This is a thoughtfully considered album of quiet, confident R&B: it doesn't jump out at you, but rather gets in you. Produced by John Carroll Kirby, the like-minded artist and collaborator with Frank Ocean and Solange Knowles, it features restrained percussion from Kanye West’s Sunday Service drummer Lamar Carter. Celestial soul as a break from chaos, these are quietly challenging songs as timeless as they are contemporary. ___
Jazzman Records with the holy grails again - this time reissuing Ron Everett’s 1977 Glitter of the City. Original copies are almost incredibly hard to find - The music itself is a personal celebration of his hometown of Philadelphia, with its vibrant musical community and heritage - presenting it through funky jams, sweet jazzy soul melodies and blues infused jazz. Includes a really nice write up of the life story of Ron Everett through interviews with the Everett family members and the surviving musicians on the album. Last but not least, it includes 3 previously unreleased bonus tracks to TOP it all of! ___
Joao Gilberto, one of the true masters of the genre, displays a great selection of songs including various Tom Jobim's classic gems such as "Samba de Uma Nota Só" ("One Note Samba"), "Corcovado", and "Outra Vez". An essential piece of work in the whole history of Brazilian music. Clear vinyl; edition of 300. ___
The young Singaporean quartet's debut mini-album touches on themes that come with the experience of entering adolescence, whether it is love (“Sky”), anger and disappointment (“Lies”), despair (“Waters”) or loss (“Fall”).
Waters is an exploration of these different emotions and a journey through the rollercoaster ride that is growing up. ___
Considered to be one of two Holy Grails on Strata Records, Maulawi Nururdin, 180 Proof presents a stellar reissue featuring a previously unheard instrumental version of ‘Street Rap’. This 180 Gram vinyl album has been remastered from the original reel to reel master tapes and is presented with an alternate cover artwork done by Ge-ology and Mr. Krum. ___
Aside from the Seminal Soundway “Sounds of Siam” compilations by frontrunners Chris Menist and Maft Sai, Thailand’s Luk Thung has been explored sporadically in the global music scene, cited for inspiration by some (Khruangbin most notably) but remaining exotic and hard to explore for many.
A digger's dream, Luk Thung has been pressed on countless 45's and Full length LP's.. Hopefully this EP will spark some interest to the worlwide music fam to delve into this amazing culture from South East Asia. ___
From Ambient and early Chill-out classics, to lesser known one-off projects, as well as Ambient deviations by some of House and Techno’s leading producers, Volume One of Virtual Dreams features tracks by Bedouin Ascent, David Moufang, LA Synthesis, LFO, Marc Hollander, Mark Pritchard & Kirsty Hawkshaw, Richard H. Kirk and more. Techno without the thump for chilled out or deep home listening. ___
Aside from McCoy Tyner's 'Contemplation,' John Coltrane's 'Naima,' and René McLean sic McClean's 'Jihad,' Doug Carn himself takes the composing reins on this masterful 1973 release, which further integrates Jean Carn's ethereal yet soulful vocals into the his impressive stylistic vision. Another home run on Real Gone Music's Black Jazz reissue series. ___
A lovely first-time-reissue of four superb live performances led by George Otsuka’s drumming and Fumio Karashima’s fender rhodes. If you missed out the first time we brought this in, now’s your chance! Remastered from the original master tapes by King records in Japan, so you know it sounds legit! ___
Coming in real hot on our 20th entry to the series is up and comer Zai - just coming out of his student days and ready to groove on as soon as the gates drop. He's recorded a vinyl-only mix, packed tight with classic cuts strung together with turntablism flair! Press play for a solid hour of optimistic, personal music from this young deejay, and scroll down for the interview.
Thanks so much for doing this mix for us! How’ve you been these days?
I'm doing good! I'm currently doing my final term at university and I'll be graduating in August, I can't wait :D
So how did you wind up getting interested in music, records and DJ-ing?
I’m not sure how to answer the music part! I guess in general, I just like listening to music and exploring new genres, I don’t really know why. There’s also different reasons for each kind of music I’m into. Now I’m mostly into funk, disco, soul, R&B, hip hop, house; I guess DJ mixes are the main reason why I started listening to those genres. On the other hand I find myself in a vintage Chinese pop mood sometimes, influenced by the kind of music my parents like to listen to, music I hear in old folks’ homes… It’s really all over the place and it’s hard to summarise how I got interested in music.
I started DJing in 2016; I saved up my NS allowance and bought a DJ controller that I learnt to DJ on. In university I joined the DJ club and practised on the shared turntable set up with digital vinyl / DVS. I did gigs on campus, at sports venues, some bars/restaurants, some corporate events.
I bought my first record in 2017, Daft Punk's Homework (a repress that I found in a Popular store). It was an impulse buy, I didn't have turntables at the time but I just thought it would be dope to have and hopefully listen to on a turntable someday. Also I happened to be wearing a T-shirt that day with the Daft Punk logo (in the Homework style)! You can hear this record played at the end of my mix (Around The World - the one song from Homework everyone knows!)
Collecting records only became a thing for me after I met an expat who was trying to sell his records before he returned to New Zealand. I bought a few records from him; when he couldn't sell the rest of his records in time, he gave me the rest for free (shoutout to Chris, I didn't get your last name, but I am eternally grateful!). I started to practice with those records and getting the hang of DJing with vinyl. This drew me into a kind of vicious cycle haha! DJing on vinyl made me want to buy more records, made me want to do more vinyl mixes, made me want to buy even more records… You always want to play a new record! (These days I’m trying to exercise more self-restraint and not go broke…)
You’re pretty active on Instagram, with great snippets of your cuts, juggles and mini routines. What draws you to this form of DJ-ing?
Thank you for the kind words! I must admit that I still have tons of room for improvement and I’m constantly trying to get better or to learn new techniques. I see each post on my Instagram as a sort of diary entry for my progress as a DJ.
A lot of DJs have influenced my style of DJing, but probably none as much as the goat DJ Koco. I was thoroughly mind-blown by his Boiler Room set. I’d never witnessed so much sorcery in a single full-length, live DJ set - all 45s, lightning fast mixing, crazy tricks, so many rare grooves. Mixes like Koco’s Boiler Room allow me to discover tons of new music, which I love, and the icing on the cake for me is when DJs flex their skills on the decks. It’s something that streaming can’t deliver, I guess – coherent mixes that balance top selection and skills, and DJs have this balance (Koco, Skratch Bastid, Fonki Cheff, just to name a few) are the DJs I am most inspired by.
What struck us about you is your penchant for that classic funk/soul/disco/hip hop avenue that emerged from the 70s onwards. Cant think of many young cats in Singapore as immersed anddedicated as you at your craft right now, could you tell us what draws you to these grooves?
