from 'Quatorze Pieces De Menace' [CD|2xLP|DIGITAL]
Denovali Records · den178
available in September on all formats at [http://denovali.com/dalecooper]

This new full-length of the cult French Dark Jazz collective is the follow up of the highly acclaimed 2011 output "Métamanoir" - the second release for the German experimental music label Denovali. Halfway from their debut "Parole de Navarre"'s ambient and drone driven soundscapes and the more orchestrated "Métamanoir", this new collection of tracks is following their quest for dreamy but mysterious places.

A hint of 50s cool jazz, a truckload of noise and melodies, again tiny references to Twin Peaks' series soundtrack and some ghostly and deep tone voices: the Dale Cooper Quartet pushes the genre Dark Jazz towards other spaces. The album is further enriched by appearences of guest musicians such as Gaëlle Kerrien (Yann Tiersen) and Alicia Merz (Birds of Passage) on vocals.

Recorded in Brest, Britanny, France, this album always conveys an atmosphere of strangeness and beauty, the trademark of each of the Quartet's records. Based upon the live experiences of the band and their everlasting love for the local landscapes, "Quatorze Pièces de Menace" is as striking, deep, fascinating and beautiful as a storm in the middle of the Atlantic.

Quatorze Pieces De Menace

Dale Cooper Quartet & The Dictaphones - Lampyre Bonne Chère

Cobra

Mostly Sonny - A Bowl Full Of Salt

New cool track, free  DL. I gonna work on an EP, with this style.. Don't forget to share if you like !

L'Orbeat - You're My Girl

Our little band has been busy over the summer months working on songs for a fall release.  This is perhaps one of the more spiritually-centered songs we have written and published.  How responsible are we for the evil that has come upon the world, for the resultant suffering it has brought. Peter's beautiful words begin with an act of redemption for mankind, but end with judgement not by God's choice, but man's will. 
The words did not come easily as Peter confesses that his pen "hovered above the last line for several minutes" not wanting to write it, but with a prophet's conviction, knew it must be written. The question is begged by those who will to believe, does the beauty of God's creation also involve justice and judgement, what Luther called "God's alien work"?  
Peter's verse has never been more poignant or Seagull's production more finely crafted. His track note also offers further insight into our thinking on the song and is well worth reading.
Guitars left & right; David Dunham; @david-dunhamuser589535203
Superb Poetry/Lyrics, Narration; Peter the Poet; soundcloud.com/user-264930040/tracks
Music, superb Mix & Production, Seagull; @farout-music-studio
Wonderful voice - Clara Sorace

Web of Circles

…and place the host upon my tongue
as his grace, the bishop did, when I was young
to set life's path as angels sung
since when I've tracked an arcing line
my cracked heart marinades in altar wine
as webbed circles on repeat define
…
……the mirrored threads within my mind.

…and carbon copies as before
in mobius time reflect the score
while catastrophes gorge today once more
identikits forged on command from yesterday
nothing learned, just press replay
and watch heads in hands as the people pray
…
……for the pendulum to swing the other way

…and certain as the wheeling orbit's path
history founders on future’s aftermath
to sin once more as lucifer belly laughs
run aground we last forget that sacred host
‘neath chancel’s hell he resurrects what aches the most
humanity self-lashed to eternity’s whipping post
…
……by the Father, Son and Holy Ghost

Web of Circles (Seagull, Peter, and David)

Alone in a crowd

19h38 Vendredi 13 Novembre 2015 
Les Studio Pain Surprises 
Montreuil 93100
FRANCE


Les Rêves Acoustiques 01 Feat Toul

In Another Life

In Another Life (Edit)

North Man Colours (full album)

I'm On Fire

I'm On Fire (Extended)

Ikebe Shakedown, the self-titled album from the Brooklyn-based band, plays with elements of cinematic soul, Afro-funk, deep disco, and boogaloo in all the right ways.  After spending a few years together the group, named after a favorite Nigerian boogie record (and pronounced “ee-KAY-bay”), delivers a driving set of tunes featuring a mighty horn section anchored by tight, deep-pocketed grooves.

“Right now in cities across the globe, there are plenty of great Afrobeat revivalist bands aping the sound and groove of Fela Kuti’s legendary sound.  Yet, surprisingly few of the new groups have strayed from an orthodox interpretation of the genre or done much real innovation…Ikebe Shakedown is here to change that.  The band takes signature Afrobeat elements—big unison horns, slinky bass lines, tight little guitar licks—and blends them with tasty grooves culled from ’70s-style horn-driven funk”. – Marlon Bishop, WNYC

The Ikebe debut for Ubiquity Records sees the band push their globally-informed sound and eclectic approach to tune-writing into new territory. “Self-titling the album is a way to introduce the audience to the many facets of the band — to provide a more complete understanding of what we do,” bassist Vince Chiarito says.  “Our sound has grown to incorporate our influences without overtly representing any one in particular.  It just sounds like us,” he adds.

Most of the rhythm section met at Bard College, and the band rounded-out and officially formed when everyone settled in Brooklyn in 2008.  From there, Ikebe has emerged as a compelling voice on the progressive local scene.  After a run of dates around NYC, the band recorded their debut 7” single and the EP, Hard Steppin’, which was released on Colemine Records in 2009,receiving high praise from critics and fans alike.  The group was invited to record at Dunham Studios with producer Tom Brenneck and at Killion Sound in Los Angeles, home of engineer Sergio Rios of fellow Ubiquity act, Orgone.  “The studios share a lot of similarities — the tracks were all cut live to tape with minimal use of headphones and overdubs.  This basic approach allowed us to dig in and really focus on getting dynamic performances,” Chiarito explains.

The old school mentality to recording spills over in lush, laid-back, and soulful funk joints like “Kumasi Walk” and “No Name Bar,” where the multi-layered horn section plays off a cavernous backing track of slick drumming, spacey Hammond organ, and nimble guitar riffing.  The cinematic soul sound is warm and deep, with the 7-piece band sounding more like a larger ensemble as increasing layers leap from the tape.  At the other end of the BPM counter, on “Tunjunga,” the band build a gritty African disco jam boasting a floor-filling percussion section, adding seductive guitar licks and an irresistible bass-line to set the horns ablaze. “Tame The Beats” is pure fire — bold melodies and heavy rhythms propel the song, with Meters-esque breakdowns providing only brief respite from the action.

In Another Life (Edit)

Sandro Perri

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