Suche:the consolation

Rich blend of Brazilian samba and Afro percussion, more like the jazz of Getz/Gilberto than the bossa nova of, say, Sergio Mendes and Brasil '66. An exquisite album, that stretches the boundaries of Bossa Nova.

2023 Repress

Reiko Kudo first debuted on the Tokyo underground music scene in 1980 with NOISE, a duo which apart from herself under her then maiden name Reiko Omura on voice, guitar and trumpet featured Tori Kudo on organ. Their only album TENNO (1980 on Engel) is probably one of the most outstanding and uncompromising records of all time.

Like other pioneering female producers from Japan such as NON (of NON BAND), PHEW and HACO, who had all begun their startling careers in the early days of the japanese Punk era, Reiko Kudo can surely be regarded as one of the most unique, uncategorisable and daring voices in the entire field of electronic and experimental music ever.

RICE FIELD SLOWLY RIPING IN THE NIGHT was REIKO KUDO's second album under her own name. It features TORI KUDO (MAHER SHALAL HASH BAZ) and SAYA and TAKASHI UENO (TENNISCOATS) on various instruments. The recordings took place in 2000 at Reiko' s and Tori's house in the rural surroundings of Shikoku island.

All recorded music on this album sounds like it originates in a parallel dimension where time and key signatures simply don't exist, Some might describe this as outsider music, but this doesn't really begin to do justice to the quality of the tracks, there is nothing accidental or forced here, this is simply music created in a very different way. Yet again REIKO KUDO had conceived of something utterly beautiful.

"After producing the album "Souvenir de mauve" with Maher Shalal Hash Baz which we released on our label Majikick, the idea came to us, to release Reiko Kudo's work. For Reiko's work, we brought our recording equipment from Tokyo to Shikoku and recorded the entire album at her house.

The piano was positioned in a room with a high ceiling. We would set up our small recording equipment in the room and started to record. The basic tracks were recorded without any rehearsal and just a few overdubs were added on top of it. To have a distant sound on the recording, Tori played trumpet in the next room. The choir was standing outside the house, singing "Enya-totto, enya-totto" through the open window. It was early spring, I remember that it was still a bit cold and the members of the choir were freezing outside.

Reiko plays only at certain times of the day, so that we were able to complete only two or three recordings a day. Therefore we had plenty of free time. We went to a hot spring, to a cafe, or we tried pottery on a spinning wheel at Tori's workshop. It was a very rewarding time.

When this album was finished, we brought it to her to listen to. She said happily "I think this is the best work I have ever done." We felt that all our efforts were richly rewarded. Secretly, we thought the same, so we are delighted that this album will be re-issued." - Saya and Ueno (Tenniscoats), Tokyo 2018

Originally released on Majikick Records, Japan, 2000 Restauration and mastering by Detlef Funder at Paraschall Mastering, Düsseldorf. Vinylcut at Calyx, Berlin Translation by Miki Yui and Claus Laufenburg. Many thanks to Reiko Kudo, Tori Kudo, Saya and Takashi Ueno, Satoru Higashiseto.

Repressed and note new dealer price. The members of Explosions in the Sky may just be four soft-spoken guys from Texas, but on Those Who Tell the Truth Shall Die, Those Who Tell the Truth Shall Live Forever they simply tear everything apart. Combining influences from classic rock to metal to goth, the band creates instrumental soundscapes that can turn from all-out destruction to heartfelt, dreamy melodies in the blink of an eye. The result is similar to Mogwai and Godspeed a musical journey that leads listeners through the entire range of emotion without even needing words. "Greet Death" matches a crunchy Dinosaur Jr hook with warm Cure-esque bass grooves. "Moon Down" chimes and twists through ten minutes of calm night, leaving the listener with the feeling that something awesome is sure to happen. On "Have You Passed Through This Night?" one of the members of Explosions in the Sky ponders in a near-whispering Texas drawl the meaning of the world. What follows is like the climax of a tense, mind-blowing movie, driven by relentless guitars and a thundering Master of puppets Metallica drum march. "Poor Man's Memory" follows, offering some consolation in a sentimental melody. The album ends with the grand, 12-minute-long "With Tired Eyes, Tired Minds, Tired Souls, We Slept," a song that moves from Sonic Youth to Joy Division to Explosions in the Sky. Those Who Tell the Truth Shall Die, Those Who Tell the Truth Shall Live Forever is nothing short of awe-inspiring and was one of the best records of 2001. A1 Greet Death A2 Yasmin The Light A3 The Moon Is Down B1 Have You Passed Through This Night? B2 A Poor Man's Memory B3 With Tired Eyes, Tired Minds, Tired Souls, We Slept