I haven’t been into these genres for very long; I mostly started listening after I listened to DJ Koco’s Boiler Room. I guess I got hooked by the funk! Music like this makes me want to dance the most. I also find the historical contexts of these genres fascinating, how these genres were so influential on later types of popular music that emerged.
What do you look for when you go out buying records?
I’m mainly looking to expand my library of tunes. I don’t usually look for the nicest sleeve or the “Near Mints” – just records that are clean and play well and are significant in my journey of music discovery.
I’ve recently begun to collect 7” vinyl. A big reason is because of the inspiration I get from all the wicked 45 slingers out there, but they’re also a lot more practical because they’re way more portable than LPs. I also use a set of low-torque turntables at home that don’t allow me to scratch on 12” records well (still working on it) but the smaller, lighter 45s are perfectly fine.
I also want to support local by buying local releases – in particular, releases that I can see myself spinning in a DJ set, releases from producers/artists/labels I personally know, or records that are otherwise important in our local music history. Fauxe’s Ikhlas, Arrested Development’s Don’t Fight Your Demons (released by Singaporean label Mosta Records), Halal Sol’s latest EP Dijamin, are some examples of such releases.
Did you have a context in mind when recording this mix? (Also, was it done on vinyl? if so, tell us why you decided to go that way!)
It’s a vinyl-only mix; I wanted to challenge myself and do a vinyl-only mis that encompassed several genres that I am currently into. Each record on the mix has its own story behind how I came to discover it and add it to my crates. To highlight some of the more important records played:
The first track is Arrested Development’s The Same People SKYY HIGH 305, Kuf Knotz & Christine Elise. This is from Arrested Development’s Don’t Fight Your Demons – released by local label Mosta Records. To have a local label on a the latest release from a Grammy-winning hip-hop group is massive. The record is loaded with politically-conscious, thought provoking tracks. Also it’s coloured (yellow and brown) and it just looks so good.
Around 46 minutes in: Fauxe’s Hati, from his album Ikhlas. The first record I bought from TAV. What an eclectic blend of sounds from the Malaysian music scene. I was lucky enough to be able to meet Fauxe at a show before the pandemic and get the record autographed! So that makes this record super special.
Around 56 minutes in: Aquanote’s True Love (Mig’s Petalpusher Love Dub) & Erykah Badu’s Next Lifetime (Deluxe Pusher Vocal Mix)
These are from Chris’s collection. I didn’t choose to buy these initially but they were part of the remainder that he left me as a gift before he left for NZ (thank you Chris!) These record have been used a lot during my early practice sessions.
The last track: Daft Punk – Around The World
From a repress of Daft Punk’s Homework – the very first record I ever bought, impulsively! For a year or so I had no access to a turntable so I just looked at it in admiration. In uni I spent a good amount of time practicing with it, when it was basically my entire record collection.
I learnt a lot while recording this mix! It allowed me to get more familiar with my records and their mixing points, and with the process of planning a mix that would showcase a diversity of genres. It’s not a perfect mix and it’s got several mistakes / missed opportunities but I feel it’s a good record of my journey thus far. Hopefully the next mix will outdo this one.
Thanks for being a part of our mix series! Any parting words?
Thank you very much for having me on the mix series! I’m really humbled to be featured alongside many other notable local DJs!
Singapore-based champion of 50s-70s Northern Soul, Pop Yeh Yeh and R&B brings us the 19th edition of our mix series, highlighting the lesser known women of jazz from that era in a delightful hour of Hard Bop and sweet Soul Jazz. This all-vinyl mix is brought to you by none other than DJ Honey; press play for full vintage vibes and homagical selections!
1. Such a pleasure to have you on here for the AV mix series! For those who don’t know DJ Honey, could you tell us a little about yourself and how you got started with this soulful avenue that you have embarked on?
I’m a DJ, collector and radio host. My love of mid-century soul, jazz, rhythm n blues developed after first seeing Dusty Springfield with her blonde bouffant and dramatic eyeliner on the front of an LP when I was 10 years old. From then on, I signed my life away to music, sequins and the scent of hairspray!
2. How did you approach this mix? Was there a particular context to share with your listeners?
This mix is one hour of Hard Bop and Soul jazz, featuring predominantly female jazz artists and was recorded entirely with original pressing 7”s, except for Usha Iyer’s 1969 album only version of “Fever”. We usually hear a lot about the ubiquitous greats - Ella, Billie, Sarah and Dinah - but there were so many more women of jazz from that era, and I always aim to highlight those in my mixes and radio shows.
3. You’ve been consistently churning out mix after mix through Kiss! Kiss! Bang! Bang! & Girls In The Groove. Could you tell us a bit more about these?
Kiss! Kiss! Bang! Bang! started on 4ZZZ FM in Brisbane, Australia, in 2016 and has since transitioned to Mixcloud, while Girls In The Groove has broadcast on London’s Soho Radio since 2018. I’d been DJing for a few years and both radio shows developed from my frustrations of not seeing women receive the recognition we deserve within the male-dominated music industry. The shows are vinyl only and focus on the hip shakers and rule breakers of the 50s, 60s and 70s - female artists whose music and actions broke down barriers and paved the way for future generations of music lovers.
4. What continues to draw you to the sound of this era?
The mid-century era was one of the most dynamic times of the 20th century. Art, fashion, architecture were all radically changing and evolving. People were protesting for peace and demanding equality through the civil rights and women’s liberation movements. Music was political, raucous, rebellious, expressive. All these aspects were a huge shift from the austerity of the first half of the century. The times truly were a’changing!
5. What’s next for you and anything you’d like to plug?
I have a livestream DJ set with the Forty Five Kings collective coming up in June. As the name suggests, we’ll be playing all vinyl 45s sets and I’m super looking forward to virtually playing alongside those guys. Follow me on social media @dj.honey.vinyl45s to watch out for that!
View behind-the-scenes content and exclusive mixes by supporting me via Patreon.
Couldn't ask for a better person to revive our mix series! Radio presenter [@intotheblue-bfm] and label head [@botanicrecords] Tim Sharp delivers a lovely hour through his personal stash for AV012 - an all analog affair, an ode to digging and discovery. Lock in & press play! Recommended timing: right before the sun goes down.
