viernes, 31 de julio de 2015
Phillips fue uno de los fundadores del super exitoso grupo de rock progresivo inglés Genesis. Se fue en 1970, después de grabar el segundo disco de la banda, Trespass, y fue reemplazado por Steve Hackett. Años más tarde reapareció, dando comienzo a una genial carrera como solista. Esta canción es de su disco Wise After The Event.
martes, 28 de julio de 2015
Message of Love is a multi-genre, world music project heavily influenced by musical traditions born on both sides of the Atlantic. North and South America, Africa, the Caribbean, and the Mediterranean are all represented on this record, whose track list reflects Abrazos Orchestra's own diversity. The Afro-Latino and Boricua/Nuyorican musical heritage shared by several Abrazos members can be heard throughout Message of Love, whether on the traditional Taino song "Daka Naboria" or the album's uplifting title Reggae track which sets listeners off on their musical journey. In addition to Roots Reggae and Taino folklorica, Abrazos also serves up a blend of Salsa, Cumbia, Blues, Búgalu, Afrobeat, Hip Hop, Jazz, and Soul.
Message of Love is a collaborative album performed by some of New York's most dynamic musicians (most of whom were raised in the five boroughs of NYC) and features a handful of male and female singers and MCs who each add a unique vocal presence to the mix. Except for two songs, the album is composed of original compositions first written by individual orchestra members who quickly developed the trust in each other to share their songs with the the group, who then worked together to bring the music to life.The two cover tunes Abrazos included on the album augment the group's original music by offering up English and Spanish-speaking listeners fresh takes on classic material. "Together" allows Abrazos to pay respect to Ray Barretto (a BIG inspiration for the band) and his message of black, white, and red unity and lay down some some percussion-heavy Barrio Funk. The minimalist rendition of "Si nos Dejan" was a last minute addition sung by Coco Vélez accompanied by Jack Glottman on keys. When Coco cordially accepted Abrazos' invitation to lend her voice to the project, there were several boleros she considered doing before deciding that this song had the right feel and tone. The recording ended up being the final touch the album needed as it provided a powerful elder female presence that was missing prior.
lunes, 27 de julio de 2015
domingo, 26 de julio de 2015
sábado, 25 de julio de 2015
July 14, 2015 by BOB BOILEN •
The music I feel most connected to beyond rock is from Mali. The melodies are so fluid, so elegant and most of all so trance-inducing. It often sits on one chord and notes played revolve around that chord. It can feel like a drone at times, and in the case of Songhoy Blues it rocks, lulls and the percussion grooves are not only trance-inducing but dance-inducing.
Many of the musicians we know from Mali are in exile, driven out by Islamists threatening musicians and kidnapping them; the members of Tinariwen know this firsthand. There is sadness, defiance and celebration in the music Songhoy Blues brought to the Tiny Desk from a record called Music in Exile, which is co-produced by an artist most of us rock lovers know best from the Yeah Yeah Yeahs, Nick Zinner. Rock and the desert blues, already closely connected in attitude and sound, fuse nicely with his touch — and can be felt in blissful rawness here.
"Sekou Oumarou" 00:00
"Al Hassidi Terei" 03:46
Ionosfera tiene un contenido musical ecléctico, que va desde enlaces a programas radiales como Alt-Latino y All Songs Considered, podcasts como Bandcamp Weekly y Six Degrees Traveler, y DJ sets de Resident Advisor y Dublab, hasta rock progresivo de grupos como Yes, Genesis y Saga, muestras de música pop africana y brasileña compiladas por Bandcamp, y música de artistas variadísimos como Ana Tijoux, Aimee Mann, Groove Collective, José Feliciano, Kansas, Pat Metheny, Laraaji y Mannheim Steamroller. Además de música, también hay comedia (Portlandia, Flight of the Conchords, Aubrey Plaza, Los Simpson) y "charrerías" de ciencia ficción (Space 1999, El Hombre Nuclear, Star Wars).
"Hice este blog para almacenar y compartir todo lo que yo considere divertido, y así mantener todo ese material separado de mi trabajo 'serio' de ecología y política", dijo Ruiz Marrero. Pocos de sus lectores se imaginarían que su primera educación formal fue en música. En la década de los 80 fue estudiante en Berklee College of Music, y en 1991 se graduó de humanidades con concentración en música de la Universidad de Puerto Rico. Luego pasó unos años en Vermont, EEUU, donde animó programas musicales en la emisora radial comunitaria WGDR. Al regresar a Puerto Rico se integró a la redacción del semanario Claridad, donde escribió numerosos reportajes sobre música, incluyendo reseñas de discos y conciertos. "Cubrí de todo, desde Rush, Saga y Windham Hill hasta Cultura Profética, Fiel a la Vega, Gema y Pável y el Taller de Jazz Don Pedro".
