Tuesday, 31 March 2020

Barry Adamson ‎– Oedipus Schmoedipus (1996)

Genre: Electronic, Jazz, Rock, Funk / Soul
Format: CD, Vinyl
Label: Mute, Liberation Records, ArsNova

Tracklist:
01.   Set The Controls For The Heart Of The Pelvis
02.   Something Wicked This Way Comes
03.   The Vibes Ain't Nothin' But The Vibes
04.   It's Business As Usual
05.   Miles
06.   Dirty Barry
07.   In A Moment Of Clarity
08.   Achieved In The Valley Of Dolls
09.   Vermillion Kisses
10.   The Big Bamboozle
11.   State Of Contraction
12.   The Sweetest Embrace
13.   Set The Controls Again

Credits:
Arranged By, Performer, Producer – Barry Adamson

Hector Zazou ‎– Géographies / 13 Proverbes Africains / MTM VOL. 5 (1984)

Style: Modern, Neo-Classical
Format CD, Vinyl
Label: Crammed Discs, Made To Measure

Tracklist:
        Géographies
01.   Cine Citta: Gare Centrale
02.   Denise A Venise
03.   Sidi Bel Abbè
04.   Vera C.
05.   Pali Kao
06.   Motel Du Sud
07.   Sous Les Bougainvilliers
08.   Des Cocotiers
        13 Proverbes Africains (Pour Quatuor Vocal)
09.   La Tendresse De La Glu
10.   Remonter Le Courant
11.   Les Anneaux D'Or
12.   Celui Qui Monte (Au Baobab)
13.   Le Conducteur D'Elephants
14.   La Femme Est Une Eau Profonde
15.   Le Perdrix
16.   L'Entendement De La Femme
17.   Le Borgne N'A Qu'Un Oeil
18.   Les Arbres De La Foret
19.   Le Buffle
20.   Un Papillon
21.   La Souris Pue

Rainy Day ‎– Rainy Day (1984)

 Style: Alternative Rock, Art Rock, Psychedelic Rock
Format: CD, Vinyl
Label: Rough Trade, Llama Records

Tracklist:
1.   I'll Keep It With Mine
2.   John Riley
3.   Flying On The Ground Is Wrong
4.   Sloop John B.
5.   Soon Be Home
6.   Holocaust
7.   On The Way Home
8.   I'll Be Your Mirror
9.   Rainy Day, Dream Away

Credits:
Drums – Dennis Duck
Percussion – David Roback
Cello, Violin – Will Glenn
Tambourine – Spock
Piano – Steven Roback
Bass, Keyboards, Piano – Ethan James
Guitar – Karl Precoda, Matthew Piucci, David Roback
Vocals – Michael Quercio, Kendra Smith, David Roback, Susanna Hoffs
Producer – David Roback

Monday, 30 March 2020

Ava Rocha ‎– Ava Patrya Yndia Yracema (2015)

Style: MPB
Format: CD, Vinyl
Label: Circus

Tracklist:
01.   Boca Do Céu
02.   O Jardim
03.   Você Não Vai Passar
04.   Transeunte Coração
05.   Auto Das Bacantes
06.   Hermética
07.   Beijo No Asfalto
08.   Mar Ao Fundo
09.   Uma
10.   Tão Tão
11.   Doce é O Amor
12.   Oceanos

Credits:
Produzido por Jonas Sá
Masterizado por Ricardo Garcia nos Estúdios Magic Master
Arranjos de cordas e sopros por Jonas Sá e Daniel Vasques
Gravado e Mixado por Martin Scian no estúdio Maravilha 8 e Monoaural Estúdios entre janeiro e agosto de 2014

“Iniciante” é uma palavra que não se aplica ao trabalho de Ava Rocha. Filha do cineasta Glauber Rocha (1939 – 1981), a artista que já se relacionou com diferentes campos da artes, como o teatro, cinema e, em 2011, apresentou o primeiro álbum com a banda Ava, Diurno, encontra no primeiro trabalho em carreira solo um espaço em branco, entregue ao experimento e criação. Uma obra tecida com simplicidade e referências talvez óbvias – como Gal Costa e Cássia Eller -, entretanto, lentamente joga com a interpretação do ouvinte, provocado pelos momentos de caos e acolhido nos instantes de explícita melancolia. 
“Queria um disco pop, inventivo, quente, político, sensual, um disco que reunisse uma série de elementos com uma linha inventiva, que a gente pudesse pirar”, disse a cantora em entrevista ao G1. Curioso encontrar em cada faixa de Ava Patrya Yndia Yracema (2015, Independente) uma pequena porção de cada um dos temas apresentados pela cantora, também responsável pelos versos que sustentam a presente obra. Sem necessariamente perder o controle, ou tropeçar, o registro que conta com a participação de Pedro Sá, Domenico Lancelotti e os quatro integrantes da banda carioca Do Amor é uma obra que delira, explode e encolhe a todo o instante. 
Ao mesmo tempo em que a inaugural Boca do Céu aproxima a artista do mesmo universo “denso” da cena paulistana criada por membros do Metá Metá e Passo Torto, em minutos, o romantismo de Você não vai passar e Transeunte Coração arremessa sem dificuldades o ouvinte para um novo cenário de possibilidades – muito mais pop, descomplicado e acessível. Como indicado logo na capa do disco, uma imagem de temática nonsense, talvez lisérgica, APYY é um trabalho feito para brincar com interpretação do ouvinte, longe de prováveis pontos de apoio e imposições óbvias.