Tracklist: Pupa – Untitled [@ujikaji] Andrew Wasylyk - Flight Of The Cormorant [Athens of the North @djfryer] ???? - ???? [ATC-412, Art-Tune Company Hong Kong] 姚蘇蓉 - 臉兒紅, 心兒笑 [Wan Chai Records] Quiet Village – Circus of Horror [@k7-records] Alleycats - Mangsa Renungan Mu Ümit Aksu Orkestrası - Bermuda Şeytan Üçgeni [@zelzelerecords] Yuan Mou Gen Ren Zou (阮某跟人走) - 你唔貪猪哥 (w/The Stylers) Ahmad Nawab/Dhalan Zainuddin – Lagu Disco Ku [Gila Records] Waipod Phetsuphan - Ding Ding Dong [@paradise-bangkok] BURHAN TONGUÇ RITM GRUBU ve ISMET SIRAL - Du-Bi-Ba [@black-pearl-records] Andre Tanker Five – Swahili [@cree-records] Happy Boys – Dji Den [Fajalobie] Armanda Cusopoli – Non C'È Sole [NG Records] Mumbo Jumbo – Wind it Up [@efficientspace] Holy Balm – Fashion [@chaptermusic] Bullion – Say Arr Ee [@r-srecords] Drone – Nothing Dominant [Strange Love] Old Mate – I Think of You [@major-crimes-records] GASHH – Apocalypse [@botanicrecords] Kinn Leon – Visionary [@kitchen-label]
About the mix: "Recorded on a recent public holiday here in Singapore with a pair of Technics SL-1200s and a portable Sony tapedeck, run through a Pioneer DJM-750. Being for TAV I wanted this to be an all-analogue affair and in the end that suited the day perfectly; a rare afternoon without phone, internet or notifications.
As so often happens, this was actually supposed to be a practice take but I enjoyed it so much that here we are. There are always more records to get to but ultimately I felt the selection captured the spirit of what I was trying to do, which is to pay tribute to visiting and spending time around some of the region’s finest record stores and labels; somehow recreating the sense of discovery and delight that comes with making the pilgrimage to legendary places like ZudRangMa Records in Bangkok, unlikely spots like the flea markets of KL’s Amcorp Mall, the fabled Red Point Record Warehouse here in Singapore and - of course - the amazingly-curated Analog Vault. I think it also goes without saying that hanging out at any of these places (and countless more examples) is a privilege made all too apparent given the year we’ve had.
Ultimately, I wanted the mix to feel like browsing a crate or surfing a radio dial between these places; less concerned with technicalities of a club-style DJ set than an open-minded desire to discover something new (or old, really) and to see where a frequency - or crate - leads. Bursts of static; a needle that gives up halfway; worn-out grooves paired with pristine audiophile-quality pressings; decades-old cassette tapes barely holding on and some very dusty fingers - a look into the corners of my own analogue vault, so to speak." - Tim Sharp
About Tim: Tim is a New Zealand-born, Singapore-based radio presenter and label head with a decade on-air at leading independent stations from Sydney to KL – most recently as host of cult new music show Into the Blue on BFM 89.9 Malaysia. In 2016 he co-founded Botanic Records: dedicated to forward-thinking new music from Southeast Asia and beyond.
In this edition of Selects', we asked one of our favourite selectors in Singapore and good friend Farah (known on the decks as RAH) to pick out a few titles from our online catalog that she recommends checking out.
Farah's selects are incredibly fresh! The music listed here are mostly new entries at the vault, and they truly reflect her identity as a person and the fine selector she is. Often expressing herself through a diverse collection of Jazz, Hiphop, Afrobeat, Dub and more, Farah's picks will always move you, but not without saying something special at the same time.
As a core member of label Darker Than Wax and collective Revision Music, she radiates a positive and infectious message in her work and her DJ sets, moving feet, raising vibes and connecting souls. Check out July's edition of her resident show on Milan-based Radio Raheem here:
We certainly do miss live events and the energy Farah exudes from behind the decks. But while we're all socially distanced, have a listen to these incredible albums for a taste of what the vibe is like when RAH's in charge:
"Am a huge fan of Cold Cuts! And this project elevated their ability as visionaries, while encapsulating the multi faceted and progressive sounds of legendary collaborators. Boasts a wide range of sounds from Jazz to Hiphop, dub to Afrobeat. Enjoyable from start to finish." - Farah
"This is a first compilation from DTW core member Marco Weibel, who brought together a few musicians and artists in New York. This is a special one, because there was a bit of hesitation in putting it out - due to the social / political climate of things."
"It’s was in the midst of the #BLM movement, and we thought it wasn’t the right time. We decided to go ahead with it anyway, and donated a percentage of the profits to NAACP Legal Defence fund to help protesters and urged our followers to do the same. We have been receiving resounding support for the release and are very thankful it all worked out and that we were able to help with our music." - Farah
"What would begin as a casual conversation with Wahono would often take a turn and deep dive into Indonesian culture and politics. The man behind cult label Divisi62 is always challenging the perception and idea of Indonesian music. And you hear the introspective dialogue in the productions, as an attempt to reassess expectations of values and traditions. He makes like, thinking music. You listen and it makes you think and ponder. Just like the conversations with him." - Farah
"I caught Idris Ackamoor & The Pyramids in Amsterdam three years ago and it was one of the most mind bending / expanding experiences. This is a good album but I’m also looking forward to getting their newest release on Strut, “Shaman!”. Bong said that he will be getting it and I trust him." - Farah
Idris Ackamoor & The Pyramids - Shaman! is not in stock... yet! It will arrive in store later this month along with a bunch of new sounds we can't wait to share with you. Till then, hang tight! If you'd like to reserve a copy of "Shaman!", slide into our DMs via Facebook or Instagram.
We hope you're as inspired by these great picks here as we are. Follow RAH on Mixcloud and Instagram if you catch the vibe and consider signing up to our newsletter to stay clued in on our new arrivals. (scroll down for the signup form!)
Thanks for reading. Take care, stay safe & keep the music going!
A little disclaimer: the people behind Evening Chants are good friends of mine, and I’ve had the honor of performing at their pop-up shows in pre-COVID times. But while the growth of the label is something I’ve witnessed from the ground up, with the grunt work carried out by label owner Nigel Lopez in its infancy, there’s also very little I know intimately about the label’s behind-the-scenes activity. At least, until now.
With just three releases under their belt, Evening Chants has defied easy categorization. The duo of Nigel Lopez and Jasmine Ho, who serves as the label’s creative director have established the label as less a distinct home for genre-specific music than a space of unfettered exploration — allowing the crystallized loops of Softman to coexist with Melting Bridge, a Taiwan-based duo whose music is a meditative and fractured reflection of the environment it was birthed from.
Handpicking music from Singapore and beyond, Evening Chants releases albums on limited edition cassettes; replete with artwork and packaging that explains why their tapes sell out so easily (aside from their limited quantities).
The recent re-release of Kwaidan, the haunting debut from Japanese artist Meitei, also marked the label’s very first vinyl release, a significant undertaking for any independent record label. While it’s already fetching heavy prices on Discogs since selling out, the duo are now preparing a second print with an elegant addition that you might want in your collection.
And with the year still powering through cautiously, Evening Chants have a slate of upcoming releases that signal further depths into the label’s expanding ethos. What the heck does that mean? You’ll have to read my conversation with Lopez and Ho to find out, where they speak freely about running Evening Chants, Kwaidan’s repress, their schedule of upcoming releases, and what “horror musique concrete” sounds like.
