Journey

Tristesse Contemporaine's new album is available !   
Get it on iTunes : http://smarturl.it/StayGolden  
 Grab your vinyl : http://bit.ly/16q0kP0   
Check out the video for "Fire" : http://youtu.be/1Syqah_N3dQ

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Tristesse Contemporaine - Going Out

Taken from the DEVILEYES mixtape - www.weareshining.com

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We Are Shining - Hey You!

Music Is God My Love-Chassol (Music2Mark)

Taken from his forthcoming debut album, 'Book of Love' is released on limited edition 7-inch vinyl via House Anxiety/Marathon Artists on December 1st.

Watch the video here: https://www.youtube.com/watch?v=Y-nIE39tEos&feature=youtu.be
Digital: http://po.st/BookofLoveiTunes
Vinyl: http://po.st/PreorderBookofLove

Book Of Love

First EP from Turzi's new album "C", out now !
iTunes link : http://bit.ly/1zskXCT
"Condor EP" available now : https://recordmakers.com/album/condor-ep-93 

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Follow Moodoïd :
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Turzi - Condor (Moodoïd Remix)

1 - Rockin' Around The Christmas Tree - Slappy - Karate Boogaloo - Brenda Lee

~ "The Faces On The Floor" Feat. Talvi

First track from the upcoming @lissvik album release "Midnight" out June 10th via Smalltown Supersound!

℗ and © 2016 Smalltown Supersound / www.smalltownsupersound.com

Dan Lissvik - N

Taken from the upcoming album Amparo.
Amparo is released May 27 via Labrador in Europe, Cascine in North America and Rallye in Japan.

www.labrador.se // info@labrador.se
www.cascine.us // andi@cascine.us

Maria Usbeck's solo debut, Amparo, is a collection of songs written and recorded across the span of three years in Ecuador, Buenos Aires, Santiago, Barcelona, Lisbon, Easter Island, Costa Rica, Florida, L.A. and her home in Brooklyn. Though the songs were composed electronically, Amparo called for an acoustic treatment, so Usbeck spent a winter in the studio recording the arrangements live with producer Caroline Polachek and mixer & engineer Miles Benjamin Anthony Robinson. Fleshed out in full sonic color on the marimba, xylophone, quena flute, piano, and harp, the album stretched into something hi-fi and expressive, meditative but not meandering.

Amparo stems from Usbeck's desire to compose in Spanish, her native language. Growing up in Quito, Usbeck was immersed in salsa, merengue, bachata, and Andean music, but was more attracted to German and American culture than to her own, and moved to America by herself at 17. After five years of fronting new wave outfit Selebrities and writing songs in English, Usbeck experienced a delayed-onset homesickness and knew it was time to "let the mother tongue speak." The impulse manifested itself directly: Amparo takes its title from Usbeck's middle name and her mother's name, and translates roughly as "to guide, protect, and embrace." Usbeck wields her Spanish lyrics cleverly while folding in snippets of several other far-flung tongues: Rapa Nui from Easter Island, Quichua from Ecuador, Bribri from Costa Rica, and Catalan. Because these lyrics were composed while visiting the countries from which they originate, their usage is more impressionistic than literal, like a mockingbird imitating fragments of other bird calls. Similarly, Usbeck reinterprets the Ecuadorian music that she grew up with as a newcomer, returning home with fresh ears, and as such the sounds are very much her own.

The backbone of Amparo is percussion, vibrating throughout with timbales, tumbas, a talking drum, bongos, shakers, and an Indian flat drum, with the gaps filled in by her field recordings of birds, beaches, and jungles. The songs were written and recorded chronologically, with the exception of the closing track, a cover of Colourbox’s “Tarantula” reimagined in Usbeck’s Spanish translation. Amparo is a reflection of the textures of Usbeck's childhood. It is also a distinctly grown-up pop record – a travel diary, music made by a visiting outsider to tap into a shared core of human expression. Emotively, Usbeck is her most powerful on piano ballads "Uno De Tus Ojos" and "Jungla Inquieta," but is a magnetic narrator throughout, moving between whispers, chants, and lullabies. Amparo pulses with many stories in many voices, but they flow together seamlessly like water, leaving behind a wordless hum.


Maria Usbeck - Uno De Tus Ojos

'I Would Die 4 U' by Prince interpreted by El Perro Del Mar. 
A humble praise to Prince. Thank you for everything.

