Bill Orcutt- "O Platitudes!"

Yesu Ka Mkwebaze -Novicat de Soeurs Missionaires

Zudrangma Radio's stream of April 18th with strictly rare unheard Southern Luk Thung & Talung tunes from the south of Thailand, a lot of which was influenced by Malay music and Islam.

All records in this mix are for sale, so shoot a message if interested in any ..

Tracklist :
1. E MAE : RAPHIN PUTAI
2. E MAE KRUAN : GLUAYMAI SUNPHATHONG
3. SA NAE SAO ISALAM : WANNA WIROJ
4. KAI NUI KOY NONG : PEAK MEUNGPRA
5. PEE PRA ARPAI : TIDTHONG NAKORNSRI
6. SAO RUN 18 : KOM MEUNGNAKORN
7. FAN PEE YU NAI : PEAK MEUNGPRA
8. NGAO RONG REAN : CHATTHONG MONGKOLTHONG
9. KON TAI RAK KON TAI : CHATTHONG MONGKOLTHONG
10. TOB HAI TAI : CHATTHONG MONGKOLTHONG
11. MAI AIM RAK : PRAIWAN LUKPETCH
12. OH! AMINA : SUCHAT TIEANTHONG
13. KOH PHUKET : PETCH PHOTHARAM
14. POB SAO NOI NAI KRUNG : JULEAM KHINGTHONG
15. CHUAN NONG KLUB TAI : LAMYONG KULARBSEEMOUNG
16. NORAH DEE SAKID SAO : DEE DOKMADUN
17. CHUAN NONG TIEW NGARN DEUAN SIB : NARUEPHON NOPPORN
18. KUN : CHINNAKORN KRAILARD
19. LONG TAI TARM NANG : RUNGTAWAN KWANKRABI
20. TARM NANG TANG TAI : PRAIWAN LUKPETCH
21. KLUB TERD MEUNG TAI : RUNGTAWAN KWANKRABI
22. NOOM TALUNG MUNG NUA : WAIPOD PETCHSUPHAN
23. NGERN JA NGERN : ROME SRITHAMMARAT
24. DOK FHA TANEE : KOSUM SRISAKUL
25. RAK MEUNG TAI : SUMIT SAJJATHEP
26. ONG KU LEE MARN : SUMIT SAJJATHEP
27. NA TEE PHU CHAI : YONGYUT CHEOWCHANCHAI
28. MON MEUNG TAI : YUPHIN PRAETHONG
29. NOOM TAI JAI CHUM : PEAK MEUNGPRA
30. PEE THAI KOR MAO : DAOTAI MEUNGTRANG
31. KOR KUE KUN NUN LAE : WAIPOD PETCHSUPHAN
32. TON YONG SUAY : ROME SRITHAMMARAT 
33. SAO TAI RAI KU : DAOTAI MEUNGTRANG
34. SAO SAPHANLOY : ROME SRITHAMMARAT 
35. JEAW : SAERAE SRIMEUNGTAI
36. SAO NEW LOOK : ROME SRITHAMMARAT

Album

Zudrangma Radio 18.04.2018 : Southern Luk Thung & Talung

Kate NV - дуб OAK

Learn more: http://smarturl.it/rvngnl50

Taken from для FOR.

©2018 RVNG Intl. / http://igetrvng.com

для FOR (RVNGNL50 - 320 - Promo)

дуб OAK

Kate NV - дуб OAK

Substitutes

from the "Escapism" CS (NNF346)
Not Not Fun / 2018

ESCAPE:
https://htakahashi.bandcamp.com/album/escapism
https://midheaven.com/item/escapism-by-takahashi-h

H Takahashi "Escape"

(LR141) John Carroll Kirby - Meditations in Music
http://johncarrollkirby.bandcamp.com

*1hr of Autumnal Ambient
*all-instrumental DX7 & Mini Moog Model D
*ltd 150 cassettes
*custom gold foil embossed OCard

CUSTOM CASSETTE

John Carroll Kirby - Meditations in Music - II

From the album Anne.  Available November 16, 2018 from Western Vinyl.

Bandcamp https://josephshabason.bandcamp.com/album/anne
iTunes https://itunes.apple.com/us/album/anne/1427808233?ls=1&app=itunes
Spotify https://open.spotify.com/album/19FD6RN5K3xYFThAHM4fGy?si=0hUO0rFVQAigvSPTvJL_4w
WV http://westernvinyl.com/shop/wv182

Joseph Shabason
Twitter https://twitter.com/JosephShabason
Instagram https://www.instagram.com/josephshabason/
Facebook https://www.facebook.com/josephshabason

Anne, the second album By Toronto saxophonist and composer Joseph Shabason, is a tonal essay on degenerative illness. Delicately and compassionately woven with interviews of Shabason’s mother from whom the album takes its name, Anne finds its creator navigating a labyrinth of subtle and tragic emotions arising from his mother's struggle with Parkinson’s disease. Across the nine vivid postcards of jazz-laden ambience that comprise the album, Shabason unwraps these difficult themes with great care and focus revealing the unseen aspects of degenerative diseases that force us to re-examine common notions of self, identity, and mortality. 