1. Hey guys! How was the circuit breaker for yourselves and Evening Chants?
Nigel: Hey Dan! I’ve always been a homebody, so I have to say that I selfishly enjoyed the circuit breaker. It definitely gave me some space to breathe and somewhat relax. I can’t say that much of my lifestyle changed.
Jasmine: The circuit breaker was great for me. I like staying at home and I don’t have any complaints being near my cat all day for the past three months! Been reading a lot more and having more time for myself!
2. Have the events over the past few months changed the course for the label’s plans?
Nigel:We were due to release the repress of Meitei’s Kwaidan in May. Unfortunately, due to the pandemic, the pressing plant we use in Dublin had to temporarily pause operations, which meant that we had to put our plans on hold as well. Other than that, we’re still on schedule for our upcoming releases!
Jasmine: That’s right! Due to delays in production, we took the time to pre-prepped ourselves on the release by liaising with artists and exchanging design ideas so that we can plan ahead and send them out once it was open again!
3. Stepping back to a few months ago, you guys handled a breakthrough release with Meitei’s Kwaidan on vinyl. For a tape label, why was vinyl added to the equation?
Nigel: I’ve always wanted to put something out on wax, but due to the costly nature of the medium, I’ve always been averse to it. However, I felt like it’s about time I took some sort of ‘risk’ and shake things up on my end, presenting the label with new challenges and opportunities.
Being a naturally risk-averse person, I only decided to press on vinyl after seeing the immense success that Meitei’s debut album Kwaidan got, and was fairly confident going into it. Now I’m hooked and wish that all of our releases can get pressed and released on vinyl. Hopefully, we’d be able to do it eventually.
4. Was the process different from getting your usual releases pressed?
Nigel: For sure. It’s definitely a more intricate format, which requires test pressings and intense scrutinizing before giving the green light. Moreover, the medium itself is significantly larger in size than a cassette tape, which means more space to play around with. Jasmine did an incredible job designing the vinyl artwork and layout and shaping the rest of our label’s identity on wax for all of our releases in the future. We have a very beautiful insert that will come with the upcoming Kwaidan repress that we’re very excited about!
Another difference would be in terms of shipping. Vinyl is relatively heavy and bulky, and as such, not only was it more expensive, but I had to make sure I had the right packaging materials and ensuring that it reaches the listeners safely.
5. Jasmine, how was the experience like doing artwork for Kwaidan’s vinyl release?
Jasmine: Evening Chants has given me the opportunity to directly communicate with the artist to find more ways to help visually translate, reflect, and amplify the experience of the music/record. I’ve always found that as one of the key responsibilities of a designer.
The feedback has been great so far and I am currently working with Meitei to do his other collaterals outside of EC. For the reissue this time, we’ve included an insert which is accompanied with a text-based commentary for the album to bring the experience even more. Meitei, of course, has helped pick beautiful Japanese artworks that captured the inspiration found in his soundscapes.
6. Is vinyl a format you’re still thinking about for future releases?
Nigel: Of course. As mentioned, if we could, I would press all of our releases on wax. But due to the costly nature of it, and how we are an independent label, we have to be more selective in which we choose to release on vinyl. Sometimes an album is just meant to be on tape and not on vinyl.
Jasmine: I agree with Nigel. Although I think we also look into other ways to help make the physical releases more interesting. For example, all our cassette tapes have an OBI band with a hand-embossed logo and our upcoming release includes a story booklet in the cassette.
7. So now that we’re entering a period for music where COVID-019 continues to rage on, what’s your take on the label’s future moving forward?
Nigel: We’ve already shifted away from the traditional record label since streaming took over, so I don’t see COVID-19 affecting Evening Chants in any way as we operate mainly online. Occasionally, we organize live shows here in Singapore, but we do not have any fixed schedule when it comes to it. I guess, when the right opportunity comes, then it comes. But, we don’t see it happening anytime soon.
One change that we do see happening is how our artists are going to tour. It is extremely unfortunate that this is the case, but hopefully, things will get better in time to come and they’ll get to share their music in the best way that they can: live.
Jasmine: On top of that, I definitely see us experimenting with different formatting. I would like to see our releases put out in more innovative ways in order to give and help the artiste reach a bigger listening audience that they deserve.
8. Are there certain decisions taken differently?
Nigel: We have taken into account that people are more wary of how they spend their money. Especially with this uncertainty, many people have lost their jobs or are at risk of doing so. As such, their priorities have changed and rightly so. I have to admit that it does feel a bit surreal releasing music in such times, but like myself, music will always be an important constant and it is only right that we continue to contribute to this the only way we can – to put out more amazing releases.
9. Do you believe it has affected the label’s use of physical formats? Nigel: With the temporary closures of the vinyl pressing plant, it has accumulated some backlog in terms of operations, which has resulted in our orders taking longer than usual. Thus, we had to shift some of our releases to a later date.
Jasmine: I’ve got an extra soft spot for physicals — I feel that if it’s done nicely and well thought-out, people would still try to acquire them at the right cost.
10. Ever since the label has gained followers with each release, has it been a priority to engage with them?
Nigel: We try our best to keep them updated as much as we can on social media. We also keep in touch with them with our new releases via Bandcamp’s messaging system (which is incredible, by the way). We are immensely grateful for the support and love that we get from the community.
11. Could you tell us about what’s on the schedule for the label in 2020?
Nigel: It has been pretty quiet on our end since the Melting Bridge release due to personal commitments. But this year, we’re very excited to be working on a few releases that are all due for the second half of 2020. Apart from the Kwaidan repress, we have a few new releases lined up.
We have been working on one of the upcoming releases for awhile now by an incredible artist that not only dabbles in music but also art. So, we are very excited about introducing this highly overlooked artist to everyone. The best way to encapsulate the release is if the movies Midsommar and The Blair Witch Project had a baby, it would be it both sonically and aesthetically. I would also describe it as “horror musique concrete”.
Another one of our releases that we’re excited about is from a musician who has been composing music for films, documentaries and tv shows on Adult Swim, Netflix, etc. The album takes us into his own world of celestial soundscapes and personal life, completely disconnected from any of his professional work.
We also have an upcoming release from one of our familiar names, where we’ll be releasing our most “dance-iest” record so far, but of course, with an Evening Chants twist to it – keeping it weird.
12. Just to cap it off, what’s been spinning on your turntable lately?
Nigel: I’ve bought so many records during this period! But here are my more regular spins in the recent weeks:
Craig Kupka Crystals: New Music For Relaxation 2 (Smithsonian Folkways)
Side A’s “Trombones of Lithia” is a gorgeous 20 minute composition with meditative, gentle and warm brass textures and layers. Very aptly named New Music For Relaxation 2, this album delivers exactly what it promises. A+ ambient/drone record.
