So men your my god thank for evry think ❤️❤️❤️🥀🥀🥀🥀

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Al green-for the  good times

Otis Redding - Try A Little Tenderness

Al_Green___Al_Green__Lay_Your_Head_On_My_Pillow_mp3.mp3

Al Green - I Can't Get Next To You

Goodnight, Construction Site - Flip Shelton - Surprise Chef - Sherri Duskey Rinker

Broadcast - Tender Buttons ( Kill'NM Flip)

Love Songs We Used to Share

If You Don't Know Me by Now (Rerecorded)

started as a study, then added my own sections and put it into a live set. RIP hiroshi yoshimura.

https://www.youtube.com/watch?v=j-2FR3AZJTM

吉村弘 Hiroshi Yoshimura - Over The Clover (2017, Melos Han-Tani Edit)

Brian Bennett - Ladybird

Despite his status as a key figure in the history of Japanese ambient music, Hiroshi Yoshimura's music remains tragically under-known outside of his home country. Empire of Signs – a new imprint co-helmed by Maxwell August Croy and Spencer Doran – is proud to reissue Yoshimura's debut Music for Nine Postcards for the first time outside Japan in collaboration with Hiroshi's widow Yoko Yoshimura, with more fully licensed reissues of Hiroshi's work to follow in the future.

Working initially as a conceptual artist, the musical side of Yoshimura's artistic practice came to prominence in the post-Fluxus scene of late 1970s Tokyo alongside Akio Suzuki and Takehisa Kosugi, taking many subsequent turns within Japan’s bubble economy afterward. His sound works took on many forms - commissioned fashion runway scores, soundtracking perfume, soundscapes for pre-fab houses, train station sound design - all existing not as side work but as logical extensions of his philosophy of sound. His work strived for serenity as an ideal, and this approach can be felt strongly on Music for Nine Postcards.

Home recorded on a minimal setup of keyboard and Fender Rhodes, Music for Nine Postcards was Yoshimura’s first concrete collection of music, initially a demo recording given to the Hara Museum of Contemporary Art to be played within the building's architecture. This was not mere background music in the prior Japanese “BGM” sense of the word, but “environmental” music, the literal translation of the Japanese term kankyō ongaku [環境音楽] given to Brian Eno’s “ambient” music when it arrived in late 70's Japan. Yoshimura, along with his musical co-traveler Satoshi Ashikawa, searched for a new dialog between sound and space, a new way of listening: sound not as an absolute, but as something that interlocks with a physical environment and shifts the listener’s experience within it. Erik Satie's furniture music, R. Murray Schafer's concept of the soundscape and Eno’s ambience all greatly informed their work,  but the specific form of tranquil stasis presented on releases like Nine Postcards is still difficult to place within a specific tradition, remaining elusive and idiosyncratic despite the economy of it's construction. This record offers the perfect introduction to Hiroshi's unique and beautiful worldview: it's one that can be listened to - and lived in - endlessly.

Music for Nine Post Cards

Hiroshi Yoshimura (吉村弘) - "Dance PM" from Music for Nine Post Cards (EOS01) OUT 11/17/2017

Jefre Cantu-Ledesma's rework of "Sky Could Underdress" from Balmorhea's album Clear Language.  Available September 22, 2017 on Western Vinyl.

Pre-Order Clear Language:
Bandcamp https://balmorhea.bandcamp.com/album/clear-language
iTunes https://itunes.apple.com/us/album/clear-language/id1252681306?ls=1&app=itunes
WV http://westernvinyl.com/shop/wv150

Balmorhea
https://balmorheamusic.com/
https://www.facebook.com/balmorhea/
https://twitter.com/balmorheamusic
https://www.instagram.com/balmorheamusic/

A decade-plus on the road, near-constant musical output, and shifting creative priorities caused the revered Austin duo, comprised of multi-instrumentalists Rob Lowe and Michael Muller, to soberly assess the band’s future. What, in the form of Balmorhea, was there left to say? And did they have the energy to say it? 
 
Stranger, the group’s maximalist, genre-leaping full-length from 2012, had already seemed to trace the group’s farthest bounds. And, over the years, they’d worked with a roving cast of accomplished string and rhythm players to craft a glassy-eyed, sage-brushed, instrumental Americana that, while celebrated in The New Yorker, Pitchfork and The Atlantic, among myriad other press, and attracting the film, ad, and television worlds risked pigeonholing them for good. 

As they had in the beginning, in 2006, Muller and Lowe worked simply and with restraint, letting intuition guide them as they molded the 10 elegant, spacious gestures that comprise Clear Language.  A relaxed, clear-eyed sense of reflection flows gracefully through the album as these two old friends transmit unfettered meaning through simple sonic gestures that resonate with the cosmos as much as they echo the pulse of a human heart.

Al green-for the good times

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