Shabason’s uncanny ability to manoeuvre through such microscopic feelings is mirrored by his capacity to execute a similar tightrope-walk through musical genres. His music occupies a specific space that is as palpable as it is difficult to pin labels to. On Anne’s second track “Deep Dark Divide” rays of effected saxophone shine behind clouds of digital synthesizer that echoes the sound of jazz in the late 80s, but with a Jon Hassell-esque depth of sensibility that consciously subverts the stylistic inoffensiveness of that era. There is detail and idiosyncrasy beneath Shabason’s dawn-of-the-CD-era sheen that elevates the album far beyond a mere aesthetic exercise.

Still, the sounds on Anne are not so experimentally opaque as to stand in the way of the album’s through-line of sincerity and emotionality. When dissonance is employed it is punctual and meaningful, like on album-middler “Fred and Lil” where a six-minute cascade of breathy textures builds suddenly to an agitated growl, only to abruptly give way to Anne Shabason speaking intimately about her relationship to her own parents. Snippets of such conversations see her taking on something like a narrator role across Anne while the sound of her voice itself is sometimes effected to become a musical texture entwined into the fabric of the songs without always being present or audible.  The subsequent piece “Toh Koh” then drifts into playful disorientation as a lone female voice echoes the two syllables of the title, recalling the vocal techniques of composer Joan La Barbara, or even the light-hearted mantras of Lucky Dragons. From here the album veers back onto its aesthetic thoroughfare with “November” where Shabason lays muted brass textures atop a wavepool of electric chords provided by none other than the ambient cult-hero Gigi Masin, one of Anne’s many integral collaborators.

The serene tragedy of the album distils itself gracefully into the ironically titled album closer “Treat it Like a Wine Bar” wherein flutters of piano and mournfully whispered woodwinds seem to evaporate particle by delicate particle, leaving the listener with a faint emotional afterglow like a dream upon waking. There is a corollary to be drawn here with what it must be like to feel one’s own mind and body drift away slowly until nothing remains, while the collection of memories and abilities that we use to denote the “self” softens into eternity. On Anne, it is precisely this fragile exchange of tranquillity and anguish that Joseph Shabason has proven his singular ability to articulate.

Anne

Joseph Shabason - "November ft. Gigi Masin"

Alva Noto & Ryuichi Sakamoto - By This River

This recording is the flip side of "Country Blues," which Harry Smith included on the 1952 compilation, "The Anthology of American Folk Music."

Both songs were recorded for Brunswick Records in New York City on March 10, 1927. Each song features Dock Boggs on vocal and banjo with G.H. Mahaffey adding guitar accompaniment on "Sammie, Where Have You Been So Long."

"The Harry Smith B-Sides" will be released by Dust-to-Digital on October 16, 2020. For more info, visit dust-digital.com/shop/harry-smith-b-sides

Dock Boggs - "Sammie, Where Have You Been So Long"

COS - Mein Maschine Ist Schön (Single Edit) from the single Mein Maschine Ist Schön/The ff BOOM out 5th March 2021.
Finders Keepers Records (FKR107, 2020)
Subscribe to Finders Keepers Records on YouTube: https://smarturl.it/finderskeepersrecYT​

Buy Mein Maschine Ist Schön/The ff BOOM: https://smarturl.it/COSmeinmaschine​

Follow Finders Keepers Records: 
YouTube: https://smarturl.it/finderskeepersrecYT​
Website: https://smarturl.it/finderskeepersrecWB​
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Instagram #1: https://smarturl.it/finderskeepersrecIG1​
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Spotify: https://smarturl.it/finderskeepersrecSP

From the same continental cosmic egg that hatched Marc Moulin, Marc Hollander and Belgian synth fusion combo Placebo comes your favourite new Franco-Flemmish pop discovery. COS, where have you been all my life?

Compact in name but wide-eyed in nature, it’s understandable how the 70’s band known simply as COS has remained trapped in the tight cracks between pop stardom and prog indulgence where other like minded names like CAN, Zao, Neu! And Egg have managed to squeeze into gaps of your record collection. In presenting one of the band’s most infectious and potentially crossover legible tracks on this exclusive user-friendly 45, COS mastermind Daniel Schell not only breaks an unlikely new format for this lesser-known femme-fronted, electro/jazz fusion/prog pop opera/would-be disco cinematic six-piece but also sends a sonic telegram to a new generation of futurist pop aficionados ready to explore the deep realms of his band’s dense, expansive and consistently rewarding catalogue.

Placing the microscope over the central motif of the band’s onomatopoeic 1978 triptych known as Mein Maschine Ist Schön (My Machine Is Beautiful) this very rare proposed single edit from the group’s third album combines the type of warm, brooding, discoid funk and nymphish Morse code vocals that unite fans of Stereolab, Curved Air, Jan Hammer, Emerald Web and Ursula Dudziak not to mention Schell’s own close friends, the aforementioned, Hollander, Moulin and Placebo.

A prog rock 45 might sound like a contradiction in terms but with a band like COS you can only expect them to defy convention. Backed here with another deeply conceptual sliced of deep orchestral symphonic psych from Schell’s short-lived FF Boom project from the previous year this suitably compact introduction to your new favourite COSmonauts provide digestible versions of some of Schell’s finest moments and clears the decks for future explorations of a wider musical universe waiting to be explored. Turn on this beautiful machine and let yourself melt into the COSMIX.

Dock Boggs - "Sammie, Where Have You Been So Long"

Dust-to-Digital

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