Maxwell Sterling Laced With Rumour: Loud-Speaker Of Truth (Ecstatic)
I’ve never heard of Maxwell Sterling before this release but immediately became a fan. This album originated from a “multi-channel installation commissioned by Nottingham Contemporary in 2018”. (Boomkat). An intricate mosaic of jazz sensibilities with a strong ambient foundation, this album brews some sort of a fog throughout its 40-minute runtime. While it leaves me in an amnesiac state by the end of it, I keep wanting more and flip the record all over again.
Lamin Fofana: Dark Water (Black Studies)
I saw Lamin Fofana in Berlin last year at an old Franciscan monastery (alongside Kara-Lis Coverdale as well). He opened the evening with an ambient dj set that instantly sucked me in and left me with a profound experience. When I went back that night, I started doing some research on his work and have been waiting for him to release more music. Then came “Dark Water”, which released in June this year. This ambient record epitomized the very same feeling I had when I saw him in Berlin –peculiar yet highly intriguing synths and organic textures pieced together to create an incredibly cohesive sound. This album is not on vinyl, but really hope it gets pressed eventually.
Jasmine: I think the new Green-House and Skee Mask are great! I’ve been going back to The Depreciation Guild and Computer Data a lot too, it’s so enjoyable and always manages to lift my mood up while working.
This coming week is going to fly by faster than the entirety of Circuit Breaker — we are, after all, knee-deep in the General Elections and we’re only days away from voting.
I’m not going to be parroting voting issues here — that’s not what you’re here for — but the information overload is certainly an effect of this pivotal period, and there’s nothing better than stepping away from your laptop and diving into your record collection for a good minute.
This week, Nick and Leon have rounded up crates of records that shine in jazz excellence, unsurprisingly, and there’s a healthy mix of current releases and reissues to dig into to get the blood flowing (if you’re not already watching Hammer Time wink wink).
The resurgence of Sachiko Kanenobu is one of the more heartening consequences of our YouTube crate-digger age — unearthed obscure treasures, forgotten over the decades, uploaded for online consumption. Cue “where has this music been all my life” comments from gobsmacked YouTube users.
The Japanese musician released Misora in 1972, amidst a wave of poetic singer-songwriters discovering their voice in a post-war society rebuilding itself (the compilation Even A Tree Can Shed Tears is the perfect gateway into that scene). Misora remained her only full-length effort, recorded with the creative assistance of peers Haruomi Hosono and Eiichi Ohtaki, but it had only flourished in appreciation within secretive circles of music nerds outside of Japan. While it has been reissued in limited quantities over the years, it’s gotten its proper due with Light in the Attic.
Now that Kanenobu has enjoyed a renewed path in her career, performing select shows around the world and attaining a young, newer audience, now’s a good a time as any to delve into the earthy magic of Misora, a gentle and sweeping album so captivating at any time of day. This LITA reissue comes prepared with an extensive interview with her.
Jazz organ is remarkably enjoyable, but with its historic association with the marketable genre tag known as “easy listening”, it’s also a bit of a challenge to find the musicians who creatively pushed jazz forward with the instrument. We already covered the inimitable Dr. Lonnie Smith in the previous roundup, but Gilles Peterson’s Arc Records has made the search much easier with this new reissue.
A labor of love from “Queen of the organ” Shirley Scott, a prolific and highly versatile jazz musician and composer, One For Me glides along smoothly — even as the performances recorded herein come across less like rehearsed parts and more like collaborative explorations. Scott uses the organ and mellotron with a deft textural touch, allowing saxophonist Harold Vick to occupy the space with terrific immediacy. This is undoubtedly Scott’s album, with maximized creative control on a recording fully self-funded, after years of working on projects subjugated by stuffy (and sexist) record executives. Let her words speak for themselves:
“All of the music recorded in this album is both personal and very purposeful to me because it is the first step toward honesty about what and how I want to play. I’ve done a lot of other albums, a lot of different ways for a lot of different people and now, with the help of the Creator, in whom all things are possible, I have done one for me too.”
Sault remains a mystery — all we know about them is they reside in the UK and are led by artist Dean “Inflo” Josiah — but when the music’s this gripping, the allure is merely a bonus.
5 and 7 are two albums the group dropped in succession last year, a collection of immensely spirited funk tunes that feel transported straight out of the 1970s, with an urgency that’s eternally relevant. The group’s newest album, Untitled (Black Is), was only just released and it’s an essential listen for these times.
While that title might take a while to be issued on wax, 5 and 7 are albums you should immerse yourself with while there’s still time — they’re only going to get bigger, so now’s the perfect chance to get a headstart.
No other album quite personified the freewheeling energy of 2016 (well most of it) like 99.9%, the infectious debut of producer Kaytranada. The only producer bold enough then to harness the power of Craig David, Anderson .Paak and BADBADNOTGOOD on a Gal Costa-sampling dance album — seriously, what a visionary — this album still slaps, but Bubba arrives in 2020 a different beast.
The focus remains on the dancefloor, but the techniques Kaytranada employs are different. Gone are the days of being a solitary producer hunched over his laptop — Bubba is a piece of work birthed from a fully-fledged studio, and the tracks are the result of extensive in-person collaborations (the list includes Kali Uchis, Masego, Mick Jenkins, Charlotte Day Wilson, amongst others).
It’s a dense R&B and afrobeat-inflected album to groove to, and it works equally as an enveloping listening experience and a perfect mood-setter for any ordinary work task.
While International Anthem hosts a vast array of exciting young artists, many of whom reside in Chicago, a name like Jeff Parker sticks out not just for his veteran status but for his immense contribution to the city’s flourishing underground music scene.
A member of pivotal post-rock group Tortoise, Parker has also contributed to the experimental sounds of Chicago — notably with label Thrill Jockey Records — and with his new home, he’s advanced his own musical language. It doesn’t get any better than Suite for Max Brown, where he effortlessly bridges the sounds of older jazz and funk with avant-garde digital techniques he’s amassed over his career. The final product is a constant conversation between what he dubs as “man vs machine”, with live improvisations backed by intuitive drum loops.
For an album personally dedicated to his mother, it’s expectedly tender and heartfelt, and unexpectedly short: the 39 minutes will be over before you know it. Buy it on vinyl and cherish every minute it’s on your turntable.
The mention of the musicians involved might suggest a heady or complex experience listening to The Other Fantasy, but that is far from the real thing.
A recent phenomenon that you can find online are musicians inspired by Weather Channel music — essentially, the smoothest jazz music you can conjure, inflected by celestial synths, and a pressing need to relax. It’s corporate mood music of the highest order, and this space is explored by a collective of seasoned jazz musicians in The Other Fantasy.
There’s lots of slap bass and flute magic to dig into here — but the centrepiece on this EP is ‘A Palm in the Closet’, which dares you to manifest the island breeze in your bedroom, even if it faces a multi-storey carpark.
