Suche:the sensations

Black Truffle is thrilled to announce Reverse Tree, the new LP from the acclaimed duo of Eyvind Kang and Jessika Kenney, two musicians who have established themselves as powerful voices working at a unique intersection of contemporary composition, improvisation, and Asian traditional music forms. Either individually or as a pair, they have worked in contexts ranging from performances of traditional Persian and Javanese music to collaborations with Sunn O))), but their work together as a duo (documented on The face of the earth and Aestuarium, both released on Ideological Organ/Editions Mego) most clearly represents the central concerns of their diverse practices: a music of the inner life of sound, demanding ritualistic focus and promising heightened sensations.
On Reverse Tree, the duo expand their work together into the realm of the chamber ensemble, presenting two side-long works that feature Kenney's voice and Kang's viola alongside a multitude of other instrumentalists. Kang's Thoughts on Being Exiled to the Frontier, for Lord Wei, inspired by a text by the Tang dynasty poet Hsueh T'ao, features an all-star international ensemble: Kang, Kenney, maverick Israeli conductor Ilan Volkov on violin, Icelandic cellist Hildur Guðnadóttir, and guitarists Oren Ambarchi and Stephen O'Malley. The piece is primarily composed of irregular patterns of pizzicato notes and guitar harmonics, gently falling in and out of sync and providing a subtly unstable support for Kenney's voice, which sings long, wavering tones, at times reminiscent of Michiko Hirayama's classic performances of Scelsi. Drawing on 20th century instrumental techniques, alternate tuning systems, non-western music and the experience of nature (the irregular rhythms of the piece calling to mind nothing so much as drops of rain), the piece opens a space both serene and subtly uneasy.
Kenney's 'Elm features Kenney and vocalist Nova Ruth (of Filastine & Twin Sista) alongside an ensemble of strings and Seattle's Gamelan Pacifica, performing on Javanese instruments tuned to the slendro scale. An uncanny timbre created by bowing the keys of the Gamelan's instruments, supported by bowed harmonics from the strings, is heard consistently throughout the piece. After a long introductory section in which this harmonic cloud slowly descends from shimmering high notes to rumbling bass, the vocalists enter, singing a slow and stately setting of a 19th century Surakarta poem (attributed to Mangkunegara the IV). The melody is sung as a rich and wavering heterophony, with the ensemble sometimes rising up to support individual notes. The poem deals with the idea of a form of knowledge achieved through deeds, as a practice and state of the heart. This is music in slow motion, in which, in Kenney's words,

The first vinyl LP on our specially created Pied Piper imprint - featuring established favourites, recent discoveries and other rarities from the Detroit-based production company.

First northern soul collectors scoured the junk shops, charity shops, deletion bins and mail order lists for records by their favourite artists. Next they tried other discs on labels for which their heroes appeared. Later came the search for titles by songwriters such as Van McCoy, Popcorn Wylie and Ashford & Simpson and the work of producers, arrangers and the companies they worked for.

Pied Piper was a Detroit-based production company with a big enough catalogue to have been a successful indie label in its own right. Apart from their own short-lived Giant imprint, they were credited on another 20-plus 45s and three LPs issued on various other logos. Even more impressive was the music they left on master tapes. Around 50 finished tracks have emerged over the last 20 years and it has been Kent's honour to release them on our specially created Pied Piper label. This is our first vinyl album taken from that catalogue.

Included are perennial favourites such as 'I'm Not Built That Way' by the Hesitations, 'That's When I Need You' by Freddy Butler and Mikki Farrow's 'Set My Heart At Ease', which we've mixed with recently discovered soul sensations 'Voo Doo Madamoiselle', 'More Than A Memory' and 'We Go Together'. As a bonus, the version of the Cavaliers' 'We Go Together' is a completely different take to the one on our first Pied Piper CD, featuring a rap intro all serious fans will need. Nancy Wilcox's opening track 'More Than A Memory' is a superior sounding master taken from a recently discovered tape and there are alternative original takes of Lorraine Chandler's 'I Can't Hold On' and 'You Only Live Twice'. Classy rarities from Tony Hester, September Jones and Rose Batiste complete the collection.

