The original version of 'I Love You...Nor Do I' is taken from the reissued double CD collection of Mick Harvey's two Serge Gainsbourg albums, Intoxicated Man and Pink Elephants, released on Mute on 7 April 2014 (6 May in the US).Order it here: Double CD: smarturl.it/harveyman14
iTunes: smarturl.it/digiharveyman14
Google Play: bit.ly/1ioCILu

Intoxicated Man (1995) and Pink Elephants (1997) are Mick Harvey’s interpretations of the songs of legendary singer, songwriter and poet Serge Gainsbourg and are the first major works translating Gainsbourg’s infuential work from French to English. The double CD collection will include two unreleased tracks, Dr Jeckyll and Run From Happiness.

The vocal parts originally sung by Gainsbourg’s muses Jane Birkin, Brigitte Bardot and daughter Charlotte Gainsbourg are here sung by long time collaborator Anita Lane – other guests on the albums include Nick Cave and David McClymont.

Mick Harvey Website: www.mickharvey.com/
Mick Harvey Facebook: https://www.facebook.com/mickharvey4ever
Mute: www.mute.com

Buy the doubleCD here

Mick Harvey performs Serge Gainsbourg - I Love You...Nor Do I (Instrumental)

Kate Tempest – "Marshall Law"

Devendra Banhart - Woman

Various Artists
Bollywood Bloodbath
Finders Keepers Records

After what seems like a thousand years of blood, sweat, tears, and a lot more blood, your zombified disc disciples at Finders Kreepers unveil one of their most exquisite, exhumed, ectoplasmic, and existentially essential collections yet. This musical mausoleum of malformed freak funk and dreadful discothèque pop has been resurrected from the maligned cinematic subculture of Bombay’s bloodthirsty horror film industry and witnesses the cognoscenti of the Bollywood pop scene at their most creative, destructive and experimentally effective. Bollywood Bloodbath features India’s finest composers, such as Bappi Lahiri, R.D Burman, Sonik Omi, Sapan Jogmohan and Laxmikant Pyarelal making the kind of radical risk-rock that would under normal circumstances have studio security escorting these overworked maestros off set for a well-earned break or a relaxing exorcism. Take all the most oblique, indigenous characteristics of your favourite Bollywood musicals then condense them into a bubbling serum and watch the Jekyll and Hyde transformation commence as these A-list composers create bloodcurdling B-Music for the films they never thought the outernationals would see or hear.

You’ve heard Italy’s most famous composers when they soundtrack unwatchable Roman slasher flicks with on their own uncompromised and underpaid terms? Well that blueprint just turned blood red with sub-shoestring, low-budget studio wizards gambling with rigamortis rock, disjointed disco and low-voltage electronics for seldom screened scenes of desi Draculas, lycanthropic lady killers and psyched-up swamp monsters. Ever wondered what the DJ would play in a 1981 luxury hotel that was built on an ancient Christian cemetery? No? Well it sounds like someone just got possessed by Jimmy Page and Nile Rogers at the same time. Help!

But séance fiction aside the factual history of the untravelled Bollywood horror phenomena is fully re-exhumed with this compendium in true faithful Finders Keepers style. Carefully documenting the drummy theme from the first-ever 1949 Indian ghost film this benchmark collection follows the sinister lineage as directors of bloody thrillers take chances on shuddering synopsis and haywire sonic special effects. Leading up to the inauguration of the notorious Ramsay Bros film company (whose sibling revelry in the 70s and 80s lead to the inclusion of flight-style puke bags in participating picture houses) this compilation pulls no punches and plunges the ‘B’ of Bombay into the heart of the b-movie and squirts a masala of bloody ketchup and red wine onto the sets of Bollywood’s glorious filmic musicals. Licensed exclusively from the independent Indian film music companies (revealing incidental tracks that they didn’t even know they owned) Bollywood Bloodbath is the result of avid stomach turning research via VHS tapes, chewed-up cassettes, and LPs, 12”s and 45s remastered from some of the only existing master tapes; presented on both CD and vinyl for both the hairy home listeners and daring DJs just in time for the witching season. Hunt down the spooky Sansani before it gets to you first!

www.finderskeepersrecords.com

Hemant Bhole – Sansani Khez Koi Baat

Taken from 'I Can Be a Clay Snapper'
Order: https://goo.gl/3hCLGz
tak:til / glitterbeat

Hailing from Slovenia, Širom play vividly textured and (mostly) imagined, instrumental folk musics. Handmade and global instrumentation meets fearless sound exploration. 

Slovenia’s miniature, but incredibly diverse landscapes, echo through its distinctive cultural, historic and linguistic traits. When thinking about Širom’s geographical trajectories, as well as their musical ebb and flow, one has to consider the abundance of water that can be found in the individual regions where they come from. Cascading mountain stream lilt, lazy lowland river meandering and the mysteriously vanishing waters of Karst are most certainly inscribed into Samo Kutin’s, Iztok Koren’s and Ana Kravanja’s childhood memories and subsequently, their remarkable musical art. 