Yes, you’re not seeing things — that album title looks familiar, but it’s not the only thing this project shares with A Seat at the Table, the 2016 opus by Solange.
The Koreatown Oddity is an MC, producer, and a familiar face in the indie rap scene of Los Angeles. He’s notably made contact with the larger hip-hop community on his latest effort Little Dominiques Nosebleed, a raw and focused documentation on life in his neighborhood.
This little curio, however, was initially issued on cassette to small and captive fanfare in 2018. It’s a distillation of the impact Solange’s masterwork had on him — reworking snippets of the album into a brisk 19-minute beat tape. Now pressed on fancy coke bottle clear vinyl, The Koreatown Oddity unearths new magic from an album already teeming with boundless depths.
We treat the experience of listening to music as something restorative, but Angel Bat Dawid believes it’s even greater. “The Egyptians used the power of sound to move objects. I believe that sound technology can move things. Sound is more powerful than we can imagine,” she speaks in a conversation with writer Emma Warren you must read.
It’s hard not to get engulfed by the world she meticulously crafts here, and the effect of listening to The Oracle feels like intruding into a spiritually-powered improvised jam session. The disbelief will set in once you read that Bat Dawid recorded every instrument on this album, save for a drum track on ‘Cape Town’. Bat Dawid masterfully uses catharsis as a foundation, and The Oracle ends up an intense and unfettered meditation on Black identity.
International Anthem’s discography is an extraordinary deep dive into modern jazz and improvised music — The Analog Vault’s got a few others stocked too — and the heights The Oracle achieves tower like a cathedral all on their own. Do not miss!!
The good people at The Analog Vault — the breezy selectors with the most immaculate tastes in town, Leon and Nick — have already got you covered over social media with their new arrivals.
Every few weeks, there’s always a new shipment of wax goodies to be discovered, and it’s no surprise that the choices cover so many bases that sorting through them all might be a tad overwhelming for some of you.
With this assumption, this is where I’ll be coming in, shining a light on just a handful of the stellar picks that the TAV team has brought in. If your post-CB budget is tight — whose isn’t, really? — this is exactly the place to be. (plus the store’s extended their 15% discount if that helps)
It only feels like yesterday when a certain 27-year-old who went by the enigmatic name of Ghostpoet shook the UK with Peanut Butter Blues & Melancholy, an unwieldy title for an album brimming with brisk and captivating wordplay, courtesy of Ghostpoet’s spoken word-style delivery.
Even till today, Ghostpoet refuses to go by genre — he once defiantly called it a “marketing tool”, and frankly he’s got a point there — but he’s been steadfast in waxing lyrical about despair and malaise in everyday life that rarely feels tiring.
While his early work is rooted in a charming late-night combination of fluctuating hi-hats and aquatic synths, with a persistent low-end punctuating each line of wisdom, his latest album I Grow Tired But Dare Not Fall Asleep is driven entirely by the analog, with angular post-punk guitar work that has added a new dimension to his body of work.
Recommended if you like: King Krule, later-day Nick Cave and the Bad Seeds, Sleaford Mods, Radiohead (especially if you love In Rainbows)
A country with a rich and deep trove of psych-rock treasures like Turkey has got record collectors and musicians worldwide entranced. Altin Gun has taken their niche interest into overdrive. They’re a beacon for a new breed of Anatolian rock, where dusty psych-rock collides with traditional Turkish folk music (if you want to dig further, archival label Finders Keepers is a good start to explore some of the genre’s high points).
Based in the Netherlands, Altin Gun places the spotlight back on Turkey’s folk songbook, with expressive new arrangements of songs frequently overlooked outside of the country’s borders. Gece is their second album, and the band draws upon an even more expansive palette of sounds: the percussive magic of ‘Leyla’ resembles most closely to the hypnotic grit that first inspired the band, but album closer ‘Süpürgesi Yoncadan’ is a propulsive and playful synth-pop ditty.
The only thing that unites these disparate sounds are their burning compatibility for the dance floor — while you’re still stuck in your bedroom, you might as well fashion one just for this album anyway.
RIYL: Selda, King Gizzard and the Lizard Wizard, Goat, Kikagaku Moyo
Nope, it’s not Ice Green Tea (this joke must be tired by now so allow us to make it for thevery last time, we promise), but Greentea Peng’s status has been brewing in the British R&B underground for a while now.
Since 2019, the name has been synonymous with a moody, playlist-friendly form of the genre, one that’s been given a robust platform through video series Colors(Greentea Peng’s appearance has raked over 5 million views alone).
Listening to the aptly-named Rising, it’s really not hard to see why: Greentea is remarkably skillful in allowing her voice to drift cooly overproduction that never overpowers her. Even as countless R&B singers attempt to project a detached presence to their work, Greentea never falters in making her intimate words sound impassioned. This long-awaited pressing on translucent green vinyl has only been out for a few months, but it’s unlikely to last on the shelves for long.
It’s no surprise that with 2017-2019 (also available in-store), Against All Logic has excelled once again. Beginning as an outlet for Nicolas Jaar’s scattered rhythmic blueprints, inspired by the bygone days of Chicago house and disco, the project is now an engaging facet of his ever-growing discography.
But unlike the nostalgic sounds of his first album, the AAL of 2020 is a much tougher beast, and this 12” single is the perfect launchpad into his harsh vision of the dancefloor. Featuring two original tracks, not included in the 3LP album, Jaar flexes his array of distorted, militant synth pads with the help of music iconoclasts Lydia Lunch and FKA Twigs, along with mysterious contributor Estado Unido.
Pressed on a generous 45rpm spread, this single alone will give your speakers a proper workout.
Over the past three years alone, independent labels all over the world have been generous in excavating master tapes of old Japanese albums for new reissues that rival $100+ original pressings.
This ongoing campaign has only revealed a sliver of the creative spark that thrived in the country from the 1970s to the present. The genre of “city pop” alone, first discovered by YouTube sleuths and vaporwave producers, has engaged an entirely new (and wholly international) generation of listeners, which we’ll get to in a bit. Meanwhile, artists instilling their own revolutionary takes on jazz, ambient, folk and new wave have been dutifully celebrated, but an artist like Masumi Hara stands as a unique example crossing these already-malleable boundaries.
4 X A Dream is a heady combination of chunky dub basslines, icy synths, ghostly tribal percussions and a commanding performance by the multi-media artist. It’s unlike anything you’ve heard, really, but Hara manages to be playful enough for these songs to be enchanting upon first listen. This masterfully-crafted reissue by Numero Group is the perfect gateway into his work.
With the tumultuous events of now, it’s imperative to plug out once in a while for your mental health. You’ll need a proper soundtrack for these fleeting periods, and it has arrived in this intoxicating 2LP package.
