WHAT THE COVER LOOKS LIKE:

WHAT THE RELEASE NOTES SAY:

The new album, which Amidon considers the fullest realization to date of his artistic vision, comprises his radical reworkings of nine mostly traditional folk songs, performed with his band of longtime friends and collaborators. Amidon produced the record, applying the sonic universe of his 2017 The Following Mountain to these beloved tunes, many of which he first learned as a child. "Pretty Polly," for example, was one of the first traditional tunes he learned to play, and "Time Has Made a Change" is a song that his parents—singers who were on the 1977 Nonesuch recording Rivers of Delight with the Word of Mouth Chorus—sang around the house when he was young.

Amidon and his frequent band of multi-instrumentalist Shahzad Ismaily and drummer Chris Vatalaro were joined in the studio by Belgian guitarist Bert Cools (who played on his last EP), as well as Amidon’s wife, Beth Orton, who adds vocals on three songs. Acoustic bassist Ruth Goller and saxophonist and labelmate Sam Gendel also play on the album, which was mixed by Leo Abrahams. Sam Amidon was mostly recorded live in the studio. Amidon arranged the songs, which are traditional tunes, with the exception of Taj Mahal’s “Light Rain Blues,” Harkins Frye’s “Time Has Made a Change,” and “Hallelujah,” which is an 1835 William Walker shape-note tune using earlier words by Charles Wesley, found in the Sacred Harp collection of early American folk-hymns.

WHAT THE RELEASE NOTES SAY:

“I wanted to create something beautiful and energetic, that reflected my love for music from the 60’s, 70’s and 80’s, something characterful and melodic, and also include some deep lyrical content about life and existentialism. I wanted to touch on some basic concepts but also difficult emotions and experiences. Ultimately, it’s all about togetherness. A “Common Saint” is like a Good Samaritan; just an everyday person who treats fellow humans well and goes out of their way to make sure people are ok. I like the feeling the name gave me, like it was friendly but powerful.

I’ve always loved guitar and vocal driven music; blues, funk, soul. The list is extensive, but artists like Marvin Gaye, The Beegees, Roy Ayers, Pink Floyd; are all strong influences. I have a growing vinyl collection filled with some absolute gems. I love how people used to cherish music and care so much about it back in the day. That’s one of the reasons I wanted to print the EP on vinyl. It kinda doesn’t feel real until it’s on vinyl.

Contemporary music is a profound example of collaboration between people. I have many influences from all over the world that ring through the music I make. Its an echo of everything that I’ve ever heard, amalgamated into a vibe.
It’s all a battle between God and science / spirituality and technology, and how they intertwine and interact with each other, and what that means for the world.

The lyrics of Idol Eyes represent a utopia of sound, where music is religion and the gods the song. People keep on moving and they sing along, this feeling is a heaven where we all belong. It’s a realisation of how we are all the same, and only societal constructs pull us apart. Getting high and making love. Those two things are some of the simplest of human desires.”

WHAT THE COVER LOOKS LIKE:

WHAT THE RELEASE NOTES SAY:

The mystical universe of Magia Magia reflects influences from the samba rock of Jorge Ben, the romantic grooves of Djavan and the psychedelic pop of Connan Mockasin and Negro Léo. The lyrics and sensations suggest a new way of seeing the reality of the world and relationships: union, spirituality, magic, complicity, happiness, courage, love, fraternity, dilemmas and contradictions lead the poetical subject of Magia Magia. Inspired by a conception of the universe ruled by feminine entities, Gus Levy brings with Magia Magia a masterpiece of modern Brazilian psychedelic and funky pop, with exquisite artwork by Fernanda Varella.

A composer and multi-instrumentalist from Rio de Janeiro, Brazil, Gus Levy has been gaining more and more attention on the Brazilian music scene during the last few years. He is also a producer at Rio de Janeiro’s Estúdio Carolina studios, a member of the band "Os Dentes" for more than 10 years, and the guitarist of choice for artists like Antonio Neves, Filipe Marones and João Werneck. 

Credits
Gus Levy - voice, guitars, electric guitars and keyboards
Marcelo Costa - drums and percussions
Pedro Dantas - bass
João Werneck - electric guitar
Ana Frango Elétrico and Raquel Dimantas - chorus
Quarteto Cais - strings
Rudah Guedes - strings arrangement

Produced by Gus Levy at Estúdio Carolina, Rio de Janeiro, Brazil.
Assistant of production: João Werneck.
Sound engineering and mixing by Angelo Wolf.
Sound Assistant: Kayan Guter.
Vinyl mastering by Angelo Wolf.
LP vinyl production by Greg Gouty (180g) and Yusuke Erikawa (Disk Union).
Artwork by Fernanda Varella.
LP additional design by Pauline Bodinier.

WHAT THE COVER LOOKS LIKE:

WHAT THE RELEASE NOTES SAY:

Five years after his critically acclaimed debut album Throwback, Glenn Astro returns with his deeply personal album Homespun, releasing on Tartelet Records this October.

Marking a change in course from his first release on Tartelet Records, Glenn Astro is set to showcase his sophomore album Homespun, a testament to a visionary artist who has come into his own.

Made up of ten tracks spanning 45 minutes, the record twists and turns between electronic meditations, soulful vocals by Ajnascnet, and futuristic electro, carving out a world of spacey eclecticism that is as nostalgic as it is experimental.

“This album is in all facets different from the first one, which was a deliberate decision. No vintage sounds and references, no sampling, combined with futuristic sound design and song structures. Less obvious references, more everything else. I tried to keep it as current and intuitive as possible,” he says.

Known for his chunky beats and fuzzy textures, Glenn Astro was a key figure in the wave of MPC-heavy house music that spread like wildfire between 2013 and 2015. Since then, he has released on labels such as Ninja Tune and Apollo, leaving a distinctive signature on everything he touches.

But Glenn Astro has quietly been crafting a new sound for himself. Sometimes taking detours – morphing into his dark alter ego and experimenting with artist collaborations. The sound of Homespun is a culmination of several years of reflection and artistic development – however, the album itself was produced in less than three months.

“I set myself an ultimatum to finish the album within three months. If I didn’t make it, I’d have to rethink my career path and keep music as a hobby. If it wasn’t for this album I’d be selling home-assembled ballpoint pens now,” he says.

On the introspective first single and album title track “Homespun,” Ajnascent’s vocals lend a sincerity to the melancholic production. “It’s about the regret of not taking chances and giving in too much, but also about taking responsibility and being honest with yourself. Homespun is a nod to nostalgia and a desire for simplicity and prudence, being equally the culprit and the cure,” elaborates Ajnascent.

On “The Yancey,” an homage to J Dilla, Glenn Astro paints his vision of contemporary dance music with shimmering melodies, deep ambient soundscapes, and advanced drum programming. “Moreira” and “Look at You” feel like spaced-out electronic funk hybrids, while “Taking Care of Business” goes back to the future with Glenn Astro’s take on jungle. Other tracks such as “Mezzanine,” “Slow Poke Flange,” and “Viktor’s Meditation” provide the finest dubby electronics.

Out on September 16th, the first single “Homespun” comes accompanied by a video featuring the notorious Copenhagen-based graffiti artist and activist Spyo. The video provides a glimpse into a parallel, nonconformist society and subculture in the Danish capital, where urban exploring and daring quests for artistic fame is a way of life.