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Pre-order Natten now: https://orcd.co/y5aebdj

"Natten (The Night)" is the title track from Bremer/McCoy's forthcoming album.

Bremer/McCoy “Natten”

Two Dogs Tethered Inside

[Verse]
Waking up
The sun gently kisses my face
Thoughts of you
They never seem to fade
Every breath
Like a whisper in the breeze
Oh
Babe
You're all I need

Heart beats faster
As my mind drifts away
To the nights we shared
'neath the starlit haze
Whispered words
Echo in my soul
With every beat
My love unfolds

[Verse 2]
In the silence
I hear your laughter ring
Gone are the days
When my heart used to sing
I'm a bird with broken wings
Begging to fly
Oh
Darling
Can't you see
I need you by my side

Whispered Yearning

Title track from Girls in Airports fourth album Fables

Watch video for Fables here: https://www.youtube.com/watch?v=yLbocl3xyfA

01 Fables

From the album "Un Peu De L'Ame Des Bandits"

Un Peu De L'Ame Des Bandits

Aksak Maboul - "A Modern Lesson" (remastered)

Marisa Anderson - Into The Light

www.paradiseofbachelors.com/pob-043
www.paradiseofbachelors.com/nathan-bowles

Nathan Bowles
Plainly Mistaken
LP/CD/Digital
PoB-043
Worldwide release date: 10/5/18

On his playfully subversive fourth solo album, Nathan Bowles (Steve Gunn, Pelt, Black Twig Pickers) extends his acclaimed banjo and percussion practice into the full-band realm for the first time, showcasing both delicate solo meditations and smoldering, swinging ensemble explorations featuring Casey Toll (Jake Xerxes Fussell, Mt. Moriah) on double bass and Rex McMurry (CAVE) on drums. As he considers the cycles of deceit and self-deception that shape both our personal and political lives, a mixed mood of melancholy and merriment permeates Bowles’s own compositions as well as the interpretive material, which draws from traditional Appalachian repertoires and the diverse songbooks of Julie Tippetts, Cousin Emmy, and Silver Apples. (With high-res download code.)

"Like Alice Coltrane, Bowles tears open a tiny piece of fabric in the folk music continuum to let in the cosmic debris." – NPR Music

“Bowles has the power to transform the sound of a banjo—and folk music—into something transcendental ... something boundless and new. [He’s] a crucial force in folk music, showcasing his ability to interweave the genre’s communal spirit with chilling moments of ambient introspection.” – Pitchfork

“I don’t think Nathan has ever ridden a dolphin, but I think if faced with the task he would cotton quick. That’s how I see his approach to his music.” – Bill Callahan

Plainly Mistaken

Buy LP/CD/DL/stream

Nathan Bowles : Plainly Mistaken - "The Road Reversed" (PoB-043, 2018)

lloyd miller & the heliocentrics-nava

Josephine Foster & The Victor Herrero Band - "Puerto De Santa Maria"

Hey you, 

I had a lot of fun with this. The instrumental is a WHOLE SONG by a WHOLE COMPOSER named Colleen. It's called Soul Alphabet, from her album Captain of None. I do not own it, and I hope, if she sees this, she enjoys it as much as I do. 

It's a love song, for a lover I hope to attract. By moving with intention and purpose and joy. So enjoy! 

Much Love, 
Nirve

Colleen- Soul Alphabet Cover (Move by Nirve)

I remember the first time I read W.E.B. DuBois eclectic masterpiece The Souls of Black Folk. The way in which this Weberian scholar flowed from personal account to prose to sociological analysis to music and even political intervention has had a lasting impact on my own work as a cultural anthropologist. It made me understand that as scholars we must use different means in order to give expression to the totality of the lived experience: There is only so much in an academic text.

The experience of alienation has always been at the heart of my scholarly and artistic practice. I have used academic writing, lecturing, theatre performance and electronic improvisation to understand and represent it as a theoretical concept, postcolonial condition and lived experience. I believe, some issues need to be told like a story, some analyzed in most abstract terms and others need to be sung like a gospel. The medium changes the message.

In this sense, I guess, I’m a singing cultural anthropologist.

For some time now I have been engaged in the use of dystopian themes and sounds to paint a sonic picture of structural racism and whiteness of our present. But recently I have grown weary of this Ballardian idea of Future Now and the resulting phantasmagorian aesthetics myself and others have been invested in. The widespread availability of Digital Audio Workstations, sequencers, loopers and delay pedals has lead us into a futuristic cul de sac best described by Mark Fisher as the very absence of future.

Likewise, I am most skeptical of the “naturalist” countermovement, the return of folk. Especially in Germany, I am convinced there is no such thing as an innocent or progressive folk musical expression as it is always connected to the idea of the homeland (“Heimat”) which in turn produces the colony. It seems to me, the current zeitgeist is stuck between a “museum of a dystopian future” and a “museum of an idealized past”, but I wanted to sing about the present.

So, I involuntarily returned to pop music in its two-folded meaning of something popular and addressing not an essentialist notion of “Volk” or its woke cousin “communities”, but society as a whole.

I entered the studio just with a few lo-fi sounding melodies and rhythms from my circuit bent CASIO synthesizer. I had no clue what the finished product would sound like. But as soon as Markus started drumming, in a way strangely reminding me of CAN’s Ethnographic Forgery Series, my uptight sounds were suddenly embedded within a warmer global sound spectrum. The alien at home and abroad and the strange overlapped: We were seeing one and the same sound differently but were gently held together by Tobias’ producing.

Making music is about building coalitions. It’s about suggesting an articulation of styles, sounds and people, that hasn’t materialized, yet, but may help us in the current crisis: I wanted Amon Düül II to send their drug induced archangel thunderbird to rescue the refugees, that had tried to escape the police by climbing up a tree in Munich in 2016. I wanted Sun Ra to taunt far-right protesters in Chemnitz in 2018. And I wanted to mourn the loss of a former kebab shop cum discotheque that served as proof that there is such a thing as a minoritarian universalism.

SCHLAND IS THE PLACE FOR ME is a pop album featuring songs of alienation, not only as a tragic experience, but as a pop-cultural promise. Maybe Bill Callahan sung it best, “I am Star Wars today, I am no longer English grey”. I want those who suffer from alienation to stand in alliance with those who seek alienation, and vice-versa. A coalition, that tolerates the possibility that we are moved by the same groove for contrary reasons.

Josephine Foster & The Victor Herrero Band - "Puerto De Santa Maria"

Tiny Mix Tapes

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