A bilingual blog by Carmelo Ruiz-Marrero dedicated to all things fun, like music, cinema, comedy and sci-fi. Contact: email@example.com - Un blog bilingüe de Carmelo Ruiz Marrero dedicado a todo lo que sea divertido, como música, cine, comedia y ciencia ficción. Contacto: firstname.lastname@example.org
Representing the funky side of the musical spectrum in Portland is Omega Supreme, a label dedicated to modern funk. Founder James Vance moved from San Francisco to Portland in 2001, and the label has received healthy support from the DJ community. He has a roster of worldwide artists, but Vance is keen to keep things simple “so we can be sustainable and continue to put up music regularly.” Despite having spent more than 10 years in the city, Vance has kept the label out of the local mix. He is, however, quick to extol the virtues of Portland when it comes to quality of life and physical pursuits. “What attracted me the most was all of the record stores. There are so many here in Portland, and there’s no tax so whatever the dollar amount is, that’s what you really pay, which is a nice incentive to buy more music.”
Leave is the third album from Rasmus Rasmussens ethereal electronic project Aerosol. During the nearly six years that has passed since it’s predecessor Airborne, Rasmussen has spent his musical efforts in acid rock outfit Causa Sui and as part of various constellations, playing alongside musicians from Sunburned Hand of the Man and legendary kraut bands Can and Faust. These freeform psychedelic influences seep into the already recognizable style of hazy electronics, known from his own previous work as well as from the music of his colleagues in former band Limp (Manual/Syntaks). Cosmic sounds and psychedelic effects mingle with cascading guitars and kraut-infused beats on a collection of tracks that sends obvious nods to the german synth pioneers of the seventies, but is still unmistakably an Aerosol-album – an album set on beating emotions, moods and melodies out of old synthesizers, cheap drum machines and Rasmus’ trusty white Stratocaster.
"Hailing from the Luhya Tribe, The West Bridge Band is a four-man band led by Wamalwa Lusweti, who builds and plays the Litungu, a nine-stringed instrument that he invented. They live on the edge of Kibera, the world’s largest “slum” where open sewage runs along the streets and one must be careful not to be struck by “flying toilets” (the practice of flinging one’s own waste asunder in a plastic bag after dark as a means of disposal). Over 2 million people reside there. With the population swelling daily, the district stands in sharp contrast to the tourists who visit Nairobi to go on luxury safari outings. At night, Boda Boda motorcycle-taxi boys, high from chewing Mira weed, often string rope across intersections, fishing other riders from their bikes and then robbing the fallen and, in many cases, killing them for sport. This record was recorded in a tiny single room by Grammy award-winning producer, Ian Brennan, where the band leader’s entire family lives. It is smaller than the interior of many American cars, and without a kitchen or bathroom. They jerry rig electricity illegally through a ramshackle of wires cut into the city’s grid. The band subsists by playing traditional Kenyan music from other tribes to entertain tourists. They change costumes for the different numbers with few in the audience seeming to realize that it is the same performers over and over again rather than a rotating cast of ethnic characters.In the off hours, the musicians live a grim reality, hawking the instruments they build and penning songs such as “The Rich” and “Sadness”. Few of their compositions are more telling though, such as "I Will Not Lose Faith In You.” This is a special limited-edition Electric Cowbell Records release only available for Record Store Day 2015. Full-color jacket and includes download card. Limited edition 475 copies."
“The question was to collect concrete sounds, wherever they came from, and to abstract the musical values they were potentially containing,” said Pierre Schaeffer, describing his development of musique concrète. From the 1940s beginnings of this early form of electronic music, Schaeffer attempted to extract the sounds of the outside world, and then abstract them from their origins to create fully-realized soundscapes, transforming the noises of train engines into unrecognizable forms that referenced nothing but themselves.
Composer, sound artist, and vocalist Holly Herndon has picked up several intriguing strands where musique concrète left off and brought them fully into our digital century onPlatform—her second full-length, out now on 4AD and RVNG Intl. For “Chorus,” one ofPlatform’s central tracks, she draws on Schaeffer-esque “net-concrete,” an electronic patch—developed by artist and Herndon collaborator Mat Dryhurst—that samples audio content from web browsing. The result is an array of heterogeneous sounds, a sonic approximation of the relentless but unified swirl of activity that comprises how we use the Internet today. The actual chorus of “Chorus” seems to deconstruct the very concept of a refrain, mashing together differently pitched vocal samples into a single musical line; it is anthemic but composite, fractured but resolute.
Herndon balances her touring career with work toward a doctorate at Stanford’s Center for Computer Research in Music and Acoustics.
