Velvet B/W Boogie No. 69

Boogie No. 69

DJ ÆDIDAS - REAL FRIENDS (OLD TECHNO)

ALLG to DJ-ka oraz 1/2 rapowego duetu ECHO. Zafascynowana połamanymi brzmieniami oscyluje wokół różnych gatunków - electro, ghetto, uk garage, break, jungle, czy dub. Myśląc o selekcie odbiega jednak od podziału na gatunki, niosą ją emocje, ciekawość i chęć zaskoczenia - szczególnie siebie. Naturalnie - łącząc swoje dwie zajawki - ciągnie ją do hip-hopowych sampli, dobrej jakości cowbell’a i soczystego basu.

SC @a11g
IG - https://www.instagram.com/sthvviak/

WULCAST #06 - ALLG

The Return of Genghis Khan

Perhaps best known as the front person of EWAH & The Vision of Paradise, Souvenir is EWAH's first solo album in over a decade.
Souvenir is a coming of age story, the long path to finding love and becoming the mother to a little girl.
For this collection of songs EWAH embraces traditional songwriting, inspired by 60s and 70s pop, blurring the edges with psychedelia. The songs go on epic journeys traversing the ethereal and visceral.
The final songs incorporate EWAH's demos with recordings made at a boat shed studio deep in the south of lutruwita/Tasmania engineered by talented musician and songwriter in his own right, Jethro Pickett.

Co-produced by Jethro Pickett and EWAH.
Recorded and mixed by Jethro Pickett.
Mastered by Colin Leadbetter.

EWAH - guitar and vocals, piano, synth, electro drumbeats, percussion, strings and horns.
Jethro Pickett - lap steel, organ.
Stuart Hollingsworth - bass, (except on You Don't Feel the Cold When You're Young and Halfway, played by EWAH)
Sorin Vanzino - drums and percussion.

Album release date:
TBC

Waking Up Is Easy

Under Fog And Snow

https://bruit-direct.org/product/supermalprodelica-et-blason/

To whom does a record belong, once it’s been released, once it's released and lives its own life, outside the thoughts of those who composed it? Does it not also belong to those who listen to it and find in it realities, unsuspected joys and desires  at the time of its creation? For as long as I've known him, Michel Wisniewski has been exploring, under the pseudonym Supermalprodelica, the effects that the music of others, which he listens to with a sensitive ear, produces on him. And he has the unrivaled ability to draw substance from what he has heard in order to invent something else, a dialogue between his ears and the material on the records. His first album was made of reconfigured samples, and many of his records are made of covers, rereadings and reconstructions of tracks that seem to haunt him in one way or another. And here, on this new album, he tackles one of his heroes, Scritti Politti, from whom he takes over an entire record, but in his own way: Michel no longer samples, he replays, with what is very much his own, a synthesizer called Persephone, and a desire to paint the room with tones both joyful and melancholy, natural and artificial. The beauty of this record lies in its impossibilities: to cover a work that lies on the edge of genres, between post-punk and pop, chanson and variété, is a challenge in itself. But tackling a late work by an artist you love is more than a challenge in itself, it's a labyrinth, almost a dead end. And Michel, pretending to get lost in the meanders, builds his own path, abandoning the voice to concentrate on the instrumentation. He plays as if in a dream, as if the original pieces belonged to him. They seem to haunt him so much that he plays them again as if he were listening to them from a dream. Is this a fan gesture? No, I think it's more like an author's attempt, a dolly shot through what he's heard, producing a musical image whose harmonies produce something else. And then there's the beauty of the possibilities: listen to the record at low volume and it's a perfect ambient companion. Listen to it loud and you'll find a partner of unfeigned joy. 

So to whom does a record belong? Surely not Michel, who knows this so well that he has passed on what he has done to a duo, Blason, who have in turn taken up the covers to record a twin album (it suits them, really...) to that of Supermalprodelica. An album that's even less subject to gravity, as if intoxicated by the ever-increasing distance from the original. Where exactly are we? In a universe that has disassociated itself from its roots to invent something completely different. The two Blason have taken the Supermalprodelica arrangements and replayed them on their ARP, giving them a different patina and velocity. Something slower can be heard here, even more damaged electronics, very gently flayed, resonating with the ghosts that have built up around the Supermalprodelica covers. Some play with the ectoplasms of others, and I must confess that this game whirls around in my mind like a strangely melancholic threnody, and a very fertile one too. A record doesn't belong to anyone, especially not to those who make it. A record is what you make of it, when you listen to it, and afterwards.

-	Joseph Ghosn


Buy it heres

Supermalprodelica - Home

aeí, 29 juin 2023, performance dans le cadre du festival des écritures bougées & Centre Wallonie-Bruxelles, Palais de Tokyo, Paris © Pascal Bouclier 

aeì love est une adresse amoureuse qui fait partie de la performance aeì (2023-2025) de Valentina Traïanova 

Enregistrement: amphithéâtre René Descartes de La Sorbonne Paris, 2023
Conception and voice by Valentina Traïanova

aeì, du grec « ἀεὶ » qui signifie « toujours, pour toujours », est un poème écrit en plusieurs langues qui traite de notre rapport au temps. 
Ce titre est inspiré du livre de Nicole Loreaux, La voix endeuillée (Gallimard, 1999), qui remet en question l'éternel deuil d'Électre.

aeì, a été présentée pour la première fois au Palais de Tokyo dans le cadre du Festival "Les écritures bougées" coorganisé avec le Centre Wallonie-Bruxelles (Paris, juin 2023), au Largo dans le cadre de " Sofia Art Projects III" par Art Affairs & Documents Foundation (Sofia, octobre 2023), au Centre Pompidou dans le cadre de "La Nuit de la Lecture" par Littérature Supersport (Paris, janvier 2024),  (Paris, mai 2024), au Château de Montsoreau-Musée d’Art Contemporain dans le cadre de "Nuit blanche" (Montsoreau, mai 2024), à Treize dans le cadre de "Rire pourquoi faire" revue parlée première edition de Lic (Paris, octobre 2024) ainsi qu’une dernière version à Pan café, place de la Libération, île Saint Denis, dans le cadre de" Fine fleur de la fleur "de Julie Redon (Saint Denis, juin 2025)

aeì love by Valentina Traianova

wracam do krainy 160bpm, nowy album się klei, nowy mixtape do dostania jeśli mnie spotkasz

The Return of Genghis Khan

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