Shri Guru Love - (Shiva Shambho Rock Me Up Super High Mix) - Music/Elec-Guitars by REKHA IYERN [Fe]

Cover Art Design - Graphics by REKHA IYERN [Fe]

Music Recorded & Performed, Composed & Produced, Mixed & Mastered by REKHA IYERN [Fe] RECORDS in CANADA

Shri Guru Love - (Shiva Shambho Rock Me Up Super High Mix) - M3B 1.0 Db By REKHA IYERN [Fe]

Shri Guru Love - (Shiva Shambho Rock Me Up Super High Mix)

Shri Guru Love - (Shiva Shambho Rock Me Up Super High Mix) - Music/Elec-Guitars by REKHA IYERN [Fe]

Marco Lucchi : piano, synthesizer and tape

alt version of the previous track "L'uomo che cammina"
https://soundcloud.com/marcolucchi/luomo-che-cammina

field recordings from
https://freesound.org/people/felix.blume/sounds/612651/

1 febbraio 2022

L'uomo che cammina (di notte)

Never finished 2

Lyrics and vocal by Tatyana Zotova.
Music and vocal by Oleg Shlykov.
Arrange and mixing by Oleg Andreev.
Trombone solo by Evgeny Belin.
Photo by Alexey Zotov.

Успокаивающий блюз (Blues Duet)

Color 20 | December 03.2022

HS47-47T pre-order now available: https://handstitched.bandcamp.com/album/phases-dream-vestibuli

Handstitched* is proud to announce a new release — the latest in the split-artist series from Alexandre Navarro and Caya.

Navarro's Phases & Caya's Dream Vestibuli is a contrasting range of electronic-acoustic and organic sounds — featuring Navarro's signature sklent and emphasised imaginations alongside Caya's emotive, tape-infused and hauntingly natural soundscapes. The results are two engaging and alternative perspectives, focused on their diverse range of sound and melodic fusions.

The release is available in a limited edition of 50, hand-numbered copies on both CD and tape — handmade gatefold collage covers for the CD and printed o-cards for the pro-dubbed tape.

Released: February 24, 2023

Tracks 1-5 Alexandre Navarro - @alexandrenavarro
Tracks 6-12 Caya - https://cayasmusic.bandcamp.com/

Alexandre Navarro / Caya — Phases/Dream Vestibuli HS47/T [s4mpl3r]

LYRICS AND CREDITS

LYRICS
DON’T MESS WITH ME by Lucia Mameli

This time I won’t discuss it
Today I won’t argue about it
This one is out of the question
My blood feels a new aggression

Don’t mess with me again.  Don’t mess with me again
You’ve made me live under acid rain
Don’t mess with me again.  Don’t mess with me and my time
I’ve heard too long your honey bribes
Don’t mess with me again.  Don’t mess with me no more
You mess with me this time and it’ll be war

You’ve had your go and it hurt so
I say no more, I say no more
This is my life to live and now
This is my gig and I know how

Won’t be the one to  understand
I’ve had enough of your demands
You’ve had your go, I felt so low
Now I am strong, You’ll do me no wrong

Don’t mess with me again.  Don’t mess with me again
You’ve made me live under acid rain
Don’t mess with me again.  Don’t mess with me and my time
I’ve heard too long your honey bribes
Don’t mess with me again.  Don’t mess with me no more
You mess with me this time and it’ll be war

CREDITS
Lucia Mameli: Lyrics, Music, Lead Vocals, Producer
Luca Teixeira: Banjo, Guitar, Piano, Drums
Frances Cira: Backing Vocals
Roman Gottwald: Musical Saw
Stopmediastudio: Mixing, Mastering, Co-Producing

DON'T MESS WITH ME

This track was created for the Naviar Haiku group.
495
https://www.naviarrecords.com/2023/06/28/naviarhaiku495-bird-polyphony/

2023-06-29

Bird Polyphony  (Naviarhaiku 495)

Track from the earlier tape release MINNOWAHAW (OGGY RECORDS 2019).

