Choices Of The Grasshopper August 2020

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[Weekly Mix] 2020.08 (2)

Top 50: Folk & Singer-Songwriter

Download my 'A Place We Knew' album RIGHT NOW from the link below!!!!! 🧡 https://deanlewis.lnk.to/apwk-out-nowSC

Waves

dont smile at me

COPYCAT

Für Erika <3, Gitarre Solo

(c)2015 Composed and recorded by Thomas Archinal.
Gema no.: 15627185

Kellermusik

Con Brio - Mit Schwung!

Billie Eilish- copycat

Download my 'A Place We Knew' album RIGHT NOW from the link below!!!!! 🧡 https://deanlewis.lnk.to/apwk-out-nowSC 

Website: https://www.deanlewismusic.com/
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VEVO: https://www.youtube.com/DeanLewisVEVO

Be Alright

#NASTYMOB 
twitter.com/rico_nastyy
instagram.com/rico__nasty
www.facebook.com/OfficialRicoNasty
https://riconastymusic.com

Guap (LaLaLa)

additional vocals by Mimi Wade
Buy/stream: http://segabodega.lnk.to/usuck

U Suck

Buy & stream

Keeper

IDGAF

Good In Goodbye

Last Thing He Said To Me In Person

Stream/Download Lightning NOW⚡️🔥 https://RicoNasty.lnk.to/Lightning

Lightning

2nd single from upcoming EP titled Honeymoon Phases due out Aug 8, 2020.

Honeymoon Phases

I'll Be Ur Tramp

Candid

Strange Overtones

About “Something in the Way”

We are excited to announce that Palberta's new single, "Something in the Way," will be out on 8/5. Since the release of the acclaimed Roach Goin' Down, Ani, Lily, and Nina have been busy touring the U.S., releasing a live benefit album and opening for Bikini Kill at Brooklyn Steel. All the while, they have been writing and perfecting new songs, a few of which entered the band's sets before the global pandemic shut live music down and postponed their first U.K./Europe tour, originally scheduled for April.   

"Something in the Way" marks the first Palberta release tracked in a professional studio environment. They found a great recording partnership with Matt Labozza (Palm, Shimmer) and took easily to putting down their new material in a studio setting while still experimenting with song-structure, as they do on the outro of "Something in the Way," a repeating motif from John Coltrane's "A Love Supreme." 

The recording of "Something in the Way" achieves a clarity not heard on past Palberta releases. From the harmony vocals to the guitars that chime and caterwaul, Palberta's singular sound is brought into focus in Matt Labozza's recording. Below are some words from the band about how the song came to be and what it means to them.

About "Something in the Way" from Palberta 

"Something in the Way" started as many Palberta songs do, with one person playing a drum, guitar, or bass riff and then the other two building off of that initial feeling. As usual, we frantically but carefully guided each other to the end of the song. When we got there, we found ourselves fading into a tricked-out looped fragment of John Coltrane's "A Love Supreme." Coltrane's melody has a direct connection for us to our beautiful friend Pablo Ramirez, who passed in 2019. His view on life—"LIFE IS BEAUTIFUL LIFE IS IN COLOR LIFE IS A W A Y"—impacted us all in such a positive way, and his beauty and genuine LOVE of life lives on through the thousands of people that he blessed through meeting. We dedicate this song to Psplifff and his mother, the amazing Mammasplifff, and all the beautiful people on the right side of history showing up right now. We love you! - Palberta

BUY PALBERTA RELEASES

Palberta - Something in the Way

Hand Over Your Head

Get Out

Opaline

'Ouroboros '20' from The Bright Light Social Hour's new album 'Jude Vol. II', out August 28, 2020.

STREAM/PURCHASE/PRE-ORDER: smarturl.it/JudeVol-II

PRE-ORDER

Ouroboros '20

Last Of The Loving

In many comments I am often compared with great male musicians. There are references to the Beatles, to Pink Floyd, sometimes also to Bob Dylan or Rio Reiser. 
However, three outstanding female artists have influenced me in my musical work: 
Carole King's unique compositions on her century album "Tapestry" have inspired me to create my first own melodies;
Patti Smith's overwhelming poetic language gave me the impetus to create my own lyrics;
And finally, Joni Mitchell's highly original guitar playing encouraged me to develop my own way of playing guitar.
With "My Musical Mother" I create my own personal (musical) monument to these three brilliant women.    

My Musical Mother

I wander within me back to an earlier time
About 12 years old, not yet ready to live
Often lost and alone, frozen inside myself

Often lay awake at night, afraid of life
Life seemed like a boomerang
Who's gonna hit me with three 
Penalties every time I made a wish roll

When I was that lonely, she came to me
Sat down at the piano just for me
Played beautifully: "You've got a friend"

Stroke me gently over my hair
Was just there for me
Held me out with my whole soul robe

Ooh Carole King
You and Tapestry
That struck me full, these splendid melodies

You taught me to 
Listen carefully

You’re definetly my Musical Mother for me

You put melodies in my head
But I still couldn't think of words
My language: Shallow and gray 
The first lyrics: Kitschy and tepid

Then I was 15, hanging out with my stoner boyfriend
On the turntable "Horses" spinning around
And I thought, "Damn, she's pronouncing it" 