A collaboration between two esteemed Japanese musicians, producer Masanori Ikeda and keyboard player Takumi Kaneko, this self-titled effort is immediately evocative of 80s jazz-fusion — behaving like a distant counterpart of the breezy Pacific — but with a pronounced sensibility for modern house and Balearic sounds, complete with steel pans and lightweight piano chords. Simply put, if Pacific was made for fancy yachts, Coastlines is primed for the beach clubs.
This is an album best experienced cranked up with the window open and a tropical cocktail on hand. Trust us when we say this album has the power to gently nudge off the weight of the world, even if it’s just for an hour.
Japan going three-for-three on this list, unsurprisingly. And it is with Light In The Attic, whose ongoing Japan Archival Series have led the way in unearthing Japan’s heritage of eclectic and groundbreaking music.
The first Pacific Breeze compilation compiled treasures across the city pop spectrum — from infectious boogie tunes to offbeat studio experiments — and Pacific Breeze 2 is evidence that one release was simply not enough to capture its range. True enough, this edition tells a story of its own, beginning with artists like Bread & Butter and Eiichi Ohtaki — both rooted in the summery folk-pop sounds of the Laurel Canyon — who helped lay the foundations for the nebulous genre.
Across the board, there’s plenty to dig into. While city pop favorites like Anri, Kikuchi Momoko, Piper, and Junko Ohashi are present, the tracklist offer delights from Sadistics (who emerged from the ashes of Sadistic Mika Band, one of the country’s biggest glam rock outfits) and Mystery Kindaichi Band (a terrific one-off disco/funk project with little in the way of backstory), amongst other iconoclasts.
RIYL: If the first Pacific Breeze was your thing, this is simply unmissable.
A distinct and unwavering vision is the calling card for Moses Sumney, whose debut Aromanticism found an immediate audience in 2017.
Grae is something else, a two-part project of unfiltered ambition — the old saying goes that artists have their entire lives to prepare for their first album, and 2-3 years for their second. Sumney evidently made every waking minute of those years count to pour his heart and soul into this. The list of collaborators is breathtaking too: James Blake, Jill Scott, Daniel Lopatin, Shabaka Hutchings, Thundercat, Nubya Garcia, FKJ, Xiu Xiu’s Jamie Stewart — and that’s barely covering the whole lot of talent here.
The album is full of broad strokes of musical delights, with a distinct art rock sound that shapeshifts with inflections of strings, flutes, synths, and even organs. If you caught Sumney at Laneway 2018 and saw a glimpse of his potential, trust us when we say it’s beautifully realized here.
RIYL: Sufjan Stevens, Janelle Monae, Solange, James Blake
To explore the long and illustrious body of work that is Blue Note’s is to learn the history of jazz.
One would easily venture for the classics: you could already start and indulge in John Coltrane’s career-defining Blue Train, a masterpiece of hard bop as they come. Or you could expand your horizons with Eric Dolphy’s revolutionary Out to Lunch!, which nudged the label into the fringes of the avant-garde jazz world.
Or, if you’re recovering from a long day, you could sink into the tranquil and adventurous Maiden Voyage, which allowed a 25-year-old Herbie Hancock to establish his name outside of his work in Miles Davis’ “second great quintet” of the 1960s. And those barely skim the surface of the label’s most celebrated oeuvre.
But as Blue Note recently commemorated 80 years as a record label, the libations were preceded by a deep pondering over their output. Don Was, president of Blue Note Records since 2012, was tasked with recalibrating the label’s focus after years of releases that veered toward adult contemporary pop — album releases by Norah Jones, Priscilla Ahn and The Bird and the Bee, while distant from the world of jazz, were commercial hits for them.
All the while, classic titles have been dutifully kept in print with digital remasters, replete with enticing bonus tracks, and premium vinyl releases that appealed to the die-hard audiophiles, produced with the help of boutique label Music Matters.
Was, an established musician in his own right, took his newly-minted post with zeal by signing newer artists. Amongst the names he’s secured and nurtured are Robert Glasper (he once described Glasper’s 2012 genre-bending odyssey Black Radio as “everything I want to do at Blue Note”, Jose James and Ambrose Akinmusire, and the label’s taken on recent efforts by younger talents like Tom Misch & Yussef Dayes, Agnes Obel and GoGo Penguin too.
He was also eager to place a spotlight on the label’s lesser-known works, and it is with the Tone Poet series that that latter vision is fulfilled, 180g vinyl and tipped-on Stoughton jackets included. At a glance, the Tone Poet series might appear as yet another vinyl reissue series marketed by a legacy label — and, sure, it is — but the inner workings behind each title make this series a remarkable standout for any jazz lover and curious music collector.
It’s also important to note that with the Tone Poet project, Blue Note was not able to achieve this alone. Enter Joe Harley.
Harley was previously an ally in their vinyl reissue campaign as producer at Music Matters. The label has made it a practice to source original master tapes for any title, cutting brand new vinyl through a strict all-analog method. Those buzzwords are enough to light a fire in any 50-year-old vinyl purist, and Was has repeatedly proclaimed that the label had “cracked the Blue Note code”.
With the Tone Poet series, Harley and his crew — which includes prolific mastering engineer Kevin Gray — brought over their analog rituals from Music Matters, as instructed by Was. “[He] asked about every aspect of production, from the mastering, to the plating, pressing and jackets,” Harley writes in an essay.
“He literally said, “however you do it for Music Matters, that’s how we want to do it here. And I want you to help us achieve that.” How could I say no???”
The process of returning to the original master tapes — a meticulous and time-consuming process embraced by the likes of Mobile Fidelity Sound Labs and Analogue Productions — is usually achieved in hopes to replicate the listening experience offered by original pressings, many of which are now scarce and continually in-demand by collectors. For Blue Note, however, they have had to make adjustments for the modern age.
As Harley explains in this video, Rudy Van Gelder, iconic Blue Note engineer, had made technical concessions for listeners in the 1950s/1960s when cutting their records, keeping in mind that most of them played their precious Blue Notes on consumer-grade turntables (ie. ones with tonearms closer to the build and quality of Crosleys than Pro-Jects).
“He would roll the low-end and bump at 90 or 100 [Hz],” Harley elaborates. “So you hear some bass…but the kind of stuff that would get a stylus in trouble and make a record skip? He would roll off.”
Now, with unfettered access to the Blue Note vaults complete with engineering notes by Van Gelder, Harley is able to take full advantage of the frequency range that a studio master tape can provide. Theoretically, these titles are then able to offer audio characteristics deemed more accurate when compared to the original pressings (unless you’re aching for the signature RVG “sound”, in which case, happy spending $200+). The reviews have spoken, and they’re glowing.
The gatefold jackets printed for each title come with extensive liner notes and restored photos, issued to perfection by Stoughton Printing, recreating the tip-on look of the classic Blue Note sleeve. While the production process remains the same, what distinguishes the Tone Poet project from anything Harley has done at Music Matters is curation.
