This album showcases the series of heavily Reggae-orientated tunes that was created throughout the past three years - starting with the landmark King In My Empire w/ Cornel Campbell - and that so far has only been available on 10" vinyl format. After the previous Burial Mix album Showcase (BMD-1, released 1998), exclusively with vocals by Paul St. Hilaire, the present release features eight tunes, voiced in Berlin, New York and Jamaica by seven artists, some of them living legends; Cornel Campbell, Paul St. Hilaire, Shalom, The Chosen Brothers, Love Joy, Jennifer Lara and Jah Batta. Released simultaneously, The Versions (BMD-3) contains the corresponding instrumental versions b/w Dubs that integrate minimal structures with Rhythm & Sound's breathtaking athmospheric density. An essential twin-release.
Rhythm And Sound With The Artists Rar
Deep within the pitch-black jungle, far from civilisation and urban safety, "The Temple of Breaks" awaits your arrival. Dare to explore this rhythmic fortress, carved out of heavy ancient rock by the high priests of Drumfunk, built to hold the power of the most frenetic old-school beats known to man. Injecting venomous influence from a wide range of artists such as Alaska/Paradox, Seba, Macc, Fanu, Dissident, Photek, Fracture & Neptune, Nucleus, Equinox and a host of up and coming and current artists and labels...
Find your way around 75 pounding loops of hack n' paste percussive energy, sped up to an inhuman 170-182 BPM, expertly compressed for the controlled chaos you crave in your productions. These pristine and searing beats are available in many perfected formats such as 24-bit .WAV or Rex2, so you can drop them straight into Cubase, Logic, Reason, Fruityloops, Ableton, Acid and many more sequencers easily. "The Temple Of Breaks" sample pack is all about rhythmic imagination, so with breaks like "Hitman", "Overdose" and "Incoming", you know your audience is going to get some serious brain food, especially if you select the Scissors tool and go mental!
In 1981, 'Shake Rattle & Roll', a VHS video documenting his first wild-style performance on the East coast (produced by video artist Jon Child), was released by Fetish Records in the UK and was the first 'music' / art video to be commercially released. In 1982 he worked with Glenn Branca for Brancas Symphony No. 2 in which Z'EV had a solo segment swinging with metal can overhead, and rattling chains and sheets of steel. After 1984, he concentrated on performing in a more traditional mallet-percussion style, albeit with highly idiosyncratic and "extended" mallet percussion techniques and his self-made or adapted instruments. In point of fact, Z'EV doesn't actually consider[6][7][11] the results as "music" per se, but more as orchestrations of highly rhythmic acoustic phenomena.
As part of the Dia Art Foundation's "Artists on Artists" Lecture Series, Camille Noment correlates pioneer Max Neuhaus' sound art practice and her own work with time, the bell toll, and most especially feedback, all contextualized by concurrent and contemporary socio-cultural and political phenomena including social revolution, and evolution.
'Lecak' in Malay "can mean moist, wet, muddy or even naughty," which might give you a hint of where this selection is headed. Adding an audible penchant for 60s and 70s soul, funk, psych, disco, punk and even afrobeat to the singular mix, along with Thai luk thung and molam influences, Maggot and his entourage serve up a unique, groove-ridden "melting pot" of sounds common to this culturally so diverse part of the world. Featuring alongside him in order of appearance are the Sitar Funk Group, The Kribo Brothers, Rebana Funk Brothers, Golden Mile Band, Wah Wah Thai, Hail Atan, Anak Anak Abu, Geylang Electric Phin Band, Hong Chungao Street Band, The Ugly Voices, Budak Bawah Blok, Eri and Aaliya.
Talk about the Swinging Sixties...Olindo Records sister label Música Infinita is currently working our speaker system with its second release, more than a year after dropping its inaugural reissue of Venezuelan jazz staple Gerry Weil's "The Message". This time, the label has dug up another masterpiece, presenting "the raw and uncompromising Afro-Latin sound" of late '60s Venezuelan salsa group Los Kenya and bandleader/pianist Ray Perez. "Siempre [...]
In celebration of Latinx Heritage Month, NPR Music is spotlighting a series of artists across Latin America who are engaging with their musical heritage in unique ways. From reworking conservative genres for new eras, to teasing out modern sounds from old-school instruments, these artists represent the wide range of experimentation that makes up contemporary Latin music.
