You are listening to a demo made in EKB's home studio. This is the first of demos for EKB's latest album "MEDICINE" set for release in September 2023. 

Emily Kate Boyd on guitar and lead vocals, Blake Parris on pedal steel, Via Ferguson on backing vocals. 

Mixed by Luke Campolieta

Gone For Good (Demo)

Mulatu Astatke :: Tezeta (Nostalgia)

In 2010 Todd Burns wrote a review for RA about a record called ‘Rio Arriba’ - even now I distinctly remember seeing the beautiful & striking cover art of Paula Duro and being drawn in by the foreign titles and imagery. I needed to hear this record. However it was only available in Argentina at the time and Burns' challenge to readers to figure out a way to listen only piqued my intrigue. 

I worked out a way and within the very first 30 second of that record, the jarring percussion of ‘Cumbion de las Aves', I knew I had found something special. And it is a special record, but more than that, for me this record marked a shift in the way I approached sourcing new listening material from then on, opening up a new musical culture and a desire to cast the net further afield. It truly changed the way I listen to music.

I am therefore honoured and humbled to present our latest contributor, the incredible talent of Pedro Canale, aka Chancha Via Circuito. On his glorious Métron Musik Mixtape he has compiled a collection of tracks that are extremely special to him, showing his influences to extend far beyond the mountains of his native Buenos Airies. There are some surprising selections along the way but it never strays too far from an emotional and sonic core that feels very much aligned to the Argentine producers aesthetics. 

‘Amansara’, his latest LP and third full length for the fantastic Argentine label ZZK Records, was one of my favourite records of 2015. The much anticipated follow up to 'Rio Arriba’ develops Chancha’s now signature sound and takes it to new heights. His collaboration with the amazing Lido Pimiento on ‘Jardines’ is one of my all time favourite tracks and an absolute triumph of creativity. I highly recommend exploring the Chancha Via Circuito discography from top to bottom.

It's also a real pleasure to introduce the artwork of Léto Mythia who designed the artwork for our 15th mixtape.

Facebook: /chanchaviacircuito
Soundcloud: @Chanchaviacircuito
Bandcamp: zzkrecords.bandcamp.com
Artwork: instagram.com/letomythia

You can see the tracklist for the mix, as well as an interview with Chancha Via Circuito by clicking the Métron button below the player.

Métron

Métron Mixtape - 015 - Chancha Via Circuito

A conversation with Dolo about her music and the connection between it and her music.

Meghan Elizabeth's Album

Dolores Aguirre of Perota Chingo - The Journey to Happiness and the debut of "Catacumba"

Una conversación con Dolo sobre su música y la conección entre ella y su espiritualidad.

Dolores Aguirre de Perota Chingo - El Viaje hasta la Felicidad y el Estreno de "Catacumba"

A conversation between Meghan Lewis of Buena Onda Yoga and Pedro Canale (Chancha via Circuito). Pedro talks about his wellbeing practices and tells the story of his song, "Sueño en Paraguay".

Interview with Pedro Canale (Chancha via Circuito)

Andrés Oddone - Aura LP - Shika Shika 2017

Músic, production and mix: Andrés Oddone

Matering: Sebastián Cordovés (https://www.facebook.com/sebastiancordoves)

Design: Treska (@treskaDG)

Bajada completa: https://shikashika.bandcamp.com/album/aura

"Aura" was born from two trips to India.
In 2011 I was able to meet several artists, journalists and members of the Bangalore music world, in the state of Karnataka, India. In that first opportunity I made recordings randomly, without knowing why. 
In 2013 I was invited by bangaloREsidency, of the Goethe Institut Bangalore, to serve in a residency together with a group of artists of different nationalities. That last time I traveled accompanied by Iohanna, my wife, and we were again in Bangalore, but also in several cities in the state of Kerala: Fort Kochi, Alleppey (Alappuzha) and Trivandrum (Thiruvananthapuram).

Both times, I captured a large number of recordings of different spaces. Of TV programs, of what played on the radio, what I heard on the streets while on walks, which I captured as a spectator in various concerts. I took samples delving into complete discographies of artists from India, some well known and others who I came across by luck, in an archive of music ranging from religion-based to more popular music: what plays from the stereo systems of the tuk-tuk, songs from the movies. I also used several layers extracted from sound collections.

After searching and searching for a place from which to begin composing, I found three axis lines that intersect today in the "Aura" tracks:

A - Dreams as a playing field: since it is impossible to mentally hold the information collected in India linearly, not even involving my own experiences, I decided to lay out the music with the same logic as that of the world of dreams. 
Many of the central ideas of "Aura" were born from this conception of a "dreamscape"; such as the overall sound of the album, generally very low in tone, with few highs, dub, acuatic and atmospheric.

B - Trance as an organic composition: avoiding the obvious analogy (from a Western perspective) that occurs between "Indian music" and "trance", the notion of a hypnotic sound revealed itself as an opportunity that is much more, giving me the opportunity to explore and add different stylistic and sound worlds to the tracks. Thus, the pieces slowly began to be dressed in very distant elements but that take force from the same energy: acid, IDM, ambient, noise, minimalism, progressive sequences, climates of tension, etc.