Ady Croasdell

Not even a month has passed since Sierra Sam and Pascal Hetzel ´s CYRK project launched with the high impact homage 'Tribute' and they return with yet another respectfully rooted release.
Channelling the energies of Detroitian agenda-setters such as Inner City, Joey Beltram and Scott Grooves, CYRK celebrate the original template and ingredients that have gone on to inform every genre that's since passed. Easy to say... A dark art to master without repeating something that's already been done before. Safe to say that CYRK definitely have that art mastered...
Its deft ping-pong riff echoing through classic detuned synth tones and unrelenting beats refusing to stop even for the honeyed evocative tones of singer Christine Eusebio , 'Fantasy' is one of those tracks you'll feel you know but also understand its freshness instantly. The type of track that gets crowds grinning like Cheshire cats the second it pops on... Even though they've never heard it before. Rooted in history, coded in innovation, it's more proof that CYRK's three-headed formula is better than one.
Remix-wise both Pascal Hetzel and Gerome Sportelli remain in Detroit: Pascal looks towards the likes of Mills and UR's 'World Power Alliance' phase for inspiration with his heads-down, militant techno aesthetics while Gerome conjures up sensations of Cybotron and The Preps with his slinky, ice-edged electro adaptation. Both versions take Christine's surging, sensual vocals to new creative pastures... And they've invited you to do the same with the acapella version, too.
Celebrating a legacy while keeping it fresh, CYRK remind us where we've come from... And where we're heading.ind us where we've come from... And where we're heading.

Repress

Part 1 of Slam's Reverse Proceed Interpretations with reworks from Planetary Assault Systems, Flug, Edit Select & Slam themselves.

Confirmed Press & Promo:

Press - * DJ Mag, Mixmag, Tilllate, Raveline, Groove, Daily Record, Edinburgh Evening News, TopDJ Ua, Nightshade Mag, Nitebeat, Posivision, DJ Times, Time Out NY. Sound Effect Magazine

Radio - * Carl Cox Global, Laurent Garnier Radio, Kiss 100, Ministry of Sound, Galaxy Network, Radio Scotland, Dinamo FM, Acik Radio, BBC Radio Ulster, Future Radio, Reconwarriors, The Beat Delivery, Anton Banks, XM Satellite Radio, RTE. Dance Under The Blue Moon (Anja Schneider), WHCR, KVRX, Power FM, Dinamo FM, Rise, Pulse Radio, Proton Radio, BBC Radio Cardiff, The Radio Dept, Fresh FM (Holland), Mystic Vibes (NYC), Show B, An Taobh Tuathail, RTE RnaG, Untitled Music, Ibiza Sonica, 88.1FM WESU (USA), Sutil Sensations. Global Dance Sessions

Online - * Soundwall.IT, Ibiza Voice, Radio Magnetic, Mixxradio.fr, CHRY, WESU, Untitledmusic, Ibiza Global Radio, Paris_One Reverse, Doce Pulgadas Spain, Ibiza Sonica, Andres Aguirre - KVRX student radio, FACT, Little White Earbuds, mnml ssgs, Gridface.

Drawing from an acute sense of what could perhaps be described as deep-minimalism-turned-into-a-quasi-equatorial-feast,
"Full of Holes" gradually unfolds and weaves its fabrics in ways that are evocative of the disparate sensations and heady
feelings one might run into in a proto-ritualistic setting, whilst XDB's recontextualisation routes a more linear
but no less absorbing excursion.'

Struments Records opens 2014 presenting ''Fire to the Empire'', third record in 12'' format from this Barcelona label. Following the special dedication referred to the local talent shown by the label in its two previous releases, in this occasion the reference is signed by Clip!, relevant artist in the Spanish electronic scene that, after a versatile and prolific 2013, shows in this publication a new coordinate of their chameleonic sound. Thereby opening the door to more visceral coordinates, opaque and less intense dance that exudes less kindness and infects the club atmosphere with light and dark. The set, consisting of three original songs (Fire, Ash and Bitch), and a remix of ''Ash'' by the British artist Kommune1, discovers on side A two descriptive and powerful snapshots of translucent clubber atmosphere, winding and unfiltered. Proper of the dance hours closer to twilight in the shadows and lights mergers into sensations. While on the B side, the artists pays tribute to the most evasive and escapist concept that music can evoke, forged between the rage of techno and the subtlety of house, when instinct takes control over any convention and presents itself as a purely physical experience between the listener and the sound. Closing the total minutes of the reference, Kommune1 prints cosmic and expansive notes to ''Ash'', as well as he brightens the original version. ''Fire'', the central tune that starts and gives name to this third reference of Struments Records responds to six minutes that shapes a direct and powerful presentation letter. In which you can acknowledge progressive melodic phases and raw vocals that serve as a growing force of initial contact. ''Ash'' continues the incursion between hard and chiaroscuro dynamic, printing analog rhythm coordinations. ''Bitch'' represents the exact balance and highlight of ''Fire Your Empire'' EP, sobriety in enviromental nuances, vocal flare and power high-flying shape a depth completely orientated to the dance floor that condenses much intention in a speech coherently aligned with the sound. Kommune1 sets ''Ash'' with an eye towards fantasy and space, using resources in the original maximalist melodies and rhythmic accelerating phases provide the remix to get faster.


