TUTU 2020

Taken from "Cajun Lunch" Diynamic Lp 042010

Mosambiquetravellplan

Eddie C - My Woman (Wolf Mix)

"Me and My Entourage" from Feathered Sun's debut EP on Platon Records. 

Read more about Feathered Sun on THUMP: 

Feathered Sun- Me And My Entourage

VINYL: http://bit.ly/1qMiKjK
BEATPORT: http://btprt.dj/OoZSsw
ITUNES: http://bit.ly/1g33V9x

Following EPs and 12”s on Wolf + Lamb, W+L Black, Life And Death, Bang The Box and their debut on Visionquest, PillowTalk present their debut LP, ‘Je Ne Sais Quoi’. As much a soundtrack to long nights as it is lazy days, there is something about the record that spans everything you want from the band: sun-splashed jams, peak-time party tunes and low-lit moments of intimacy.

The album has been a work in progress since the boys formed the group in their San Francisco studio and was recorded last year during a month at PDX Studios in Portland, Oregon, which sits overlooking the city and the gorgeous Mount Hood. It was a session that allowed the band to work communally, drawing from various ideas, as well as influences, which include the vast Americana of Bruce Springsteen, the wrought post dubstep of James Blake, the deep soul of Sam Cooke and the incendiary jazz of John Coltrane.

‘We All Have Rhythm’ is an anything-could-happen-tonight tune that you’ll want to be listening to at 11pm on a Friday; ‘Lullaby’ is the perfect dose of deepness for a loved-up 6am dancefloor; the off-kilter R&B ghetto tech of ‘4 Walls’ will fit the vibe at a woozy afterparty; and ‘LA To The Bay’ will rouse you and make you feel good the morning after as the sun comes up. This is music to suit all times, because that’s what PillowTalk is all about.

The broad nature of ‘Je Ne Sais Quoi’ came about because Sammy D (vocals), Michael Tello (producer) and Ryan Williams (multi-instrumentalist) pulled the record together from melodies thought up while on long plane journeys, impromptu jam throw downs in Berlin apartments and musical sketches created during long nights into early morning studio sessions sharing bottles of vodka. For instance, ‘4 Walls’ happened during a late night session, with the band throwing ideas around and with friends DOP and Navid Izadi. “We wanted to do something that wasn't a 122bpm 4/4 kick drum track, challenge ourselves musically and lyrically, so we made the song at 144 beats per minute but still gave it a soul vibe,” says Michael. The song took an hour and a half to write, whipped up in the heat and energy of the moment.

This organic way of working was what brought PillowTalk together in the first place. They formed after the three were mucking around on the baby grand piano in Ryan’s kitchen. A guitar and a Wurlitzer, some off-hand vocals, were thrown into the mix in true Doo-wop style. The EP, ‘The Come Back’, dropped on Life And Death in 2011 with their hit single 'Soft' and things started to roll.

Breakout hit ‘Far From Home’ on the ‘Far From Heaven’ EP in the same year was followed by the cheeky ‘Soul Edits’ 12” for Wolf + Lamb’s W+L Black imprint in 2012 which featured their classic remix of Bobby Hebb's, 'Sunny'. Then in 2013, the single ‘Lullaby’ backed with ’We All Have Rhythm’ dropped, giving a clear indication of how ‘Je Ne Sais Quoi' would sound: warm, lush and dreamy.

Though they’ve only been releasing records since 2011, the three have known each other for years. They met through djing parties and have been neighbors and even roommates. ‘Je Ne Sais Quoi’ sees them stepping into their own as a band, a statement of intent born from the highs and lows of their loves, laughs and heartbreaks thus far. 

CREW DOWNLOAD

DJ Tennis - The Outcast feat. PillowTalk (Acoustic Version)

Nicolas Jaar - Can't See What Is Burning There (Original Mix)

Phil Weeks - Live At Palladium (Original Mix)

Out Tuesday, September 23rd
Pre-Order the LP, CD or Digital: http://wonderwheelrecordings.bandcamp.com/album/amansara

Argentian producer Pedro Canale aka Chancha Via Circuito returns from a three-year sojourn with his long awaited third album, Amansara.  Originally coming out of Buenos Aires's famed digital cumbia scene, Chancha has notoriously broken way outside those boundaries to forge unprecedented mergers between Brazilian rhythms, Paraguayan harp, Andean mysticism and the solitude of Argentinian folklore - all processed through his own futuristic style of post-dubstep.  Chancha's sound is without question truly unique and instantly recognizable to the point he has become a key reference point for an entire crop of artists that have begun to carry his genes.
 
