Archive | septembre, 2014

Peter Zummo « Lateral Pass » reissue by FOOM in 2014

26 Sep


1. Sci-Fi
2. Slow Heart
3. Song VI
4. Song IV (Original Quintet Version)

Peter Zummo: Trombone
Arthur Russell: Amplified Cello & Vocals
Guy Kluvecsek: Accordion
Mustafa Ahmed: Percussion & Marimba
Bill Ruyle: Tabla & Marimba


Peter Zummo’s work has flown under the radar of most « serious music » cliques but contributes significantly to the canon of American art music as exemplified by everyone from Harry Partch to John Fahey. On this reissue, Zummo’s liquid trombone sound and minimalist compositional style is fleshed out by the contributions of Arthur Russell on amplified cello and vocals, Guy Kluvecsek on accordion, Mustafa Ahmed on percussion and marimba and Bill Ruyle on tabla and marimba.The music itself is a beautiful melding of acoustic timbres with a repetitive flow, maintaining a lyric narrative that is absent in the work of a lot of the current minimalist fashionistas. Ruyle’s tabla work sparkles over the thrashing rhythms of Ahmed’s percussion, while the rest of the ensemble chants a seamless liturgy throughout. »Song IV » is clearly the masterwork in this collection, a suite of fades that range from the strict march of minimalist sequences to out and out funk grooves. Lateral Passis a lovely testament to Arthur Russell’s influence and Zummo’s penchant for modernity.(Foom Records)

Lounge Lizard trombonist with Arthur Russell on amplified cello and vocals, plus regular AR collaborators Bill Ruyle (tabla) and Mustafa Ahmed (marimba), and accordionist Guy Kluvecsek.(foom records)



25 Sep


Depuis « Find Out What Happens When People Stop Being Polite, And Start Gettin Reel » de Hype Willians en 2010 je suis de très prés la carrière de Dean Blunt et Inga Copeland.The Redeemer son album solo est un des sommets de 2013.

Dean Blunt ‘Black Metal’ tracklist:

01. LUSH
02. 50 CENT
03. BLOW
04. 100
08. X
09. PUNK
11. HUSH

Blunt’s newest odyssey, ‘Black Metal’, rides this tension between critical detachment and mainlined human feeling, and in fact he climbs ever-steeper theoretical heights just as his emotionally stark songs become, at times, startlingly intimate. A true multi-media vanguard, Blunt employs original instrumentation along with elements of pastiche and his unique vocal performances to create songs and recordings that are not only beautiful, but also tie into his larger project that incorporates music, visual art, and the written word to play with identity, cultural signifiers, and artistic agency. But ‘Black Metal’ is above all a brilliant, majestic collection of songs, encompassing everything from hypnotic long-form experiments to ballads almost disarming in their sweet simplicity, swirling equally with fascinating sounds and fascinating ideas. Blunt’s influences are wide-ranging, from rock’s underground pioneers (he quotes Sonic Youth in interviews; the album leads with a Big Star sample), to neoclassical composers, to early indie pop (another track samples The Pastels), to classic rock, hip-hop, and R&B. But rather than coldly compiling them, Blunt brings the works and genres he draws from into a new musical and cultural conversation.(source:rough trade)


Vodoun Gods on the Slave Coast de HISHAM MAYET(sublime frequencies/2014)

23 Sep



THOMAS BELHOM « Maritima »(ici d’ailleurs/2014) sortie Le 10 Novembre 2014

23 Sep



Thomas Belhom est un artiste extrêmement talentueux qui n’a pas eu en France le succès public qu’il mérite assurément. A la sortie de son précèdent album j’ai eu la chance de le voir en live a Metz. Nous étions à peine dix spectateurs dans la salle et uniquement deux personnes furent attentives. Les autres comme à l’accoutumée taillaient la bavette au lieu d’écouter le concert. C’est un mal endémique très français et un manque de respect total pour l’artiste. Message très personnel : mon cher Stéphane Grégoire, ton label est formidable mais manque encore un peu de diversité à mes yeux. J’ai pourtant pu observer cette diversité dans ta discothèque personnelle… J’aimerais la retrouver dans ton label… Je t’aurais bien vu produire Antoine Loyer ou Philippe Crab….. Si toi tu ne peux prendre un risque… Qui le peut en France ? POUR L’INSTANT je ne vois personne….



Sacha Toorop »au clair de terre »(Zip Zop/2006)

23 Sep



1. Au Clair De La Terre
2. Du Monde Au Ciel
3. Soin De Soi
4. Mile Après Mile
5. La Danse Des Doigts
6. Les Bourrasques De Vent
7. Betsy Boo
8. L’Amour Est Mort
9. Eau Claire
10. L’Exil
11. D’Ailleurs


Tarwater – Adrift (bureau B/2014)

22 Sep


« We are not minimalists, » emphasize Tarwater. Perhaps the term is overused to the point of meaninglessness, but it can certainly be assumed that the band has been labeled as such more than once. Their new album « Adrift » is an album of voices and rhythms, with an atmosphere that may at first seem reduced, yet further listening reveals a wealth of detail. « Adrift » was created in 2013/14 and completed after Ronald Lippok and Bernd Jestram worked together with Maurus Ronner on the soundtrack for the documentary « 24h Jerusalem ». Such projects are not a disruption for Tarwater, but serve as catalysts for new interactions. They make music in a « laboratory with changing experimental arrangements ».

