Discover Weekly Archive - part 10

The Vanishing American Family

See-Through

Psychic Sweeping

improvisation

Hi Friends,

I'm on an extensive journey to explore and write for the orchestra. The piece below is originally for piano, but I've adapted it for harp—yes, the harp is the whole reason I did this! What an ancient, wonderful, and truly unique instrument.

I am exploring on fairly safe grounds here: Sibelius in Symphony Fantastic wrote parts for a cluster of 3 sometimes 4 harpts to be integrated in his masterpiece. La Mer of Debussy is another modern more advanced writing. But for now here it is: A lullaby that will most likely put you to sleep.

I'm not entirely sure everything is playable on harp… but I'll find out on Monday when it’s recorded live.
Enjoy,
Itzhak

All The White Horses

Echo Chamber Cipher Boom Bap Instrumental Beat

As Roses Bow: Collected Airs 1992-2002

Dance Acadia

The Abtomatic Miesterzinger Mambo Chic

Tomorrow's Gone

The Girl Who Was Frightened of Ashtrays

Van Horn

Van Horn (KarlSayAgain Remix)

It's A Raid

It's A Raid (feat. Post Malone)

Here It Comes Again

The Light

Ecstasy

Tondo

Song Machine Episode 2

Désolé (feat. Fatoumata Diawara)

Stream / Download "L'exode" here 🎧 https://smarturl.it/jumo-lexode 
Jumo - Et le vent ? Upcoming album on May 15th 🌽
Watch music video 🎬: https://youtu.be/puIykIgpXkc

Jumo: "Le calme puis la tempête, une course contre la routine de la ville, contre le temps qui passe.
L’exode."

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Et le vent?

L'exode

Stream /Watch/  DL

Jumo - L'Exode

Cate Le Bon is an artist hailing from Carmarthenshire, rural West Wales. Be it on her more minimalist, acoustic-leaning 2009 debut album Me Oh My or critically acclaimed, liquid-riffed 2013 LP Mug Museum as well as 2016s Crab Day and the Mercury Award nominated Reward, Cate Le Bon’s solo work — and indeed also her production work, such as that carried out on the recent John Grant album, Boy From Michigan, or  Deerhunter's Why Hasn’t Everything Already Disappeared?  (4AD, January 2019) — has always resisted pigeonholing, walking the tightrope between krautrock aloofness and heartbreaking tenderness; deadpan served with a twinkle in the eye, a flick of the fringe and a lick of the Telecaster.

New album Pompeii bears a storied title summoning apocalypse, but the metaphor eclipses any “dissection of immediacy,” says Le Bon. Sonically minimal in parts, its lyrics jog between self-reflection and direct address. Written primarily on bass and composed entirely alone in an “uninterrupted vacuum,” Le Bon plays every instrument (except drums and saxophones) and recorded the album largely by herself with long-term collaborator and co-producer Samur Khouja in Cardiff, Wales.

The songs of Pompeii feel suspended in time, both of the moment and instant but reactionary and Dada-esque in their insistence to be playful, satirical, and surreal. From the spirited, strutting bass fretwork of “Moderation”, to the sax-swagger of “Running Away”; a tale exquisite in nature but ultimately doomed (The fountain that empties the world / Too beautiful to hold), escapism lives as a foil to the outside world. Pompeii’s audacious tribute to memory, compassion, and mortal salience is here to stay.

The Light

Cate Le Bon

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