The band’s emergent sound oscillates between a wide array of acoustic folk sounds and contemporary post rock meditations, often drifting from improvisation to structured composition and then back. It is described by the members themselves as imaginary folk or folk from a parallel universe. “Our music creates emotional landscapes. When I was still painting every day (Ana holds a degree in painting) I was trying to paint my dreams but that didn’t work out,” Ana remembers. “I discovered that by using an abstract image I can draw nearer to what I felt in my dreams. Our music is based on a similar principle.”

According to Samo, the guiding concepts of their music-making are: “To play on acoustic instruments, to work with repetition and a common sound. Each of us can play a simple thing, but the overall result is that a complex thing comes to life. The quality of sound depends on the combination of the instruments and that’s why we modify and prepare instruments or create our own.”

As an avid sound-seeker, Samo began to develop an interest in building instruments out of everyday objects like drawers, computer boxes and other “junk” (as he lovingly calls his creations) as well as re-tooling the ones he brought back from his globetrotting adventures that have included personal encounters with local musicians in India, Morocco, Mali, Greece and elsewhere. 

Ana, who also nurtures a very personal relationship with music paraphernalia, adds: “There is a different attitude at play if you make an instrument yourself. It already tells you a story. If you buy it, it takes longer to get to know it, to tame it.”

In the little village of Lesno Brdo, tucked in the rolling hills ten kilometers south of Ljubljana, Ana and Samo organize music performances and festivals on a farm they rent, and divide their time between music making and vegetable farming. A close connection with nature is also important to Iztok who now resides in the capital city. “It’s a sort of a contact with the past but it also has its own life in the present.” 

Fearlessly textured sonic landscapes – both linked to and unbound by – the past and present, geography and tradition, the real and imagined. Hypnotic, otherworldly and epic. 

Širom’s music moves like the restless waters of their homeland. No matter how hushed or slow it may seem, it is never ever standing still. 
  
Širom are: Iztok Koren – banjo, three string banjo, bass drum, percussion, chimes, balafon, various objects // Ana Kravanja – violin, viola, ribab, cünbüs, balafon, ngoma drum, mizmar, various objects, voice // Samo Kutin – lyre, balafon, one string bass, frame drums, brač, gongoma, mizmar, various objects, voice

I Can Be a Clay Snapper

Boats, Biding, Beware!

Širom - Boats, Biding, Beware! (Čolni, Čakam, Čúvaj!)

Le Tiki Lounge / Exotic Cocktail Bar
26 bis, rue de la Fontaine au Roi 75011 Paris 
T. 01.55.28.57.72 / mar - sam : 18:00 > 02:00

http://tiki-lounge.fr/

*

teo usuelli - piacere sequence

FLIES 29 / CMT 52 
PIERO UMILIANI - LA SCHIAVA IO CE L'HO E TU NO
2xLP Gatefold 180gr. 
feat. I CANTORI MODERNI DI ALESSANDRONI & EDDA DELL’ORSO
including 23 bonus tracks previously unreleased
out on 15 October 2018

Thanks to the partnership between roman labels and distributors Cometa Edizioni Musicali, Beat Records and Four Flies Records, one of the most iconic and essential works by Piero Umiliani has finally emerged from the archives. Recorded at Ortophonic studios in Rome in September 1973, "La schiava io ce l’ho e tu no" is the original soundtrack of a Giorgio Capitani’s movie with Lando Buzzanca and Chaterine Spaak, widely regarded as one of the most sought-after productions from the famous Italian composer, and whose original LP has now considered as a kind of holy grail among the most serious worldwide record diggers.
The reason is maybe the magnificent quality of the composition and the arrangements, written by the Maestro himself, who reaches here one of his top-level creative peaks ever. His music is the quintessential Italian sound for 70’s sophisticated comedy: an unmistakable flavor now carved into our imagination, blending samba-bossa rhythms, funk guitars, dynamic and airy strings, but most of all, those brilliant choirs, always functional in relation to movie’s mood (performed here by ominpresent Cantori Moderni di Alessandroni in a leading role). Together with the sensual vocalisms of Edda Dell’Orso, they truly represent the identity of an entire genre.
The release of this double LP makes us really proud, not only because it brings to light one of the most fresh and topical soundtracks of Piero Umiliani, but also because, after a long and patient research work, we have had the chance to locate the original master tapes with the complete recording sessions of the soundtrack.
That’s why we are able to present here, in addition to the LP’s original track listing, 23 tracks never before released in any format, revealing Umiliani’s compositional eclecticism and his ability to transition effortlessly from jazz to funk, easy listening to symphony. Personal memories by Umiliani’s daughters enrich this edition through their contributions to the liner notes, giving us a familiar and intimate perspective about the composer’s private life.

teo usuelli - piacere sequence

Tiki Lounge

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