C - Individuality and unity, all in one body: emphasizing the idea of "unity and multiplicity in a single entity" present in different visions of India, the tracks are composed by lots of sounds, sometimes touching on saturation . But within that complexity, an interlacing emerges that presents a double vision in which music can be read as a whole, or in which it is also possible to differentiate between different threads.
In that sense, a sound created with a synthesizer is as equally important as a sitar or car horn, and they can be heard separately. But together they shape a whole that has its own voice, the body of a new entity. Collage leaves its seams in plain sight.

"Aura" was created from various random ideas and from playing with the sensuality of the sounds. It is not at all intended to truthfully emulate the rhythmic or compositional forms of India. I am far from being familiar enough to propose something like that. 
Regardless, I hope that something from those trips shows itself playing in the music. That the wonderful people that I was able to meet can be found between these distorted pictures, and that they can enjoy the image.

Moonshake

fall in love with my harmonies..........

they are my favorite.

"Free Again"

Jorie Graham on Linda Gregg: 
Reading Linda Gregg’s poems is a unique experience because not only does one hear Linda’s voice in one’s head—if one ever heard her read it was unforgettable—but the voice is actually inscribed into the lines, the syntax, the rhythm, tone, tempo. This is the sign of tremendous formal skill—that one controls the audible voice of the poem right down to its minutest modulations. This is also the signature of a poem which is a lived experience—not the record of one, or the report of one. If there ever were, as Stevens puts it in “On Modern Poetry,” those urgent poems “of the mind in the act of finding/ What will suffice” they are the adamant, fierce, brave, poems of Linda Gregg. It is hard to describe poems which appear to carry true visionary experience in their marrow. They are, to a certain extent, disincarnate, icy, terse, as-if-dictated. Vision uses abstraction as if it were its natural integument. Vision would seem to use the poet, the poet’s body and voice, as a vessel to get itself expressed, forcibly pressed from the invisible into the visible, from the unknowable into the knowable or the transmittable. And these are certainly characteristics of Gregg’s poems. And yet they are also so deeply poems of the body’s unique knowledge—its intimations, forebodings, fears, lusts and loves. Her poems seem to do it all. It would appear quite impossible for the incarnate to shine so visibly carnate before us—and in so few words. But there she is, as Gregg would say, seeing the vision stand before her. Finally her poems exhibit a fearlessness, a recklessness which seems to be shared by both a way of living and a way of writing—a numinous incandescence, which has to do with searching for the limits of not just what life can be, but also of what language can hold—which might indeed be Too Bright To See. Not any self-indulgent or thrill-seeking recklessness, but recklessness in the name of a deeper reckoning. Until indeed, here she is, always blazing, always alive, Linda Gregg.

Robert Hass on Linda Gregg:
The first poem of Linda's that I read was "We Manage Most When We Manage Small." I think I read it twice. A couple of days later I realized that I had it more or less memorized, from that startling first line--"What things are steadfast? Not the birds." Her music certainly had to do with the way she used questions and declarative sentences and her feel for the relation of sentence to line, which is very strong and very often very simple. She wanted to make poems that were plain and radiant like the chunks of thousand-year-old marble she would occasionally turn up on the island of Santorini when, as a young woman, she was living there with Jack Gilbert and learning to write. Her aesthetic, I noticed, when I came to know her, was frugal and like the way she lived the practical parts of life. I remember her describing her relation to shopping and to the objects of desire in a consumer culture. She said she liked to go downtown, to Union Square in San Francisco or uptown to Madison Avenue in New York and hunt down the very best and most beautiful version of the thing she had desired and study it for a while and walk away. It reminded me of Richard Wilbur's wonderful phrase about Emily Dickinson's poetry. He said she traded in "sumptuous destitution." Something like that seems to account for the light Linda's poems give off.

Raising Frequency

Read By: Robert Hass and Jorie Graham

A collaboration between South American producer Fede Petro and North American songwriter Emily Kate Boyd. 

Produced by Fede Petro
Songs by Emily Kate Boyd
Engineered by Ignacio “Nacho” De La Riega
Mixed by Luke Campolieta
Mastered by Alex Lowe
Recorded at Estudio Bulo, Pedraza Records & Caos Studio in Buenos Aires, Argentina.

Seams

Emily Kate Boyd, an American roots-rock artist, weaves her Tennessee heritage into a tapestry of vocal jazz, blues, and classic country. Her powerful voice and creative lyrics have earned her recognition in the independent music scene.

Boyd's discography boasts six self-released albums, featuring collaborations with Grammy Award-winners Shawn Mullins and Clay Cook of the Zac Brown Band. Her musical journey recently took her to Argentina for a two-year stint, during which she expanded her network of artistic collaborators across the globe.

Now back in the United States, Boyd continues to draw inspiration from her Southern roots and international experiences, crafting a unique sound that resonates with audiences worldwide.

"In The Woods" by Emily Kate Boyd
Published 2014 by ARCA Records
Produced by Emily Kate Boyd

"Vampires at Sea" by JoyScout 
Published 2012 by Art Box Records
Produced by Will Robertson

"Paint My Heart White" by Emily Kate Boyd
Published 2008 by Art Box Records
Produced by Clay Cook (features Shawn Mullins)

"Red Dirt Diaries" by Molly Bancroft
Published in 2006 by Dizzy Kitchen Music
(Words by EKB, Produced by Molly Bancroft) 

"Wonder EP" by Emily Boyd 
Published 2006 by Art Box Records
Produced by Molly Bancroft

Seams

Emily Kate Boyd

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