New album due for release November 2021 on Fuzz Club

Horizons

Den Atomosfaeriske Elven

Electric Eye - Den Atmosfaeriske Elven

Artist: Tõnu Naissoo Electric Trio
Title: Different Directions
Label: Frotee
Catalog: CD - FROCD2. LP - FRO011
Year: 2021
Recorded: 2019

Release date: CD (Estonia) 16.08.2021, LP/CD (Worldwide) April 2022

Accompanied by his synthesizers and two of the best Estonian jazz musicians, bassist Mihkel Mälgand and drummer Ahto Abner, Tõnu Naissoo began recording his album “Different Directions” in the autumn of 2019 at the legendary Linnahall studio that he had booked for that purpose several years in advance. The new tracks he composed for the album flow from jazz-rock to smooth jazz, lingering briefly on the frequency of free jazz.
The popular Estonian jazz pianist Tõnu Naissoo was born in Tallinn, Estonia in 1951. His father Uno Naissoo was a renowned composer and an organizer of jazz festivals, who encouraged Tõnu to take an interest in jazz and improvisation. By the age of 15 he had already begun participating in local jazz orchestra. He performed first time with his trio and presented his jazz music compositions at the international Tallinn Jazz Festival of 1967 in Tallinn. The next year he was given an opportunity to record his own album. Since then he has dedicated himself to jazz music and recorded around 30 albums that have been released in Estonia, Japan and Russia.
“Different Directions” feels like Tõnu Naissoo’s ’missing piece’ album from the 1980s. It will be a worthy addition to Tõnu Naissoo’s and Frotee’s discography.

Different Directions

Blue Rider

Tõnu Naissoo Electric Trio - Different Directions LP FRO011 A1 Blue Rider

We’ve reached book IV in Rupert Clervaux’s series of “Zibaldone” audio diaries, at which point we find him telling a different kind of story. 

“The first three all had very specific themes, while this one feels a little bit looser and doesn’t have just one thematic thrust,” he tells me, which maybe explains why listening feels a bit like annotating. I’m underlining, emphasizing, drawing arrows from here to there, highlighting symbols and noting motifs, realising, questioning, eureka-ing. An impressionistic meaning’s been encoded in and we’re lucky to be given the space to play that most poetic and boundless of all mental games: narrativization. 

There are no wrong answers, but Rupert offers some clues either way. If there’s any cipher here it’s “something like a meditation on the concept of ‘depth’––in all its connotative forms.” Think below the surface, (the) underground, yawning oceans, being ‘down in the dirt’, soil, roots, rootlessness, pulling at the dregs, collapse, profundity, stable and unstable horizons, distance, perspective, intuition, not to mention relative opposites: to be shallow, to be above, to be beyond. 

It’s got me thinking of Bresson’s “Bring things together that have as yet never been brought together and did not seem predisposed to be so.” His: “Dig deep where you are. Don't slip off elsewhere.” Rupert has realized these—two favourite goals of mine!—here. 

This is music that catches you at your own periphery, gives pause, has you offering a little “huh” to, asking “I wonder why” to. Again, it’s got me musing on another mindworm, this time from New York publisher and multi-sensory reading room Dispersed Holdings: “Feeling-making-knowing feedback loop; cartography of feeling; water as text, read to know the land beneath and around it, and body as reader.” 

Is it ok to offer up these other contexts out of context? I think so, because Zibaldone IV articulates a similarly swirly tone. Like, we’ve got Rebecca Solnit talking through Kropotkin’s “Mutual Aid” and later calling out to Michael Ruppert a ways away, and “Easy Rider” is playing in the wings. We’ve got Susan Sontag magically contextualizing Mariah Carey with poet Thylias Moss triangulating in order to sketch out (Rupert again) “something a little more interesting than wilful eclecticism or that laboured and patronising kind of pop-savvy.” 

Are we following? Whether yes or no Vanessa Bedoret follows on with a performance of a performance of Moss’s 'Water Road’: to be once or twice removed, via strange transitions, purposeful confusions, and, suddenly, seagulls. We’re on a boat with Ingeborg Bachmann—and how I wish I could actually be! But maybe thanks to this music I can as literature, films, friends, lethargy, coincidences, little mental links, eternal wormholes, lingering notions come together to imagine something better. 

Text by Natalia Panzer 
npanzer.com 

Artwork by Coline Cornélis 

Music by Rupert Clervaux 

with 
Vanessa Bedoret: voice and violin on Thylias Moss #2 
Eben Bull: trumpet and electronics on Mutual Aid and Departure from England 
Isis O’Regan; voice on Departure from England 
Nick Taylor: electronics on Chthonic ’97 
Ben Vince: saxophone and electronics on Chatsworth ’17 

Artwork by Coline Cornélis 

Warm thanks to James Marrs, as always, and Natalia Panzer 

Vanessa recreates and reads an excerpt from ‘Water Road’ by Thylias Moss. Isis reads ‘Departure from England’ by Ingeborg Bachmann (translated by Peter Filkins). This record is dedicated to both poets––with great respect and deep admiration.

04. Does Pop Culture Interest You?

Download >> https://fanlink.to/AMB2209

First single to be released from Dutch artist and composer Andert Tysma's forthcoming album ‘Children Of Trinoom’.

Recorded primarily in Atlas Studios on the outskirts of Berlin and engineered and mixed by the award-winning Robin Hunt, who constructed a unique recording space in a repurposed GDR metal foundry, the long player brings together eight emotive and tender compositions showcasing the refreshing neo-classic style that Tysma has made his own.

