Meshell Ndegeocello - Comet, Come to Me

That Secret Sauce

That

Forget My Name

Good Day Bad

And Yet It Moves

Friends

Legacy Love

"Memorable ... a rising talent" Line of Best Fit
"Fusing Soul, UK Hip Hop and new movements in Jazz, Tertia May's 'White' Has A Magical Quality" Clash
"Tertia May is probably the most exciting artist we have stumbled across this year" When The Horn Blows
"Contemporary and classic" LOCK Mag
"We can't wait to hear more" Somewhere Soul
"Unafraid to show her attitude, she is emerging as a fierce new talent" Stereofox
"A purely soulful, Jazz inspired cut, mature beyond the singer's years" Hilly Dilly

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Artist: Tertia May
Producer: Subculture 
Record Label: Twisted Hearts Records
Artwork: Anya Broido, Mr Phomer
Mixed & Mastered by Yoram Vazan (Firehouse Studios)
Guitar: Cam May
Trumpet: George Willis

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TERTIA MAY
Fb: www.facebook.com/tertiamay/ 
Insta: www.instagram.com/tertiamay_
Tw: www.twitter.com/tertiamay
Soundcloud: @tertia-may-lynn

SUBCULTURE
Fb: www.facebook.com/subculturesound/?fref=ts 
Insta: www.instagram.com/subculture_sounds/
Tw: twitter.com/subculturesound
Soundcloud: @subculture-sounds

Tertia May - White

Rosie's 5ive

Orange Moon

Erykah Badu - On & On (SpreeMix)

Wax Poetics Presents "Tawk Takeout: Tawk Tomahawk Remixed" by Melbourne, Australia soul group Hiatus Kaiyote.


When Queen of Just About Everything, Ms. Erykah Badu, delivers knowledge, you open yourself to receive. Which is why when she devoted 140 characters or less to Australian band Hiatus Kaiyote—her exact words were "Okay. I'm done. In love,"—it confirmed our strong sense that these guys were exceptionally special.

In a country where balls-to-the-floor AC/DC rock boasts a much fuller history than soulfully futuristic stylings, this seven-piece from the east coast city of Melbourne is an anomaly. Hiatus Kaiyote’s uniqueness comes not only from their surroundings, but also their capacity for a sound rich in its understanding of soul, R&amp;B, and jazz.

Lead singer/songwriter Nai Palm was raised on the sincerity of artists like Wonder and Franklin, which she funnels into one of the most naturally arresting voices we’ve heard (check this <a href="http://youtu.be/FwLU_PXheuo" target="_blank">cover of "My Cherie Amor"</a> from her NYC debut over the weekend). Her current U.S. trip as ambassador for the band has gained Hiatus Kaiyote a luminary list of new fans and friends including the Roots, Miguel Atwood-Ferguson, Jean Grae, Pharoahe Monch, the Brainfeeder crew, and more.

Word of Hiatus Kaiyote has found its way to the U.K. as well. Right now the band is enjoying the attention of Gilles Peterson, who selected their self-released EP Tawk Tomahawk as his Album of the Week. The timing has worked well for us too, as Wax Poetics cordially presents the accompanying remix album, Tawk Takeout.

Twelve producers tackle Hiatus Kaiyote originals, grappling with the stems and unfolding them into various forms. Mark de Clive-Lowe contributes a wonderfully spirited version of "Malika," which sits beside interpretations by Shafiq Husayn, KCRW’s Anthony Valadez, and more.

Listen to the album in full below, and <a href="http://hiatuskaiyote.bandcamp.com/" target="_blank">download it for free</a> via Hiatus Kaiyote’s Bandcamp  page.

Hiatus Kaiyote - Tawk Takeout - 07 Malika (Slametz Remix)

Anthony Valadez - Asleep feat Anna Wise

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.”

Tom

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