Tre D'ambrocia - vibraphonist and first tenor with Ben Pirani & The Means Of Production- steps to the lead microphone to deliver this charming, funky, ultra smooth two stepper. Closer & Love Is Gonna Let You Down were recorded by Pirani's former iteration Benjamin but Here they are reimagined and rearranged at a late night cool down tempo. Backed by The Means Of Production Tre draws on his deep knowledge and musical experience, tapping into Jazz, Disco and even Musical Theater. on Closer D'ambrosia captures an innocent yet sophisticated mood, beckoning a love interest, gently, to come closer. Love Is Gonna Let You Down, a song of consolation pulses with a mighty heavy rhythm track while Tre's falsetto soars above. altogether a double sider for a night in or a night out

Remastered Deluxe-Ausgabe von Braids legendärem Album 'Frame & Canvas' (1998) zum 25-jährigen, ein genredefinierendes Grundnahrungsmittel und laut Rolling Stone US Rang #5 der Top40 Emo-Alben aller Zeiten. Im neuen Mix von Originalproduzent J. Robbins (The Promise Ring, Against Me!). Braids Einfluss auf zahlreiche Bands und DIY-Szenen, die in ihrem Gefolge entstanden sind, ist enorm und unbestritten. Silberfarbenes Vinyl im neuen Packaging mit zusätzlichen Linernotes von jedem einzelnen Bandmitglied.

Impatiently returning to the golden age of Ecuadorian musica national, this second round of retrievals is more of a selectors’ affair: less reverent, more free-flowing, with more twists and turns. There is no let-up in musical quality, maintaining the same judicious, heart-piercing balance between emotional desolation and dignified endurance, the same bitter-sweet play between affective excess and musical sublimity.

This time around, the woman steal the show. Laura and Mercedes Suasti were child stars, with an exclusive Radio Quito contract. Unlike nearly all the men here, they lived long and prospered: Mercedes died last year, at the age of 93. Gladys Viera and Olga Gutierrez both came to Ecuador from Argentina. To start, Gladys plugged the scandalous new Monokini swimwear; Olga performed for visiting British royalty in 1962. Olga was glamorous but tough. She would make little of the amputation of one of her legs: ‘I don’t sing with my leg.’ She is accompanied on our opener by quintessentially reeling, sultry musica national: haunted-house organ, twinkling xylophone, Guillermo Rodriguez’ heart-plucking guitar-playing, and lilting, dance-to-keep-from-crying double-bass. ‘Sometimes I think that you will leave me with no memories,’ she sings, ‘that you hold only disappointments in store for me… In the future your love will search me out, full of regret. By then it will be too late, there will be no consolation, only disappointment awaiting you.’

Other highlights include the two contributions of Orquesta Nacional: Ponchito Al Hombro, like an off-the-wall forerunner of the Love Unlimited Orchestra, beamed into the tropics from an unknowable time and space; and the tone poem Atahualpa, a mystical yumbo invoking Quito’s most ancient inhabitants, the Kichwa. Also the tremulous, gypsy-flavoured violin-playing of Raul Emiliani, who arrived in Quito from Italy, suffering PTSD from the Second World War; the inscrutable, sardonic experimentalism of organist Lucho Munoz; and the mooing and whistling of Toro Barroso — school of Lee Perry — in which a muddy bull dashes home to his darling chola, fearless, full of desire.

