NEW MUSIC - Part 1

Shouts - 5 Years of Rhythm Section INTL

Café Iguana

Who Are They?

'Faith In Strangers' is the title track from Andy Stott's forthcoming album, due for release via Modern Love on November 17th/18th.

Andy Stott - Faith In Strangers

BECAUSE

Drake - Too Good Ft. Rihanna (MRMX Afro Edit) FILTERED

Made with Max/Msp, Logic

Samples used from:
Junior Senior
The Weekend
Joni Mitchell
Frou Frou
Stereolab
Nelly
Steve Miller Band
YG Feat. Tory Lanez
Drake
The Beach Boys
Aaliyah
The Doobie Brothers

Cybele's Reverie, Stereolab (DJ Recut)

Andy Stott - New Romantic

Move D - Eastman

Compost Black Label #14

Silk Dub

Ex-Aquarium

Cut It Upwards

Available worldwide June 15, 2017
Distributed by Honest Jon's

D. Tiffany - Get Back To You Soon

Enter the plain of calm

https://magicwire.bandcamp.com/album/magic-arp

@gnork - Magic Arp EP 6/7/18
MAGIC014

Gnork - Yoga On E

20.07.2018
Superconscious Records

"This takes me back! 1991... Joe, Damo and I used to hit every Biology at the docks. We were young and skint, but somehow managed to always make it to the rave. We were so up for it! The vibes were sick… good music… best mates... and the ecstasy… mannn those little fuckers (Damo from Carlton north, if you ever listen to this on here, hit me up brother!). I’m a family man in my 40s now but this music takes me back to my 20s, I close my eyes and I can still feel the rush, the heat of everyone crammed into those warehouses and the huge, stupid grin on my face.”

HYGIENE

Soichi Terada Presents Sounds From The Far East

Do It Again

* Read more:  https://boltingbits.com/jeigo-limehawk-air-miles/ ‎
* Watch on YouTube: https://youtu.be/0dCeFbLCXOw
* Pre-order: https://www.phonicarecords.com/product/view/158760

The inaugural release of air miles is introduced by Jeigo with his “An Ode To Midnight EP’ which was written and produced in the Spring of 2018, between the cities of London and Paris.

The tone is set from the off with the eponymously named first track of the release ‘an Ode to midnight’. The tracks mellow break beat feel is met by warm rushing pads, ebbing and flowing between textures of the night before last.

Floor focussed, zero fussing ‘Wing Systems’ carries the front side at an orbital trajectory. No time for an intro, the drums jolt you into alertness, the wobbly bass perfectly counterpointed by gated, washing keys.

‘Lime Hawk’, melancholic euphoria brings the release back to the conscious. It’s structure toy-fully crescendos and builds, all while the Balearic synth peaks with the sub line keeping you grounded throughout.

Rounding off the record is ‘By My Side’ meandering the record into slightly darker territories. The shifting keys wash over, the siren call vocals penetrate and the thudding kick punches through, anchoring the track as an emotionally driven, cerebral affair.

PREMIERE: Jeigo - Lime Hawk

For more information visit: http://www.klassikakzente.de/recomposed/home 

Some works are so familiar that it is almost impossible to hear them afresh, but that is what Max Richter has achieved with Vivaldi “Recomposed”. This is no mere arrangement; instead Richter has absorbed Vivaldi’s The Four Seasons into his own musical bloodstream. At first Richter followed the example of other works in the “Recomposed” series, which re-mix existing recordings, but, he says, “I wanted to open up the score on a note-by-note level, and working with an existing recording was like digging a mineshaft through an incredibly rich seam, discovering diamonds and not being able to pull them out. That became frustrating. I wanted to get inside the score at the level of the notes and in essence re-write it, re-composing it in a literal way.”Richter calculates that, in the process, he has discarded around three-quarters of Vivaldi’s original. He opens with what he describes as “a dubby cloud which I’ve called Spring 0. It functions as a sort of prelude, setting up an electronic, ambient space for the first Spring movement to step into. I’ve used electronics in several movements, subtle, almost inaudible things to do withthe bass, but I wanted certain moments to connect to the whole electronic universe that is so much part of our musical language today.” Other resonances are no less unexpected: Richter describes part of the first movement of his Summer as “heavy music for the orchestra. It’s relentless pulsed music, which is a quality that contemporary dance music has; and perhaps I was also thinking about John Bonham’s drumming. Then, in the second movement of Autumn I asked the harpsichordist Raphael Alpermann to play in what is a rather old-fashioned way, very regularly, rather like a ticking clock. That was partly because I didn’t want the harpsichord part to be attention-seeking, but also because that style connects to various pop records from the 1970s where the harpsichord or Clavinet was featured, including various Beach Boys albums and the Beatles’ Abbey Road.” Clearly, Richter has brought his own frame of reference to the project. As he says, “Vivaldi’s music is made of regular patterns, and that connects with post-minimalism, which is one strand in the music that I write. That felt like a natural link, but even so it was surprisingly difficult to navigate my way through it. At every point I had to work out how much is Vivaldi and how much is me. It was difficult but also rewarding because the raw material is so fascinating.”Just as Richter’s Seasons plays tricks with the way we hear Vivaldi’s original, so it also asks questions of the soloist, Daniel Hope. “Violinists have Vivaldi’s The Four Seasons hardwired in their brain. Daniel is likely to play the original I don’t know how many times in a year, and for him to have my parallel text going on in another part of his brain is a challenge. I think he did a wonderful job. He brought to it a deep engagement with the original, but he was fully prepared to cut this new swathe through the text.”


Move D - Eastman

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