Dalt has been thinking about Ay! for many years. The Berlin-based musician summoned the "memory of rhythms" from her Colombian upbringing rather than precise, studied recreations. She started writing as the pandemic began in the spring of 2020, a period following some of the busiest months of her life. She had recently wrapped up work with an orchestra in Chicago, recorded a collaborative album with Wolf Eyes' Aaron Dilloway, and produced material for an art installation at the Museum of Modern Art of Medellín in Colombia, all while recording and touring No Era Sólida. The musician was possessed by an "eruption of wild, creative energy," but when the virus arrived she was forced to slow down. It felt like the right moment, Dalt says, to pursue an album of tropical rhythms that would eventually require "very patient studio time." Each day the Colombian sat at her keyboard, listening, reflecting, and playing the music of her childhood. "I had more of this introspective time," she says. "I was slowly analyzing tracks and thinking, 'What is happening with this progression? Why does it generate this feeling of longing within me?' "
Like so many people who experienced the pang of homesickness during lockdown, Dalt sought comfort in the music of her past. "You look at those memories in a different way, through the lens of nostalgia," Dalt says. "I was here, they were there." The emotional thrust of music from artists La Sonora Matancera, José A. Méndez and La Lupe became intertwined with Dalt's recollections of the place she most associated with the music, her family home in Pereira, a city high in the Colombian mountains.
Despite springing from a place of melancholy, the tone of Ay! could hardly be considered sad. Often it sounds as if Dalt is simply having too much fun experimenting with music, not only incorporating the metallic stabs of her Prophet 6 synthesizer into downtempo rhythms of South America, but stretching her vocals around traditional song structures. Melodies often fold back on themselves, as on "Dicen," in which Dalt relays the village rumors circulating about Preta. "She thinks she's the Circe of Aeaea ... / She crawls around and licks it all up," Dalt sings as a mournful trumpet pipes alongside her. When it arrives, the Colombian's breathy exhalation of the closing phrase, "So 'dada'," lands like a musical punchline.
Special Collector's Edition Complete Sessions Bonus Tracks Original artwork and liner notes Hi-Fi Recordings Newly RemasteredTracklisting:01. September In The Rain (Warren-Dubin) 5:07 02. Down At The Loft (John Williams) 4:27 03. A Ghost Of A Chance (Young-Crosby-Washington) 6:37 04. Not So Deep (Zoot Sims) 7:02 05. Them There Eyes (Tracey-Pinkard) 5:59 06. Our Pad (Johnson-Brookmeyer) 4:42 07. Dark Clouds (Zoot Sims) 4:31 08. One To Blow On (Zoot Sims) 5:29 09. When The Blues Come On (Darwin-Cohn) 4:37 * 10. Buried Gold (Zoot Sims) 6:16 *Total time: 55:04 min. (*) Bonus TracksSources: Tracks #1-8, originally issued on Dawn DLP-1102 Tracks #9 & 10, previously unreleasedPersonnel:Zoot Sims (tenor sax), Bob Brookmeyer (valve trombone), John Williams (piano), Milt Hinton (bass), Gus Johnson (drums). Recorded in New York City, January 11 & 18, 1956Liner notes: Nat ShapiroOriginal sessions produced by Chuck DarwinProduced for CD release by Jordi Pujol 24-Bit High Resolution Remastering_________________________________________________________________________________________________________________ Review: "These early 1956 sessions feature Zoot Sims in top form playing a pair of standards and originals by members of the quintet. Bob Brookmeyer is the perfect foil for the tenor saxophonist, as they seamless interweave intricate lines throughout the record, especially in an upbeat take of "September in the Rain." Pianist John Williams contributed the cool "Down at the Loft" and solos brilliantly on every track. Brookmeyer penned the slinky "Our Pad" with drummer Gus Johnson, a track that would have fit a typical Gerry Mulligan date (with whom both Sims and Brookmeyer worked from time to time). Sims contributed three originals, but the hottest solos come in the closer, appropriately titled "One to Blow On." Anchoring the rhythm section is the great bassist Milt Hinton, who is easily identifiable after just a few notes during his solos." Ken Dryden -All Music Guide 2ff7e9595c
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