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Khruangbin Announce Hasta El Cielo, Dub Version of Con Todo El Mundo, out July 12Th Via Dead Oceans/Night Time Stories
June 12, 2019 For Immediate Release Khruangbin Announce Hasta El Cielo, Dub Version Of Con Todo El Mundo, Out July 12th Via Dead Oceans/Night Time Stories Listen To “Mary Always” (photo by Andrew Coerill) praise for Con Todo El Mundo: “On their second album, the Houston-based instrumental trio craHs a unique, psychedelic vibe that hangs between conLnents and eras.” — Pitchfork “The result is a border-blurring convergence, one likely to propel whatever dance floor is lucky enough to receive it.” — Los Angeles Times “Buy it, stream it, hear it, get it, live it: It’s been a spell since one of those all-things-to-all-people albums has come along, but Khruangbin’s second full-length, ‘Con Todo El Mundo,’ seems to be just that.” — VOGUE “…Khruangbin gives us a window seat on an invigoraLng musical experience with a serious groove.” — NPR Music (Best Albums of 2018) “…funky, jumpy tendrils of guitar, mixed with hazy washes of surf rock…” — Vulture Globetrong Texan trio Khruangbin are set to release Hasta El Cielo, the band’s glorious dub version of their acclaimed second album Con Todo El Mundo, on July 12th via Dead Oceans/Night Time Stories. The full album has been processed anew along with two bonus dubs by renowned Jamaican producer ScienFst. Stream lead single, “Mary Always,” below. Stream “Mary Always” — hps://youtu.be/Cwv1adTliYA The band’s exoLc, spacious, psychedelic funk aligns with the dub treatment parLcularly well. Indeed, keen fans won’t find this a surprising release. Dubs of tracks from their first album The Universe Smiles Upon You appeared on limited vinyl releases of “People Everywhere” for Record Store Day 2016 and “Zionsville” on the BoogieFuturo remix 12”. -
Bonobo's 'Kerala'
13:2 Autumn 19 MSMI https://doi.org/10.3828/msmi.2019.9 Living with Time-Space Compression: Bonobo’s ‘Kerala’ and ‘No Reason’ STE V EN SH AV IRO Living with Time-Space Compression Bonobo’s 2017 album Migration is about shifting identities and passages from place to place: the migratory movement of bodies through space and time. The music blends multiple styles and sonic motifs from around the world in order to produce a cosmopolitan vision of multiple cultures, mutually influencing one another and coexisting in harmony. But the music videos for several of the tracks on this album – particularly Dave Bullivant’s video for ‘Kerala’ and Oscar Hudson’s video for ‘No Reason’ – tease out and complicate our sense of what is at stake in the processes of globe-spanning migration. Under the regime of globalised capitalism, not all substances transport themselves in time and through space with the same degree of ease. Financial capital passes quickly and seamlessly over the entire globe, while human bodies are all too often boxed in, shut out or even exterminated. Bullivant and Hudson both use strikingly innovative formal means in order to explore the blockages in time and space that underlie and qualify Bonobo’s utopian vision. The British electronic producer known as Bonobo (Simon Green) released his album Migration in 2017. The album’s music is grounded in midtempo dance rhythms, but its sonic palette is diversified with touches of (so-called) ‘world music’. With such a soundscape, Bonobo might well be accused of musical tourism or colonialism. But I am willing to accept at face value Bonobo’s claim that the album is not primarily engaged in appropriating cool sounds from the developing world. -
Visual Metaphors on Album Covers: an Analysis Into Graphic Design's
Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres by Vivian Le A THESIS submitted to Oregon State University Honors College in partial fulfillment of the requirements for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems (Honors Scholar) Presented May 29, 2020 Commencement June 2020 AN ABSTRACT OF THE THESIS OF Vivian Le for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems presented on May 29, 2020. Title: Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres. Abstract approved:_____________________________________________________ Ryann Reynolds-McIlnay The rise of digital streaming has largely impacted the way the average listener consumes music. Consequentially, while the role of album art has evolved to meet the changes in music technology, it is hard to measure the effect of digital streaming on modern album art. This research seeks to determine whether or not graphic design still plays a role in marketing information about the music, such as its genre, to the consumer. It does so through two studies: 1. A computer visual analysis that measures color dominance of an image, and 2. A mixed-design lab experiment with volunteer participants who attempt to assess the genre of a given album. Findings from the first study show that color scheme models created from album samples cannot be used to predict the genre of an album. Further findings from the second theory show that consumers pay a significant amount of attention to album covers, enough to be able to correctly assess the genre of an album most of the time. -
IN SEARCH of WARMER CLIMES Following a Move to LA, Bonobo Returns to Ninja Tune with New LP, ‘Migration’
MUSIC ONE STOP SHOP February’s tunes reviewed p.106 THE LONG GAME Albums arriving this month p.128 MIX ‘N’ MATCH Compilations not to miss p.132 IN SEARCH OF WARMER CLIMES Following a move to LA, Bonobo returns to Ninja Tune with new LP, ‘Migration’... p.129 djmag.com 105 HOUSE BEN ARNOLD QUICKIES Roberto Clementi Avesys EP [email protected] Pets Recordings 8.0 Sheer class from Roberto Clementi on Pets. The title track is brooding and brilliant, thick with drama, while 'Landing A Man'’s relentless thump betrays a soft and gentle side. Lovely. Jagwar Ma Give Me A Reason (Michael Mayer Does The Amoeba Remix) Marathon MONEY 8.0 SHOT! Showing that he remains the master (and managing Baba Stiltz to do so in under seven minutes too), Michael Mayer Is Everything smashes this remix of baggy dance-pop dudes Studio Barnhus Jagwar Ma out of the park. 9.5 The unnecessarily young Baba Satori Stiltz (he's 22) is producing Imani's Dress intricate, brilliantly odd house Crosstown Rebels music that bearded weirdos 8.0 twice his age would give their all chopped hardcore loops, and a brilliance from Tact Recordings Crosstown is throwing weight behind the rather mid-life crises for. Think the bouncing bassline. Sublime work. comes courtesy of roadman (the unique sound of Satori this year — there's an album dizzying brilliance of Robag small 'r' is intentional), aka coming — but ignore the understatedly epic Ewan Whrume for a reference point, Dorsia Richard Fletcher. He's also Tact's Pearson mixes of 'Imani's Dress' at your peril. -
Acid Anniversaries: New Album Reviews
Acid Anniversaries: New Album Reviews Music | Bittles’ Magazine: The music column from the end of the world January and February are usually quiet months for new music. So it is with 2017! New Year hangovers and Christmas overspending means most artists keep their shiny new records under wraps until the daffodils start to bloom. For the discerning listener though, there are still enough quality new releases to be found to make a trip to the local record store worthwhile. By JOHN BITTLES This week we’ll begin with what should already be considered a modern acid house classic, as Johannes Auvinen returns to his Tin Man alias with a stunning collection of instrumental grooves. If you delight in the sound of weeping 303s, soaring 808s, and/or funky 909s then tracking down a copy of Dripping Acid should be considered a must. In truth, it is no departure from his previous releases on Acid Test, containing as it does 6 separate 12inches of melancholy jams. Yet, as songs such as Oozing Acid, Underwater Acid, Undertow Acid and Viscocity Acid attest, mastering a specific sound is no bad thing. Take opener Flooding Acid for instance, which utilizes heart-wrenching 303s over sombre techno to mesmerising effect. Seriously, if your eyes don’t well up with tears at least once over the song’s ten minute running time you should probably check they still work. Whether you consider yourself an acid techno connoisseur or not, there are few finer experiences in life than finding yourself lost within a Tin Man groove. 9/10. -
