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Cerca:tune
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That 27th split of the series is dedicated to the homeland of acid music - the United Kingdom. On my right, cult acid producer Roy of the Ravers, with some melancholic braindance and raw techno coming from his tormented acid jams. On my left, 707-addict Jerry LaFlim, with two disturbed tunes mixing funky electronica, dark breakbeat and groovy electro. From Melchester to Brighton, four heavy tracks for the 303 trainspotters !
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Crate Classics release their 2nd vinyl, pressed by Music House Studios. Stars from the Jungle and Dancehall scenes crammed onto this 12. Undoubtedly one of the most exciting figures to arise within drum & bass over the past decade, Rouen Wilkins, also known as Voltage, has carved his way to becoming one of the most valued artists in the scene. He now takes on Rudeboy Sound by Crate Classics and JODIAN NATTY which was a huge hit at 2022's Notting Hill Carnival, with support from Shy FX, 1xtra, 6music, Radio 1, KOOL FM and more. This Rudeboy Sound Remix EP also includes Jungle pioneer 'Potential Bad Boy's' mix of the tune Babylon fro
A1 - Synergy
A long-awaited release for seasoned fans of the label familiar with ASC's DJ sets since creating Spatial, Synergy has been requested for release many times and is finally here - and it hasn't aged a bit. A track which lifts you gradually through a true journey of escalating, dynamic atmospheric soundscapes with crisp detailed break patterns that ebb and flow to an intricate collage of synths, keys and vocal hits to an inquisitive melody. A
stunning piece which somehow has something new to offer each time you hear it.
A2 - Suspended Animation
Conjuring an ethereal feeling with grand atmospheric backdrops reminiscent of early Intense, Suspended Animation is a calming yet suspenseful track which slowly builds with expressive break patterns and minimal kickdrums as subtle basslines rumble below. Long echoing effects and melodies gently nudge the proceedings forward, ASC once again showcasing the diversity of his production toolset.
AA1 - Repetition
It's been a while since a pure two-step drum loop has had this much impact - make no mistake - the breaks of Repetition will bore their way into your brain like Pulp Fiction did in the mid 90's with a thumping kickdrum and stabbing snare tweaked to perfection. While the beats drive the track along, a collage of audio texture surrounds them with a signature female vocal sample closing out phrases filled with finely tuned synthwork.
AA2 - Pharaoh
Landing with immediate impact and building the mood with a subdued urgency, the Hot Pants breaks of Pharaoh surf the dunes of sound to an abundance of sheer atmosphere as ASC crafts a stunningly evocative track which is aptly titled, transporting the listener to mystical Egyptian sands, the synths and horns whispering like the echoes of of a bygone era demanding their timely reprise through the medium of Spatial.
Epic.
Words by Chris Hayes
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2023 Repress
New York, early 90's, the haydays of the New York and Jersey clubhouse! With labels such as NuGroove, Nervous, Freeze, Strictly Rhythm, Henry Street Music taking all the spot light, there is Jovonn working on a small but sensational catalogue of music that somehow gets overshadowed by the popular releases on the mentioned labels. The honest productions, jazzy melodies and playful vocals (rooted in gospel) were taking things into a more musical, more spiritual way, lacking gimmicks or dispensable samples. For the real diggers, the true lovers of House music Jovonn always was a name to watch, a producer of some of their favorite NY house tracks, tracks that have a raw edge combined with a sincere human touch and pure underground house vibes. People such as Rex resident Dj Deep was a huge fan, and also collaborated on couple later productions with Jovonn. Slowly he started getting recognition from europe which resulted in a handfull of records on European labels such as Distance, Coco Soul and Estereo. Now after almost 25 years since his first release the man's small discography on his own Goldtone label and Emotive records stand out with his unique musical personality. More then 20 years after their original release dates these tunes are still very relevant and stand for many things we love about house music! We are happy to offer this selection of his hard to find early works remastered by Alden Tyrell and pressed on fresh clean high quality vinyl.