With input from Was, the titles selected are considered lesser-known and under-appreciated within the grander scope of Blue Note’s story. So while you may not be able to find a souped-up edition of Maiden Voyage in this series, you can explore Hancock’s The Prisoner, a mournful, socially-conscious effort that the musician deems “closer to the real me… than on any other previous one.”
The bulk of Music Matters’ work with Blue Note has consisted of mostly hard bop classics, but with Tone Poet, the wider breadth of styles and sounds that Blue Note has offered over the decades is slowly being unearthed. Fortunately, the ongoing campaign began in early 2019, with over 20 titles now available. Here are some of our picks to get you started.
The work of Dr. Lonnie Smith, first heralded by his 1969 Blue Note debut Think!, is testament to an imaginative fusion of soul, funk and jazz. All In My Mind is a celebration of his work, recorded live in 2017 at his 75th birthday celebration.
While this Tone Poet edition is a streamlined version of the digital release, it cherrypicks the most intriguing performances of that night. Dr. Smith has made his name with funky reworks that tackled songs like Hugh Masekela’s ‘Son of Ice Bag’ and Carole King’s ‘I Feel the Earth Move’, and this set was marked by spirited renditions of compositions by Wayne Shorter, Freddie Hubbard and Paul Simon.
With each track averaging at 8-9 mins, this is a live album to delve into — the vitality of Dr. Smith captured herein, at age 75, will blow you away.
An important chapter in the advent of post-bop in the early 1960s, Black Fire was the sophomore effort by a 32-year-old Andrew Hill, but it quickly established the pianist as a singular voice that veered towards the avant-garde.
While Point of Departure and Compulsion!!!! are celebrated by followers as Hill’s deep plunge into the abstract, Black Fire had already broken ground by challenging bebop conventions. With the help of saxophonist Joe Henderson, bassist Richard Davis, and drummer Roy Haynes, Hill draws upon the unhinged within familiar form and structure.
It’s the kind of album that will compel you to sit up and pay close attention — more than 50 years later, it’s still standing strong.
Within the first few seconds of the first track ‘Ode to Billie Joe’, you might already stumble upon something vaguely familiar.
The song kicks off with a leisurely drum break, one that has been sampled across hip-hop — from the beat that pushes Kanye West’s ‘Jesus Walks’ to full-throttle, to the serene moments that add to the uniform weirdness of A$AP Rocky’s ‘L$D’, it’s as iconic as they come.
Mr. Shing-A-Ling is far and beyond the most playful entry in this list — although sharing a spiritual kinship with All In My Mind, as it prominently features the smooth organ work of Dr. Liston Smith himself — and it’s a terrific party starter with its embrace of hard-knuckled funk grooves and gliding saxophone solos.
Duke Ellington, Max Roach & Charles Mingus -Money Jungle
A jazz album that rarely gets the respect it deserves, Money Jungle is the coalescing of three disparate and brilliant minds — the elder statesman Duke Ellington, aged 63 at time of recording, banded together with Charles Mingus, an avant-garde visionary with a fiery body of work, and bebop pioneer Max Roach.
What transpires is a collision still unmatched to this day. The recording sessions were denoted by tension, and the performances result in a grittier experience than most of Ellington’s lyrical discography.
For decades, however, the resulting recordings have been hindered by a sub-par mix — with distortion and imaging problems that bury the performances at crucial moments — so the Tone Poet reissue arrives as a godsend. It’s a significantly cleaner mix with added clarity and heft, especially with respect towards Roach’s fiery and polyrhythmic drum work.
Cassandra Wilson - Glamoured
Cassandra Wilson has the distinction of being one of the few contemporary voices put to wax in this series, and it’s not hard to see why.
Her 2003 effort Glamoured is a consolidation of Wilson’s powers, imbuing a mix of originals and covers — as wide as Bob Dylan’s ‘Lay Lady Lay’ to the Stax Records staple ‘If Loving You Is Wrong’ — with the same kind of languid energy that makes it a hypnotic listen. The vocalist is joined by the likes of multi-instrumentalist Fabrizio Sotti, who sat in the producer’s seat alongside Wilson, and drummer Terri Lyne Carrington, whose distinguished solo work includes a reimagining of Money Jungle.
Now a relic of Blue Note’s adult contemporary era, it’s concrete proof that the label has never slept at the wheel, just attempting different routes.
You have probably seen their stickers lying around the store and have been wondering who See You At One (Aka SYAO) is - They are a local collective with strong ties with the music and skate culture, focusing their energy on the spirit of creation, whether be it through producing clothes, uploading videos or feeding the experiential internet source with fresh ideas. During these times, SYAO has also been supporting the local community by showcasing different creatives on their social media platforms and also releasing a monthly mix called Frequency, where they get artists, producers, and DJs to curate a musical story every month!
Here are some of the mixes we've been diggin'
In this edition of Select's, we decided to hit up the elusive people from See You At Oneto pick out 6 titles from our Online Catalog that is sure to nourish your curious palette. The picks highlight some of the forgotten gems at the vault ranging from Doom, Spiritual Jazz, New-wave Funk, and Leftfield Electronica, truly representing their musical mood as a collective. All picks here are hypnotic in some way and we suggest taking the time to zone into each album at your own pace :) Check it out!
“Don’t you want music you could just boogie to? This is it. Never found the lyrics to the songs but they sound kinda sinister despite the feel-good tunes… Also, the guys in the band were called Billy Jaguar and Gel Valiery. After Valiery died, Jaguar became a priest, making gospel music.”
“You’ll need earphones/headphones for this because if your ears like tickling, this is the trippy record for you. Each sound has so much clarity, panning in and out of your left and right speakers. Every song is a sonic version of an M.C. Escher illusion…you just don’t know where a track is headed until it springs on you! ”
“A lot of songs on the album were previously unreleased. It’s similar to the Foodman album in that it tickles your ears but has a ‘reflective’ quality to it thanks to the synths. The journal that came with the release is also worth a read, which Cowley describes as “graphic accounts of one man’s sex life”.
“The album sounds as if Voigt recorded a party his neighbors were having, and he’s doing that from his bedroom because he wasn’t invited. The reverb makes it so hypnotic that the recording sounds better than the actual party. If Wagner and Schoenberg went to the clubs in late 90s Germany, this is probably what they would come up with—and indeed some of the music samples their work.”
“It’s brooding, progressive, intoxicating drone/noise territory—and the beautiful album cover pretty much illustrates the content quite accurately. It’s like a soundtrack to a death march heading towards the peak of a mountain... appropriate given the situation of the world.”
“The way she plays the harp on this record is out of this world! Or, ahem, transcendent (you can hear her plucking the shit out of the strings at some point). It’s amazing harmonic stuff and although the arrangements aren’t as grand as it was in her previous albums it’s a solid record. When you’re in need of spiritual rejuvenation, have a listen.”
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