Recording Sessions Concert Series Focusing on Recording Projects of Free Improvisation, Free Jazz, Electro- Acoustic Improvisation and Contemporary Compositions
PROGRAMME #5 Recording Sessions Concert series focusing on recording projects of free improvisation, free jazz, electro- acoustic improvisation and contemporary compositions. Tom Chant – saxophones John Edwards – Double Bass Eddie Prevost – Drums + Interview with Philip Clark IKLECTIK Art Lab, Old Paradise, 20 Carlisle Lane, London, SE1 7LG Saturday 10th March 2018, doors open 7:30pm - starts 8:00pm. Entry: £12. Website: http://www.giovannilarovere.co.uk/recording-sessions/ This concert series is made possible through the goodwill of the musicians involved and the support of IKLECTIK Art Lab. Curated by Giovanni La Rovere Recording Sessions #5 – Chant / Edwards / Prevost Recording Sessions Recording Sessions is a concert series focusing on live recordings of free improvisation, free jazz, electro- acoustic improvisation and experimental composition projects. This series of events works with musicians and artists to develop an idea (or project), undertake research, capture a specific meeting of particular musicians and ultimately to explore the creative resource that is listening and the differences between the two predominant modes of making music: composition & improvisation. Experimental music and recording technology has undeniably influenced 20th and 21st century music making and developing a culture of listening to experimental music. Recording sessions intends to explore the interconnections among the aesthetics of Experimental Music and the aesthetics of sound recording with a focus on the act of Listening to research & explore our responses to music as it is experienced at live events (or when listening to recordings). Tom Chant, John Edwards, Eddie Prévost Trio Eddie created the trio in the spring of 1997 for a recording session that was to be used for their first disc “Touch.” This was followed in the year 2000 with “The Virtue In If” and 2003 with “The Blackbirds Whistle.” Their fourth disc, titled “All Change” was recorded beneath Waterloo Station in London in the summer of 2012. -
Final Nominations List
NATIONAL ACADEMY OF RECORDING ARTS & SCIENCES, INC. FINAL NOMINATIONS LIST THE NATIONAL ACADEMY OF RECORDING ARTS & SCIENCES, INC. Final Nominations List 60th Annual GRAMMY® Awards For recordings released during the Eligibility Year October 1, 2016 through September 30, 2017 Note: More or less than 5 nominations in a category is the result of ties. General Field Category 1 Category 2 Record Of The Year Album Of The Year Award to the Artist and to the Producer(s), Recording Engineer(s) Award to Artist(s) and to Featured Artist(s), Songwriter(s) of new material, and/or Mixer(s) and mastering engineer(s), if other than the artist. Producer(s), Recording Engineer(s), Mixer(s) and Mastering Engineer(s) credited with at least 33% playing time of the album, if other than Artist. 1. REDBONE Childish Gambino 1. "AWAKEN, MY LOVE!" Childish Gambino Donald Glover & Ludwig Goransson, producers; Donald Donald Glover & Ludwig Goransson, producers; Bryan Carrigan, Glover, Ludwig Goransson, Riley Mackin & Ruben Rivera, Chris Fogel, Donald Glover, Ludwig Goransson, Riley Mackin & engineers/mixers; Bernie Grundman, mastering engineer Ruben Rivera, engineers/mixers; Donald Glover & Ludwig 2. DESPACITO Goransson, songwriters; Bernie Grundman, mastering engineer Luis Fonsi & Daddy Yankee Featuring Justin Bieber 2. 4:44 Josh Gudwin, Mauricio Rengifo & Andrés Torres, JAY-Z producers; Josh Gudwin, Jaycen Joshua, Chris ‘TEK’ JAY-Z & No I.D., producers; Jimmy Douglass & Gimel "Young O’Ryan, Mauricio Rengifo, Juan G Rivera “Gaby Music,” Guru" Keaton, engineers/mixers; Shawn Carter & Dion Wilson, Luis “Salda” Saldarriaga & Andrés Torres, songwriters; Dave Kutch, mastering engineer engineers/mixers; Dave Kutch, mastering engineer 3. -
March 10, 2021 Jordan Rakei Announces Late Night Tales Compilation, out April