Every Monday through Friday, we deliver a different song as part of our Song of the Day podcast subscription. This podcast features exclusive KEXP in-studio performances, unreleased songs, and recordings from independent artists that our DJs think you should hear. Today’s song, featured on the Morning Show with John Richards, is “Unravel” by Seattle band Soft Sleep from their 2015 self-titled EP Rocket Heart Records.
There’s nothing like a nice surprise from musicians you love. Guitarist Tony Ruland, from the now-defunct KEXP favorite The Lonely Forest, has taken a loose collection of artistic impressions and, with a little help from his creative friends Erik Walters (Silver Torches, The Globes) and Kyle Holland (Cumulus), has crafted them into a dreamy collection of indie soundscapes, releasing them in the form of his new project, Soft Sleep. Marinated in moments of gravity and excellence, the self-titled EP’s tracks swell around your ears, drifting phrases of 1980s new wave wash in and out of your subconscious calmly like the tide. As the first single from the EP, “Unravel” is steeped in melodies and lyrics that temper domestic nostalgia with a bit of honesty. There is a rich, lonesome sensuality that builds from its opening drum break, slowerly unfolding until you are up to your neck in its catchy pools of sound. A welcome release to wet our palettes and tide us over until we can get our hands on the upcoming full LP.
If you’re hoping to catch Soft Sleep live, you’re in luck. They have just been announced to perform Seattle’s premier festival Bumbershoot on Saturday, September 5th. Keep up to date with the group’s other activities at their offical site, as well as on Twitter and Facebook. For now, pre-order your copy of the EP here.
We met at a ping-pong party in Iceland. Brendan Angelides introduced himself as a musician and friend of Jónsi and Alex Somers, who were hosting the party. When I came home from the Iceland Airwaves music festival, I listened to the music Angelides makes under the name Eskmo, and was intrigued. His current record, SOL, is mysterious, but I wondered how a Tiny Desk Concert would work, as buttons getting pushed and sliders sliding don't always make for a compelling performance. But when Eskmo told me he wanted to use available objects to make his music, I knew we were in for some surprises. Which is how plywood shelving from the Tiny Desk, water bottles and a Paul McCartney doll head became percussion instruments in the hands of a man who's part musician, part magician. Enchanting.-- BOB BOILEN
"This is a live performance bySun Arawat Tonalism. DUBLAB presented its all night annual ambient happening atSonos Studioon August 16, 2014. The event featured performances by Jon Hassell, M. Geddes Gengras, Sun Araw, Diva Dompe (with her dad Kevin Haskins), Matthewdavid, Phillips & Jensen, Sam Wolk, and White Rainbow. The evening also included DJ sets by: Hoseh, Victoria O’Hanlon, Carlos Niño, Nanny Cantaloupe, Sam Cooper, Suzanne Kraft, Frosty, Jimmy Tamborello and Ale Cohen."
Sun Araw - Live at Tonalism at Sonos Studio (08.16.14)
May 04, 2015by PATRICK JARENWATTANANON • Vijay Iyer is probably best known as a pianist and bandleader in the African-American creative improvisational tradition — most say "jazz" for short — though he's also several other things in music. He's a composer of chamber, large-ensemble and mixed-media works; a Harvard professor; a student of Indian classical music; a father and New York City resident. Committed as he is to multiplicity, there's one place where you can see many of his interests distilled at once: in the trio he's led for nearly a dozen years.
The long-standing relationship Iyer has forged with Stephan Crump (bass) and Marcus Gilmore (drums) accommodates all sorts of risk and translates into reward. The three play daring games of rhythmic interaction. They take Iyer's pieces designed for strings or big band and reduce without losing vitality. They do John Coltrane and Thelonious Monk, Flying Lotus and M.I.A. http://www.npr.org/event/music/404165838/vijay-iyer-trio-tiny-desk-concert
Groundbreaking Prefuse 73 chats about his new album, and we air fresh cuts by Howling, Royce Wood Junior, DJ Day, and Dego. Henrik Schwarz remixes Seekae, and Segilola collabs with Alphabets Heaven. Plus, eccentric hip-hop from Milo and Spek Won, and indie jams by Yassou Benedict and Twinsmith.
The author of The Underground Is Massive on documenting American rave culture.
“By 2011, electronic music was making one of its occasional forays into the American mainstream. While on a bus en route to a Red Bull Music Academy junket in Palm Springs that year, the music journalist Michaelangelo Matos realized he was well placed to document the country’s fraught relationship with rave culture. Matos had written profiles, think pieces and music criticism for publications like Rolling Stone, The Atlantic and The Guardian, as well as Resident Advisor. But over the next few years, he threw himself headlong into what would become his first book, The Underground Is Massive: How Electronic Dance Music Conquered America, which sees release this week. Over more than 400 pages, Matos draws a zigzagging line from Frankie Knuckles and the Belleville Three to techno-obsessed early internet adopters, Tommie Sunshine’s most colorful drug experiences and parties covering nearly every corner of the country. Extensively researched and suffused with Matos’s wry humor, it’s a dazzling read, plugging holes in a story that’s never been told quite like this. Jordan Rothlein met Matos at his publisher’s offices in Manhattan recently to hear how it came together.”