One might imagine the two lab technicians as travelers. And just as the result of an experiment is uncertain, the final destination of the journey is initially unclear. Tarwater encourage this state of being « Adrift ». The cover of the album shows the empty field of the former Berlin airport at Tempelhof, photographed by Robert Lippok, who also provided the photo for the cover of Tarwater’s previous album, « Inside The Ships » (2011, Bureau B 085). Then it was an uncompleted Space Opera. This time it’s about the « search for our own Byzantium ». « Adrift » is a dream diary; its characters act not as in fantasy, but reality. Tarwater agree when the album is described as « somnambulist ».

« Adrift » contains 13 songs, four of which are instrumentals. The opening track, « The Tape », is an introduction to the sonic landscape of the album. Drum ‘n’ Bass in slow motion: A recurring hissing sound meets an acoustic bass and associative percussion. Tarwater roguishly refer to the acoustic bass as their « weapon of choice » and are fascinated by its elastic, vague expressiveness. The drumkit in the traditional rock format is conspicuous in its absence. Tarwater, who particularly in the British music press are happily and quite fittingly placed in the tradition of the Krautrock of the seventies, tap into a different close relative on « Adrift ». Robert Wyatt, with his Jazz filtered through Progressive Rock, comes to mind.

« Adrift » is one of the few Tarwater albums not to feature a cover version. Instead there are four assimilations of texts by befriended and esteemed poets: « Homology, Myself » is by the Viennese-Berliner poetess Ann Cotten, quoted from « Dichten = N. 10. 16 New (To American Readers) Poets » (Burning Deck/Anyart, Providence 2008). She speaks of the impossible task of being a robot. The rhythmic backdrop, in which Tarwater install Cotten’s lecture (music and voice recording were created separately), is anything but mechanical. The lyrics to « They Told Me In The Alley » also come from Ann Cotten and Kerstin Cmelka. The title suggests something rather pastoral, yet we hear as Ronald Lippok’s voice travels through different room ambiences. « Log Of The Sloop » and « The Evening Pilgrims » are taken from the collection « The Man Who Had Forgotten The Name Of Trees » by Milner Place (Moloko Print, Schšnebeck 2013). A love of literature is inherent in all Tarwater releases: On their debut album « 11|6 12|10 » (Kitty-Yo, 1996) the Norwegian-Berliner author Tone Avenstroup speaks « Han er der inne », a text by Terje Dragseth, over relaxed electro jazz Ð the track would also fit in well on « Adrift ».

« Adrift » finishes on an ethereal note: « Rice And Fish » features a cameo by Sabrina Milena alias Milenasong. Bernd Jestram produced the debut album by the Berlin-based artist of Norwegian-Slovenian origin, and in 2010 Tarwater covered MilenasongÕs « Lily Wyatt ». Milena provides the shimmering background to Ronald Lippok’s laconic vocals, alongside psychedelic guitar sounds, electronic loops and a bossa nova rhythm. Minimalism sounds different.(source:bureau B)


AVAILABLE: Oct 31, 2014


Marek Flohner


The Travelling Archive – Folk Music from Bengal: Field Recordings from Bangladesh, India and the Bengali Diaspora(sublime frequencies/2014)

22 Sep


The Travelling Archive is a journey through the folk music of Bengal. It is run by Calcutta-based Bengali singer, writer and researcher, Moushumi Bhowmik, and sound recordist and sound designer, Sukanta Majumdar. They have been making field recordings of songs and stories across Bangladesh and eastern India, even the Bengali diaspora in East London, since 2003; documenting and disseminating their research through archives, presentation-performances, art works, and their own independent record label and web site. Moushumi and Sukanta get out there, travel all over, become friends and live with the musicians, record them in their homes and villages, on their rivers, in their tea shops and work fields. Bengal, which includes Calcutta, India, Dhaka, Bangladesh, and more than 250 million people, is an amazingly diverse yet unique region, home to some of the largest cities in the world and plenty of uncategorizable and diverse folk music, including those wandering minstrels, the Bauls. The music and instrumentation presented on this LP features solo voice and chorus vocals, harmonium, dotara (four-string fretless lute), ektara (traditional one-string drone instrument), dugi(small kettle drum), bamboo flute, violin, and even an empty popcorn tub played like a drum. This is a diverse and magnificent sampling of what remains a massive archive of folk music from this region and Sublime Frequencies hopes to continue to release additional volumes in the future. Produced for Sublime Frequencies by Robert Millis, this limited edition LP comes in a tip-on heavy jacket with insert containing liner notes and photos.(source:sublime frequencies)



In the marketplace (Ambient Recording)

01 :32


Jhumur [Amulya Kumar (voice and harmonium), Abinash Kalindi (table)]

05 :10


Solo Dotara [Ibrahim Boyati]

02 :47


Boatman’s Song [Idris Majhi]

03 :31


Song to Goddess Kali [Renuka Acharya]

03 :28


Wedding Song [Anurupa Roy and Mini Roy (voice), Shopon Kumar Das (dotara)]

02 :58


Murshidi song [Ahmed Moyez]

05 :42


Baul song of from Kushtia, Bangladesh [Nazrul Fokir]

04 :48


Baul song from West Bengal, India [Shanti Babaji (voice and khamak or variable tension chordophone), Malay Bhattacharya (violin), Nitai Das (dubki), Tarak Khepa (dotara), Tarun Chowdhury (bamboo flute

08 :47


Songs from a Tea Garden [Shobha Minja, Deunishia Tirki, Prishaka Kindo, Miristila Tirki and Aruna Pappa (voice)].

