Fire Doesn't Grow On Trees

Wait A Minute (230 to be exact)

Religion for One

Circles Going Round The Sun

01. Calimambo
02. Kumbus
03. Lameirao
04. Teressa


Mastering: Dj Inko
Illustration: Lee Hodges

Carnibal 015 Panama Cardoon (Snippet) Out 11/7

Written and composed by Maud Nadal. 
Produced by Robin Leduc and Maud Nadal at Spectral Studio, Paris. 
Mixed by Angy Laperdrix at Solaris Studio, Paris. 
Mastered by Rémi Salvador at Climax.

Maud Nadal: vocals, guitars, keys. 
Robin Leduc: bass, guitars. 
Stéphane Bellity: drums.

BUY Du Pouvoir EP:
https://halomaud.bandcamp.com/releases

Du Pouvoir

Order limited Edition 12'' Vinyl in Mint Color: bit.ly/2poJr3p
All platforms: http://smarturl.it/sinnerssyndrome
Releases April 15, 2018

All Tracks Produced, Arranged and Mixed by Moderator 
www.facebook.com/TheModeratorMusic

Mastered by Blanka at Kasablanka Studio 
www.facebook.com/KasablankaMastering

Cover by Douglas Hale 
www.douglashale.net

Artwork Design by Manolis Chalkiadakis 
backbonegraphics.com

Distribution by Painted Dog Records 
www.painteddogrecords.com 
info@painteddogrecords.com 
sander[at]painteddogrecords.com

Executive Producers : Basilis Foteinos, Andreas Pallidis

Melting Records © 2018 
www.facebook.com/meltingrecs

Contact us: info[at]meltingrecords.com

Sinner's Syndrome

Moderator - Rosebud Witchcraft (Interlude)

Vinyl 12" & Digital

Moderator - Rosebud Witchcraft (Interlude)- MR009 (OUT NOW - Vinyl 12" & Digital)

Lazy Butterfly - Devendra Banhart

I remember the first time I read W.E.B. DuBois eclectic masterpiece The Souls of Black Folk. The way in which this Weberian scholar flowed from personal account to prose to sociological analysis to music and even political intervention has had a lasting impact on my own work as a cultural anthropologist. It made me understand that as scholars we must use different means in order to give expression to the totality of the lived experience: There is only so much in an academic text.

The experience of alienation has always been at the heart of my scholarly and artistic practice. I have used academic writing, lecturing, theatre performance and electronic improvisation to understand and represent it as a theoretical concept, postcolonial condition and lived experience. I believe, some issues need to be told like a story, some analyzed in most abstract terms and others need to be sung like a gospel. The medium changes the message.

In this sense, I guess, I’m a singing cultural anthropologist.

For some time now I have been engaged in the use of dystopian themes and sounds to paint a sonic picture of structural racism and whiteness of our present. But recently I have grown weary of this Ballardian idea of Future Now and the resulting phantasmagorian aesthetics myself and others have been invested in. The widespread availability of Digital Audio Workstations, sequencers, loopers and delay pedals has lead us into a futuristic cul de sac best described by Mark Fisher as the very absence of future.

Likewise, I am most skeptical of the “naturalist” countermovement, the return of folk. Especially in Germany, I am convinced there is no such thing as an innocent or progressive folk musical expression as it is always connected to the idea of the homeland (“Heimat”) which in turn produces the colony. It seems to me, the current zeitgeist is stuck between a “museum of a dystopian future” and a “museum of an idealized past”, but I wanted to sing about the present.

So, I involuntarily returned to pop music in its two-folded meaning of something popular and addressing not an essentialist notion of “Volk” or its woke cousin “communities”, but society as a whole.

I entered the studio just with a few lo-fi sounding melodies and rhythms from my circuit bent CASIO synthesizer. I had no clue what the finished product would sound like. But as soon as Markus started drumming, in a way strangely reminding me of CAN’s Ethnographic Forgery Series, my uptight sounds were suddenly embedded within a warmer global sound spectrum. The alien at home and abroad and the strange overlapped: We were seeing one and the same sound differently but were gently held together by Tobias’ producing.