"Espero expandir pronto el proyecto Ionosfera para incluir una cuenta Twitter y una página de Facebook, y quién sabe, convertir esto en un programa radial", pronosticó Ruiz Marrero.
Publicado en Compartir es Vivir, septiembre 2014
Publicado en Compartir es Vivir, septiembre 2014
Documental sobre la asombrosa diversidad musical del Perú.
“Sigo siendo (Kachkaniraqmi)” es una película de personajes, de personajes que son parte de un país. Esta película habla de música y de músicos, pero no es una película estrictamente musical, es una película de historias personales aparentemente muy lejanas, historias que se buscan en un país que también intenta encontrarse y dibujar su identidad.
viernes, 24 de julio de 2015
Mark de Clive-Lowe pays homage to the master HERBIE HANCOCK with a 90 minute live mixtape sampling and flipping classic Herbie Hancock moments in his own MdCL way...
Recorded live on June 17, 2015 at Lock & Key Bar, Los Angeles.
jueves, 23 de julio de 2015
"Echoes" is a composition by Pink Floyd including lengthy instrumental passages, sound effects, and musical improvisation. Written in 1970 by all four members of the group (credited as Roger Waters, Richard Wright, Nick Mason, David Gilmour on the original release), "Echoes" provides the extended finale to Pink Floyd's album Meddle. The track has a running time of 23:31 and takes up the entire second side of the vinyl recording.
The composition uses many progressive and unconventional musical effects. The ping sound heard at the beginning of the song was created as the result of an experiment at the very beginning of the Meddle sessions. It was produced through amplifying a grand piano, played by Richard Wright, and sending the signal through a Leslie rotating speaker. Most of the song's musical passages are in the key of C-sharp minor. At seven minutes in, a funk progression in the tonic minor begins. David Gilmour used the slide for certain sound effects on the studio recording, and for the introduction in live performances from 1971-75. A throbbing wind-like sound is created by Roger Waters vibrating the strings of his bass guitar with a steel slide and feeding the signal through a Binson Echorec. The high-pitched electronic 'screams', resembling a distorted seagull song, were discovered by Gilmour when the cables were accidentally reversed to his wah pedal. After observing the song being created, Nick Mason noted, "The guitar sound in the middle section of 'Echoes' was created inadvertently by David plugging in a wah-wah pedal back to front. Sometimes great effects are the results of this kind of pure serendipity, and we were always prepared to see if something might work on a track. The grounding we'd received from Ron Geesin in going beyond the manual had left its mark."
miércoles, 22 de julio de 2015
Thomas Martojo and Casper Tielrooij warm us up for the big throwdown with a sprawling set of tunes
Bruce Tantum, XLR8R — July 14, 2015
Thomas Martojo and Casper Tielrooij warm us up for the big throwdown with a sprawling set of tunes
Bruce Tantum, XLR8R — July 14, 2015
Before We Forgot How to Dream is one of my favorite albums of 2015. It's by an artist you may not yet know, but I'm hoping you'll fall in love with her. Her name is Bridie Monds-Watson, better known as SOAK.
Bridie is nineteen years old now, but she was fourteen when she wrote some of the music on her new record, including the standout cut "Sea Creatures." The songs on Before We Forgot How To Dream are atmospheric and delicate. It's a much more complex sound than what I expected from an Irish teenager with an acoustic guitar.
I asked Bridie Monds-Watson to play DJ on this edition of All Songs Considered, and share some of the songs she loves by other artists who've influenced her over the years. It turns out she's a huge Pink Floyd fan, with a special fondness for R.E.M. and Bon Iver. We also play and talk about some of my favorite songs from SOAK's new record.
You can hear and download the full conversation with the link above, or scan a playlist of the songs we play in the episode, alongside personal stories from SOAK about each of them.
- Bob Boilen
July 14 2015
From Wikipedia, the free encyclopedia
Mark Ware Isham (born September 7, 1951) is an American trumpeter, synthesist, and film composer. He works in a variety of genres, including jazz, electronic, and film. As of 2011, he is responsible for composing the score for the TV series Once Upon a Time. His discography is extensive and varied, including with his participation with units like Group 87 , and David Torn's Cloud About Mercury project, and sessions with people like Terry Bozzio, Bill Bruford and Doug Lunn.