KID FRANCESCOLI, leader of the French Riviera Touch is back with the stellar album SUNSET BLUE out Sept 22nd 2023.
After a first sold-out world tour (over 200 concerts in Europe, USA, Asia...), and successful hits such as Nopalitos, Blow Up or Moon (now certified diamond, with more than 200 millions streams), the Marseille-based producer, crooner and multi-instrumentalist, Mathieu Hocine, is eager to share his most accomplished LP ever. This fine collection of soulful songs honor his Mediterranean roots, with elegant and pop melodies. His most recent success and the creation of his first original soundtrack with AZURO, installed him as one of the best French songwriters of his generation, with a unique signature sound.
"I live in Marseille, I spent my childhood in Corsica, I have Algerian origins, my first vacations with friends were in Barcelona, vacations with my first girlfriend in Roma,... Then, I had the chance to perform in Morocco, Greece, Turkey and Egypt: each time I spent time in the Mediterranean region, the people I met there made me feel like I was part of the same country. This shared multiculturalism is really comforting, it has its own poetry and strength, bringing uniqueness and empathy to the people. It is essential for me. I love my city: it’s the perfect place to feel good with sun, sea, family, friendships, love... It gets me emotional, bringing tears with a smile".
With his new musical gem, Mathieu Hocine unveils 11 elegant tunes of his finest craft: sunbathed French Touch (Run Run, 1986), romantic chillwave (Corsica), uplifting synthpop (You Are Everywhere, Like Magic), electronic-soul (Casino Soul), cinematic disco (Solaris), cosmic R&B (Sweet and Sour, Take Time), … Everything is in this record.
For the first time ever, Kid Francescoli paid tribute to his mixed origins with his collaboration with world-renowned lute and mandolin player Hakim Hamadouche (Rachid Taha, Patti Smith, Brian Eno, Tricky...), whom added Algerian patterns to the introspectives songs Drift in Blue and The Morning After.
"My ambition is to create pictures in people's heads with music, to transport them instantly into a movie"
SUNSET BLUE is an instant-crush album: crystal-clear, strong, personal but universal at the same time.
It's an ecstatic soundtrack for this moment when time is suspended, the golden hour when everything seems possible. It feels like Love is in the air, you're living your best life and you're at the right place at the right time. This album embodies this magic moment where we would like to last forever… Like an epiphany, Kid Francescoli's new album is a moment of pure pleasure, a soothing way to escape reality.
"I see myself as a melodist.I would like my music to feel like velvet. There's something cinematic, classy about it, and yet comforting. It's very simple, popular and synonym of love and passion"
His friend French 79 co-produced the album, while the american rapper Bamby H2O brought his NYC swag (on Sweet & Sour), Stan Neff (Polo & Pan, Kungs, Christine and the Queens...) took care of the mix and Alex Gopher (Daft Punk, The Blaze, Bon Entendeur...) added a final touch of magic when mastering. Nicolas Despis (known for his work with Etienne Daho, Hoshi, Juliette Armanet... and many famous French rappers) later joined this dream-team to craft custom-made artworks. SUNSET BLUE is a deeply personal quest, a human adventure for Mathieu Hocine (whom explores his maghrebian origins, his feminine side, his subconscious space, ...). It's a male's work, but don't get it wrong, this LP would be nothing without women’s touch : Julietta (on Run Run and Take Time), Sarah Gaugler from Turbo Goth (on You Are Everywhere and Like Magic), and iOni (on Drift in Blue).
“Music has this magical power to broaden your vision of the world. It's fascinating because, like dreams, it's the kind of irrational things science can't explain and that makes life exciting."
Planets aligned perfectly on this project and thanks to this five-star cast of collaborators, Kid Francescoli achieved his personal holy grail : he orchestrated a great 21st century pop-music album.SUNSET BLUE is a new turning point between organic and electronic, both a mediterranean travel and a Californian dream, a bridge between Ennio Morriconne and modern electronic music.