Lavishly presented, with a full-size, full-colour booklet, with transporting art-work and expert notes. Luminous sound, by way of Abbey Road, D&M and Pallas.

The latest album by Pomme, Consolation imposes itself, confident and determined to prove her as the important artist she is. Consolation is a joy that necessarily comes from a pain and its beautiful ashes. "Consolation" has been an enormous success, acclaimed by the media, it was released last August. On February 10, Pomme will release "Lot 2 consolation", the long-awaited reissue of his scrapbook. With its 5 new titles, Reviews and Ads – R2 and London Macadam.

With 'Parallel Light', AndrewWasylyk offers an alternative mix album to 2020's spiritual-jazz and neo-classical masterclass in melody, 'Fugitive Light And Themes Of Consolation'. This new LP, his third with Athens Of North Records, is as much a different perspective as a companion piece.

The ten songs still circle landscapes for meaning, channelling half-heard melodies and misremembered memories; caught somewhere between settling down and setting out towards the shining levels of the estuary and beyond. Each magnifying the bold, expansive arrangements of FL&TOC with layers are lifted and peeled away.

The soft-focus glow of gently pressed piano keys, the well and wash of strings and brass remain, but the deduction of instrumentation serves to highlight the ornate and offers comfort with this new found space. In the warmth reshaped, a romanticism illuminated.

At the essence of these reframed compositions Wasylyk's blue and gold, mellifluous refrains prevail. It's a seamless, sublime flow from a restless artists and an album quietly reawakened.

‘Hearing The Water Before Seeing The Falls’ is Andrew Wasylyk’s second LP for the esteemed Clay Pipe Music label. It sees the Scottish composer and producer reach for new ground, finding quietly sublime imagery in rich and immersive worlds; horizon-less oceans and limitless landscapes.

The initial seed of inspiration for this work was conceived as a commissioned response to ‘The World’s Edge’ exhibition, by American contemporary landscape photographer Thomas Joshua Cooper, at the National Galleries of Scotland.

Andrew journeyed with Cooper to Inchcolm Island in the Firth of Forth to learn of the artist’s practice. Specifically, his three decades of travel across five continents, capturing cardinal points and extreme locations surrounding the Atlantic Ocean. Many of which will be under water within 35 years as a result of the impact of our changing climate.

From the deep allure of the sea to the symbolism and folklore of flowers, a dreaming to leave or a longing to stay, “Hearing The Water Before Seeing The Falls” utilises the ideas behind TJC’s work as a point of departure. Exploring outwardly in search of a better understanding within, themes of longing, self-discovery, new parenthood and premonitions weave through a Wasylyk album of melodic succour.

In ‘Dreamt In The Current Of Leafless Winter’; ambiences and devotional bells are imbued with the visceral playing of saxophonist/composer Angus Fairbairn, aka Alabaster DePlume, whose unmistakable tone casts ethereal and impressionistic hues across this striking, long form opener.

Elsewhere, string phrases flourish in pockets between restrained drum groove and light-touch piano chords of ‘The Confluence’, conducted by Pete Harvey (Modern Studies). Harvey’s sonorous arrangements augmented Andrew’s ‘The Paralian’ (2019) and ‘Fugitive Light And Themes Of Consolation’ (2020). Again, they illuminate and articulate throughout this collection.

The arc of present and past is examined in ‘The Life Of Time’, featuring words and narration by Thomas Joshua Cooper himself. His rich, baritone transcends amongst a rolling piano motif, undulating violins and the mellifluous brass work of Rachel Simpson.

With ‘Truant In Gossamer’ a new absence is felt while synthesised arpeggios glide and intertwine with glistening harp in the cadence of a farewell vibraphone. Steadily, this luminous journey dissolves and comes to a remarkable end.

Previously described as a "spiritual-jazz salve bathed in the cinematic”, Andrew Wasylyk is accumulating a growing body of work. With this seven song suite he distills these ideas and offers perhaps his most bold record yet. ‘Hearing The Water Before Seeing The Falls’, the follow-up to 2021’s ‘Balgay Hill: Morning In Magnolia’, is framed in a hypnagogic fog of wonder and possibility. A place to shade your dreamtime in subtle colour.