Tibet is an electro-tribal world music symphony composed to honor that country. Mark Isham handles the task tastefully and tactfully. He uses Japanese haiku as a basis for rhythm and repetition. The only ethnic instrument is the bamboo flute. Isham's sound design incorporates traditional western instruments in honor of Tibet and its culture. This is not Tibetan music, but it does evoke imagery of the Himalayas and "the place where the earth and the heavens meet." The atmospheres are subtle and mysterious. Isham's soundscapes waver from new age to ambient to minimalism to worldbeat. The fluctuations are random. This disc will appeal to fans of Jon Jenkins, Greg Klamt, John Flomer, andPatrick O'Hearn.
martes, 21 de julio de 2015
Refugee was a progressive rock group formed by former The Nice members, bassist Lee Jackson and drummer Brian Davison, with keyboardist Patrick Moraz.
After The Nice, Jackson had formed Jackson Heights, with Davison later becoming involved in the project too. Jackson then invited Moraz to form a new trio, Refugee, with him and Davison.[dead link]
Refugee released one album on Charisma Records. The music was composed by Moraz with lyrics from Jackson. An archival live album recorded at Newcastle City Hall (a soundboard recording, taken from Davison's private collection) was released in 2007.
Without a deal for a second album and with tensions in the band, Moraz accepted an offer to join Yes in 1974 and, after a final few shows, Refugee split up.
lunes, 20 de julio de 2015
domingo, 19 de julio de 2015
For more information/tracklist head here: www.factmag.com/2015/07/13/fact-mix-504-nmesh/
There isn’t anything quite like getting lost in the foggy, twisting works that Alex Koenig makes as Nmesh.
His albums — 2013’s Nu.Wav Hallucinations and 2014’s Dream Sequins — were sprawling, overwhelmingly dense collage pieces made from commercials, samples from the depths of YouTube, and synth textures that ran from silly elevator Muzak to bad trip psychedelia to moments of startling beauty. As you stumbled through those sonic labyrinths you’d encounter others — disembodied voices, drifting through like ghosts. The chatter could shift from mundane to hilarious, from terrifying to emotionally resonant.
Still, his albums are laser-focused compared to the impossibly huge worlds Koenig builds on his mixes. His 260-minute (that’s 4.20 in hours) Welcome To The Warp Zone mix for TinyMixTapes moved through each of its extended thematic sections like some kind of giant, slow-breathing beast. It was an easy pick for our Bandcamp Release Of The Month — but more importantly, it was a clear sign that we had to get this guy to do FACT mix.
So now at just a single second over two hours, we present this double-wide FACT mix from Nmesh. It’s a hell of a ride, with a generous double-dip of LSD and all the peaks and valley that come with that. Here you’ll find the sonic trickery of iconic plunderphonics originator John Oswald holding court with anonymous vaporwave producers while Hype Williams and James Ferraro nestle in with Raymond Scott. It ties all these voices — young, old, dead, legendary, undiscovered, anonymous — together into a legacy of sonic adventuring with Koenig as a welcome host.
sábado, 18 de julio de 2015
From the first bar to the last, Glenn Astro's RA podcast drips with the sort of honeyed funk that sounds best with the sun on your face. He begins with Lucas Arruda's delicious "Rio Afternoon," and keeps things bumping, hazy and soulful for 60 more blissful minutes. As he swerves between house, disco, funk, hip-hop and jazz, you may also notice something that's uncommon among DJs these days: he's throwing the crossfader around. The mix is littered with unfussy bits of flair, giving it give an old-school flavour that feels refreshing in today's world of streamlined mixing.
It shouldn't be a surprise that Astro plays this way. The German artist comes from a school of house music production that's informed as much by early '90s hip-hop and jazz as it is contemporary club sounds—think Floating Points, Motor City Drum Ensemble and Session Victim. Astro's vibe is best exemplified by Throwback, his recently released debut album. The way we described his RA podcast above can pretty much be applied wholesale to Throwback: it's an album that revels in the past while exploring fresh angles on classic sounds. The record is reminiscent of Max Graef's Rivers Of The Red Planet, and indeed, the two young Germans are close collaborators, with Graef appearing a handful of times on Throwback, and the pair both forming part of the OYE Records crew in Berlin. Earlier this year, they started the subtly titled Money $ex Records with Delfonic, and put out an untitled EP together. That was followed by a killer seven-tracker from IMYRMiND, another frequent collaborator of Astro's who never heard a Rhodes line he didn't like.
viernes, 17 de julio de 2015
Midnight in an Perfect World, KEXP's weekly hour-long guest DJ show, airs Fridays at midnight. This multi-genre program features eclectic sets by a rotating cast of international and local DJ’s, each building upon a party vibe to kick off your weekend.