Parte desse resultado surge como um efeito direto da interferência de Jonas Sá, produtor do disco. Convidado para trabalhar com a cantora em estúdio, o cantor e compositor carioca transporta para dentro do álbum parte da estética, sonoridade, excentricidade e referências também exploradas no interior de BLAM! BLAM! (2015), último registro solo do músico. A diferença está na direção assumida por cada artista. Enquanto Sá assume uma trilha marcada pela sexualidade e versos focados na boemia, Rocha mergulha de cabeça na própria intimidade, detalhando relacionamentos fracassados, temas existencialistas e tormentos que bagunçam a mente de qualquer indivíduo. 
A sonoridade arquitetada para o disco contribui de maneira expressiva para o crescimento de cada canção. De um lado, o uso de temas “atmosféricos”, sempre densos, caso de Beijo no Asfalto, Hermética e Mar ao Fundo, músicas que parecem extraídas de diferentes obras cinematográficas lançadas nos anos 1960/1970. No outro oposto, a utilização de arranjos, temas e interferências instáveis, típicas da música tropicalista. Uma constante mudança de direção que flerta com a obra de veteranos como Caetano Veloso sem necessariamente escapar do tracejado temático assumido por Rocha logo na primeira canção. 
Ainda que carregue o nome de Ava Rocha, Ava Patrya Yndia Yracema está longe de parecer uma obra centrada apenas no universo particular da cantora. A cada faixa, um diferente personagem – real ou fictício -, que cresce e dança aos comandos e arranjos versáteis do time de colaboradores. Um trabalho que parece longe de garantir respostas, pelo contrário, parece apenas brincar com a mente do ouvinte.
Cleber Facchi / Miojo Indie

Peter Principle ‎– Sedimental Journey / MTM VOL. 4 (1985)

Style: Experimental, Ambient
Format: CD, Vinyl
Label: Crammed Discs, Made To Measure

Tracklist:
1.   The Anvil Chorus
2.   Pandemonium - Spring
3.   Friends Of The Extinction
4.   Tippi Rider
5.   The Eleventh Race
6.   Noon - Ain't Superstitious
7.   Dnieper
8.   Before The Wind

Credits:
Producer – Gilles Martin, Peter Principle
Electric Guitar, Acoustic Guitar, Bass, Drums, Percussion, Electronic Drums, Organ, Moog Synthesizer, Voice, Composed By, Arranged By – Peter Principle

La Mont Zeno Theatre ‎– Black Fairy (1975)

Genre: Jazz, Funk / Soul
Format: CD. Vinyl
Label: Athens Of The North, Better Boys Foundation Family Center

Tracklist:
01.   Black Fairy Meets Johnny
02.   Please Give Me Some Magic
03.   Black Fairy Meets Black Bird
04.   Tell Them They Are Beautiful
05.   Travel To Afrika-Instrumental
06.   Black Fairy Meets Queen Mother
07.   Afrika's My Home
08.   Black Land Of The Nile
09.   Trip To America
10.   Go Down Moses
11.   Did You Feed My Cow
12.   The Streets Of Harlem
13.   Afrikan Children
14.   Black Men Can Be Beautiful
15.   Black Fairy
16.   Eulogy For Black Fairy
17.   Black Fairy Returns
18.   Hey, Black Child
19.   Johnny & Black Fairy

Credits:
Written By – Eugene Perkins
Bass – Larry Burton
Drums – Michael Llorens
Electric Piano – Anthony Llorens, Jerry Johnson
Guitar – John Llorens
Horns – Earl "Chico" Freeman
Organ – Anthony Llorens
Percussion – Jerry Johnson
Piano – Jerry Johnson
Producer – Pemon Rami
Vocals – Gregory Curry, Tony Llorenst
Backing Vocals – Barry Ray, Denise Llorens, Gregory Curry, Jerry Johnson, Patricia Crawford, Rhonada Myers

Sunday, 29 March 2020

The Heliocentrics ‎– Infinity of Now (2020)

Genre: Electronic, Hip Hop, Funk / Soul
Format: CD, Vinyl
Label: Madlib Invazion

Tracklist:
1.   99% Revolution
2.   Venom
3.   Elephant Walk
4.   Burning Wooden Ship
5.   Hanging By A Thread
6.   Nonsense Part 1
7.   Light In The Dark
8.   Nonsense Part 2
9.   People Wake Up!

Credits:
Strings, Electronics – Raven Bush
Alto Saxophone – Collin Webster
Strings Arranged By  – Jake Ferguson, Raven Bush
Baritone Saxophone – Jason Yarde
Bass, Guitar – Jake Ferguson
Drums, Percussion – Malcolm Catto
Guitar, Electronics – Dan Smith
Hurdy Gurdy, Sarangi – Sylvia Hallett
Keyboards, Percussion, Banjo – Jack Yglesias
Lyrics By, Vocals – Barbora Patkova
Producer, Recorded By, Mixed By – Jake Ferguson, Malcolm Catto
Composed By, Arranged By, Performer – The Heliocentrics

London, UK-based jazz fusion outfit the Heliocentrics made a ripple with their appearance on DJ Shadow's generally underwhelming 2006 effort, The Outsider, but that subtle vibration has turned into a tidal wave in the years since. Along with their own heavily instrumental works, they've produced lengthy collaborations with such legends as Melvin van Peebles, Mulatu Astatke, Lloyd Miller and Orlando Julius, and created the score for the LSD documentary The Sunshine Makers in 2017.