"Master Class sound is a relentless rhythm pulsing beneath the tectonic plates of melodic discordance undulating to transport initiates into the realm of disciplined bestial otherworldliness. This is Jim Jones guiding the People’s Temple while in an opiate haze. This is Yod’s terminal hang glider flight over the decayed monoliths of a forgotten sacred geometry. Their live set that took place at the dublab studios was enhanced with a DJ set by Jonas Reinhardt to offer you two hours of pure synthesizer psychedelic music."
dublab’s bi-annual Proton Drive Fundraiser Broadcasts are your opportunities to enhance dublab’s mission of sharing inspired music with the world! The Spring 2015 Proton Drive will be an extra special edition beamed live daily May 8-29 from a pop-up atSpace 15 Twenty. This creative hub in the heart of Hollywood will come to life in the form of a radio studio, record shop and event salon. The space, website and pedestal/palm laden graphic identity were custom-designed by the brilliant filmmaker/dublab DJ Tom Kuntz.
To get you swaying in a supportive rhythm, Australian magic maker András has crafted a resplendent Proton Drive Theme Song. His solarized sound waves coalesce into a hypnotic hymn. Let the music vibrate through you until your being and dublab’s essence are one. Now that you’re in-sync, please make a generous donation to dublab by clicking here.
András – dublab Spring 2015 'Proton Drive' Theme Song
“This week on All Songs Considered, we grapple with the alchemy of creation — the myriad ways a musician gets from blank page and empty studio to a full sound and lyrics that ring true. We were inspired in part by a show Bob saw recently by Magnetic Fields front man Stephin Merritt, where he performed 26 songs, each based on a letter of the alphabet. (Merritt, whose projects are often governed by external limitations, claims that his best-known project, 1999’s monumental triple album 69 Love Songs, took him only a year to write.)
The seven songs on the show (one is a collaboration between a drummer and a pair of remixers) follow on that theme: Each posits a means of making magic out of circumstance. For one group, the key was stripping away ambition and returning to a single voice. For others, sparse hometowns, the ghosts of previous albums and mysterious romantic entanglements provided the spark needed to reach forward into the dark and, as sung by Jeen on “Everywhere I Go,” burn it bright.”
"Soul Ipsum, Moon B, White Rainbow & Thick Bag stopped by dublab to make your Wednesday sound like Friday, especially if your TGIF living involves copious amounts of computer chip gobbling and getting jacked up on glitchy graphic cards. Enjoy this archive of a hallucinatory jump through the hoops of time into limbo portals."
Soul Ipsum, Moon B, White Rainbow & Thick Bag - Jackin' into dublab
Entre 1979 y 1983 Jon Anderson estuvo fuera de Yes. Durante ese periodo se mantuvo fecundo y productivo, grabando dos discos como solista y tres en colaboración con Vangelis. Este es un medley de música de Yes que Anderson hizo en su gira de 1980.
Gecko Turner grew up in Spain, learning English from the blues artists he loved. After a long musical journey, he started composing in a style that combined jazz, blues, samba, reggae, hip-hop, and more into something all his own. Journalists in Spain dubbed it 'Afromeño' (rough translation: African and Extremeño, being Extremadura the region where he comes from), but the sound owes as much to North and South America, the Caribbean and Europe, as it does to Africa. All of his work has been published by Lovemonk Records, in cd and vinyl. Also, Californian label Quango Music Group has published in the United States an American edition of the album “Guapapaséa”, as well as several singles.
There’s a quiet and a calm from José González that amplify his words. This has never been truer than on his new album, Vestiges & Claws. The songs are full of abstract imagery — more paintings than stories. He performed this song, “With The Ink of A Ghost,” at my desk.
Idle as a wave Moving out at sea Cruising without sound Molding what’s to be Serene between the trace Serene with the tide and ink of a ghost
González is a 36 year old singer from Gothenburg, Sweden. You may have also heard Junip, his noisier band. But here, with a small group, the music is spacious, somewhat sensual. His classical guitar chords are melodic, the harmonies adventurous, his voice soothing. These are his first new solo songs in seven years and this soft-spoken, warmhearted singer left an imprint at the Tiny Desk that was gentle and long lasting. I only hope it’s not seven more years before he brings us more new songs.– BOB BOILEN