April 24th 2016

IWD4U

From the 'Extraordinary Renditions' compilation. 

smarturl.it/DEEK-ExRenditions
smarturl.it/DEEK-ExRenditions-iT
smarturl.it/DEEK-ExRenditions-BC

Raf Rundell - By Your Side (Sade cover)

Format: CD + Digital + LP
Cat#: CCS105 + CCCD019
Release : 07.04.2017
--

http://www.ezechielpailhes.com

Beautiful piano melodies, ballads drawing their inspiration from jazz, classical music and cinematic imagery, hummed choruses, a mood at the crossroad of nostalgia and reverie, instruments with uncanny timbre and charm, chiseled percussions, added to a subtle electronic production, this is the recipe for Tout Va Bien, the second solo album by French composer Ezechiel Pailhès.

All this is reflected in the opening track, River Day, which begins with “prepared piano” sounds (a technique mastered by Ezechiel, which consists in placing different objects on the strings of the piano, to create singular percussive notes). This deliberately mysterious and poetic introduction, supported by light electronic effects, is soon combined with a light beat, organ chords and vocalisations by the artist, which gradually transform the track into a ritornello, with both nostalgic and lighthearted tones.

As the artist states it: “We could describe this type of emotion as a kind of endearing nostalgia, close to saudade,” i.e. the Portuguese term expressing the idea of ​​a light melancholy stripped of its sickly aspect, or a “haunted craving” as the singer and composer Pierre Barouh nicely put it. “This feeling comes naturally to me when I write. Generally, in my music, I seek a form of soothing, of eternity even, (without meaning to sound pretentious). This is something I encounter in classical music, which is what I listen to most.”

Even if he defines himself as a “jolly fellow” (which is confirmed by the music and reputation of his electro-pop duo Nôze), when chatting to him, he comes across as quite gentle and stellar, just like this collection of eleven tracks that he composed “in autarky”, entirely alone, in his Montreuil home studio. Following the footpath of Divine, his first solo release from 2013, this album is however more intimate, marking Pailhès' taste for finely crafted moods and drifts. Songs like Tout Va Bien, but also Éternel Été and Promesse, whose lines have been borrowed from Shakespeare's sonnets, seem to shift between carelessness, bliss, bitterness and anxiety.

“Why didst thou promise such a beauteous day
And make me travel forth without my cloak,
To let base clouds o'ertake me in my way,
Hiding they bravery in their rotten smoke?”
(Taken from William Shakespeare's Sonnets that inspired Promesse)

As for titles such as Octobre, Boyd London or Le Fou Du Phare, they illustrate Ezechiel’s gift for composing instrumental ballads, with equally versatile emotions though drawing from cinema, supported by whispered or sung vocalisations. Ezechiel explains: “No word can quite describe this type of singing, it's a kind of ritornello, these are songs without lyrics, which is all down to the fact that I always think of my melodies as songs. The absence of words is not a form of laziness. My songs simply say enough for people to imagine their own story. It is more about suggesting or evoking a feeling, an emotion. "

Even though he composed on the piano, in this album Ezechiel plays and toys with numerous other instruments, such as the Clavietta (a type of Melodica), a Moog Little Phatty synth, an analog Korg Lambda organ, rare virtual instruments, and a whole array of exotic percussions, gleaned along his tours. He insists, however, on the sculptural dimension of his compositional work. For him, it is about “revealing or masking the sound of the original melody” through various processes, including percussive ones, whether using a prepared piano (which he even calls "transformist”) or several digital cuts and superimpositions enabling him to generate what he calls “sound illusions”, through unusual associations between the timbres of various instruments.

Ezechiel Pailhes - Bit Hip

The Boat - Paul Kelly & The Cambodian Space Project

Buy / Stream: http://hyperurl.co/gitkin_cancion

After two outstanding releases on Wonderwheel Recordings (2018’s “5 Star Motel” LP, and 2019’s “Saint Claude Dash / Chicha Nola” 7”), Gitkin is back with a new EP, along with two remixes from Pimps Of Joytime. “De La” - which features NYC-based singer Carol C - was inspired by the Saharan Tuareg sound, while also embracing Carl C’s Afro-Dominican roots with a beautiful melody and Spanish lyrics. 

The second track, “Canción De Aplauso,” fuses classic joyful cumbia with 70s Afrobeat, Cuban tumbao, and a bit of middle eastern flavour for good measure. The electric Guild twelve-string guitar sound is reminiscent of Turkish Saz, eliciting a festive vibe that gets the crowd grooving in live sets. 

Both songs see remixes by the Pimps of Joytime, with “De La” delving further into the trance sound. “Canción De Aplauso” gets a gogo retouch, inspired by Washington DC’s Chuck Brown, with the addition of some 70’s style funk slap bass. 

“De La Canción” EP will be released on Wonderwheel Recordings March 13th.

De La Canción

Gitkin - De La (feat. Carol C)

Record label run by Nathan Jenkins (Bullion). Pop, not slop!

Raf Rundell - By Your Side (Sade cover)

DEEK Recordings

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