Also, while it might be called SUNSET BLUE in honor of the sea and the Portuguese / Brazilian concept called “saudade”, but it is a really optimistic album, whose true colors would rather be "yellow-orange-red" in nod to the sun.
Created in the midst of the world tour, SUNSET BLUE is a direct result of the lives’ energy and fans’ joyful vibes: going back in the studio after smiling, singing and dancing with people all around the world inevitably gave Kid Francescoli the desire to retranscribe this ecstatic feeling in music. This album is a sensitive experience, from sunrise to sunset, from first track to last one. It’s an exploration of an everlasting summer, reaching its climax in the very final seconds of the track Corsica, making us want to press play and dive into this jewel all over again.
A beautiful cosmic trip, whether you like to stay in bed cocooning, to travel far, far away or to dance ‘till dawn, to catch the first rays of light.
Make sure to catch Kid Francescoli on his next world tour to have a good time.
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After a long and forced break, In The Dark Again returns to record stores!
The label has been sitting for so long on it's 12th release, and is super excited to finally bring it out.
On »In The Dark Again 12«, Aaron J. Cunningham, Gestalt, Night Caller and Lectromagnetique deliver five mesmeric tunes between tough Electro and bitter sweet Electronica.
This record is limited to 100 copies. So better go grab it before it's gone.
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Elements of Life brings a full on boogie disco tune with some 80s synth goodness. The backgrounds are provided by an all star cast of singers including Cindy Mizelle, Audrey Wheeler, Anané, Dawn Tallman, and Ramona Dunlap. The song is penned by Nico Vega, just at 19 years old writing lyrics with the soul of a person who’s been through various experiences in life. It isa statement song coming from an adolescent stating where we are in the world today with war, and encouraging all to stop fighting, “no more war”,“Let Us Shine Bright As Day”, “Let Us Find A Peaceful Way”, “Let Me Hear You Say”, these words are crying out to the world.
Remixes by Josh Milan on the Josh Milan Honeycomb versions, feeding us an early 80s tune reminding us of the seminal label West End Records. The Louie Vega mixes stay true to the Elements Of Life sound mixed with some Detroit bass groove and synth overtones. A bonus track also added to the release featuring Axel Tosca on keyboards is entitled “Los Tonos Sagrados” which means The Sacred Tones.This instrumental has the early afrobeat rhythm with Axel Tosca ripping through with an organ solo and snare hits accenting the drums and music.Take a listen and enjoy the sounds of “Let Us Shine” and “Los Tonos Sagrados” and it’ll sure to have you with your arms up and eyes closed singing along with the choon in no time!! Available soon at all streaming and digital outlets, with vinyl coming too!!
Big Crown Records is proud to present the debut full length offering from Les Imprimés, Rêverie. The stirring and ethereal sounds of Les Imprimés have been making fans of anyone who hears them since their first 7” single hit the speakers. Morten Martens is the man behind the band. Born, raised, and working in Kristiansand, Norway, he keeps a low profile while making his heartfelt, highly infectious, and unique music. This album is a long time coming for Martens and it is sure to make him a name to be reckoned with.
The first thing you notice listening to Les Imprimés is the high level of musicianship. Martens plays nearly every instrument on the recordings and handles the production and arranging. He has been making records for decades, winning a Spellemann Award (aka, the Norwegian Grammy) in 2006 for producing a Hip Hop album as well as getting nominations across three other genres. While awards and accolades speak to the level of his talent, this new album really shows who he is as an artist on his own terms.
Moving away from being a hired gun on the touring scene naturally led him to start doing more studio work. Slowly collecting gear and getting more experience behind the boards he built his own studio on the island of Odderøya and was making a living playing with and recording other people's music. As the story goes, after those sessions would end he would work on his own project into the wee hours of the night. From these late night sessions, Les Imprimés was born and Rêverie began to take shape.
