A bilingual blog by Carmelo Ruiz-Marrero dedicated to all things fun, like music, cinema, comedy and sci-fi. Contact: ruiz@tutanota.com - Un blog bilingüe de Carmelo Ruiz Marrero dedicado a todo lo que sea divertido, como música, cine, comedia y ciencia ficción. Contacto: ruiz@tutanota.com
Dry stone-wall sub bass. Nightly recordings of local birds, frogs and other wild-life. Late evening small town highway racing exhaust pipe. Breaking live evening news. Pairs well with couch sitting or hiking. Recorded in 2013 Point Reyes, California by Sun An.
The latest show features tunes and words from Big Dada and Hellfyre Club recording artist Busdriver. Bouncing between eras and genres, our artist of the week is young NY producer Photay. We air funky vintage Peruvian psyche, the moody sound of Goldbloc, and soulful jazz by Charlie Hunter & Dionne Farris.
Welcome to The Dinner Party Download – a fast and funny hour of culture, food and conversation designed to help you “win” your weekend dinner parties. In every episode you’ll learn a joke… bone up on an odd bit of history and then wash it down with a themed cocktail recipe… meet an artist of note (say, Spike Lee or Willie Nelson)… have your burning etiquette questions answered by the likes of Dick Cavett or Henry Rollins… savor an emerging food trend… and hear your new favorite song. Plus, unconventional wisdom from hosts Rico Gagliano and Brendan Francis Newnam.
Adrian Younge talks about a new LP with Souls of Mischief, and ambitious plans for his Linear Labs imprint. Also in the mix: moody electronics by LUCIANBLOMKAMP and Tokimonsta ft. Anderson Paak, folksy songs by Sea Oleena and O'Death, and the bass-heavy sound of Kid Drama and Ink Midget.
On The Turntables: Guest DJ Miss Mara By JASMINE GARSD August 14, 2014
When I first arrived in Mexico, I was lucky enough to wind up at a popular bar called El Imperial during one of the coolest DJ sets I've ever heard, courtesy of Miss Mara. Ever since, I try never to miss her sets, because no matter how hard the week has been, no matter what mood I'm in, I know she'll hit me with a fun, eclectic mix. That's a great DJ. That's why I invited Miss Mara to our studios this week: to share her music collection, as well as her insight into what makes young Mexican crowds dance. Enjoy!
Una canción excelente aunque poco conocida de un disco de Pat Metheny Group que ha sido casi totalmente olvidado. American Garage, lanzado en 1979, fue el segundo disco de la banda, y el último que hicieron con Mark Egan en el bajo.
Publicado originalmente el 8 de agosto de 2014 El disco Talk, lanzado en 1994, es un disco muy subestimado de Yes. Es de entenderse el que no haya sido bien recibido inicialmente. Salió justo después del confuso periodo ABWH-Union, por lo que la fanaticada tradicional de la banda no estaba realmente de humor para otro disco más hecho por el mismo personal que nos dio 90125. He oído que es uno de los discos de Yes que menos ha vendido. ¡Miren esa portada! ¡Por favor! ¿Dónde estaba Roger Dean? Esa tiene que ser la peor portada de un disco de Yes. El guitarrista Trevor Rabin produjo el disco, y de hecho parece que fue el integrante de la banda que más esfuerzo le puso. Después de la gira para promover Talk, el surafricano Rabin se fue de Yes tras 12 años de servicio, y nunca regresó. "Endless Dream" no solamente es- en mi opinión- la mejor canción del disco, sino que también es de las mejores piezas que la banda ha hecho en sus 40+ años de existencia.
“Each region has its own micro-traditions…and to compare music from Ethiopia to music from Benin would be like comparing music from Portugal with music from Russia. In every African country, if you take a bit of time, you can really hear the differences and understand that it’s completely different styles of music.”
If you flew somewhere across Africa in the 1990s, your flight attendant may have been a young Tunisian man wearing the name tag “Samy.” Like other part-time stewards, Samy Ben Redjeb worked for the airlines to travel on the cheap. However, unlike co-workers toting compact flight bags, Redjeb often had hundreds of dusty records stashed away in the bulkhead. “Sometimes I had so many records to check in that I had to go to the airport before the crew. I was never paying for freight though, so that was amazing,” he says.
Bandcamp is a rock-solid platform for artists to sell their music and merchandise to their fans, and a thriving community of enlightened listeners who get that the best way to support the artists they love is by directly giving them money.
January 23 2014 / 23 de enero 2014 At first I thought that the name of the band was Fresh Aire. The band is to blame for that, since all of Mannheim Steamroller's album releases were titled Fresh Aire for a full decade after their first recording. Their first two albums, Fresh Aire I and II, remain their very best. Thirty years ago this month I bought albumsFresh Aire I andIV in Santurce. Al principio yo creí que el nombre de la banda era Fresh Aire. La banda tiene la culpa de eso, ya que todos los discos de Mannheim Steamroller se titulaban Fresh Aire a lo largo de una década entera tras su primera grabación. Sus primeros dos discos, Fresh Aire I y II, siguen siendo los mejores por un amplio margen. Hace treinta años este mes compré los discosFresh Aire Iy IV en Santurce.
Para mí Wind and Wuthering (1977) es el MEJOR disco de Genesis. En esta canción el guitarrista Steve Hackett se luce de verdad en la guitarra clásica. Este fue su último disco con el grupo. Después de la salida de Hackett, Genesis continuó como trio y llegó a ser de los grupos más famosos de la década de los 80. Sin embargo, mi sigue gustando más la música que hicieron como cuarteto entre 1976 y 1977.