“We are always looking for ways to get more voices and more music on the air,” said John Richards, host of The Morning Show on KEXP and architect of Midnight in a Perfect World. “This show will open up KEXP’s airwaves to the best local and international DJs so they can bring their mixes to our audience and give our listeners a taste of what top DJs are playing in Seattle and all around the world.”
The show's name comes from a song title by DJ Shadow. “We’ve played 'Midnight in a Perfect World' for years and Endtroducing is a groundbreaking record,” said Richards. “I love the connection to the vibe and title of the song to the show.”
Tune in every Friday at midnight, after Michele Myers' upbeat variety show, for a new, exclusive, world-class mix.
Erin O'Connor is a renowned DJ from Seattle and has held residencies all over the Northwest for a good portion of 18 years, most recently and currently part of the beloved monthly Train Car House Party nights that take place at the Orient Express (every last Saturday). Her sharp ears, mixing prowess, and infectiously enthusiastic energy is constantly recognized regardless of genre, time, place or crowd, and her exclusive mix for Midnight In A Perfect World perfectly showcases her love of house, disco, funk, and slo-mo dance grooves.
We'll call it in the air: 2015 is going to end up being a great year for music. The albums that have impressed us the most over the year's first six months are a varied lot. There's enormous ambition on display here, epic works crafted to bust boundaries or reshape at will (check out that three-hour debut album), but also intensity in small gestures: a pair of devastating albums about loss, two more anchored in the sounds of sisterly harmonies. As we reach the year's mid-point, take a moment to listen with us, ears wide open to a great six months of music. Let's hope the second half of 2015 lives up to it. - US National Public Radio
miércoles, 15 de julio de 2015
Patchwork Guilt is a figmental band, i.e. a collection of solo bedroom tinkerings that started in 2014. The songs range from folky to poppy to mildly psychedelic, depending on mood and whim.
martes, 14 de julio de 2015
XLR8R Podcast 394: Francesca Lombardo - Piknic Electronik 2015 Edition
Listen to a sumptuous set from the Crosstown Rebels recording artist—then catch her in person in Montreal.
lunes, 13 de julio de 2015
domingo, 12 de julio de 2015
sábado, 11 de julio de 2015
Cuando de música para meditar se trata, pocos se pueden comparar con Stephan Micus. Esta pieza es de su disco de 1977 Implosions.Desde la década de los 80, Micus ha grabado en el innovador sello disquero ECM. Esto dice la Wikipedia:
La obra de Micus es principalmente del estilo world music. Su música explora las sonoridades y posibilidades expresivas de muy diferentes instrumentos de las tradiciones musicales del mundo. En muchos casos, Micus toca todos los instrumentos en sus grabaciones, combinando estilos de muy diferentes países y usando instrumentos de formas sin precedentes en cada una de sus piezas musicales.
Ha estudiado una gran variedad de instrumentos, como guitarra, flauta de concierto, sitar en Benarés (India), guitarra flamenca en Granada (España), shakuhachi (flauta de bambú japonesa) y sho (órgano de boca japonés) en Kyoto (Japón), suling (flauta balinesa) en Ubud (Bali), gaita tradicional en Carna (Irlanda), sinding (arpa africana) en Gambia, dondon (tambor) en Accra (Ghana), doussn gouni (arpa africana) en Bamako (Mali), duduki (oboe georgiano) y canto coral en Tbilisi (Georgia), hné (oboe Burmese) en Yangon y Mandalay (Myanmar), duduk (oboe armenio) en Yerevan (Armenia), bagana (lira etíope) en Addis Abeba, etcétera. Con ello, se ha convertido en una especie de etnomusicologo, además de difusor y embajador musical de esas culturas.
Micus hizo su primer viaje a oriente a la edad de 16 años, quedando fascinado por la gran variedad de culturas musicales. En su búsqueda de instrumentos, contextos y culturas musicales, ha viajado extensamente a países tan diversos como India, Japón, Indonesia, Corea, Afganistán, Marruecos, Argelia, Túnez, Tailandia, Egipto, Burma, Sri Lanka, Turkía, USA, Canadá, Israel, China, Gambia, Senegal, Nepal, Ladakh, Sinkiang, Venezuela, Tanzania, Argentina, Perú, Ghana, Mali, Jordania, Georgia, Etiopía, Pakistán, Yemen, Cuba, Líbano, Laos, Vietnam, Camboya, Uzbekistán, Kyrgyzstan, Cabo Verde, Mauritania, Armenia, Karabagh.