I read her poems, she whispered to me 
The pictures in my ears, she opened the door for me 
To the poetry

To words that caress, to phrases that cry 
To rhymes in which the world shakes for a moment
And everything Dead rises again

Ooh Patti Smith
Through you my soul finally spoke to me
I developed a sense for word and a feeling for language
My first lyrics on the wall
As written by a magic hand

You’re definitely my Musical Mother for me

Now I had the sounds and the lyrics
But one instrument was missing until the end
I often lay on my bed
Just hum along in my mind

Until one day, my fat neighbor friend 
Put a guitar around my neck
And showed me how the easiest chords go

A year later he put in a movie of you
You sang to your guitar all by yourself
You had a very unique way 
Of plucking and picking up chords

I didn't know about your early handicap
And took your play with me into my warm bed
Yes I was playfully seduced by you

Ooh Joni Mitchell
You taught me 
That I do not slavishly listen to brave guitar teachers
That I can be inventive
My very own guitar sound

You`re definitely my Musical Mother for me

Oh Carole
Oh Patti
Oh Joni

You are
Yes you are
My Musical Mothers for me

My Musical Mother

Reviving their propulsive, krautrock inspired sonic escapism, Austin-based instrumental quartet Thousand Foot Whale Claw are back with the new single “The Garden from Above.” Featuring members of S U R V I V E, Troller, Future Museums, and Single Lash, this amazing lineup of musicians fuse elements of psych-rock and minimal electronica into a smooth, cosmic jam that is instantly fun and engaging.

Layers of sequenced analog synthesizers and drum machines playfully entangle with effects-driven guitar and bass, seamlessly merging the foundational electronics with the dynamics of a rock band. As Thousand Foot Whale Claw continues to expand the scope of their creative repertoire, they have dropped a fresh and beautifully innovative offering with “The Garden from Above.”

FFO: Cluster • Mouse on Mars • Minami Deustsch • Cavern of the Antimatter

The Garden from Above

Thousand Foot Whale Claw - The Garden From Above

Eartheater - Phoenix: Flames Are Dew Upon My Skin
Format: LP / DL
Cat.No. PAN 112
Release Date: 2 October 2020
Purchase/stream: pan.lnk.to/Phoenix

Composed, produced, and arranged by Eartheater alone, Phoenix: Flames Are Dew Upon My Skin draws a path back to the primordial lava lake from which she first emerged, as it also testifies to the reincarnating resurrections the project has undergone over its first full decade of existence. While the album renews her focus on guitar performance and legible structure, Eartheater balances the unabashed prettiness of acoustic harmonic songs with the dissonant gestural embroidery of oblique instrumentals. Having fallen back in love with the idioms that first captivated her, she worked to crack open the techniques that had fossilized inside of her, while still seeking to apply the electro-alchemical knowledge she picked up along her journey. The result of a laborious revival in fire, Phoenix recontextualizes Eartheater’s combinatorial approach to production within her most confident abstractions, adjacent to some of her most direct songs to date.

Eartheater composed and workshopped most of Phoenix over a ten-week artist residency (FUGA) in Zaragoza, Spain, housed in a sprawling, cubic glass facility that looked out over wildflower-flecked mountains. Following an intensive period of recording and touring, the residency provided her with an unprecedented period of solitude in the small Spanish town. Her newfound sense of isolation ultimately became liberating, leading her to sidestep the crutches and steady grids inherent to electronic music, and to conceive pieces rooted in her guitar and her desire to perform with other players live. Eartheater’s voice glows brighter than ever at the center of Phoenix’s arrangements — her familiar operatic highs are grounded by newly expanded velvety lows, leaping lucidly up and down octaves. Her intricate guitar work flits across baroque fingerpicked passages and latches into cyclical figures that meet her voice in lush harmonic progressions. From her own guitar parts, to the orchestral string arrangements she wrote for the Spanish conservatory group Ensemble de Camara, to the harp and violin lines performed by her close friends and collaborators Marilu Donovan and Adam Markiewicz of LEYA, Eartheater’s applications of acoustic instruments bring an extraordinary emotional emphasis to her compositions. Phoenix prepares for a future where electronic sound — or even electricity itself — isn’t guaranteed, but where her music could still come to life with a group of hands dexterously winding across instruments against the light of the fire.

Eartheater drew inspiration for Phoenix from geological imagery, whose turbulence and potential for genesis mirror the trajectory of her own life and relationships. The album’s instrumental pieces directly reference these moments of upheaval, colliding audio of volcano and lightning storms with resplendent string and vocal arrangements. “Volcano” looks out over the album from its peak at the center, its tectonic plates colliding in towering melodies and layers of vocal harmonies, as piano accents crest and cascade down the mountainside. When Eartheater sings, “I’m still building mountains underground,” she is trying to reconcile the pinnacles of her ambition with the comforts of a simple existence buried beneath the surface. “Diamond in the Bedrock” finds her admiring the gemstone forming under intense pressure inside her, but rejecting the romantic promise that the diamond signifies, choosing instead to escape a relationship that has come to stifle her.

Read full press release: https://bit.ly/2XtJGvQ

Phoenix: Flames Are Dew Upon My Skin

Eartheater - How To Fight (PAN 112)

HALLAN - MODERN ENGLAND

Label based in Berlin, est. 2008. http://www.p-a-n.org