Hailed by the Washington Post, The New York Times, Pitchfork, NPR and countless others, Chancha Via Circuito defies even the shrewdest of marketing geniuses.  On one hand, he is something of a cult artist within micro-circles of electronic music, having been invited to perform at Montreal's MUTEK as well as the Roskilde and Vive Latino Festivals. At the same time, Chancha's music has found broad appeal outside of the avant-garde, most notably his magnificent remix of José Larralde's "Quimey Neuquén" which was heavily featured in 2013 as part of the final season of the critically acclaimed television series Breaking Bad. Fans of the show undoubtedly remember Walter White burying his millions in the desert, soundtracked by the wide and gentle grooves of Chancha Via Circuito.
 
Amansara is a natural progressing of Chancha's special strain of electronic South America. Lead single "Coplita" features the haunting vocals of previous collaborator Miram Garcia, while "Sueno En Paraguay" merges Andean folklore sounds with bleeps and blips and pounding drums in a way that sounds completely natural and ordained. "Jardines" features the driving vocals of Lido Pimienta merging with heavy synths, percussion and bells into an unforgettable track, while both "Tarocchi" and "Guajaca" ramp things up into deep, electronic dancefloor inna rainforest territory.
 
Art for Amansara comes from Argentinian psychedelic folklore painter Paula Duro who has crafted the look of all of Chancha’s previous releases.
 
Amansara is out on September 23rd CD, digital and LP in North America and Australasia through Wonderwheel Recordings.


Amansara

Sueno en Paraguay

Sueño En Paraguay

Aaron Ahrends - Newborn (Ada Remix)

Franky Carbon-e - Base Lunar [Superordinate Dub Waves]

Vinyl, CD and digital. 16 tracks.

A magic mixture of traditionnal Min'yo songs and latin jazz elements. Recorded in Japan between 1958 and 1962.

With its second release, Akuphone keeps exploring Asia with an original compilation of Japanese singer Chiemi Eri. This edition – which is available in vinyl record, CD and digital - includes exclusive liner notes and a rich calligraphed booklet containing the romanization of lyrics. It encourages to (re)discover Chiemi Eri’s recordings. On this compilation, Akuphone has brought together 16 songs from 10 inches albums originally released by King Records (Japan) between 1958 and 1962.

As the daughter of a musician father and a singer mother, Chiemi Eri (1937-1982) grew up in a musical environment. When she was still a teenager, she started a career as a singer on US military bases. She became famous by singing numerous classics from the post-war American musical repertoire. At the age of 14 she recorded the song Tennessee Waltz with King Records, which turned out to be an immediate success, the first of many others.

Chiemi Eri is considered as one of the most famous Japanese singers of the 20th century, more precisely of the Showa era (1926-1989), named after the Japanese emperor of the time, better known under his westernized name Hirohito. Both a singer and an actress – she played in more than 50 films, as well as many theatre plays – she definitely made a mark in the post-war Japanese cultural landscape, along with fellow singer-actresses Izumi Yukimura and Hibari Misora.

The success of these true national icons, who were nicknamed « the three sisters », can be connected to the specific context of the time, that is the cultural opening of Japan which, although initiated a century before, accelerated with the US military occupation of the archipelago (1945-1952). This period saw the import of popular musical styles of the time: jazz, be-bop, swing, mambo, etc, as well as the development of a hybrid musical style - the Kayokyoku - which consists of a delicious mix of so-called “western” music with Japanese music. 

Combining vocal jazz, Latino rhythms and Japanese folk, this new compilation of Chiemi Eri offers an original musical syncretism. Supported by Tadaaki Misago and the Tokyo Cuban Boys – the oldest and most prolific latin-jazz group in Japan – Chiemi Eri sings themes, in Japanese, that are mainly taken from the traditional folklore. Thus, the drums and brass of the Cuban arrangements are mixed with the Min’yo, which shows how rich these folk songs are: every region, every local tradition, every event is celebrated by a particular song or dance. Chiemi Eri also reveals the vocal prowess specific to the Min’yo, in particular the kobushi, a sort of melisma – this vocal technic that consists in singing a single syllable while moving between several different notes in succession.

This compilation, which surprisingly blends Min’yo and latin-jazz elements, invites to the discovery of the archipelago from a different perspective.

more information here : akuphone.com

Chiemi Eri : Otemo-Yan

Stream / buy "Beautiful Strangers:" https://kevinmorby.bandcamp.com/album/beautiful-strangers-b-w-no-place-to-fall 

This release is dedicated to and written for all the people I have never met but have only read about. The innocent people who were out living their lives and one day, without warning, had them taken away from them. People who liked to laugh, dance, and love in the way that we all do, but cant anymore. All those names and faces, all those beautiful strangers...
 