Also released in 2017, A World of Masks was their first album with Slovakian vocalist Barbora Patkova. While the creative core of the band remains drummer Malcolm Catto and bassist Jake Ferguson, Patkova's spooky, cerebral voice seems to embrace an even larger role on Infinity of Now. Granted, that could be due as much to the track selection as anything, there being only eight numbers on this album, with her prominently featured on most of them, but to the outsider, it feels like she has gained well-deserved confidence within the group.

Like the rest of their catalogue, Infinity of Now was recorded at the analogue dreamscape of Catto's own Quatermass Sound Lab. The title may evoke exotica composer Esquivel's 1960 effort Infinity In Sound, but the sound that the Heliocentrics produce here is more of a psychedelic blend of Fela Kuti's propulsive Afrobeat, David Axelrod's symphonic library psych, and BADBADNOTGOOD's hip-hop-flavoured post-apocalypse jazz.

Certain moments burn themselves instantly in memory. With its sliding strings, boom-bap drums and space-fuzz guitar riff, "Venom" is simply too cool for words. "Light in the Dark" sounds like a discovery from one of Vampisoul's Czech Up! compilations, with Patkova assumingly singing in the similar Slovak while the haunted house organ and warbled violin glissandi lend it an obscure vintage horror film vibe. If you said the fat horns and slappy drums served up with scintillating wah-wah organ of "Hanging by a Thread" was actually the result of a Fela Kuti jam session crashed by Iron Butterfly, many would believe you. Yet, taken as a whole, it has a meditative, if hallucinogenic, flow that focuses the mind through every detour, a flight of fancy with a purposeful direction in fully realized detail.

The more I listen to it, the more that Infinity of Now sounds like the album I wish Portishead would finally get around to making. Given how much the Heliocentrics continue to advance with each album, it's possible the general public may end up forgetting Portishead entirely. They may not be pioneering a movement, but the Heliocentrics do something no one else can, and it is worthy of the loftiest praise. (Madlib Invazion)
Alan Ranta / Exclaim!

Filho Da Mãe ‎– Mergulho (2016)

Genre: Rock, Folk, World, & Country
Format: CD, Vinyl, FLAC
Label: Lovers & Lollypops

Tracklist:
Parte 1
01.   Primeiro Mergulho
02.   Nó
03.   Marcha De Pedra
04.   Um Dedo Menos
05.   Segundo Mergulho
06.   Júpiter
Parte 2
07.   Madagáscar
08.   A Terra Não Come O Pó
09.   Canção Do Enrolado
10.   Da Foice
11.   Brando
12.   Epílogo-me

Credits:
Instruments – Rui Carvalho
Mixed By, Mastered By – João Brandão
Producer – João Brandão, Rui Carvalho
Recorded By – João Brandão

Com o ano chegado ao fim, olhamos para trás ensaiando uma recordação distante da inocência esperançosa com a qual aguardávamos o seu início. Foi um ano brutal, que deixou muitos frustrados, cansados, de olheiras a roçar nos lábios de ler notícias sobre notícias menos agradáveis que deixavam na boca o sabor amargo a um ano temível para o mundo, um mundo cada vez mais dividido e zangado, cada vez mais cruel e impiedoso, que nos deixou também mais pobres com os tantos nomes queridos que a morte ceifou. 
Foi num ano temível como este, tão violento como ruidoso, que nos chega de mansinho, quase sem darmos por ele, o segundo registo a solo de Rui Carvalho, virtuoso guitarrista mais conhecido por Filho da Mãe. Seguindo-se a Cabeça (2013), Mergulho encanta e surpreende sem se despedir da fórmula bem calculada que nos fez apaixonar pela guitarra de Carvalho à primeira vez. 
São doze as faixas, que escorregam umas nas outras como um rio desagua num mar silencioso, orientando-se por um fio condutor líquido e fácil de seguir: cada faixa se funde na outra, lembra a próxima, saboreando-se o disco não tanto como sobremesas separadas mas sim uma refeição que nos deixa o estômago satisfeito. 
Mergulho é assim: um disco pequenino, discreto, sedutor, que facilmente passa ao lado dos ouvidos de quem só ouve quem eleva a voz: Rui Carvalho não tem de gritar, enquanto abre ao ouvinte as portas para uma sonoplastia delicada e colorida, tecida pelo virtuosismo dos seus dedos aplicados sobre as cordas – e é tudo o que é preciso. No entanto, seria fácil cair na ideia de que um disco imaginado dentro de uma guitarra poderia relevar-se uma dormência constante ou uma exposição de truques de circo que aborreceria tremendamente o ouvinte. Mas Rui Carvalho não precisa de truques, e a cada vez que estrangula as cordas da guitarra num acorde que nos faz erguer uma sobrancelha, não é em vão, construindo nos seus temas, curtos e concisos, cheirinhos de universos ocultos que só ele consegue fazer cantar num só instrumento. 
Rui Carvalho é de uma inteligência rara num mundo em que há uma febre por lançar disco atrás de disco sem deixar o público mastigar um sem engolir o outro. A sua fórmula é simples, mas fácil de destruir: o quão fácil seria fartarmo-nos das suas galopadas melódicas ao longo do traste do instrumento se por ele fossemos perseguidos constantemente? Mas Filho da Mãe compreende a delicadeza da operação: tal como evita o truque, evita a demasia, o excesso. Apesar de ser o seu segundo esforço musical em 2016 (Tormenta, com a percussão de Ricardo Martins, saiu uns meses mais tarde), Mergulho é um degrau acima de Cabeça, de 2013, o capítulo seguinte, que deixou respirar durante três longos anos. Não é senão uma mesmice evoluída, canções-família, que tombam umas nas outras pouco importando a ordem, que cansaria facilmente. Mas não com Filho da Mãe a segurar na guitarra. Mergulho é uma construção refinada, sem pressas, sem euforias. Que sabe bem num ano tão eufórico que nem deu tempo para parar para respirar fundo. E mergulhar.
Guilherme Portugal / Altamont