Drowned World

Szachty April 1 Market of Sounds

"O ocean of mercy, oft longing I've stood
On the brink of thy wonderful, life-giving flood!
Once more I have reached this soul-cleansing sea,
I will not go back till it rolls over me."

“Salvation (what was needed most)” takes its inspiration from an interview collected by Newfoundland playwright Robert Chafe, where a respondent talks about their memories of Newfoundland’s confederation in 1949 in Carter’s Cove. Both the tone and content of this particular interview resonated with me, as it reminded me of my paternal grandparents who are the same age as the respondent and lived for most of their lives in Triton, just a short boat ride across Notre Dame Bay from Carter’s Cove. 

My grandparents, James and Marie Simms, didn’t have many memories of confederation – just the poverty of a childhood in the region, where Marie grew up in a tilt rather than a house. James recently died, and Marie’s memory is sometimes patchy. After reading through Robert Chafe’s text, I called my grandmother to ask her about her musical memories from 1949. I was hoping to hear about folk music endemic to the region my family is from. Sadly, she told me that she could only remember one song at all: “O Boundless Salvation,” a Salvation Army tune. In honour of my grandparents, this piece is based on that song by William Booth, and all of the material stems from this hymn. Because of this choice of source material, the piece is a somewhat radical departure from my usual musical language, but one that seems appropriate in remembrance and dedication to my father’s parents.

Like most families in the Greenbay South area of Newfoundland, the Simms’ were staunchly religious. They were proud of having ancestors that brought the Salvation Army faith to that part of the island, and indeed most of the former Methodists had been converted “to Army.” They didn’t drink alcohol or sing folk songs – they had a tradition of prayer, hymn, and salvation. And, to hear my grandfather talk about it, that’s what was needed most in such a difficult, impoverished climate: salvation.

Performed December 8 in D.F. Cook Hall by Nancy Dahn (violin), Tim Steeves (piano), and Amy Collyer-Holmes (cello.)

Salvation, or what was needed most (piano trio) ((live performance))

** *
This page is predominantly live recordings - please check out studio recordings here:
https://bekahsimms.bandcamp.com/
***

Composer Bekah Simms hails from St. John's, Newfoundland and is currently based in Glasgow after nine years living and working in Toronto. Her varied musical output has been heralded as “cacophonous, jarring, oppressive — and totally engrossing!” (CBC Music), “tough, even gutsy...with a sure sense of original and vibrant colours” (Vancouver Sun), and lauded for its "sheer range of ingenious material, expressive range and sonic complexity" (The Journal of Music.) Propelled equally by fascination and terror toward the universe, her work is often filtered through the personal lens of her anxiety, resulting in nervous, messy, and frequently heavy electroacoustic musical landscapes. Recent interests in just intonation and virtual instruments have resulted in increasingly lush and strange harmonic environments.

Bekah's music has been widely performed across North America and Europe. She has worked with some of the top interpreters of contemporary music internationally, including Crash Ensemble - with whom she is currently an artist-in-residence - Riot Ensemble, Eighth Blackbird, and l’Ensemble Contemporain de Montréal. Bekah has also been the recipient of over 35 awards, competitive selections, nominations, and prizes, including the 2019 Barlow Prize and the 2023 JUNO Award for Classical Composition of the Year. The resulting work from the Barlow Prize, "metamold," was nominated for the 2022 Gaudeamus Award. Works from her debut album “impurity chains” were nominated in both 2019 and 2020 for the JUNO Award for Classical Composition of the Year. Her music has thrice been included in the Canadian Section's official submission to World Music Days (2016, 2019, & 2021), and in 2016 the CBC included her among their annual 30 hot classical musicians under 30.

Bekah is a Lecturer at the Royal Conservatoire of Scotland, following previous academic positions at the University of Toronto and University of Western Ontario.  Her principal teachers during academic studies were Gary Kulesha and Andrew Staniland, alongside significant private study with Clara Iannotta and Martin Bédard.

Salvation, or what was needed most (piano trio) ((live performance))

Bekah Simms

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