DJ Support:

Alizzz (Mad Decent)
The EP is so well balanced. Loving that analog feeling. 'Fire' makes me
dream, I get in trance with the bass and those pads on 'Ash' and I want
to listen to 'Bitch' really loud in the Berghain. Much support.
Jorge Caiado (Balance/Groovement)
"Excellent and fresh EP!! All tracks are powerful and effective, can't
wait to play them. My favorite is "Bitch" but Kommune1 also did a good
alternative mix to "Ash". Keep them coming Struments!
Kresy (Hivern Discs)
"Great EP. Bitch is my favourite"
Broke One (RBMA/Magic Wire Recordings)
"Aweome EP"

Lee Perry's time at WIRL Records, later to be renamed Dynamic Sounds Studios, was a very productive time
in his career. A run of great singles and the shaping of a new sound, the beginning of what we know today as
Reggae .
Lee Perry (b. Rainford Hugh Perry, 28 March 1936, Hanover,Jamaica) began his entry into the music business at
the age of 16.Moving up to Kingston Town and working around various Sound Systems, before finding
employment at Coxonne Dodd's Studio One set up, in the late 50's early 1960's. Perry started out as a record
scout, organising sessions and supervising auditions at Dodd's record shop on Orange Street. Helping to make
hits for Delroy Wilson ( 'Joe Liges','Spit In The Sky') and the Maytals, which would lead to his own vocal records
released through Studio One.The musical backing for which, came from legendary Studio One house band The
Skatalites. Another important relationship for Perry, his first recordings with Bob Marley came in the form of
the Wailers, also providing backing, alongside the Soulettes who featured Rita Marley. Cutting such tunes as
'Chicken Scratch' around 1965/1966. This tune was also to provide him with one of his future nicknames
'Scratch'. A dispute over credits and money saw Perry leave Studio One and work with various producers
including Clancy Eccles and J. J. Johnson, before arriving at the door of producer Joe Gibbs in 1967. Here he
would write songs and produce hits for artists such as, Errol Dunkley and the Pioneers. A tune cut during his
time with Gibbs, voiced a snipe at fellow employee Dodd, a trademark that would become an outlet for his
frustrations in the business.This particular tune 'The Upsetter' would also provide another moniker and a name
for his label 'Upsetter'. Again lack of musical credit and financial reward saw Perry move on this time to WIRL
(West Indies Records Limited) Records, working alongside manager Clifford Rae, who would provide studio
time and pay for pressings in return for helping to promote and distribute WIRL product, which Perry would
carry out on his trusted Honda 50 motorcycle around Kingston town.
This period at WIRL saw some inspired work from Perry. 'Run For Cover' was another musical blow to a
previous employer, Coxonne Dodd and featured the Sensations on backing vocals and Lynn Taitt's guitar
picking skills. 'People Funny Boy' was a massive hit for Perry going on to sell over 60,000 copies. Joe Gibbs
would be at the end of this musical attack. Perry had felt Joe Gibbs had turned his back on him, after he had
provided hits for groups like, The Pioneers amongst others. The song would be one of the first records to
feature a New Beat (Reggae) inspired by the sounds coming out of a Pocomania Church, Perry had heard one
night.The congregation inside, wailed in a more slower way than the current musical style of the time Ska!. Perry
worked up this new style with Clancy Eccles, who would come under attack himself in 'You Crummy'. Their
closeness, which as detailed in that song would find them, 'Even shared the same Gal' but 'Now it's plain to see we
reached the end'. 'Set Them Free' was an answer record to Prince Buster's 'Judge Dread' (which had
featured Perry on it) a plea to the Judges in Jamaica that handed out extremely harsh sentences to the young
offenders of the time. The track was cut on the same rhythm as 'Run For Cover' . 'Django Shoots First'
inspired by the Spaghetti Western film of the same name, features Sir Lord Comic. One of the early DJ's who
used a jive talking style over rhythms. 'Night Doctor' was a hit instrumental that featured the organ talents
of Ansel Collins, that really push the tune along. 'Something You Got' was a cover of an USA R& B track by
Chris Kenner and 'Wind Up Girl' was cut at the same session. 'Water Pump' was a rude style track that
was cut later and originally released in 1974.As was 'People Sokup Boy' a later version of 'People Funny Boy'.
'Labrish' which means idol talk and gossip, was one of the first great talk over tunes that features Lee Perry
and producer Bunny 'Striker' Lee talking about the Political situation in Jamaica at the time and their own
financial situation and stories of various comrades.The track was originally released in 1973.
Bunny Lee would play a major part in lee Perry's career around this time and they were very close, often
sharing sessions and rhythms. Ironically it would be Bunny Lee that took over Perry's roll at WIRL and become
responsible for the labels products in years to come. Clifford Rae who give control to Bunny for a lot of the
WIRL product and even gave him his shop 101 Orange Street. So here we have a collection of music born out
of a time spent at WIRL Records and providing an important chapter in Lee Perry's career and indeed to the
story of Reggae itself.
Hope you enjoy the set.