Making music is about building coalitions. It’s about suggesting an articulation of styles, sounds and people, that hasn’t materialized, yet, but may help us in the current crisis: I wanted Amon Düül II to send their drug induced archangel thunderbird to rescue the refugees, that had tried to escape the police by climbing up a tree in Munich in 2016. I wanted Sun Ra to taunt far-right protesters in Chemnitz in 2018. And I wanted to mourn the loss of a former kebab shop cum discotheque that served as proof that there is such a thing as a minoritarian universalism.

SCHLAND IS THE PLACE FOR ME is a pop album featuring songs of alienation, not only as a tragic experience, but as a pop-cultural promise. Maybe Bill Callahan sung it best, “I am Star Wars today, I am no longer English grey”. I want those who suffer from alienation to stand in alliance with those who seek alienation, and vice-versa. A coalition, that tolerates the possibility that we are moved by the same groove for contrary reasons.

Schland Is The Place For Me

Fehler Kuti: Mayday Mayday

Heartbreak For Christmas

Montenegrin born in Istanbul, precocious pianist growing up in an embassy, brilliant musician. Prolific composer speaking eight languages, he arranged music for jazz, pop music, adopting multiple identities.
For one label, he is Andy Loore; for another, Emiliano Orti. For others, he is called Alan Blackwell or Johnny Montevideo, but behind all these aliases, there is only one man: Janko Nilovic.
						
Exploring the shelves of musical production, venturing into the less-illuminated corners of library music, Janko Nilovic's name lights up dozens of shelves on which his soundtracks, his records for Editions Neuilly or Sforzando, but above all his twenty albums for Editions Montparnasse, are stored. A considerable and imposing work, rich in orchestrations of keyboards, strings and brass instruments, themes, atmospheres and melodies. A repertoire in which the cinema, television and advertising have come to find their delight ...
						
Subjected to the sharp blades of samplers, reduced to a few effective  seconds, joined with rhythmic beats, some of his tracks have infiltrated hip hop for a long time , leading the most curious to go back to the source to get the complete albums from which the precious loops had been taken. 
Almost unknown to the general public, Janko Nilovic is a master for the initiated, whether  they are at his side in the studio or comfortably seated in their armchair savouring the final result on their turntable. His discretion combined with his long years of silence on the record could lead one to believe that he had cleverly arranged his disappearance from the radar to make Janko Nilovic a mystery that has never been completely solved.
						
Until this message from The Soul Surfers.
A few miles away, in their studio fired up by analog funk, the Muscovites had been put back on the Nilovic track by multi-instrumentalist Shawn Lee. A few passionate discussions later, and the desire for a joint album was already lighting up the amps, making the bass strings shiver and the drum skins tighten.			
Initiated by the coming and going of scores, the collaboration finally continued in studio for a real exchange, instantly bouncing off proposals, developing ideas in a live group dynamic that distance would have made impossible.
									
To feel the vibrations accumulated for decades at the CBE studio (like Chatelain Bisson Estardy), a mythical place founded in 1966, in which many albums, especially library, were immortalized. A place where consoles, equipment and instruments were kept as they were, accumulating in their wiring, meters and speakers, endless hours of experimentation and recording.
						
A place that Janko knew well and where an old acquaintance was waiting for him. A Hammond organ with a Leslie booth whose keys he had already flattered in the past and behind which an improvisation and a single take were enough to complete the eponymous title.					
Together, Janko Nilovic and The Soul Surfers have built Maze Of Sounds, a musical labyrinth paved by the master's keyboards where the soul-funk groove of the fiery Russians is the listener's thread, his point of reference in this maze of atmospheres and emotions, at once cinematic, nostalgic, dancing, dreamlike and contemplative.
				
An album where, however, nothing is compartmentalized. Where, blown by the whirlwind strung by a violin quintet, the barriers move preparing the entrance of a Slavic choir, letting a screaming guitar come and go alongside the crystalline liveliness of the Fender Rhodes, organize some rhythmic aerations at the disposal of the samplers.				
A fusion between the cleverly blackened scores, between the science of precisely written arrangements and the soul-funk feel of The Soul Surfers. An album such as Janko Nilovic has been dreaming of making for years.

Lazy Butterfly - Devendra Banhart

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