03 :13


A Distant Invitation: Street & Ceremonial Recordings from Burma, Cambodia, India, Indonesia, Malaysia and Thailand (sublime frequencies/2014)

22 Sep

a distant

A hallucinogenic splatter-drift audio meltdown through the streets and back alleys of Southeast Asia recorded and assembled by Seattle-based multi-sword-wielding artist Jesse Paul Miller (Factums/Secret Records/Liver & Bacon/Big Tribal Balls). This limited edition LP includes street and folk music, situational ambience, radio excerpts, and psychedelic atmospheres from Burma, Cambodia, India, Indonesia, Malaysia, and Thailand. « We heard them from a distance, bells in the back alleys of Surakarta … Then, one day, two weeks later, we walked around a corner and there they were, a troupe of roving gamelan musicians and a monkey with a mask … If one wanders the streets of Southeast Asia, they will undoubtedly hear a variety of fascinating sounds; those created by street musicians, sellers in markets, horns from temples and mosques, woven with insect songs, birds, dogs, motorcycles. Intended to engage and entertain a host of spirits and gods, festivals and processions are frequent in certain regions. They can be extremely vibrant and overwhelmingly powerful energy situations. In rituals, the use of random multiple layers or instrumental vibrations can be intended to confuse or scare off bad spirits, and this can be very disorienting for the living listener also. Street musicians combine older instruments with electrical delivery systems in the form of genius portable battery-operated-waist-pack mini-horns connected to keyboards, karaoke machines, and folk instruments — sometimes with effects. These musicians sit roadside; in some places they hop on buses between stops. In markets and along roadsides, sellers manipulate their voices to advertise using delay effects. Food cart proprietors use an incredible array of sonic methods to attract customers. They tap on objects, use steam whistles; sing like birds, use bits of Western jingles (and much more). Buddhist, Hindu, and Muslim broadcasts can be heard blasting through loudspeakers. With the addition of amplification, there is usually some form of distortion inherent to the speaker systems, often magically enhancing the voices, mixing in with the urban or rural soundtrack. The sonic tapestry of any space can reveal poetic insights. There is the perspective that all audio events in an environment, regardless of their form, can be heard musically. The vitality and depth of human expression, whether awe-inspiring or minute in all of its multitudinous manifestations, is for now, intact in Southeast Asia, and very much alive. » –Jesse Paul Miller; This limited edition LP comes in a full-color tip-on jacket with a two-sided insert including photos by Linda Peschong & detailed liner notes and personal impressions by sound artist & compiler Jesse Paul Miller(source:sublime frequencies)


Nana Love « Disco Documentary – Full of Funk »(bbe records/2014)

22 Sep


Though the iconic imagery of Disco feels distinctly tied to the United States, the style had a wide-reaching influence that made it’s way to Africa. While Africa was already no stranger to the pulsing rhythms of funk, Afro-beat, and highlife, the rise of disco added a slick sheen to the music, with musicians from all over the continent incorporating elements of the genre into their sounds.
Would there ever have been a Studio 54 in Ghana in late 70s, these would have been the recordings that would have packed the dance floor with their deep root in Disco, Soul & Funk!
An album recorded in the late 70s packed full of legendary musicians such as Harry Mosco and many more… to be re-discovered 35 years after it’s initial vinyl release as a private press. A “Disco Documentary Full Of Funk” proves that it stands the test of time by sounding as fresh and original as any other sought-after Disco / Soul Funk LP from the West coast of Africa in the late 70s.
BBE went on another crate-digging journey and found the original producer Reindorf Nana Oppong and the original master tapes were dusted off, transferred to digital. In the process of this, even un-released material was discovered on the tapes, which makes this a rather special package.
“Nana Love – Disco Documentary Full Of Funk” is one special journey through Afro Disco & Boogie in the late 70s, and we at BBE can guarantee that you won’t be disappointed!!!(source:BBE RECORDS)

Side one
I’m In Love

Side two
We Gonna Stay For The Party
Talking About Music
Disco Lover
Sahara / Chains of Love

Side three
Hang On Baby
When The Heart Decides

Side four
Reach Out My Hand
Loving Feeling (Dance Mix)
Loving Feeling (Instrumental)

Le label Stones Throw Records a su se renouveler en profondeur.Les nouvelles productions du label n’ont plus grand chose à voir avec le Hip hop des débuts.

21 Sep