Kubik ‎– Rock Extravaganza (2016)

Style: Dark Ambient, Abstract, Industrial, Jazzdance, Experimental
Format: FLAC
Label: Not On Label

Tracklist:
01.   Rock Extravaganza
02.   The Sea Inside
03.   The Lodger
04.   Planet Elfman
05.   Nihil Aut Mors
06.   Je Ne Comprends
07.   Bates Motel
08.   Klaus Kinski's Kiss
09.   Dirty Philosophy
10.   Future is Unpredictable

Credits:
Kubik: composições, teclado MIDI, guitarra elétrica, eletrónica, sampling, mistura, produção e voz em "Planet Elfman", "Je Ne comprends Pas" e "Klaus Kinski's Kiss" (a partir do poema "The House" de Charles Bukowski).

Street Kids ‎– Trauma (1982)

Style: New Wave, Synth-pop  
Format: Vinyl
Label: Vadeca

Tracklist:
A1.   Propaganda
A2.   Tropa Não
A3.   Israel
A4.   Progresso
B1.   Tóquio Ano 82
B2.   Nunca Pensei Que Te Anulasses Tão Bem!
B3.   Tubo D'Ensaio
B4.   Nova Atitude
B5.   Todos São Paranóicos Menos Eu

Credits:
Bass Guitar, Chorus, Vocoder, Guitar – Nuno Rebelo
Cover, Graphics – Street Kids
Drums, Percussion – Flash Gordon
Electric Guitar – Eduardo Sobral
Lead Vocals, Chorus, Electric Guitar, Strings – Luís Ventura
Piano, Organ, Strings, Synthesizer, Voice – Nuno Canavarro
Composed By, Performer – Street Kids

Saturday, 28 March 2020

larápio – gatafunhos (2020)

Style: Avantgarde, Experimental, Drum 'n' Bass, Ambient
Format:
Label: Not On Label

01.   gatafunho 6
02.   gatafunho 2
03.   gatafunho 4
04.   gatafunho  7
05.   gatafunho 10
06.   gatafunho 5
07.   gatafunho 8
08.   gatafunho 3
09.   gatafunho 9
10.   gatafunho 13

Listen here

Roger Eno And Brian Eno ‎– Mixing Colours (2020)

Style: Ambient, Neoclassical
Format: CD, Vinyl
Label: Deutsche Grammophon

Tracklist:
01.   Spring Frost
02.   Burnt Umber
03.   Celeste
04.   Wintergreen
05.   Obsidian
06.   Blonde
07.   Dark Sienna
08.   Verdigris
09.   Snow
10.   Rose Quartz
11.   Quicksilver
12.   Ultramarine
13.   Iris
14.   Cinnabar
15.   Desert Sand
16.   Deep Saffron
17.   Cerulean Blue
18.   Slow Movement: Sand

Credits:
Keyboards – Roger Eno
Programmer, Sound Designer, Producer – Brian Eno
All Tracks Written By – Brian Eno, Roger Eno

As a sound tinkerer and a leading pioneer of ambient music, Brian Eno has always been a musician widening spatiotemporal tonal boundaries to create exceptionally beautiful tapestries of sound. Heavily influenced by the transformative and cosmic sonority of some of his German contemporaries such as Tangerine Dream, Ash Ra Tempel, Cluster, Harmonia, or Popol Vuh he began his journey of exploring recreative sonic spaces in 1975 with Discreet Music. Three years later Brian Eno released his seminal album Ambient 1: Music For Airports coining the term ambient music in its liner notes by explicating that "an ambience is defined as an atmosphere or a surrounding influence: a tint". 
This definition perfectly sets the scene for his latest work Mixing Colours in which he collaborated with his younger brother, pianist Roger Eno, who is also a notable figure in ambient music. Both started working together in 1983 on Apollo: Atmospheres and Soundtracks for some compositions alongside with musician and producer Daniel Lanois. In return, Brian Eno and Daniel Lanois produced Roger's 1985 debut album Voices. So it's not the first time that the Eno brothers collaborate. But it is their first-ever duo album they created jointly as a whole. 
In all 18 tracks on Mixing Colours, they explore the very nature of emotive music and invite listeners to immerse themselves in the infinite space and calmness of their tonal meditations. Like good wine, the material on the album grew over many years. The reciprocal creative process for Mixing Colours started back in 2005 with Roger recording individual synthesizer compositions and fragments of songs he then sent to Brian, who digitally decomposed his brother's ideas and arranged them in new ways for giving each one its individual sound world. "We weren't directing this towards an end result – it was like a back-and-forth conversation we were having over a 15-year period. […] The idea for a full album emerged as the number of pieces kept increasing, and the results kept being interesting. It's something that neither of us could have arrived at alone," says Roger recapitulating the album's birth.