However, "it wasn't until COVID, when things locked down, that I was really able to find the time to focus on Les Imprimés" Morten says about creating and leading his own solo project. "It was a scary time. But I knew I had to do something with it." He took the sum of his influences, combined them with his own vibe and got busy writing the music, playing the instruments, and singing the songs. "It's soul music, but I don't exactly have the soul voice," Morten explains humbly. "But I do it my own way, in a way that's mine."
It is his sound, his fingerprint, his sensibility, that makes his music hard to categorize. He has crafted an album of songs with different energies that all fit together to make one gorgeous record. The lead single “Falling Away” starts with a raw drum break and turns into a lushly arranged tune that paints the picture of love when it slips away. On “Still Here” he professes his resilience through life’s twists and turns over a thundering track that puts a new spin on the B side ballad genre. Songs like “You” and “Our Love” mix tones from 60s and 70s Soul with arrangement nods to Doo Wop records while Martens’ lyrics and delivery leave you singing the melodies long after they finish. “Love & Flowers” finds Martens in a moment of clarity with a song that fits the niche sub genre of happy break up tunes, the four on the floor track will move the dancefloor while the message will resonate with anyone who put too much effort into the wrong situation in their lives. However, it is songs like “Muse” and “Chess” that really encapsulate the uniqueness of Les Imprimés as they push the boundaries of genre, one a profession of love for music and the other a cover of an electronic record respectively. Martens’ lyrics, emotion, and delivery truly make the whole thing come together and stand out from any of his peers. There’s an infectiousness and a pop sensibility in the writing that is done with the utmost class and taste giving Les Imprimés the rare quality of immediate attraction that only deepens the more you listen.
The Mighty Riders were an American funk group whose 1978 album Help Us Spread The Message is a stone-cold classic for rare groove lovers. It has been famously sampled by De La Soul and now this new 10" release includes the original version of the track the pillaged, namely 'Evil Vibrations'. It comes as an original, an instrumental edit version of the song, and an extended edit. This is a must cop for funk fans as well as hip-hop historians and a standalone tune that still gets the floor going so do not sleep.
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Gaucho — Steely Dan's Grammy-winning seventh studio album now on UHQR!
Definitive reissue Ultra High Quality Record, the pinnacle of high-quality vinyl!
45 RPM LP release limited to 20,000 numbered copies
Mastered by Bernie Grundman from a 1980 analogue tape copy originally EQ'd by Bob Ludwig
Pressed at Quality Record Pressings using 200-gram Clarity Vinyl®
Purest possible pressing and most visually stunning presentation and packaging!
Tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing
Gaucho — the iconic seventh studio album by Steely Dan, released in November 1980 — and Grammy-winner for Best Engineered Non-Classical Recording, was also Grammy-nominated for Album of the Year and Best Pop Performance by a Duo or Group with Vocals. The album represents the band's musical evolution towards a more polished and sleek sound, featuring a collection of meticulously crafted songs that blend jazz, rock, and pop music, while exploring themes of decadence, longing, and disillusionment.
Gaucho opens with the title track, a jazzy instrumental piece that sets the tone for the rest of the album. The standout tracks on the album include "Hey Nineteen," a catchy and upbeat tune that features a memorable saxophone riff and lyrics about an older man's attraction to a young woman, and "Babylon Sisters," a funky and groovy track that showcases the band's impeccable sense of rhythm and melody.
The sessions for Gaucho represented the band's typical penchant for studio perfectionism and obsessive recording technique. To record the album, the band used at least 42 different musicians, spent more than a year in the studio, and far exceeded the original monetary advance given by the record label. Still, the album features multiple layers of instrumentation, carefully crafted arrangements, and the use of top-notch session musicians to create a lush and sophisticated sound that is uniquely Steely Dan.
Despite its critical and commercial success, Gaucho was a challenging album to make. During the two-year span in which the album was recorded, the band was plagued by a number of creative, personal and professional problems. MCA, Warner Bros. and Steely Dan had a three-way legal battle over the rights to release the album. After it was released, jazz musician Keith Jarrett was given a co-writing credit on the title track after threatening legal action over plagiarism of Jarrett's song "'Long As You Know You're Living Yours."