A visit to Nashville, Tennessee and a love of country music led to the incorporation of the pedal steel guitar into Tysma’s music, played beautifully by David Gram on two tracks here. ‘Children Of Trinoom’ continues to take influence from everyday situations and decisions, as well as from the world of art, music and literature. The album is, in part, inspired by the Dutch jazz conductor, pianist, trumpeter and latterly (like Tysma himself), a doctor, Boy Edgar.

The entirely instrumental suite of compositions tells an abstract autobiographical story in eight diverging tracks, investigating the juxtaposition of a disparate world, an essential theme for Tysma.

Good Morning, For Maria

Download

Andert Tysma - Good Morning, For Maria (Apollo)

'METZ (Deluxe Edition)' by METZ (Release Date: October 6, 2022)
Order/Stream: https://ffm.to/metzdeluxe

METZ: http://www.metzztem.com
Twitter: https://twitter.com/METZtheband
Facebook: http://www.facebook.com/metz
Instagram: www.instagram.com/metz_theband

Sub Pop Records: http://www.subpop.com
MegaMart: https://megamart.subpop.com
Twitter: https://twitter.com/subpop
Facebook: https://www.facebook.com/subpoprecords
Instagram: https://www.instagram.com/subpop
YouTube: http://www.youtube.com/user/subpoprecords
SoundCloud: http://soundcloud.com/subpop
Podcast: http://subpop.fm

METZ (Deluxe Edition)

Wet Blanket (BBC Maida Vale Session)

METZ - Wet Blanket (BBC Maida Vale Session)

Available streaming everywhere 
Buy direct from Future Times >>>>>>
https://futuretimes.bandcamp.com/album/best-ft-panda-bear

Future Times is very pleased to announce our next release, a single from Lifted with a special featured guest on vocals, Panda Bear. Core Lifters Jeremy Hyman and Max D join forces with new collaborator Justin Kelly on synths, who conjures pads that shift between glazing together and fizzing back apart. Hyman took on arrangement and FX duties, splashing deteriorating song into the night, and nestling stray drum machines, foley sounds, and bass weight together into a beatless bed for Panda Bear’s sweet and romantic vocal. In Hyman’s hands it is dubbed dizzyingly, though its simple message cuts through: spending time with someone you love is the best.

Jeremy Hyman - Arrangement, Drum Machines, Bass, Synth, Dubs, FX
Justin Kelly - Synth
Max D - Drum Machines, FX
Panda Bear - Vocals
Mastered by Heba Kadry
Artwork by Max D

Lifted - Best (ft. Panda Bear)

2023年最初のポッドキャストはちょうど23番目のエピソード！年明け後の頑張りに疲れが出てくる今日この頃、そんなあなたを癒す雰囲気たっぷりの波、声とメロディのミックスをお届けします。
@monitamusic Monita Wagma は西ドイツ出身でケルンの674FMで"Cup of Tea"、そしてベルギーのStudio Néau で "Maenad Transmission" という二つのマンスリーラジオを担当するDJ。

彼女はイスラム教社会への勉強を進めて行くうちに音楽のジャンルという括りの限界を感じただけではなく、イスラム教音楽とその現代文学としての奥深さを知る事になったと言います。エスニックな声が様々な地方と時代からのメロディを結び、耳慣れないのに親近感のある暖かな感じ音が静と動を往き来する。そんなダイナミックで優しく、洗練された選曲をお楽しみ下さい。


We are excited to start the year of 2023 with our Podcast Number 23! Featuring a very atmospheric mix of waves, voices and melodies, they'll estrange you from the reality of your stressful day.

VDS Podcast Nr.23 feature, and our first guest of 2023, is Monita Wagma, a radio host & DJ from West Germany, who is hosts the monthly  „Cup of Tea“ live on 674.FM (Cologne) and „Maenad Transmission“ live in Studio Néau (Eupen/ Belgium).

Diving into studies of muslim societies & sources has not only taught her to blur the limits of genres, but has revealed its music to her, as well as this music's deep meaning as a contemporary document. 

In this episode, Monita reflects on the state of unlearning social distance by weaving together ethnic voices and intimate melodies from near and far, creating a strangely unfamiliar but warm sense of closeness that vacillates between vitality and relaxation. Expect a gentle, dynamic, sophisticated and soothing selection.

cover artwork by Laura Lot

VDS Podcast Nr.023 w/ Monita Wagma

Experimental musician and producer Katie Gately (@katiegately) returns with a fresh collage of captured sounds, announcing details of her new album 'Fawn / Brute' out on March 31st. Katie has shared four songs from the album to date, along with “Fawn” / “Brute” / "Cleave," here is "Howl"

The new album is 11 songs of innocence and experience exploring the light and dark of childhood energy following the birth of her first daughter. It is an album of two halves, that moves from the effervescence of early years to the defiance and turbulence of teenage angst.

The album is dedicated to Gately’s young daughter Quinn, born in 2021 and single "Fawn", taken from the first half of the album, is a love letter to her. Meanwhile accompanying single "Brute" embodies the darker second half of the record, its massive basslines constructed from the manipulated rattling of cardboard shoeboxes.

In typical maverick style, Gately plundered cartoon sound libraries magpie-like to build signature nests of sounds, integrating her own idiosyncratic sound recording strategies and sampling techniques, from shoeboxes to theremin and with a boisterous recurring saxophone.

Katie Gately - Howl

Deep Seat - RITFW
DIGI SINGLE
Cat: HOSS089

Deep Seat
BillBrown
RickRab
BradHoss

Rockin' In the Free World
Neil Young & Crazy Horse

Deep Seat - RITFW

We're not the best, but we're pretty good.

METZ - Wet Blanket (BBC Maida Vale Session)

Sub Pop

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