March 10, 2021 For Immediate Release Jordan Rakei Announces Late Night Tales Compilation, Out April 9th Listen to Rakei’s Exclusive Cover of Jeff Buckley’s “Lover, You Should've Come Over” (Photo Credit: Dan Medhurst) The artist-curated mix series, Late Night Tales, is pleased to announce its next compilation, this time curated by multi-instrumentalist, vocalist and producer Jordan Rakei, out April 9th. For Rakei’s Late Night Tales, the first mix of the acclaimed series’ 20th year, the 28-year-old modern soul icon effortlessly stamps his own jazz and hip-hop driven sound all over this gorgeous array of handpicked tracks. A beautifully layered blend that is mirrored in the music he’s made, it comes as no surprise that such a supremely gifted songwriter should deliver a mix that is all about the song. “I wanted to try and showcase as many people as I knew on this mix,” says Rakei. “My idea of Late Night Tales was to distil a series of relaxing moments; the whole conceptual sonic of relaxation. So, I was trying to think of all the collaborators and friends that I knew, who’d recorded stuff with this horizontal vibe. Plus, I was also trying to help my friends' stuff get into the world. I know the story of Khruangbin blowing up after appearing on the series (in fact, I think that's how I discovered them). So, the main idea was to create a certain atmosphere, but also to help some of my favourite collaborators and buddies to give their songs a little push out into the world. -
Genre in Practice: Categories, Metadata and Music-Making in Psytrance Culture
Genre in Practice: Categories, Metadata and Music-Making in Psytrance Culture Feature Article Christopher Charles University of Bristol (UK) Abstract Digital technology has changed the way in which genre terms are used in today’s musical cultures. Web 2.0 services have given musicians greater control over how their music is categorised than in previous eras, and the tagging systems they contain have created a non-hierarchical environment in which musical genres, descriptive terms, and a wide range of other metadata can be deployed in combination, allowing musicians to describe their musical output with greater subtlety than before. This article looks at these changes in the context of psyculture, an international EDM culture characterised by a wide vocabulary of stylistic terms, highlighting the significance of these changes for modern-day music careers. Profiles are given of two artists, and their use of genre on social media platforms is outlined. The article focuses on two genres which have thus far been peripheral to the literature on psyculture, forest psytrance and psydub. It also touches on related genres and some novel concepts employed by participants (”morning forest” and ”tundra”). Keywords: psyculture; genre; internet; forest psytrance; psydub Christopher Charles is a musician and researcher from Bristol, UK. His recent PhD thesis (2019) looked at the careers of psychedelic musicians in Bristol with chapters on event promotion, digital music distribution, and online learning. He produces and performs psydub music under the name Geoglyph, and forest psytrance under the name Espertine. Email: <[email protected]>. Dancecult: Journal of Electronic Dance Music Culture 12(1): 22–47 ISSN 1947-5403 ©2020 Dancecult http://dj.dancecult.net http://dx.doi.org/10.12801/1947-5403.2020.12.01.09 Charles | Genre in Practice: Categories, Metadata and Music-Making in Psytrance Culture 23 Introduction The internet has brought about important changes to the nature and function of genre in today’s musical cultures. -
The Top 100 Listener Picks for 2013, from NPR Music 1. Vampire