Gaucho marked a significant stylistic change for the band, introducing a more minimal, groove- and atmosphere-based format. The harmonically complex chord changes that were a distinctive mark of earlier Steely Dan songs are less prominent on Gaucho, with the record's songs tending to revolve around a single rhythm or mood, although complex chord progressions were still present particularly in "Babylon Sisters" and "Glamour Profession." Gaucho proved to be Steely Dan's final studio album that Donald Fagen and Walter Becker would make together until the year 2000.
Gaucho reached No. 9 on the U.S. album chart and was certified platinum-selling. "Hey Nineteen" reached No. 10 on the U.S. Singles Chart and went to No. 1 in Canada. Pitchfork, in its review, describes the almost "pathologically overdetermined production" as elegant, arid and a little forbidding. "Every last tinkling chime sounds like it took 12 days to mix, because chances are, it did." The New York Times deemed Gaucho the best album of 1980, beating out Talking Heads' Remain in Light and Joy Division's Closer.
Founded by core members Walter Becker (bass) and Donald Fagen (vocals, keyboards), Steely Dan's popularity rose throughout the late 1970s on, and their seven albums throughout that period of time blended elements of jazz, rock, funk, R&B, and pop. Steely Dan created a sophisticated, distinctive sound with accessible melodic hooks, complex harmonies and time signatures, and a devotion to the recording studio. Becker and Fagen, with producer Gary Katz, gradually changed Steely Dan from a performing band to a studio project, hiring session musicians to record their compositions. The duo didn't perform live between 1974 and 1993. But their popularity nevertheless grew throughout the '70s as their albums became critical favorites and their singles became staples of Adult Oriented Radio and pop radio stations.
After a brief battle with esophageal cancer, Walter Becker died on September 3, 2017 at the age of 67. Steely Dan has sold more than 40 million albums worldwide and were inducted into the Rock and Roll Hall of Fame in March 2001. VH1 ranked Steely Dan at No. 82 on their list of the 100 Greatest Musical Artists of All Time. Rolling Stone ranked them No. 15 on its list of the 20 Greatest Duos of All Time.
This stereo UHQR reissue will be limited to 20,000 copies, with gold foil individually numbered jackets, housed in a premium slipcase with a wooden dowel spine.
Gaucho remains a testament to Steely Dan's enduring musical legacy and their ability to create timeless music that transcends genre and style.
After releasing his seventh - arguably best and most popular album - The Odd Shower, The Bitter Springs' singer / songwriter Simon Rivers reinvented himself as Poor Performer, whose own debut, Like Yer Wounds Too, followed the same winning formula, widened somewhat by the inclusion of songs with a greater fragile beauty and introspection . . . though rarely without a degree of self-effacing humour and a rather stylish wit. Decades of self-releasing compact disc-only albums from the far southwestern suburbs of London, with scant regard for promotion or the normal machinations of showbiz - touring, for instance - did little to spread the word about Rivers' unique and prestigious talents. A conversational singer with a delightfully warm and convivial stone, Rivers' sense of the absurd and willingness to portray aspects of life generally unrecognised by pop music, one supposes it's not entirely unfair to have expect Top of The Pops to come calling. Yet the relative absence of cult of Simon Rivers fans is somewhat perplexing, for his lyrics, ideas and tunes all do merit it. There's little affectation in the sense of stage persona, but heaps of personality and intriguing, occasional perverse idea. It's hard to listen to anything he's down without a degree of sheer enjoyment. It's real, without affectation. The very real bumps heads with the slightly mental, just like in life! So what does this new guise - Oldfield Youth Club - have to offer? It's partially a revival of Rivers' first 'real' band, Last Party, and it displays hallmarks of that band's youthful energy. There's a bit of teen glam in Good News I'm Afraid and (Theme From Oldfield Youth Club, even while lead track We're The OYC and When Bob Grant Ruled The World add a dollop of an energetic ruefulness to the mix. A Kind Of Loving In A Loveless Town is an immediate classic, a song one could hear dozens of times before really reaching the core of its magic and majesty. Lest this sound like the work of a solo artist, it does feel like a band - a rather clever one, in fact. Including members Kim Rivers and Neil Palmer (both from Last Party), as well as trumpeter / vocalist Alison Targett, Oldfield Youth Club is a band with an obvious musical kinship. There's a connection to the literal style of Vic Godard's Subway Sect (and members have been shared between both acts) or early Go-Betweens . . . there's an alchemical sensibility shared by all three acts wherein their words and tunes inform each other in a deceptively casual but arresting manner. It's hard not to love, a rare work that earns immediate affection and just grows better from there.