So here are two songs, "Beautiful Strangers" as well as my cover of Townes Van Zandt's "No Place To Fall" that I have been closing my live show with over the past year. Any purchase of these two songs will go to support the work of Everytown For Gun Safety - an organization I have followed for quite some time. I believe in and support them in their efforts to make the world a safer place. So if you wish - you can donate as little or large as you'd like and I do hope you enjoy the songs. Do it for the kids.
 
Love and peace,
Kevin Morby

Kevin Morby - Beautiful Strangers

‘Leave, If not I will kill you’

In early 1978, Vincent Ahehehinnou left the Orchestre Poly-Rythmo de Cotonou without explanation. He had been one of their principal vocalist since 1968 and had helped transform them from a hard-charging nightclub band into a musical powerhouse and Africa-wide sensation. By the end of 1977, after an explosive performance at the pan-African arts and culture festival (Festac77) in Lagos, the band had reached the very pinnacle of their success.

For nearly forty years, the reasons behind Vincent’s sudden departure have remained a mystery. Until now.

In an interview included with Analog Africa’s new reissue of Best Woman – Vincent’s first post-Poly-Rythmo album, which has been out-of-print for close to four decades and nearly impossible to find outside West Africa – the great singer finally breaks his silence. He didn’t leave … he was pushed.

Poly-Rythmo were already popular in their native Benin but, in the aftermath of Festac ’77, the band were poised for break-out success throughout Africa. One of the people who stood to benefit most was the band’s manager Adissa Seidou, whose label Albarika Store had released most of the band’s recordings. However Adissa’s vision for Poly-Rythmo didn’t always line up with that of the musicians and, more often than not, it was Vincent who spoke up for the band.

The two men grew increasingly estranged until one day – at the funeral for Adissa’s father no less – Adissa gave Vincent an ultimatum of sorts. In Vincent’s own words: ‘I asked him if there is a way we could sort out our differences to which he replied that the only solution was for me to leave the band, adding, “if not I will kill you”’.

And so Vincent found himself forced out of the band he had helped build. He tried his hand at various business ventures, but soon realised that the pull of music was too strong. On a business trip to Nigeria, Vincent met with Ignace de Souza of Benin’s Black Santiago band, who agreed to arrange Vincent’s songs, assemble musicians, and book a session at the legendary Decca Studios in Lagos. 

With everything in place Vincent returned to Cotonou, gathered together all the money he had saved over the years and set out again for Lagos. But the simple bus journey to Nigeria turned into a nightmarish odyssey of military corruption … and  had it not been for the random kindness of an unknown woman on the bus, this album – along with Vincent’s subsequent solo career – might never have existed. Vincent tells the full story in the liner notes to this LP.

But Vincent did make it to Lagos and the sessions went ahead. The nine-piece band, handpicked by de Souza, learned the songs and set them to tape in the span of only a week … but the results are as timeless and essential as anything to emerge from West Africa in the late 1970s.

Vincent’s afrobeat credentials are in full evidence on opening track ‘Best Woman’ (English) whose driving beat, focussed horns and intricate vocal melody recall the raucous intensity of Poly-Rythmo. But the deep funk of the title track turns out to be only a warm-up for album-highlight ‘Maimouna Cherie’ (French), a moving expression of love and longing which kicks off with a hi-hat and wah-wah guitar workout but shifts gears mid-way into a more concentrated and contemplative groove. 

The funk and afrobeat gems on Best Woman are balanced by songs that draw upon Sato, one of the many Vodoun rhythms of Vincent’s native Benin. Side one concludes with ‘Vi Deka’ (Mina), an epic slow-burner propelled by some of the record’s most soulful vocals, while album closer ‘Wa Do Verite Ton Noumi’ (Fon) all but dares you not to lose yourself in its sublime hypnotic trance.

Ahehehinnou Vincent Vol.1

Get the Record

Best Woman - Vicent Ahehehinnou

Fathili & The Yahoos came out of Kenya. Licensed from Melodica music stores courtesy of our great friend Abdul Karim. 

The Wings were a Nigerian band. 'Gone With the Sun' featured on their 1974 album 'Kissing You So Hard'.

Fathili & The Yahoos - Mabala Part 1

Free Download

Kokoroko - Abusey Junction (David Hasert Rework)

Nicolas Jaar @ Batumi / Rendez-vous (Georgia)

Luca C & Brigante - Lucio (Nicolas Jaar & Dave Harrington Edit)

The first song of Nicolas Jaar @ Sonar 2012. 



LaShun Pace - It's Me Oh Lord ( Nicolas Jaar Edit)

LIKE Records 🌑  KOMPAKT 🌑  Get Physical
´Wasting my time with You‘ out on KOMPAKT
🌍 booking: agency@like-records.info

Kokoroko - Abusey Junction (David Hasert Rework)

David Hasert

Recent comments

Trya

Xan Woods

Altered States™

ManuelBarahona

Related tracks