With its concept of color-related song titles, Mixing Colours offers a genuine collection of reflective and very introspective songs whose phantasmal but aesthetically pleasing atmosphere seems to resonate transcendental, Apollonian moods from far-away strange worlds. Contrasting its title, the album's elegant opener "Spring Frost" immediately transports you in a prismatic cloud full of contemplation and relief. Roger and Brian carefully take their time to develop their complementing tonal language. Softly shimmering, layered keyboard notes and a harmonizing background ostinato melt together slowly in perfect harmony. Just like watching the color composition of a well-balanced painting, the long sounding notes give you the illusion of time being completely dissolved. This track nicely reflects the prevailing mood on Mixing Colours. 
"Burnt Umber" unexpectedly features the sound of reverb-laden chimes echoing long into the acoustic space. Together with a sequenced bass ostinato, the track conveys a haunting mood that is absolutely incomprehensible. If there is an epitome of loveliness on the album, then it is the stunning and dreamy "Celeste". Again, the Eno brothers exemplify masterly how to create magical compositions full of tranquility. There is a numinous quality in it when the song's soft piano and keyboard melodies sprinkle some spots of sparkling colors on the atmospheric electronics. When listening to "Celeste", you are instantly housed in a relaxing comfort zone of acoustic cotton wool. Thus, the track's programmatic title referring to the Spanish word for sky-blue and everything related to the sky is well chosen. 
Equally enlightening is "Obsidian". Here, the journey continues solely with the sound of a church organ generating an almost reverential, spiritual feel by fusing the dichotomy between the sacred motet and the profane madrigal. The lucid shining piano solo pieces "Blonde", "Dark Sienna", "Snow", and "Iris" (the only title not referring to a specific color) are outstanding examples of Roger's overwhelming minimalism oscillating amongst Franz Schubert's wistful melodic style and the romantic slowness of Erik Satie. Every note is placed carefully to achieve a maximum of transparent spatial impact. Although Roger is the primary musician in these relatively short pieces, they are full of references to Brian's iconic works with Harold Budd.

"Verdigris" and "Cerulean Blue" basically utilize the same musical motifs as the opener "Spring Frost". All of these subtle variations communicate a slightly different temper. Probably this is most recognizable in "Cerulean Blue" featuring a divine sounding carillon. This kind of sublime spacious quality also underpins tracks like "Quicksilver" and "Deep Saffron", both unfolding as a musical rendering of freedom. Every time you follow these compositions, you will be rewarded with a different listening experience, always resulting in contemplative calmness. In this regard, Mixing Colours represents a refreshing antithesis of today's accelerated times. 
To underpin the calming effects of the music, Brian Eno produced a series of short films for seven out of 18 tracks in cooperation with musician and software designer Peter Chilvers. All films were shot from a train window, and all of them move softly with the music capturing its essence. Unsurprisingly, most parts of this album came into existence while traveling with trains. "I can sit there with my computer and headphones, and these pieces are absolutely perfect train music for me," says Brian Eno. 
All 18 compositions on Mixing Colours "are very impressionistic and very much to do with sonic quality, sonic color," Brian adds. This kaleidoscope of colors, minimalistic sounds, and levitating textures result in a kind of imaginative synaesthesia constituting a deep feeling of oneness. The oceanic quality in this otherworldly music is always present. In this regard, Brian and Roger Eno's Deutsche Grammophon debut represents a refreshing antithesis of today's harsh and accelerated times.
Dominik Kautz / popMATTERS

Camberwell Now ‎– All's Well (2006)

Style: Art Rock, Avantgarde, Post-Punk
Format: CD
Label: ReR Megacorp, RecRec Music

Tracklist:
Meridian
01.   Cutty Sark
02.   Pearl Divers
03.   Spirit Of Dunkirk
04.   Resplash
...
05.   Daddy Needs A Throne
The Ghost Trade
06.   Working Nights
07.   Sitcom
08.   Wheat Futures
09.   Speculative Fiction
10.   Green Lantern
11.   The Ghost Trade
Greenfingers
12.   Greenfingers
13.   Mystery Of The Fence
14.   Know How
15.   Element Unknown

Credits:
Bass, Guitar, Percussion, Ehru  – Trefor Goronwy
Tape, Autoharp – Steve Rickard
Voice – Charles Hayward, Trefor Goronwy
Drums, Keyboards, Lyrics By – Charles Hayward
Producer, Music By – The Camberwell Now