1. Dreamt In The Current Of Leafless Winter 2. Hearing The Water Before Seeing The Falls 3. Years Beneath A Yarrow Moon 4. A Confluence 5. Dusk Above Delphinium Dew 6. The Life Of Time 7. Truant In Gossamer

LP on 180g white vinyl, standard sleeve, printed inner sleeve. 8 minimal is maximal salvos in 23 minutes that coalesce into a stun-blast soundtrack for today's shattered society. New York City's artistic skyline may have changed immeasurably since the last century, yet the minimalist post-punk/synth-pop duo vividly gouge into the city's immortal outsider spirit and underground cultural tropes, set against a pulsating backdrop of modern apocalypse. Laced with evocatively concise and lacerating lyrics delivered detached and deadpan, 'Closure's spine-chilling onslaught of towering guitar shrapnel, ethereal metallic synth melodies and cold electronic turbulence comes infused with shades of New Order and Jesus And Mary Chain; the kind of modern disco and post-punk grooves that pillaged New York clubs in the 80s. Inevitably, the penetrating spirit of New York electronic trailblazers Suicide haunts the new record with its subterranean gravitational pull, having previously manifested physically when the two-piece befriended the late Alan Vega - leading to collaborations, support spots and Artaud now co-curating the 'Vega Vault' of unreleased material and co-producing and mixing the 2021 lost 'Mutator'

Third album of this post-punk/avant-rock french project.

RIEN VIRGULE is before everything else musically, the meeting of four people, islands of desires, tentacles that embrace each other. Or “the meeting of a soldering iron and an iceberg, a pigeon asleep in a packet of chips, a smashed path in a debaptized city” (according to J. Burgun).

For 8 years, two albums and numerous concerts, they have been peddling a generous, graceful and cold, intensely vibrating music.

In a radical and deviant approach to Pop music, the classical structures of verse-chorus serve as a playground and experimentation, where rhythmic, melodic and noisy functions merge.

In June 2019, Jean-Marc Reilla passed away. His homemade instrumentarium and laughter continue to resonate for his loved ones, and his memory lives on in the music of RIEN VIRGULE that has become a trio.

Ichiko Aoba’s albums have only been available as expensive Japanese imports, until now. In November, Ba Da Bing will release Windswept Adan on 2xLP in North America, Europe and the United Kingdom, with deluxe packaging.

After creating her label, hermine, last year to celebrate her tenth
anniversary in music, Aoba released the most complex and rewarding
work of her career, 2020’s Windswept Adan. While audiences in
the west are only just learning she exists, her accomplishments are
unquestionable; she contributed to the soundtrack for The Legend of
Zelda: Link’s Awakening, was cited by Owen Pallett as an inspiration
(“I’ve never been so blindsided by a musician as I was by Ichiko
Aoba”), and has collaborated with the likes of Haruomi Hosono,
Cornelius (who met her only two years after she first picked up a
guitar and was blown away), Ryuichi Sakamoto, and recently Mac
DeMarco.
Ichiko Aoba’s iconic voice and classical guitar playing are
immediately recognizable, timeless sounds. Windswept Adan,
envisioned as a soundtrack for a fictional film, builds its own world with
sweeping co-production and arrangements from Taro Umebayashi,
which “recall the Wes Anderson scores of Mark Mothersbaugh or
the cinematographic swells of American composer Jherek Bischoff”
(Bandcamp). It’s the story of a young girl sent to the island of Adan, a
place where there are no words.
While international listeners of Aoba may not understand the words
she sings, and despite the central importance of lyrics in her writing,
it’s a testament to the power Aoba wields that one can resonate so
deeply with her work. No matter the breadth of her sonic palette, and
on Adan her scope is as wide and encompassing as Joanna Newsom’s
on Have One On Me, Aoba manifests an intimacy that makes one feel
in the room with her.
Ichiko Aoba’s work gained greater exposure in the past year as the
need for comfort grew while the world sequestered in solitude. She
has a rare musical gift that is matched only by her ability to hone it
into meticulous craft. Her music embraces and elevates alone time to a
generous and tranquil place. In it, listeners are invited to feel a sense of
consolation and possibility. The magic she imparts yields articles like
“Ichiko Aoba and the emotion of space during the pandemic;” in other
words, her effect is singular.

