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C’est au prix de plusieurs heures de marche, dans une campagne où personne n’est en mesure de fournir des indications précises sur le lieu, que se détache enfin au loin le studio de Blundetto.

Encore chaud des vapeurs de reggae de Good Good Things, planté aux abords comme un totem, le drapeau Jamaïcain donne une première indication sur les hostilités musicales qui s’y déroulent. La fumée épaisse et odorante, une seconde. Le vrombissement sourd et puissant lève les derniers doutes : si Blundetto s’est retranché ici en co-voiturage avec son
indéfectible binôme créatif Blackjoy c’est afin de faire subir à son dernier album une opération dub à mix ouvert .

Tous n’étaient pas éligibles, Blundetto et Blackjoy n’en ont choisi qu’une poignée.
Dans un labyrinthe de reverb et de delay, avec une foison de filtres branchés dans leurs âmes, sept titres se sont livrés aux expérimentations en toute confiance, car se sachant entre de bonnes mains. Installés à la console de mixage, Blundetto et Blackjoy auront passé de longues heures derrière les rangées de potentiomètres, à s’imprégner des ambiances originales pour les disséquer, les déstructurer, et les remodeler.

Etrangler la guitare et la ramener lentement à la vie, laisser l’arrangement du fond jouer des coudes pour s’imposer devant, permettre aux pompes d’orgue de se retrouver seules avec la basse hypnotique et la batterie au pied massif. Lâcher chacun de leurs effets au feeling de l’écoute, exécuter le remix en temps réel, sans réflexion préalable, dans le respect du cahier des charges des Perry, Tubby et consorts.

Sous l’effet de la révélation de leur seconde personnalité, les morceaux pénètrent et absorbent l’esprit pour le spacialiser, décupler sa dimension, y imprimer une persistance rythmique alors même que le riddim est sur la position mute.

Le rythme et le sens des aiguilles du temps perturbés par les échos des percussions, un voyage qui se perd dans l’immensité sonore créée par le duo. Avec pour seules précautions d’emploi, le port du casque et une écoute le volume en zone déraisonnable. 

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Lillerne is excited to be entering 2021 with a new collection of tunes from Spain’s José María Delgado. After having long appreciated his work under the Boliden moniker (and helping to release 2017’s stunning Backyard), I’m stoked to have Delgado back on the label with brand new material for the new year. pasaje brings a new softness and reflection to Delgado’s already masterful use of timing and melody. There’s a level of patience and a constant attention to the musical space at large—both within the melodies and subtle rhythms, as well as the air and quiet that surrounds. Infinitely listenable, peacefully trancelike spaces in which to exist. José’s music has a way of taking the listener elsewhere for a little while, and pasaje offers that same solace and escape from beginning to end. Edition of 75 professionally duplicated cassettes.

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Title: Memory of Humidity (DTR-002)
Artist: Soshi Takeda (takedasoshi.bandcamp.com)
Distribution: Dotei Records (doteirecords.com)

この度、Dotei Recordsの第二弾作品として、Soshi TakedaによるMemory of Humidity(DTR-002)を2020年9月4日のBandcamp Fridayに合わせてリリースします。

＜発売によせて＞
この企画について楽曲制作者のSoshi Takeda、デザイナーのTaizo Watanabeに打診をした3/20、世間ではまだ緊急事態宣言も発令されておらず、オリンピックの中止も決定されていない状況だった。「三密」とか「コロナ禍」なんていう言葉が誕生したかどうかくらいの、「WITH コロナ」や「POST コロナ」なんて概念はまだ受け入れる準備はできていなかったくらいの、そんなタイミングだったと記憶している。

私が二人と出会ったのは遡ること2009年。調べてみると、その年の流行語には「新型インフルエンザ」がノミネートされていたようだ。「草食系男子」なんて言葉も入っているのを見ると、随分と時が流れたことを感じさせられる。彼らは大学のキャンパス内でスケートボードをしたり、ラジカセで音楽を流している、全員が長髪で革ジャンがデフォルトな集合体で...  morecreditsreleased September 4, 2020

All track produced by Soshi Takeda (takedasoshi.bandcamp.com)
Cover Design by Taizo Watanabe (www.instagram.com/originalfruits/)

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Mason Lindahl is a guitarist and composer based in New York City. His finger-picking style is largely influenced by minimalism and classical music. He grew up listening to folk and country music in Northern California, where he was first taught to play the guitar by his father.

Kissing Rosy in the Rain was recorded in Oakland, California and Brooklyn, NY with Lindahl's longtime friends - Jay Pellici (Dilute, 31 Knots, Natural Dreamers) Robby Moncrieff, and Ben Greenberg (Uniform/Hubble).

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The 1980s were an epoch of upheaval and rapid change in South Africa. The decade began with the country’s apartheid government fighting to maintain its institutionalized racial segregation in the face of global protests and demands for the release of human rights activist Nelson Mandela, who had been jailed since the early 1960s. By 1990, Mandela was free, and apartheid was on the way to being dismantled. On the music front, things were changing too; At the beginning of the decade, the main music style of black South Africans was the jazzy indigenous jive of mbaqanga, a provincial style that had held its place as the sound of South Africa since Mandela was first imprisoned. By the end of the decade, South African music stars were making international waves with bubblegum, a flashy variety of Afro-techno-pop.

In SATURDAY NIGHT: SOUTH AFRICAN DISCO POP HITS, Cultures of Soul explores this period of change, and the intermediary forms that filled the gap between mbaqanga and bubblegum. The years when South African musicians and producers wrestled with the incursion of foreign disco and formulated their own style of homegrown disco-pop.

