Archive | juin, 2020

THE SONG OF MY LIFE VOL 480 : Hailu Mergia and the Wallias Band – Muziqawi Silt

14 Juin

THE SONG OF MY LIFE VOL 479 : HAILU MERGIA & DAHLAK BAND – minibelsh

14 Juin

THE SONG OF MY LIFE VOL 478 : Super Tentemba Jazz – Mangan

12 Juin

THE SONG OF MY LIFE VOL 477 : Léon Keïta – L’amour ne s’achète pas

12 Juin

THE SONG OF MY LIFE VOL 476 : Sorry Bamba – Kanaga 78

12 Juin

Logic System ‎– Venus (1981/Express /We Want Sounds en 2020)

11 Juin
1981 SYNTH CLASSIC BY JAPANESE KEYBOARD WIZARD AND YMO PROGRAMMER HIDEKI MATSUTAKE REISSUED OUTSIDE OF JAPAN FOR THE FIRST TIME IN 40 YEARS. REMASTERED FROM THE ORIGINAL TAPES WITH STRIKING ORIGINAL ARTWORK BY LEGENDARY ILLUSTRATOR PATER SATO

​His name may not be instantly familiar, but Hideki Matsutake has had a huge influence over Electronic music. Starting his career as the assistant of Japanese Electronic Music master Isao Tomita in the early 70s, he went on to work with Ryuichi Sakamoto before joining Yellow Magic Orchestra as the group’s keyboard programmer and unofficial fourth member. In 1981 he started his own Logic System project recording « Venus » that year in Los Angeles with Don Grusin, Nathan East and Michael Boddicker, brilliantly mixing Synth Funk, Ambient and Boogie with a touch of Smooth Jazz predating Vaporwave by 30 years. Wewantsounds is delighted to reissue this visionary album, which comes remastered from the original tapes and features Pater Sato stunning artwork including the rare beautiful 8-page insert that only came out for the first Japanese pressing with an exclusive interview of Hideki Matsutake by Hashim Kotaro Bharoocha.(wewantsounds)
Publicité

VINYL RECORD OF MY LIFE vol 122 : Tuatara – A Flying Nun Compilation (1985/Flying Nun Records)

8 Juin

The Book Of My Life – vol 36 : Stu Mead chez Divus en 2016

8 Juin
Stu Mead’s paintings touch the art world at a tangent. Not that he’s exactly an outsider, having received a formal art education. But the Berlin-based American has a bigger reputation in « underground » culture than on the established art scene. Maybe that’s because his paintings are unabashedly (one could even say sincerely) about their subject matter rather than about art. (Barry Schwabsky)
Stu Mead graduated from the Minneapolis College of Art and Design in Minnesota as a skilled and ambitious painter, someone who stood out in his field and would have made a name for himself one way or another. His early works show a solid painting style and an admitted inspiration in European modernism. His artistic skills are accompanied by a strong personal story. Stu was born with a congenital condition that causes his physical handicap. He studied at a school that in the 1970s was one of the most active centers of the radical feminist movement. One of his teachers was Andrea Dworkin. The subjects of personal identity, gender, social emancipation, and the exploration of existence all hung in the air and were easily articulated by Stu. In several works, he explored the subject of a male figure in a wheelchair. He found inspiration for his typology of female characters in 1950s American pop culture. The way he depicted space in his paintings shows his enchantment by the mannerist polyhistor and graphic artist Piranesi, whose labyrinths and imaginary towers resonated deeply with Stu. His success as a painter was set.
At this point, someone – I think it was Frank – notices Stu’s sketchbook and tells him to focus in his art on what he likes best. He tells him that one reason for making art is that it can make you feel good. From this moment on, his paintings become less consciously sophisticated in their visual composition, and the settings are reduced to mere hints at dark English-style rooms with a fireplace, pseudo-Gothic baths, and parks or cemeteries. The human figure moves to the foreground, skilfully worked, consciously straddling the line between fairytale illustration and vulgar comic-book humor: Stu brings his girls on stage. (Lenka Klodova, excerpt from the book introduction, 2015)

The Book Of My Life – vol 35 : Le Rien illustré de Pascal Comelade (un livre CD chez Les Fondeurs De Briques en 2020)

7 Juin
L’AUTEUR : Pascal Comelade (1955) est pianiste et compositeur. Après quelques années de pratiques électroniques (1974-1981), il développe une pratique de musiques strictement instrumentales (en solo ou avec son orchestre le Bel Canto Orquestra), musiques qu’il qualifie parfois de «Muzak dégénérée».
En parallèle et depuis des lustres, de façon irrégulière et en absolu dilettante, il produit quelques peintures et autres collages réalisées avec les mains et en couleur la plupart du temps. On y voit des images de tourne-disques morts, des portraits relativement ressemblants de vedettes populaires (Batman, Vince Taylor, Dean Martin…), des scènes de genre, des allégories historiques alliant audace des formes et hardiesse des coloris, des tentatives de représentations de pochettes de disques vinyles (surtout en format 45-tours), des erreurs de perspectives manifestes, le Captain Beefheart sortant d’une poissonnerie, des paysages en braille, de l’abstraction dépressive et du réalisme de Luna-Park métaphysique.
On peut citer, pour ce qui est des influences manifestes, les graffitis de vespasiennes, les vignettes Panini, les couverture de publications Elvifrance, le nu artistique, les papier-peints de chambres d’hôtel, les calendriers des PTT, les affiches de catch à quatre et les grandes heures de l’académisme chromatique.

VINYL RECORD OF MY LIFE 121 : Heerlens Percussie Ensemble ‎– Biologic Music (chez HPE en 1986 et réédition HOT MULE en 2020)

7 Juin
1973, in the south of the Netherlands, the city of Heerlen and its surroundings nurtured a strong musical heritage and culture. A number of young musicians were developing their skills in one of the many music schools established in a 30 km radius. This new blood would join fanfares, symphonic orchestras, choirs, and later have a strong influence on dutch pop and jazz music..

Founded by Jelmo “Pio” Piovesana, teacher and key musical figure in the region of south Limburg, Heerlens Percussie Ensemble had some of the most inventive musicians of their generation in its ranks. Having gained valuable experience and new musical perspectives in conservatories and workshops with all time greats like Steve Reich, Bob Becker, Nippy Noya or Han Bennink, Jelmo’s alumni would eventually emancipate themselves from their mentor’s traditional approach to percussive music.

Recorded in a school over two days, 1986’s Biologic Music sees masters of their craft exploring uncharted territories using vibraphones, bells, marimbas, electronic drums, balafons and tibetan prayer wheels, among others. Mixing Jazz, Latin, African, Brazilian, Modern, and Minimal music, the ensemble’s penchant for fusion, improvisation and program music, lead them to create a deeply mesmerizing and timeless album.(hot mule)