Léonie Pernet's second album Le Cirque de Consolation, to be released November 19th on InFiné & CryBaby, inhabits a world where borders dissolve and everyone makes their own unique and singular utopia. Hereby, the record questions the links between pop music, African cultures and electronic music, neo-classical music or the role of voice, whether human or synthetic. Sophomore albums can be a painful process for an artist - how refreshing it is to hear one so decidedly optimistic.

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The sought after whirlwind of French Pop that exploded onto the scene with her debut "Crave", Leonie Pernet, returns with her second album, "Le Circque de Consolation", a sort of double negative of her first. While the yearning that sat at the center of "Crave"might not have been resolved, the young multi-instrumentalist and singer has found a new perspective - a more open and positive outlook on her own life and work. Perhaps telling, then, that the title was the first element of the album to exist: as it is and has always been a journey of personal (and collective) consolation first, a musical confrontation with the self.

"This record parallels my life's journey," confirms Léonie, "it reflects what has happened in my life since 'Crave' came out and how I feel today. There's still a lot of melancholy, but a lot more sunshine and light. In four years, I've become sober, which has saved me; I've worked a lot on my voice, which is a part of a desire to speak, to address my audience more directly, and also a more pronounced pop desire." In line with her new-found "openness", Leonie invites another musician into her creative process for the first time on "Le Cirque de Consolation": Jean Sylvain le Gouic, who lended his coproduction and perspective to her, while Leonie still plays almost all instruments herself with an astounding prowess.

Leonie's voice oozes with a new-found self-confidence and takes center stage amidst eclectic, distinctively fun and open-minded production. Sometimes she sings in English, mostly in French: "I worked a lot on my voice," confirms Léonie, "I didn't dare to sing before, neither live, nor on record, nor in the studio." Surrounding her astounding, intoxicating voice are forays into any direction imaginable: from harsh, experimental electronics to the more sombre, organic and quiet moments - and everywhere, there is the vision of Africa, (also Middle East) it's many sonic gifts and cultures.

Leonie has found a universal utopia that she craves for - a musical, cultural amalgamation that is decidedly non-western, political and poetic, rooted in self-discovery and the connection with other humans: African and oriental percussion, synthesizers, drum-machines; Léonie mixes genres and instruments with ease and precision. The French novelist and philosopher Édouard Glissant - whose work and writing had a big influence on Pernet - coined the term "Creolization ", the "bringing together of several cultures or at least several elements of distinct cultures, in one part of the world, resulting in new data, totally unpredictable in relation to the sum or the simple synthesis of these elements."

From "Hard Billy ", a techno-influenced rebellious anthem, to "Les Chants de Maldoror," a club and dance song propelled forward by feverish derboukas, to the deeply moving "A rebours" and its Afro-electronic rock. Léonie Pernet inhabits a world where borders dissolve and everyone makes their own unique and singular utopia. Hereby, the record questions the links between pop music, African cultures and electronic music (Intérieur Négro), neo-classical music (Le Cirque de consolation, Dandelion), or the place of the voice, whether human or synthetic as in the atmospheric "Vowel". Sophomore albums can be a painful process for an artist - how refreshing it is to hear one so decidedly optimistic.

Tape

The arcane enigma from the caucasian mountains that is Natalie Beridze, treats us with a reflective concept album, her 9th solo album, focussing on buried chapters in her own work history.

“I sought after material, piled up on my old hard drives; - various sound debris, recorded and produced in the past. I recycled them beyond recognition and fudged them together into new samples to compose this album.

