RA.448 DJ Taye

Devonté Hynes, aka Blood Orange, had an incredible 2019. He dropped the mixtape Angel's Pulse; scored the critically acclaimed film Queen and Slim; released a classical album with Third Coast Percussion; directed a music video for Beck; and, as a fan, finally saw the brilliant composer/vocalist Beverly Glenn-Copeland live. Glenn-Copeland (as he prefers to go by in his day-to-day life) had his own amazing year: At the age of 74, he had his first international tour, released the new LP Primal Prayer, and saw his previously obscure, decade-spanning seven album catalog finally embraced in music communities around the world. And he met Dev, whose music he adores.

We introduced Dev and Glenn right here on the Talkhouse Podcast, and the ensuing convo was warm, vulnerable, funny, and potent. The two sat on a sofa at Hook and Fade Studio in Brooklyn, and instantly formed a world all their own; they stared into each other's eyes, and spoke so softly that it was difficult to hear them from even a few feet away. In their wide-ranging conversation, Glenn and Dev discuss discovering parts of themselves by traveling out of their home countries; the way they each approach their songwriting; and the story behind Glenn’s seminal 1986 album Keyboard Fantasies. We also learn the importance of nature and its role in their music; how recently Dev began to honor music as the foundation of all his creativity; and the trick Glenn’s mother used to make him a musician while still in utero.

Check it out, and subscribe now to stay in the loop on future episodes of the Talkhouse Podcast.
—Elia Einhorn, Talkhouse Podcast host and producer @eliaeinhorn

Today's show was engineered and co-produced by Mark Yoshizumi. Additional editing by Katie Lau. Research by Reese Higgins.

The Talkhouse Podcast’s theme song was composed and performed by The Range.

Please direct all podcast-related ideas, vitriol, and compliments to elia@thetalkhouse.com

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Dev Hynes (Blood Orange) with Beverly Glenn-Copeland

2020ATLANTA ELECTRONIC SELECTION
compilation of various artists

Cyberia - Battle Simulation

new aesthetic.

Using 7 days in a week of lock-down as his aural canvas, John Butcher renders his daily thoughts, feelings and experiences with a rich array of solo works for Tenor saxophone, Soprano saxophone and Saxophone driven piano. John’s work and remarkable technique is usually brought to life by the milieu of tempered environments and interaction with both other players and the audience. Alone, enclosed within 4 walls with a microphone, he unveils a side to his practice that is rarely revealed. There’s tense tonal passages that meet glimmers of melodic lines. Moments of slow, searching refrains that roll out, before the next day sputtering in warbler-esque lexicon. On ‘Thursday’ spirals of notes ascend, descend and wind around as if battling with gravity. Driving a piano with his saxophone, he conjures vaporous fogs of sound, capturing dense subjectivity in thick clouds. Like Steve Lacy’s solo experimentations documented on ‘Lapis’ and ‘Straws’, ‘STUCK’ offer an aural vantage point into John’s complex inner worlds. A rewarding experience on several listens.

TR052 - John Butcher - 'thursday: for K.I."

Debut collaboration between Khallee and label/production house Ex-Official.

Khallee - So Approximate

Kara-Lis Coverdale’s ethereal, sample-based music is a product of her rigorous classical training as well as her interest in minimalism, ambient, computer music and the history of synthesis and sampling. Growing up in rural Ontario, she became the organist and music director at her Estonian church when she was just 14, and her interest in the technology of the pipe organ continues to inspire her experiments in blending electronic and acoustic elements. As well as several solo records on experimental labels like Umor Rex and Boomkat Editions, Coverdale’s catalogue includes collaborations with an Estonian choir, pop artist How To Dress Well and drone maestro Tim Hecker. Currently based in Montreal, her latest solo release is 2017’s Grafts, which blends glowing keys and modal improvisations with subtly shifting textures.

Making use of her own sample libraries, Coverdale’s sketch reveals some of the fundamentals of her practice. Opening with groaning, guttural pipe sounds, she manipulates her source with subtle use of EQ and delay, blurring the boundary between real and synthetic. Soft, drifting tones slowly gather momentum, fomenting into a heavy cloud of harmonics and splattered, flute-like phrases. Avoiding simple melodies or resolutions, Coverdale sets the scene for a deep and meditative piece.

Find out more: blog.native-instruments.com/kara-lis-coverdale/

Sketches 057 - Kara Lis Coverdale

Practice Pusha

"A MEMORY CRIES DONT LET YOUR PEN RUN DRY"
Was a limited run 20 copy lathe cut 7" Record.
4 - 2020 Demos by Jeremy Waun... Right here in the digital realm! 

Track List :
1.) Long Time / Long Line
2.) Taste of Water
3.) Calling its Name
4.) Truths the Trick

ENDLESS LOVE!!!

A Memory Cries Dont Let Your Pen Run Dry

Dosh & Nosdam live improv on KVRX TX 2004

Need You

www.jeremywaun.bandcamp.com
Jeremywaun@gmail.com

A Memory Cries Dont Let Your Pen Run Dry

JEREMY WAUN