:03)
Agnes Obel - "Bee Dance" (2:34)
Sibylle Baier - "The End" (2:29)
Michelle Gurevich - "Party Girl" (4:28)
CAN - "Oscura Primavera" (3:19)
David Lang - "I Lie" (5:08)
Nina Simone - "Images" (live In New York 1964) (2:50)
Agnes Obel - "Poem About Death" (3:05)
Review: The latest missive in the evocative and open-minded Late Night Tales series comes from Agnes Obel, a Danish singer/songwriter whose fragile, pastoral songs seemingly join the dots between traditional folk music, neo-classical and early music. Fittingly, Obel's selections, while more diverse than many may have expected - see the soulful reggae throb of Nora Dean, the creepy jazz of Yello's "Great Mission" and the whispered synth-pop shuffle of Lena Platanos - are every bit as atmospheric and ethereal as her own work. It helps that she's included several of her own compositions, alongside inspired cuts that touch on Berlin School ambient, hazy easy listening, neo-classical, psychedelia, lo-fi art rock and, of course, folk.
Review: Osamu Okuno's first album Osamu Okuno, which was independently produced by Himico Record in 1972 in a limited edition of 100 copies, is now available on LP for the first time in 52 years, cut from 6mm open tapes owned by Mr. Okuno himself. Capturing the impact of alternative rock in Kyoto in the early 70s, Osamu Okuno was quickly hailed as a modern classic in the veins of psychedelic folk and rock music, though it nonetheless did not lead to any further career developments for Okuno until much later in 1980. Infused throughout with tape hiss and bare recordings, this is an honest and reflective album, received best in the form of a single listen-through; the highlight for us has to be the penultimate ballad 'B?3????', whose arresting four chords and quivering playing and delivery, are gripping.
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