Mapping Debris is a term used during an investigation of a plane crash.
Special agency collects millions of infinite small pieces of shattered metal and wiring from the crash site. They later try to reconstruct an original fuselage of the plane from assembled debris, in order to recreate its story and reveal the reason that lead up to the catastrophe.



Mapping Debris is a manifestation of dematerialization in physical domain and time: shedding skin turning into dust, decaying objects, corrosion, atrophy, rot, nonsense and factual forgetfulness, which mirrors chilling fear of perishing, losing integrity, memory of events, images, smells and sensation of touch of those, who have already perished in their earthly archetype.
Yet in the aftermath of realization, one no longer dwells in colossal dead weight of inevitability of the end. The pattern perishing has a golden thread on one end - the one that makes us dwell in ceaseless possibility of rebirth, translation and remembrance.

This album is a continuation of series of works I have dedicated to my parents lives, as well as their death...”

It is an intricate poetic net one enters while surrendering to Natalies music. The spiky grit and her heartwarming, harmonic swashes that touch you like a hug, belong inseparably together and spread that multilayerd consolation, manifesting the force of music in its most glistening form. (Thomas Fehlmann/ Natalie Beridze)

Songs of Comfort & Hope is inspired by the series of recorded-at-home musical offerings that Yo-Yo Ma began sharing in the first days of the COVID-19 lockdown in the United States. Throughout the spring and summer, Ma’s #SongsofComfort grew from a self-shot video of Antonín Dvořák’s “Goin’ Home” into a worldwide effort that has reached more than 20 million people.

Ma and longtime collaborator Kathryn Stott mark the next chapter in the project with this brand new album, offering consolation and connection in the face of fear and isolation. The album includes 21 new recordings, which span modern arrangements of traditional folk tunes, canonical pop songs, jazz standards, and mainstays from the western classical repertoire. Among the new takes on old favorites are Pulitzer Prize® winner Caroline Shaw’s artful and eloquently arranged “Shenandoah”; Australian composer Harry Sdraulig’s “Fantasia on Waltzing Matilda”; pianist Stephen Hough’s lush arrangement of “Scarborough Fair”, and two-time Academy® Award-nominated icon Jorge Calandrelli’s re-imagining of a pair of songbook treasures: “We’ll Meet Again” by Ross Parker and Hughie Charles, and Violeta Parra’s “Gracias a la Vida.”

Yo-Yo Ma and Kathryn Stott share the warmth of decades of music making again with Songs of Comfort & Hope, offering audiences new paths into treasured musical memories and a few notes of hope for a better future.

Slowly but surely, the Dom Trojga saga continues, and there could hardly be a more fitting way to start off its next chapter than with jamaszka FT's untitled extended play offering. Conceived and executed entirely during lockdown rule, the record is a pointed expression of the angst and confusion that we all fell prey to - aimed at a dancefloor that was not to be, yet delivered with a gripping honesty that in itself offers consolation. Difficult to pinpoint stylistically, the music shifts from dense to sparse, with hazy un-rave anthems, hints of fourth-world minimalism and hazy, dreamscape echoes - all in keeping with the protean genius of jamaszka FT himself, who remains one of the most spontaneous, and idiosyncratic, if somewhat cryptic, artists that populate our scene. In keeping with this very aura, we had Miko?aj Moskal take care of the cover art - a distinctive stylist if there ever was one, his work constitutes a language of its own, traceable across his incredible output. Play this record to your friends and family and keep hope alive.

Songs of Comfort & Hope is inspired by the series of recorded-at-home musical offerings that Yo-Yo Ma began sharing in the first days of the COVID-19 lockdown in the United States. Throughout the spring and summer, Ma’s #SongsofComfort grew from a self-shot video of Antonín Dvořák’s “Goin’ Home” into a worldwide effort that has reached more than 20 million people.