Following the dissolution of This Heat in the early 1980s, drummer Charles Hayward and bassist Trefor Goronwy recruited the group's sound technician, Stephan Rickard, for a new, more song-oriented band. Camberwell Now subverted the standard rock trio format by delegating the role of electric guitar to Rickard's "tape switchboard," lending the band's music textural depth and spatial complexity. 
Starting off with the Syd Barrett-esque "Cutty Sark," the four songs from 1984's Meridian EP lack the unstoppable drive that would mark Camberwell Now's future work, though "Spirit of Dunkirk" makes a memorable hook out of a nasally whine. 
There's a marked difference between Meridian and Camberwell Now's only LP, The Ghost Trade (1986), a shot of adrenaline that is foreshadowed in the punkish cassette-only compilation track "Daddy Needs a Throne." With atmospheric synths and tape loops filling the guitar's role, and melodies that are haunting but frequently elusive, the forward momentum throughout The Ghost Trade is sustained by Hayward's propulsive drumming and Goronwy's dexterous, multilayered bass playing. 
Rickard's tape work is at turns ethereal and unsettling, and it allows the band to intermingle British folk and 20th century experimental music with great success. In fact, when the powerhouse rhythm section settles down, the hypnotic and eerie loops keep up the pace, preventing exploratory tracks like "Wheat Futures" from becoming too ponderous.The Ghost Trade is a superb summation of what makes the Canterbury-sprouted family tree such a fascinating world, worth tracing to the present-day practitioners of Rock in Opposition. 
All's well that ends well, and Camberwell Now's contribution to music ends very well: The Greenfingers EP comprises the band's catchiest work ("Know How" is, to use a well-worn cliché, Beatle-esque) and the listener is left wanting more. (Actually, there is more: "For Those in Peril on the Sea," an art installation soundtrack that was featured on a Sub Rosa compilation, is not included on All's Well.) 
Ad Hoc has cleaned up Camberwell Now's recordings for this collection, demystifying the original vinyl releases and thus diluting their power to some extent. Even so, All's Well. is a thought-provoking document of 1980s post-punk Britain, as well as a fitful epilogue to the work of This Heat.
Brad Glanden / All About Jazz

Mikel Rouse - Blaine L. Reininger - Broken Consort ‎– Colorado Suite & A Walk In The Woods / MTM VOL. 3 & 6 (1989)

Style: Modern Classical, Minimal
Format: CD, Vinyl
Label: Made To Measure, Crammed Discs

Tracklist:
        Colorado Suite
01.   Mikel Rouse & Blaine L. Reininger - Side Wind
02.   Mikel Rouse & Blaine L. Reininger - Windy Outside
03.   Mikel Rouse & Blaine L. Reininger - West Wind
04.   Mikel Rouse & Blaine L. Reininger - Sun Study
        A Walk In The Woods
05.   Mikel Rouse Broken Consort - Friendship '84
06.   Mikel Rouse Broken Consort - Big Pine II
07.   Mikel Rouse Broken Consort - Airland 2000
08.   Mikel Rouse Broken Consort - Hardfall
09.   Mikel Rouse Broken Consort - Winter In Wyoming
10.   Mikel Rouse Broken Consort - The Eloquent Dissenter
11.   Mikel Rouse Broken Consort - A Walk In The Woods

Credits:
Bass, Double Bass, Synthesizer – James Bergman
Bassoon – Ethan Silverman
Clarinet – David Krakauer
Drum Programming – Mikel Rouse
Drum Programming], Synthesizer, Violin – Blaine L. Reininger
Oboe – Susan Barrett
Saxophone Soprano – Phillip Johnston
Synthesizer – Mikel Rouse
Trumpet – Charles Bumcrot
Violin, Viola – Susan Shumway
Composed By, Arranged By – Mikel Rouse
Producer – Julie Baer, Mikel Rouse

Barry Adamson ‎– The Negro Inside Me (1993)

Style: Breakbeat, Acid Jazz
Format: CD, Vinyl
Label: Mute, Intercord Record Service

Tracklist:
1.   The Snowball Effect
2.   Dead Heat
3.   Busted (Michaelangelo Version)
4.   Cold Black Preach
5.   Je T'Aime...Moi Non Plus
6.   A Perfectly Natural Union

Credits:
Strings Arranged By, Conducted – Bill McGee
Additional Beats, Sounds – Atticus Ross
Guitar – Ken Low
Saxophone – Joe Sax
Vocals – Louise Ness
Additional Programming, Beats, Sounds – Ivor Guest
Hammond Organ, Piano, Wah Wah Guitar – Seamus Beaghend
Written By, Arranged By, Performer, Producer – Barry Adamson
Recorded By, Mixed By – John Hudson

Friday, 27 March 2020

Hector Zazou ‎– Reivax Au Bongo / MTM VOL. 2 (1985)

Style: Soundtrack, Contemporary Jazz, African
Format: CD, Vinyl
Label: Made To Measure, Crammed Discs

Tracklist:
A1.   Generique / Opening Theme
A2.   Chez Le Commandeur / In The Commandant's Office
A3.   Le Passage De La Frontier / Crossing The Border
A4.   Le Village Du Chef Bingo / Chief Bingo's Village
A5.   Reivax Broie Du Noir / Reivax In A Black Mood
A6.   L'Apparition / The Apparition
A7.   Chanson Bongolaise / Bongolese Song
A8.   Reivax Et Son Cheval Pepito / Reivax And His Horse Pepito
B1.   Que Le Bongo Et Beau / How Beautiful Bongo Is
B2.   Un Heros / A Hero
B3.   La Poursuite / The Chase
B4.   Reivax (Theme) / Reivax's Theme
B5.   Devant La Mer / By The Sea

