Continuous Performance

Full maxi-single out now everywhere: fsxrs.lnk.to/sotj-telemakus

This extended version of our latest Fresh Selects Remix Series drop, highlighting Telemakus's take on SOTJ's "I Want More" – now includes the bonus "Slowed-Soul Mix" heard here, plus the instrumentals for all three versions of the song.

When Tele initially remixed the song, he sped everything up so that he could get into his full high-energy Fusion bag, as he loves to do (and we love him for it!).  So, as a B-side bonus, we thought we'd include this alternate edit of his flip that kept the vocals at their original speed and calmed everything else in the track down along with it – traversing genres a bit and sliding back into more of a cool Soul groove.


Remix Produced by Telemakus 
Edit Mixed & Arranged by HOT16 & Kenny / Fresh Selects

Original Version Produced by DJ Harrison 
Recorded by Devonne Harris @ Jellowstone Studio in Richmond, VA 
Mixed by Zeroh & Devonne Harris 

Rob Milton - vocals
Telemakus - piano, rhodes, synths, bass 
David James - drums

Mastered by Kelly Hibbert at Almachrome 

Artwork & Design by Tawfiq Mardini 

A&R / Executive Producer: Kenny / Fresh Selects 

FSX-RS-2206 © 2023 Fresh Selects. Do you want more?!!!??!

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@dhjsounds
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I Want More (Telemakus Remixes)

Sons Of The James "I Want More (Telemakus Slowed-Soul Mix)"

This is "In My Ears", the new single of 8 Twelve
Listen/download his EP here :  https://bfan.link/in-my-ears 

Follow 8 Twelve: 
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https://soundcloud.com/8-twelve

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In My Ears

Listen/Stream

8 Twelve - In My Ears

A track produced by Oddisee for Maimouna Youssef's first solo album The Blooming

O Encontro No Brasil (Meet Me In Brazil)

Erlend Oye - Rule my World (live Chile 2007)

Christian Scott aTunde Adjuah "Before (feat Elena Pinderhughes)"

Composed by Myele Manzanza.
Arranged by Callum Allardice

Myele Manzanza - drums
Ross McHenry - bass
Matthew Sheens - piano
Django Rowe - guitar
Ben Harrison - trumpet
Jake Baxendale - alto saxophone
Jason McMahon - tenor saxophone
James Macaulay- trombone

“For Itaru’s Phone Booth, I was listening to a podcast about a man in a small Japanese town called Itaru, who had installed an old English style phone booth on his property as a place he could go and “talk” to deceased loved ones. The town was almost totally ruined by the tsunami & earthquakes that rocked Japan in 2011, and over time the phone booth became a place where people could go to talk to their dead loved ones. Kids told their deceased parents about how they made the soccer team, or they had been diligent with their homework, and at other times adults struggled to communicate complicated feelings to their husbands or wives that were taken away.”

“The story made me reflect on the value of life, what I wished I could’ve said to people who’ve passed away and things that I struggle to bring up with people who are still here. The phone booth was a beautiful poetic image to tie those ideas together.”

Itaru's Phone Booth

Simone

new electric skyline single 
night time vibes 🏙🌹

Denim Nites

GODS DIRTY WORK

Meshell has changed. So has her music. It’s more peaceful, freer. Her new album, Weather, cloaks itself in the colours of autumn, full of in-between shades and hues and with a certain mildness to it. The singer has let her feelings carry her along. Meshell has never been scared of sharing her most intimate thoughts in explicit or colourful terms that always come from the heart. As ever, she is true to herself. But Weather’s folk sensibility and pregnant acoustic melodies make this a supremely accessible album.

“For a long time I was at war with everyone else. I dug my heels in, I fought hard. That’s all over now. I have my opinions, but they’re no longer a source of conflict with the rest of the world.” On Weather Meshell’s usually deep vocals slip into a register more like a whisper, sharing secrets about subjects that are straightforward, almost light-hearted. She has pared down her style to something like pop. “I started to write this album on the guitar and you can hear it. The final atmosphere’s gentler.”

And then the singer agreed without fuss to put her fate in the hands of a producer. Joe Henry (Ani DiFranco, Bettye Lavette, Allen Toussaint, etc.) helped her reveal a different side to herself. And Meshell went along with this. “I’ve known him since the Bitter album; Craig Street introduced us. I hadn’t called on someone from outside for several albums. But contrary to what everyone thinks, I love getting other opinions, hearing a different point of view and allowing myself to be led by someone with strong ideas. It’s a dialogue. This kind of experience really motivates me.” One might well have imagined her bent protectively over her compositions, her own personal, contradictory and profound world. But she says that she wants to continue this experience in future projects with other musicians. She mentions Brian Eno and Lee Scratch Perry.

She worked the way she likes to with Joe Henry - just two or three takes to capture the spontaneity and freshness of the moment. She is accompanied by Chris Bruce (guitar), Deantoni Parks (drums), Keefus Ciancia (keyboards), Gabe Noel (cello) and guests Jay Bellerose (drums) and Benji Hughes (backing vocals). Meshell recently did some producing herself – for jazz singer Laïka Fatien and rising star Selah Sue. Despite the pop-folk sound of Weather, jazz remains a major source of inspiration. “I love jazz musicians. They’re free; they have no fear. I’ve done pop and there are lots of barriers, lots of holding back. You have to stick to the conventions. Jazz musicians embrace uncertainty and adventure, even in their private lives. They’re more open and often more skilled, both in the studio and on stage.”

On Weather, Meshell sings of the ups and downs of love, one of her favourite subjects. Her heroines are marked by the void left by the loved one (“Object”) or else, like a game of mirrors, pour out their heart about the hurt they have caused others. She does a cover of Leonard Cohen’s “Chelsea Hotel”, dedicated to Janis Joplin, an extremely sad and somewhat sexist song, as well as “Don’t Take My Kindness for Weakness” by Soul Children, a sixties soul band, whose message she has made her own. Her own lyrics are always concise, precise or allusive, full of images and poetry (“I want to be your answer”). “They’re like mantras, some phrases cast to the wind, images that pop into my mind. Then I add the music.” She also talks about the wider world on a few tracks. ‘Oysters’ is about “the change that everyone talks about but never comes”. Meshell explains that “Consumerism is gaining ground all the time. We all live to get a new car or a new computer, but what’s the point?” So, join the great world party? “Not for me,” she replies in Dirty World. “I live two hours from New York. I ran away from all the dirt. There’s a farm where I live, and healthy food. I love cooking – it’s not all that different from making music. You need ingredients, and the greatest pleasure is when you share it share it with others.”

Continuous Performance

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