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Repress!
On 22nd October, the Nottingham-raised and highly-praised musician/DJ/producer Matt Cutler, AKA Lone, presents his 8th album – and first in 5 years – ‘Always Inside Your Head’. It marks two major changes, with both a new label and new approach – featuring vocalists for the first time.
This deeply textural and ethereal artwork is situated high above the clouds, amidst the heavens, occupying a stratospheric state where swathes of synthesized vapour and azure rays sound like a literal breath of fresh air.
A varied selection of music influenced the record, but two main influences were Cocteau Twins and My Bloody Valentine. “I wanted to approach a range of different styles, but attack them from their angle in a way, so for example on 'Inlove2' I tried to imagine what a Balearic / acid house tune might sound like if it were produced by Kevin Shields”, comments Lone.
Another key example of Cutler’s strange but successful combination of elements is the halcyon bliss of ‘Echo Paths’, where his trademark fat drums and love for hip hop meet double-time pan pipes, dub effects and dream pop, mixed into a wonderfully lysergic concoction.
This rarefied auditory stratus was previously evident in tracks like ‘Alpha Wheel 4 (Ambient Mix)’ from ‘DJ Kicks’, ‘Under Cherry Blossoms (Minds Eye Reprise)’ from ‘Ambivert Tools, Vol. 2’, ‘Pulsar’ (from ‘Ambivert 4’), and ‘How Can You Tell’ (from ‘Abraxas’), but is now more fully-fledged, broader in scope and even more celestial.
In addition to the above, the LP exists somewhere between trip hop on Mo' Wax, 90s Warp, intelligent drum & bass and ambient house. There are heavier forays too, like ‘Mouth Of God’, where darker clouds emerge, but are pierced like acid lightning with fierce, tearing tech-step bass.
Although still firmly rooted in club culture – here Lone shows a definite leaning towards a song-based sound, with several tracks edging towards the same crossover space as the nineties hits which also inspired him – particularly William Orbit’s production on Madonna's 'Frozen', and Olive's 'You're Not Alone'. This is especially evident on the bright, spacious brilliance of 'Hidden By Horizons', where vocals and synths swirl around one another, with crisp breakbeats and reggae rolls pushing purposefully through the ether.
Despite initially seeming almost entirely sunny of disposition, upon deeper immersion there’s lot more beneath the album’s surface, both in its deep pools of immiscible layered elements, and also thematically. When recording Cutler kept in mind a loose narrative based on birth, death, and our existence in-between.
He then extended this idea to reach what may happen after death, which is reflected in the sequencing: By penultimate track ‘Undaunted’ the life reflected in this longplayer has come to an end, which is then followed by 'Coming In To Being And Passing Away' – an afterlife epilogue, which evokes a transition from this world to the next.