Credits:
Vocals – Bony Bikaye
Bassoon – Youen Leberre
Cello – Jean-Michel Guelpa, Laurent Gardeux, Yseux Choix
Clarinet – Nano Peylet
Electronics – Hector Zazou
Flute – Bruno Marq
Guitar – Fred De Fred, Medor Mader
Mezzo-soprano Vocals – Catherine Renoult
Percussion – Lambert Boudier, Ray Lemas
Piano, Synthesizer – Hector Zazou, Medor Mader
Saxophone – Fred Wallich, Joaquim Vidal
Saxophone, Bass Clarinet – Philippe Herpin
Vibraphone, Marimba – François Verly, Olivier Cole
Violin – Marlini Battola, Martine Schouman
Composed By – Bony Bikaye, Hector Zazou, Kanda Bongo Man
Arranged By, Producer – Hector Zazou

Lonnie Liston Smith & The Cosmic Echoes ‎– Expansions (1975)

Style: Jazz-Funk
Format: CD, Vinyl
Label: RCA Victor, Flying Dutchman

Tracklist:
A1.   Expansions
A2.   Desert Nights
A3.   Summer Days
B1.   Voodoo Woman
B2.   Peace
B3.   Shadows
B4.   My Love

Credits:
Engineer – Dave Wittman
Mixed By – Bob Thiele, Dave Wittman, Lonnie Liston Smith
Producer – Bob Thiele, Lonnie Liston Smith

When Lonnie Liston Smith left the Miles Davis band in 1974 for a solo career, he was, like so many of his fellow alumni, embarking on a musical odyssey. For a committed fusioneer, he had no idea at the time that he was about to enter an abyss that it would take him the better part of two decades to return from. Looking back upon his catalog from the period, this is the only record that stands out -- not only from his own work, but also from every sense of the word: It is fully a jazz album, and a completely funky soul-jazz disc as well. Of the seven compositions here, six are by Smith, and the lone cover is of the Horace Silver classic, "Peace." The lineup includes bassist Cecil McBee, soprano saxophonist David Hubbard, tenor saxophonist Donald Smith (who doubles on flute), drummer Art Gore, and percussionists Lawrence Killian, Michael Carvin, and Leopoldo. Smith plays both piano and electric keyboards and keeps his compositions on the jazzy side -- breezy, open, and full of groove playing that occasionally falls over to the funk side of the fence. It's obvious, on this album at least, that Smith was not completely comfortable with Miles' reliance on hard rock in his own mix. Summery and loose in feel, airy and free with its in-the-cut beats and stellar piano fills, Expansions prefigures a number of the "smooth jazz" greats here, without the studio slickness and turgid lack of imagination. The disc opens with the title track, with one of two vocals on the LP by Donald Smith (the other is the Silver tune). It's typical "peace and love and we've got to work together" stuff from the mid-'70s, but it's rendered soulfully and deeply without artifice. "Desert Nights" takes a loose Detroit jazz piano groove and layers flute and percussion over the top, making it irresistibly sensual and silky. It's fleshed out to the bursting point with Smith's piano; he plays a lush solo for the bridge and fills it to the brim with luxuriant tones from the middle register. "Summer Days" and "Voodoo Woman" are where the electric keyboards make their first appearance, but only as instruments capable of carrying the groove to the melody quickly, unobtrusively, and with a slinky grace that is infectious. The mixed bag/light-handed approach suits Smith so well here that it's a wonder he tried to hammer home the funk and disco on later releases so relentlessly. The music on Expansions is timeless soul-jazz, perfect in every era. Of all the fusion records of this type released in the mid-'70s, Expansions provided smoother jazzers and electronica's sampling wizards with more material that Smith could ever have anticipated.
Thom Jurek / AllMusic

Blancmange ‎– Mange Tout (1984)

Style: Synth-pop
Format: CD, Vinyl
Label: London Records, Edsel Records

Tracklist:
01.   Don't Tell Me
02.   Game Above My Head
03.   Blind Vision
04.   Time Became The Tide
05.   That's Love That It Is
06.   Murder
07.   See The Train
08.   All Things Are Nice
09.   My Baby
10.   The Day Before You Came

Credits:
Clarinet, Drums, Voice – Neil Arthur
Keyboards, Piano, Trumpet – Stephen Luscombe
Written-By – Arthur, Luscombe
Producer – John Luongo

Barry Adamson ‎– Delusion (1991)

Style: Latin, Spoken Word, Soundtrack, Future Jazz, Acoustic
Format: CD, Vinyl
Label: Mute, Elektra, The Fine Line

Tracklist:
01.   Delusion
02.   Crossin The Line
03.   Il Soltario
04.   Patti's Theme
05.   A Settlin' Kinda Scam
06.   Fish Face
07.   Go Johnny
08.   The Life We Leave Behind
09.   An Amendment
10.   La Cucaracha
11.   Diamonds
12.   George's Downfall
13.   Got To Bet To Win
14.   The Track With No Name
15.   Patti's Theme (Two Stage Variation)
16.   Death Valley Junction
17.   These Boots Are Made For Walking

Credits:
Acoustic Guitar – Tito Heradia
Keyboards , Technician – Seamus Beaghen
Producer, Mixed By – B. Adamson, Paul Kendall
Written-By – Barry Adamson
Arranged By, Performer – Barry Adamson

Thursday, 26 March 2020

Juçara Marçal & Cadu Tenório ‎– Anganga (2015)

Style: Experimental
Format: FLAC
Label: QTV Label

Tracklist:
1.   Eká
2.   Canto II
3.   Grande Anganga Muquixe
4.   Canto III
5.   Canto VI
6.   Canto VII
7.   Talo
8.   Candombe

