Another great track. I saw you guys in Belgium some time ago. Hope to see you guys again soon! :)

Grattis på födelsedagen. En remix gjord 2013-11-04. Blod och tårar.
Happy birthday to me. A remix made 2013-11-04. Blood and tears.

"howling at me howling at you"

thanks to

G/R/E/M/L/I/N/S ~~ C/H/R/O/M/A/T/I/C/S ~~ C/A/TPOWER ~~ A/I/RFRANCE ~~ B/E/S/TCOAST

Cat Power - Manhattan (Goes Calypsos Manhattan, MT Remix)

Select tracks from Timber Timbre's Creep On Creepin' On

Release Date: April 5, 2011

BUY NOW: http://www.galleryac.com/timbertimbre-creeponcreepinon.html

Timber Timbre - Creep On Creepin' On

Single #1 off "The Savage Dreamer" out on September 19th 2014 on A Tree in a Field Records.

Order here: http://atreeinafieldrecords.com/releases/fai-baba-the-savage-dreamer/ 

Buy Now

Fai Baba - Salt Turns Into Sugar

Anywhere But Here

The b-side to Meilyr Jones' single How To Recognise A Work of Art, available from 8th January 2016 on limited edition 7" vinyl: http://smarturl.it/MeilyrJonesHTRAWOA

New date just added at MOTH Club on 26th April: http://www.ticketweb.co.uk/event/211995

How To Recognise A Work Of Art

Meilyr Jones - All Is Equal In Love

"I Have Been To The Mountain" - by Kevin Morby off of 'Singing Saw,' out April 15th on Dead Oceans

Dead Oceans: http://smarturl.it/kevinmorby_ss
iTunes: http://smarturl.it/kevinmorby_itunes
Amazon: http://smarturl.it/kevinmorby_amz
Support your local independent record store: http://smarturl.it/kevinmorby_indie

"I Have Been To The Mountain" - by Kevin Morby off of 'Singing Saw,' out April 5th on Dead Oceans

I Have Been To The Mountain

Kevin Morby - I Have Been To The Mountain

Second single taken from forthcoming album, "Other Worlds" out on Secretly Canadian on October 2, 2012. 
Produced by Henning Furst.

Taken By Trees - "Large"

Matthew E. White 
"Big Inner" LP/CD/DIG
Out January 2013 in Europe on Hometapes and Spacebomb.
www.matthewewhite.com
www.home-tapes.com
www.spacebombrecords.com

Like all of us, Matthew E. White was born into a constructed world. His unfolded out of the mingled sands of Virginia Beach and Manila, the youngest son in a family that raised him barefoot between the blurred racket of that far eastern jungle city and the backyard lightning-bug-hum of a trimmed southern lawn. His first moves, from picking up a basketball to picking up a guitar, were cast in the dual glow of these latitudes. Something between them taught him to love. Something between them taught him to time travel. Here began the lessons of Big Inner.

On that day in August, when the earth shifted into the shape of Matthew E. White, there was so much to listen to, so much to put your heart into, already. The dusts of the Delta had swirled into Rock and Roll. Alan Lomax's recordings sat in a big building in Washington, DC. Lee Perry had built The Black Ark in his backyard in Kingston. Somebody else lived in Big Pink. Mac Rebennack was Dr. John. King Tubby was dubbing. Terry Riley was overdubbing. Sly Stone had hit #1. Randy Newman's Sail Away was a decade old. Caetano Veloso had just turned 40. Muddy Waters was just about gone. Jimmy Cliff had sung "Many Rivers to Cross." So had Harry Nilsson. White shared this common inheritance. He stitched his own flag out of it.