Ma and longtime collaborator Kathryn Stott mark the next chapter in the project with this brand new album, offering consolation and connection in the face of fear and isolation. The album includes 21 new recordings, which span modern arrangements of traditional folk tunes, canonical pop songs, jazz standards, and mainstays from the western classical repertoire. Among the new takes on old favorites are Pulitzer Prize® winner Caroline Shaw’s artful and eloquently arranged “Shenandoah”; Australian composer Harry Sdraulig’s “Fantasia on Waltzing Matilda”; pianist Stephen Hough’s lush arrangement of “Scarborough Fair”, and two-time Academy® Award-nominated icon Jorge Calandrelli’s re-imagining of a pair of songbook treasures: “We’ll Meet Again” by Ross Parker and Hughie Charles, and Violeta Parra’s “Gracias a la Vida.”

Yo-Yo Ma and Kathryn Stott share the warmth of decades of music making again with Songs of Comfort & Hope, offering audiences new paths into treasured musical memories and a few notes of hope for a better future.

‘Stay Sane’ is the hotly-anticipated new album from London based artist Ocean Wisdom out now on his own label Beyond Measure Records.

Widely considered to be one the most technical rappers alive, his first release from the album campaign ‘Drilly Rucksack’ is a stellar offering, showcasing Ocean’s rapid-fire flow as he takes on political themes relevant in Britain today. Speaking on the track Ocean said “‘Drilly Rucksack’ is a fictional tale of a magical rucksack that protects its owner from evil Tories whilst also offering consolation and reassurance to the daughters whose lives they have presumably made miserable.”

Given the name Ocean Wisdom at birth, Ocean grew up immersed in hop-hop and reggae and began beatboxing aged seven. His homelife was what he describes as ‘hectic’, as his mum worked as an emergency foster carer. Years of writing lyrics and practicing followed and his uncompromising work ethic drove him to leave home at 17 and start working on his craft daily, never missing a single day. He used his passion for music as a way of channeling his anger and controlling his mental health, in addition to avoiding the fate of some of his friends. His meticulous attention to detail and hardwork paid off and over the past 5 years has seen Ocean’s meteoric rise lead to a quarter billion streams across all platforms and collaborations with legendary artists including Method Man, Dizzee Rascal, Fatboy Slim, Akala, Roots Manuva, Ghetts and Foreign Beggars.

Famed for his technical abilities, Ocean broke numerous records at a young age, including beating the standing Guinness World Record for most words per minute in a hit song, dethroning Eminem’s "Rap God". He remains one of the few UK rappers that can tour worldwide, headlining arenas across Europe, New Zealand, Australia, Russia and the Middle East. Since then he has gone on to set up his own label to release his music as well as building his own studio and creating a platform for future artist to thrive.

in a trio of records by Andrew Wasylyk which unearth and reshape the landscape of Eastern Scotland as shimmering and inventive instrumental music.

Where Themes for Buildings and Spaces (2017) toured the architecture and industry of Dundee, evoking a place caught between decay and regrowth, the Scottish Album of the Year Award shortlisted The Paralian (2019) explored the littoral exchanges between sea and shore on the North Sea coastline.! !

Fugitive Light And Themes Of Consolation carries a trace of this arc on a return upriver, drifting back inland along the River Tay's inner estuary: a record of the low light on winter fields, empty suburban streets at dawn, the deep clear waters of the quarry excavated to build the city.

Ten songs circling landscapes for meaning, channelling half-heard melodies and misremembered memories; caught somewhere between settling down and setting out towards the shining levels of the estuary and beyond.! ! The record is threaded with the influences of people, place and musical lineages – David Axelrod, John Barry, Virginia Astley, Mark Hollis, Alice Coltrane – yet as with all of Andrew's solo work it has a deft, clear voice all of its own. Recorded between Summer 2019 and January 2020, Fugitive Light…

displays his talent as a multi-instrumentalist and composer: all hushed drum grooves, rolling waves of plucked acoustic guitar, cascading upright piano, Bob James-inspired Fender Rhodes, rippling clàrsach harp, and ECM-worthy electric guitar motifs. As on The Paralian, string arrangements are by fellow Tayside musician Pete Harvey, known for his work with King Creosote, Modern Studies and The National Theatre of Scotland.! !