Starting from the early 80s, when bands like Varikweru, Black Five and Soundburger essayed local attempts at boogie and jazz-fusion, through experiments like the Madonna-cloned diva Margino, who domesticized the burgeoning Italo-disco and NYC electro sounds, up through the massive breakthrough of Brenda and the Big Dudes, who arrived at the right mix between native and international influences to point the way forward for South African pop.

The sound on these records is ostensibly familiar, drawing heavily on models from the 1980s dance culture in Europe and America, but if you listen closely enough you can hear the distinct South African-ness of it all—from the deep, burbling basslines, the brightly hypnotic melodies, and chant-like lyrics—and with sounds as intoxicating as these, you will sure want to listen closely. And often! 

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Combining digitally-processed recordings of wind and water with analog synthesizers and chamber orchestra, Elori Saxl’s The Blue of Distance begins as a meditation on the effect of technology on our relationship with land/nature/place but ultimately evolves to be more of a reflection on longing and memory. The phrase "the Blue of Distance" was coined by Rebecca Solnit in A Field Guide to Getting Lost and refers to the phenomenon of faraway mountains appearing blue due to light particles getting lost over distance.

Half of the album was written in the Adirondack mountains during summer amid lakes, rivers, and moss-laden forest floors, while the other half was conceived on a frozen Lake Superior island in deep winter, creating a subtextual dialogue between the two extreme settings.

Saxl gives some color to the background of the album:

Being born in 1990, I was interested specifically in exploring what it means to have grown up contemporaneously with the proliferation of the internet and new technology such as Google Maps, Youtube, and smartphones filled with photos and videos that allow us to access distant people and places without being physically present. I was interested in understanding how the personal experience of memory formation may parallel humanity’s changing relationship with land through new technology that allows us access to a place or person without being physically present.

When I began working on the album, I was really focused on that abstract conceptual idea. I wrote the first half in the middle of summer in a beautiful verdant place, and it was one of the happiest times that I've experienced in my life. I returned to the album later that winter while living on an island in the middle of a very frozen Lake Superior. Emotionally, I was in a pretty low place, but I wanted the piece to feel cohesive, so I started looking back at photos and videos from my summer to try to remember what I'd felt like so that I could infuse the new music with that same emotion. Unsurprisingly, that process didn't work, but what resulted was perhaps more interesting: a distorted version of the original experience and emotion. I'd begun the album using flowing water and wind as the sample source. For the 2nd half, I went to go collect more samples from my new surroundings, but the water was under a foot of ice. So the sound itself also became distorted through the ice, mimicking the process my memory was playing on the original experience. Through this process, what began as something conceptual became very personal.

Before starting the album, I’d been listening to a lot of electronic dance music and was struck by the use of modular synths to create pulsing beats. I’d been spending a lot of time sitting outside listening to the wind and water, which I noticed were also pulsing. It hit me that maybe there was a way to use those sounds as a sound source to create beats. So basically trying to figure out how to shape wind and water into a pulsing beat that emulated a modular synth (or rather, pull out the pulses inherent in those sounds) was what led to the musical foundation of The Blue of Distance. Then I just tried to think about what acoustic instruments the electronics sounded like and just write parts that mimicked the electronics so that there was a blurring and confusion of sounds. The water and wind samples’ pitch bends and sways, mimicking a synthesizer and confusing the distinction between natural and artificial (or digital) sounds.

Elori Saxl makes music and film. She's composed music for new music ensembles, as well as Patagonia, Google, Poler, Dove, the New Yorker, This American Life, Public Radio International, SFMOMA, and more. She’s also directed films for the New Yorker and Slate. Her work has been nominated for two emmys and been featured by Paste, Vimeo, Consequence of Sound, VPR, and shown at festivals around the world. 

Credits:
Violin, Viola : Finnegan Shanahan
Cello: Helen Newby
Clarinet: Kristina Teuschler, Alec Spiegelman Flute: Sarah Carrier
Oboe: Erin Lensing
Bassoon: David Nagy
Everything else: Elori Saxl
Written and recorded by Elori Saxl Mixed by Zubin Hensler
Mastered by Taylor Deupree Design by Will Work for Good

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Vignettes paint a picture of a thousand sunsets, tingling spines and swimming minds. Hazy summer montages, worn film and distant fuzzy rock radio. Summer festivals staring at shifting clouds, green grass tickling your neck, while your left ear feels the pulse of electronic drums and your right reverberates with a slow ambient arpeggio.

Credits:
Written and performed by Barry Smethurst
apta.bandcamp.com

Woodford Halse Livery - Nick Taylor
spectral-studio.co.uk

Cigarette Card Text - Barry Smethurst

Layout, Cigarette Card Image and Additional Design - Mat Handley
woodfordhalsetapes@gmail.com

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‘Ecstatic Meditations’, the follow up to 2016’s acclaimed debut solo outing ‘Interludes’, features six beautifully crafted new tracks leading with an edit of the 20 minute album opener and lead track ‘Journey In Ecstasy’. An adventurous deep listening experience, the new collection was recorded, mixed and mastered by Furse at his electronic studio on the Margate coast.
A sonic tapestry of sound that takes inspiration from the likes of Alice Coltrane, Laraaji, Eno and Steve Reich together with a new found appreciation for Japanese environmental music composers such as Akira Ito and Yasauki Shizimu. The result is an intense yet playfully refreshing take on ambient and electronic music.