And so it begins with "One of These Days," looking in, up, and over in its declarations of love. It's waking up next to someone. It's feeling the wood of the church pew on your back. This is your introduction to Matthew E. White and the world of Spacebomb; he's convincing you to stay the night. You give me joy like a fountain deep down in my soul. You can hear him breathe in. The first time around, White only hums the chorus. Hums it. Plants it in your head as it blooms in his. Strings enter like a siren. The guitar only talks when it has something to say. The choir lets you know you're not alone. Overdubbed woodwinds and muted brass like it on top, dancing around the embers of the bass line. Whether you're a woman or man, White's mournful, get-it-on voice may be all you can hear: I don’t want to live a day longer than you, so let’s meet the Lord together. You can call it soul music if you want. It's his soul and it's his music. 

Big Inner is told in seven songs that mingle memory with the rawness of any given human moment. The references — from the lyrics that echo the common conditions of love, death, seeking, and finding, to open tributes to artists like Washington Phillips, Allen Toussaint, Jorge Ben, Jimmy Cliff, and Randy Newman — are their own scavenger hunt through history and through White's place in it. "Big Love," the album's whopping second track, evolves the serenade of the opener into an all-out field holler. The vibe is farmed by Trey Pollard's cinematic string arrangement, Megafaun's Phil Cook on near-frantic keys, baritone sax squawks, pacemaking congas, and the first appearance of a burning White guitar solo. I am a barracuda, I am a hurricane. You don't need the seven-voice choir chasing White's voice to make you believe it, but it sure doesn't hurt.

For a record so personal, built on such code, it's never been a secret. Inseparable from Matthew E. White is Spacebomb — the process, the sound, the spirit, and the record label which White's debut launches. A gifted jazz arranger and exceptional guitarist, White is joined by bassist Cameron Ralston (the Wise) and drummer Pinson Chanselle (the Mighty) in the formation of the Spacebomb House Band. You won't forget those names. This core group, multiplied by horns, strings, and a choir (all culled from and roused by the venerable landscape of Richmond, Virginia), was captured to tape in White's own tricked-out attic on the west side of town. This is Spacebomb: an inimitable House Band, a producer, and a unified crew of arrangers and musicians join with an artist and cut a record — with staggering results. White assumed the actor-director role for Big Inner; it's the first Spacebomb album, the playbook and the highlight reel all at once, for a colossal series of upcoming albums from Natalie Prass, Karl Blau, Joe Westerlund (Megafaun), and Ivan Howard (The Rosebuds, Gayngs). A conductor in every sense of the word, an ambitious new label and a solo album were an easy segue from White's well-known post as the leader of the avant-garde jazz band Fight the Big Bull. 

As you swing into "Will You Love Me," you're a goner. Big Inner is an album of firsts, for White and for our place in time. He trades his guitar in for piano. He coos into the piano mic on the first take, a hunch that turns into an ice-breaker for the tingling dirge of "Gone Away." Written on the night of his young cousin's death, it walks the line between worldly gloom and heavenly lightness — and questions the validity of both. As on the rest of the album, White arranged the horns; they speak volumes beyond the limitation of his earthbound vocabulary.

The album culminates in the riverbed of "Brazos," a parable for the whole of Big Inner. Take every story you've heard, every note that's shaken your bones, every sunrise, and every friend you've got — and run. Like the rest of Big Inner, this closing track stands at full attention, the Spacebomb House Band, Horns, Strings, and Choir waiting their turn to kindle a flame that lights up the endless desert. Like every man before him, Matthew E. White is leaving a mark on the landscape. It's there, on records. It's there, on stage. But, like rare few, what Big Inner has brought to its glistening surface is what very well might be right inside of you.

-Sara Padgett Heathcott, Hometapes

Matthew E. White "Big Love"

Suit of armour is a track that I wrote when love and fear collided, and left me feeling confused and avoidant. It's a song that observes the reservations I have, when there is something potentially beautiful in front of me, and I look for the cracks and flaws, as a protective method to avoid pain. It is melancholic that the beauty of love is shadowed by so much skepticism and mistrust, but there is an optimistic message too. I have the power to move through the weight of these experiences, remove the armour, and eventually be more open to connection, in time.

Anywhere But Here

Les Big Byrd

Recent comments

Baz’s homemade demos

CarlosDublU

The Grunts

Tayyiba

Related tracks