Phillips fue miembro fundador del supergrupo de prog rock Genesis a fines de los años 60, junto con Gabriel, Rutherford y Banks. Al comenzar la década de los 70 se retiró y fue reemplazado por Steve Hackett. Esta pieza es de su disco Invisible Men (1983), el cual contiene mensajes de protesta contra la guerra de las Malvinas, la cual recién había ocurrido.
En 1981 Chris Squire y Alan White, bajista y baterista de Yes respectivamente, grabaron esta canción y la lanzaron como sencillo. La canción quedó casi en el olvido total hasta que 10 años más tarde fue incluida en la compilación Yes Years.
Originally posted on January 28 2014 This is an amazing epic-scale song from a beautiful yet underrated album by the duo of Jon Anderson of Yes and Greek electronic instrumentalist Vangelis. I believe Private Collection was pretty much forgotten because Anderson rejoined Yes shortly after its release (late 1983). 28 de enero 2014 "Horizon" es una maravillosa canción de escala épica del bello aunque subestimado disco del dúo de Jon Anderson de Yes y el instrumentista electrónico griego Vangelis. Creo que este disco, Private Collection, fue olvidado porque Anderson se reintegró a Yes poco después de grabarlo (a fines del año 1983).
Jordan Rakei drops by and we hear how psychedelic Thai tunes wound up on the Innovative Leisure label. Eclectic newcomers, like Silver Firs, Wyatt, and Jesse and Forever, air next to rap from Milo and Souls of Mischief, electronics from Matthew Dear and Populous, and indie bits from Castanets and Cookies.
At this point, simply referring to Mike Paradinas as an influential figure feels like a severe understatement. For the past two decades, the man has worked tirelessly to push electronic music forward, both as an artist—recording primarily as Mu-Ziq, amongst a litany of other monikers—and as the head of the groundbreaking Planet Mu imprint, which has become one of the leading outposts for experimental and left-of-center electronic sounds. Incredibly prolific and never beholden to any particular style, Paradinas has amassed quite the body of work over the years, and is adding a new EP, Rediffusion, to his discography this week. To mark the occasion, we asked the veteran producer to put together an exclusive mix for the XLR8R podcast series, without knowing exactly what he might deliver.
Drum and bass is not the dominant electronic music powerhouse it once was, but it is enjoying a revival and several key drum and bass labels recently joined Bandcamp. In addition to making tons of back catalog available digitally for the first time, labels like Exit, Soul:R, Astrophonica, and Cosmic Bridge, and artists like Marcus Intalex, Fracture, Neptune, and Fanu, are also pushing the genre forward, releasing new music and working on new mutations of the genre.
When the rave scene first exploded in the mid-1980s, its original musical foundations were set in acid house and techno. But over the course of a decade, rave music splintered, dominant sounds and their beats per minute (bpm) diversified, and new electronic subgenres flooded dance floors. Most house music bumps away around the stately 120 bpm mark, as established by the disco genre that came before it. As the first decade of rave wore on, producers and DJs became increasingly fascinated with the use of breakbeats – sampled drums that had been more commonly associated with hip-hop production until the early 1990s – and a more uptempo style known as jungle techno arose. As jungle developed, the tempo of breakbeats were pushed up past 140 bpm, eventually settling somewhere between a manic 160 and 170 bpm. The rapid-fire, breakbeat-heavy genre would become known more simply as jungle, before ultimately morphing into drum and bass.
The 70th BC Weekly is packed with top tunes from Swedish duo Wildbirds & Peacedrums, Ghostly's Lusine, new Sub Pop signing Porter Ray, and awesome Australian soul singer Jordan Rakei. Rioux chats about music and chance meetings, and multitalented Greek artist Polygrains drops our LP of the week.
Emma Tricca – live dublab “sprout session” (03.25.11)
Emma Tricca came one morning to dublab and performed this wonderful set that served as the perfect soundtrack for a hangover morning recovery. Nothing better than lots of coffee, heavy breakfast, sunshine, and her songs playing in the back.
The Border Community artist turns in a stunning session.
Luke Abbott likes mistakes. They give his music the additional depth of a human touch. He's the type of artist who allows his drums to drift out of time. His notes are sometimes off, and you can often hear the hiss of tape noise in his tracks. Abbott once found the MIDI controllers he was using unsatisfactory, so he built his own. (He's also fond of assembling synthesizers.) At the heart of his music is a modular system—Abbott values its versatility and unpredictability. On two albums and a handful of EPs, Abbott has brought all of this to bear, creating a catalogue of rich and unconventionally pretty music that's best described as modern kosmische. It's a sound him and James Holden, whose Border Community label has released both of Abbott's albums, specialise in. Abbott's latest album, Wysing Forest, which was released in June, was written during a musician-in-residence programme he completed at the Wysing Arts Centre in Cambridgeshire. The record is mostly based on live recordings and improvisation, an approach that yielded nine deliciously freeform tracks that rank among his most unique and personal work.
Abbott has never been a DJ, but that hasn't stopped him creating a strikingly beautiful podcast for us, blending his influences with some of his like-minded contemporaries.
Now this 1975 disco hit takes me back! Silver Convention was a West Germaneuro discorecording act of the 1970s. The group was initiated in Munich by producers and songwritersSylvester Levay and Michael Kunze. The group was named after Levay, "Silver" being Levay's nickname. Kunze had in the late 1960s been a pop lyricist who wrote protest songs in German; when these tunes went out of style, he began producing pop records and commercials.[1] Levay had developed a taste for American music while growing up in Yugoslavia, eventually becoming a music arranger and lyricist.[2]http://en.wikipedia.org/wiki/Silver_Convention