Credits:
Acoustic Guitar – Cadu Tenório
Amplified Objects – Cadu Tenório
Contact Microphone – Cadu Tenório
Drum Machine – Cadu Tenório
Synthesizer – Cadu Tenório
Tape – Cadu Tenório
Violin – Cadu Tenório
Vocals – Juçara Marçal
Mixed By – Cadu Tenório, Emygdio Costa
Arranged By – Cadu Tenório
Producer – Cadu Tenório

Woodkid & Nils Frahm, Robert De Niro ‎– Ellis (2016)

Style: Experimental, Abstract, Ambient, Downtempo
Format: CD, Vinyl
Label: Erased Tapes Records

Tracklist:
1.   Winter Morning I
2.   Winter Morning II

Credits:
Conductor – Stéphane Gaubert
Vocals – Robert De Niro
Double Bass – Lucas Henri
Cello – Cyrille Lacrouts, Frédéric Deville
Viola – Camille Borsarello, Christophe Briquet
Recorded By, Mixed By, Mastered By – Nils Frahm
Piano, Harmonium, Chimes, Synthesizer – Nils Frahm
Violin – Benjamin Fabre, Jacques Gandard, Lea Vandenhelsken, Sayaka Fabre
Ellis is a short film about the famous New York island of the same name. For 60 years, Ellis Island was the main entry point into the United States for immigrants, a place where dreams could come true or go south in seconds. Now the home of a museum and the subject of a restoration campaign, it's a potent symbol for a Western world mired in ugly debates over immigration and the rights of refugees. The film Ellis is narrated by Robert De Niro and scored by Woodkid, AKA Yoann Lemoine, with help from Erased Tapes stalwart Nils Frahm. 
The first track was composed by Lemoine with Frahm on piano. You can tell that Frahm wasn't the primary writer—the chilly stillness is far removed from the German composer's sweeping sentimentality. But you can tell that Frahm is playing it, evident in his way of extracting otherworldly beauty from simple means (you could hear this on his Screws, a solo piano album recorded when Frahm had a broken thumb). The effect is also helped by subtle manipulations and a highly detailed recording. Each note warbles uneasily, and every movement inside the piano is audible. The orchestral flourish at the end risks mawkishness, but for most of its nine minutes the piece is as haunting and evocative as the imagery it accompanies. 
At 15 minutes, the second, longer section features a monologue from Robert DeNiro and an even more pared-back approach to instrumentation. Recorded when Frahm was at a loose end, after a trip to Brussels was cancelled in the wake of the airport bombing, the piece moves with a melancholy that, again, feels unusually subtle for Frahm. Here, he prefers the harmonium over the piano, letting it move from a low rumble to a more melodic swell in a gradual expression of Lemoine's melody. 
De Niro narrates a tale of being turned away at the border and told to "go back home." As with the first part, "Winter Morning II" borders on the maudlin, but its subject matter is powerful in a geopolitical climate torn apart by fear and xenophobia. Ellis is among the simpler and more delicate works we've heard from Frahm, and it's obviously a soundtrack, sounding modest without its visual accompaniment. But there's a nuanced desolation to the way you can hear every detail of the reverb in these recordings. They capture the melancholic apprehension of chasing something new and unfamiliar with no idea what might happen next.
Andrew Ryce / Resident Advisor

VA ‎– Made To Measure Vol.1 / MTM VOL. 1 (1984)

Style: Downtempo, New Beat, Minimal, Experimental
Format: CD, Vinyl
Label: Music-Box, Crammed Discs, Divine

Tracklist:
        Pieces For Nothing
01.   Minimal Compact - Bat-Yam
02.   Minimal Compact - Too Many Of Them
03.   Minimal Compact - Immer Vorbei
04.   Minimal Compact - Animal Killers
Pieces For Nothing
05.   Benjamin Lew - A La Recherche De B.
Scratch Holiday
06.   Aksak Maboul - Scratch Holiday
Un Chien Merite Une Mort De Chien
07.   Aksak Maboul - Odessa
08.   Aksak Maboul - Chez Les Futuristes Russes
09.   Aksak Maboul - Ossip & Lili
10.   Aksak Maboul - Lili Danse
11.   Aksak Maboul - Retour Chez Les Futuristes Verdun
12.   Aksak Maboul - Mort De Velimir
13.   Tuxedomoon - Fanfare
14.   Tuxedomoon - No One Expects The Spanish Inquisition
15.   Tuxedomoon - Driving To Verdun

Credits: Saxophone, Clarinet – Steven Brown Violin – Jeannot Gillis Producer – Gilles Martin, Marc Hollander, Peter Principle, Tuxedomoon, Vincent Kenis

Nubiyan Twist – Nubiyan Twist (2015)

Genre: Hip Hop, Jazz, Reggae, Funk / Soul
Format: CD, FLAC
Label: Wormform

Tracklist:
1.   Turu
2.   Work House
3.   Straight Lines
4.   Hypnotised
5.   Figure Numatic
6.   Shake Me Down
7.    Hypnotised (Chief Rockas remix)

Credits:
Nubiyan Twist are: Nubiya Brandon, Joe Henwood, Jonny Enser, Tom Excell, Luke Wynter, Oli Cadman, Nick Richards,  Finn Booth, Pilo Adami, Denis Scully