The Top 100 Listener Picks For 2013, From NPR Music 1. Vampire Weekend, Modern Vampires Of The City 2. Arcade Fire, Reflektor 3. Daft Punk, Random Access Memories 4. The National, Trouble Will Find Me 5. Lorde, Pure Heroine 6. Chvrches, The Bones Of What You Believe 7. Kanye West, Yeezus 8. HAIM, Days Are Gone 9. Neko Case, The Worse Things Get, The Harder I Fight, The Harder I Fight, The More I Love You 10. James Blake, Overgrown 11. Volcano Choir, Repave 12. Phosphorescent, Muchacho 13. Queens Of The Stone Age, ...Like Clockwork 14. Kurt Vile, Wakin On A Pretty Daze 15. The Avett Brothers, Magpie And The Dandelion 16. The Civil Wars, The Civil Wars 17. Janelle Monáe, The Electric Lady 18. Justin Timberlake, The 20/20 Experience - 1 of 2 19. David Bowie, The Next Day 20. Local Natives, Hummingbird 21. Atoms For Peace, Amok 22. Sigur Rós, Kveikur 23. Foxygen, We Are The 21st Century Ambassadors Of Peace & Magic 24. Rhye, Woman 25. The Head And The Heart, Let's Be Still 26. Tegan And Sara, Heartthrob 27. My Bloody Valentine, m b v 28. Typhoon, White Lighter 29. Phoenix, Bankrupt! 30. Jason Isbell, Southeastern 31. Iron And Wine, Ghost On Ghost 32. Disclosure, Settle 33. Laura Marling, Once I Was An Eagle 34. Chance The Rapper, Acid Rap 35. Edward Sharpe & The Magnetic Zeros, Edward Sharpe & The Magnetic Zeros 36. Kacey Musgraves, Same Trailer Different Park 37. Daughter, If You Leave 38. The Flaming Lips, The Terror 39. Nick Cave & The Bad Seeds, Push The Sky Away 40. -
Flugzeuge in Der Scheune
Flugzeuge in der Scheune Musik | Khruangbin Khruangbin sind eine psychedelische Funk-Band, auf deren Flügeln man auch ganz ohne Hilfe abheben kann. MARC HOINKIS hat sie sich angehört Einflüsse aus aller Welt Khruangbin ist ein Trio aus Houston in Texas, mit Mark Speer an der Gitarre, Laura Lee am Bass und Donald »DJ« Johnson an den Drums. Die Band bedient sich an vielen Einflüssen aus aller Welt, zu Beginn vor allem an thailändischem Funk der 60er und 70er Jahre. So wählten sie auch ihren Namen: Khruangbin ist das thailändische Wort für Flugzeug. Nach ihrem ersten Album, ›The Universe Smiles Upon You‹, interessierten sie sich auch für Funk, Soul und Pop aus Spanien und dem Mittleren Osten. Sie hörten Musik aus der Türkei, Israel, Ägypten und dem Nordwesten Afrikas. Besonders aber persische Musik, vor allem die Sängerin Googoosh, geben sie als große Inspiration an. Basteln Khruangbin haben eine interessante Art, ihre Songs zu konstruieren: Mark Speer schickt Laura Lee ein paar Hip-Hop Beats. Sie wählt sich einige aus und spielt ihre gechillten Basslines darüber. Dann schickt sie es dem Gitarristen zurück und er zaubert seine psychedelischen Riffs dazu. Diese drei Spuren schickt er dann DJ und er rundet alles mit seinen minimalistischen Hip Hop Beats ab. Wenn die Band bei einem Song das Gefühl hat, es fehle etwas, werden noch Background Spuren hinzugefügt. Diese bestehen in der Regel aus »Uuuuhs« und »Aaaahs«, manchmal aber auch aus Wörtern oder kurzen Sätzen. Generell sind die Songs aber eher instrumental und sehr sparsam gestaltet. Wenn alle damit zufrieden sind, treffen sich die Drei in einer alten Scheune und nehmen dort ein Album auf. -
Video Goes Live Coverfeature
04-05 Tools Rotor Videos 06–07 Campaigns VR goes classical, Univision/Deezer, Marika Hackman, Kygo 08-11 Behind The Campaign Yussef Kamaal MARCH 01 2017 sandboxMUSIC MARKETING FOR THE DIGITAL ERA ISSUE 174 VIDEO GOES LIVE COVERFEATURE interested, with the last few weeks seeing an increasing amount of musicians taking to live video (and especially Facebook Live) on the promotional trail. In January, Ninja Tune artist Bonobo streamed his new album Migration through his Facebook page; at the start of February Mariah Carey took to Facebook Live for a chat with fans; and on 6th February Chance The Rapper debuted his new video ‘Same Drugs’ on Facebook Live Last year, Facebook started nudging users towards (as you will see, the definition of “live” on Facebook can be rather fluid). natively uploading video – but this year, and across all platforms, it is about an emphasis on live video. Live all the time – YouTube has opened up the live option to smaller and everywhere creators and Instagram is also seeing this as key to its It is a similar story on the other live video growth. The metrics are, for now, suggesting that live platforms: Lady Gaga recently used Periscope’s new 360 video format to take on Facebook (and other platforms) is connecting with fans behind the scenes of her Super Bowl far more users than normal video posts; but artists performance; Linkin Park, Young Thug, Fetty Wap and Hardwell have all been early have to think carefully about why they broadcast adopters of YouTube’s Mobile Live; and Justin live just as much as what they broadcast live with.