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Die Gründung von 49North markiert eine neue Ära für Duncan Forbes, neben Charlie May eine Hälfte des legendären 1990er Progressive House-Duos Spooky und Remixer für Schwergewichte wie Depeche Mode, M83, Sasha, William Orbit und Apparat. Auf dem finalen Teil seiner '49North – Phase 1: Distilled & Amplified' Trilogie verwandelt der nicht minder legendäre UK-Produzentenkollege Mr. G zwei Tunes in Killertracks, während Forbes' selbst einen pulsierenden, breit angelegten, 10-minütigen Motor-City-meets-The-White-Isle-Trip mit Reminiszenzen an glorreiche Progressive-House-Zeiten bringt.
David Tattersall, the Wave Pictures guitarist and frontman releases a solo album of interpretations of John Fahey tunes, recorded live in the studio. "I have been a fan of John Fahey's music since I was very young; it has always been with me and I can't remember a time when I wasn't affected by it. It is weird music, and very good. Of course, Fahey is an important cult figure in the history of music: as the first man to find a language for steel string guitar that can stand proudly alongside the established tradition of nylon string classical guitar; as one of many men who rediscovered obscure old blues musicians and recorded them for a new generation in the 1960s; as one uniquely able to reconcile 20th century avant-garde music with folk tradition; as an early indie-label DIY pioneer. For me personally, Fahey went beyond technique, and to some extent beyond historical or intellectual justifications for his work. He explored his emotions through his instrument of choice, and in so doing made the case for the guitar as the ultimate conduit for emotional expression. While there are many imitators who try to play ''like Fahey'', I avoided using his fingerpicking style or sense of rhythm, and tried instead to use his music to explore my own emotions, my own dreams and memories. I was more interested in the lyrical and expressive aspects of Fahey's music than in the techniques of it. I tried to find myself within his compositions and without composing anything I feel that I have managed to make a David Tattersall record that says as much about me as any of the many albums that I have written. John Fahey's beautiful discography shows that the guitar can carry as much mystery and soul as the human voice, and simply put, I wanted in on a little of this action. This is my second all-instrumental solo acoustic album, and where this differs from my first attempt, Little Martha, is that here I improvised freely. I used Fahey's originals only as guides. I'm not sure what I was looking for, perhaps something beyond explanation, but I tried to be as free as possible, and I am delighted by the spontaneous results. Hopefully, they will make the listener feel happy and dreamy, just like the effect that Fahey's many albums have on me. One of the most important things that Fahey ever said was his advice to guitarists to try to feel the emotions that each chord they play on a guitar brings forth. He is telling guitarists to not only play the guitar, but to let the guitar play them. I did my best to follow this advice. I think Fahey was a genius of the kind that creates a whole genre single-handedly. There could be thousands, millions, of reinterpretations of his compositions. In fact, there probably already are. And long may this continue. All tracks were recorded live with no tampering
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With a first tune at 200 you'll have a cruiser as well as a shaker. MASSIVE BASS...
Second track is another Shaker style 2010, A fuckin' hell legend. Story telling in a DeathChant Style.
The flip opens with another no-samples side ^^ Superb and probably my fave tune here : Dropping tunnels and turtablsim fuckerz...
Last tune is a total Deathchant Fever newskool one. In the mood of DC101...
A master pieace again !
For the past few years we’ve been mesmerized by Elijah Minnelli’s output on his own Breadminster County Council label… a handful of hand-crafted 7”s that live at the foggy intersection of dub, outsider folk, and various strands of Eastern European and South/Central American musics. It now seems inevitable that he would join the ZamZam family.
Firmly rooted in dub through its mammoth bassline, ‘Gradually’ is a shaggy, unhurried tune framed by melancholy, almost grieving squeezebox and gorgeous ensemble percussion that reverently recalls early cumbias. The tune is unique for Elijah in that it features fully-sung vocals. Themes of loss, despair, tragedy and coping circle and loop, ironically held in a musical matrix that spirals in deliberate repetion.
In ‘Gradually Verzion’ the introduction of a minimal melody and long echo trails signal a dramatic shift, going full dubwise steppers without compromising its warm center. Elijah holds back the wheezy melodics, deftly forwarding the percussion in time-honored echo chamber mode.
