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Postcard # 7

Sample from "Suzanne Ciani on David Letterman"



Postcard # 7

Postcard # 14


Postcard # 17

Sample from Charles Mingus - Myself When I'm Real

Postcard # 17

Postcard # 26


Postcard # 27

Samples from The Whispers - Lady

Hope you're all having a wonderful summer!

xo

Postcard # 27

A track from comission work on video game Stick it to the man. Visit stickittotheman.bandcamp.com/ for full soundtrack!

Tim Persson - Trumpet
Joel Heirås: Saxophone
Christoffer Alehed - Trombone
Benjamin Börjesson: Guitar
Joel Bille: The rest



Stick it to the Man Original Soundtrack - 9. Chased!

May I introduce three chosen members of Vocalite and the spherical sound. 
(Also known as a three-part choir) and the godfather of synthesizers, 
Elka-Synthex from Italy... the year is 1987... A Duet with choir 
(three female singers) and an Elka Synthex (three-part harmony)

This is the second part dedicated to the Vocalite.
1.) Vocalite and  2.) Quai uan Ta ru

Story to the Song...
The Vocalites follow an ancient code: "Only those who hear the rhythm of the cosmos can maintain balance." In their dances, which illuminate the desert in eternal motion, they find peace and the eternity that only the techno universe can offer.

The maturation process that the Vocalites must undergo lasts hundreds of years, during which they learn the rhythm of the cosmos. "Quai uan Ta ru" is the song they must perform as a test before the cosmos... the cosmos gives them the spherical triad, which they must follow in three-part chant.  At the end of the cosmic test, the spherical sound unites and sings a duet with the chosen Vocalites.

This duet leads the people of Vocalite to the highest fulfillment of "being one with the cosmos."    

Have fun...  Robert / O ZERO

Statement
I have nothing against AI music, but I would like to point out that this piece was created by three singers and a keyboard player. Even though I myself don't receive a fee, the singers were compensated for their skills and work.
The singers also underwent vocal training to develop these voices. I myself cannot sing and have the utmost respect for their abilities. Furthermore, they sing truly beautifully, which is not due to me, but solely to their talent.
AI music is interesting, but I cannot and will not bring myself to give preference to an AI over these talented people and over us humans in general.

Vocalite Part II - Quai uon Ta ru

47x0 Quai Uan Ta ru (Vocalite Part II)

Postcard # 37

Postcard # 38

September is the month when I often listen to FS Blumm's album 'Summer Kling'. It has become my summer transitioning into fall album. While listening to it, my girlfriend cranked up the vinyl speed from 33 rpm to 78 rpm, just for the fun of it. It sounded pretty good actually. And in my head I heard vocal melodies sung on top of it. This is what came out. The FS Blumm song is called 'Flocke'. 

Postcard # 38


Postcard # 39

My friend Jonas Abrahamsson who plays piano in my band came around and we wrote this together. 

Postcard # 39

Open Up

Throwing Muses New track 'Bo Diddley Bridge'
From new album ‘Sun Racket’ out 4th Sept

Pre-order: https://fire-records.lnk.to/TM_SunRacket

Throwing Muses return and sing songs aquatic; toasting the dark blue of the water, the New Orleans bywater viewed from New England’s Bo Diddley bridge. The bridge collapsing, the water waiting – who’s saving us?
 
Returning with their signature sound, the legendary Boston trio Throwing Muses, consisting of Kristin Hersh, David Narcizo and Bernard Georges, release their tenth studio album ‘Sun Racket’ on 4th Sept via Fire Records.
 
The follow up to 2013’s ‘Purgatory/Paradise’ is an outpouring of modal guitars, reverbed shapes, pounding drums and driving bass set behind Kristin Hersh’s well-thumbed notebook of storylines and haunting vocals that get into your psyche.
 
A ten-song opus of suitably wrought tales set against a wall of sound that’s at once calm and ethereal before building into glorious cacophonous crescendos.
 
Drummer, David Narcizo: “Sun Racket has always been geographical... a transplanted southerner in New England crash landing in California. A West Coast sound at New England scale, dragged back down to the south where the elements got more aggressive but now with deeper roots.”
 
When they made their last album a few years back, they were shattered. Pieces were coming and going, elements repeating and charging the whole. “It sounded beautiful jumping around like that.” Two-minute songs reappearing as twisted instrumentals or another song’s bridge. They mimicked the effect live which kept them on their toes. Whatever was happening was already over in other words.
 
‘Sun Racket’ is the opposite. It refused to do anything but sit still. It says, “sit here and deal.”
 
“All it asked of us was to commingle two completely disparate sonic vocabularies: one heavy noise, the other delicate music box. Turns out we didn’t have to do much. Sun Racket knew what it was doing and pushed us aside, which is always best. After thirty years of playing together, we trust each other implicitly but we trust the music more” - Kristin Hersh
 
Hersh’s songwriting is like a poison pen letter revealing terrible secrets.
 
“I don’t regret a single drop of alcohol” ‘Milk at McDonald’s’ admits. This is tell-all phone-in radio, these are everyday stories, the puzzles of life.
 
“The devil has no soul” closing cut, the mysterious ‘Sue’s’ explains.
 
And so, they continue. Business unusual.

Throwing Muses - Bo Diddley Bridge

Hearts That Beat, Will Never Mend

Houses of the Holy

2xLP/Digital

Why Should I Wait? - feat. The Dream Syndicate

The All Is One

The Same Old Rock (One Must Imagine Sisyphus Happy)

Magic Touch

Sacred Place

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Or send an email to smalltalk (at) jenslekman (dot) com

Postcard # 7

Jens Lekman

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