Another one presumably from my Cantaloupe sub. Confusingly marked in my collection as private as if withdrawn from sale - but it is still on the artist's page. Anyone noticed this before?
Another one presumably from my Cantaloupe sub. Confusingly marked in my collection as private as if withdrawn from sale - but it is still on the artist's page. Anyone noticed this before?
No, I haven't seen anything like this
- I bought it back in 2013 from Emusic, when Cantaloupe was still there.
It was a part of the subs. It must have been taken out of the Cantaloupe catalogue.
- and listening to one of Planet Mu owner, Mike Paradinas groundbreaking albums:
Mike Paradinas has been a pioneer and a mainstay of the electronic music
scene for over 20 years now and 'Chewed Corners' is his first proper
solo album since 2007. As the boss of electronic label Planet Mu, he’s
always been at the forefront of innovations and has released music by
some of the most celebrated modern electronic artists around, from
Benga, Kuedo and Machinedrum to Luke Vibert, Venetian Snares and
FaltyDL, to name just a few. Mike started both his career and µ-Ziq with
the album ‘Tango N'Vectif’ back in 1993 which elevated him to the top
of the league of British electronica producers alongside Black Dog and
Aphex Twin. He has also been one of the few people to collaborate with
Aphex Twin on the album ‘Mike & Rich’ and has released albums on
Virgin, Astralwerks, Warp and Rephlex before releasing music on his own
label.
20 meters or so from the barn,
here was a gate leading down to a white beach and this harmonic
whistling sound. The Atlantic wind blew through holes in the rustic
pipes of the gate, creating these dissonant notes. This was quickly
termed ‘The Musical Gate’ by the crew
Joik is a long-practiced musical tradition in Sápmi, a largely subarctic region spanning Finland, Norway, Sweden, and Russia. It stems from the indigenous Sámi people’s spiritual customs, conjuring images of the world through typically wordless vocables. Once condemned as heretical by local regimes of Christianization, joik today is a symbol of anti-colonial resistance as well as a continuation of tradition. It has also found a place in the popular sphere, located in Eurovision songs, the soundtrack of Disney’s Frozen, and the broad Fennoscandian folk music revival scene, where artists like Mari Boine, Wimme Saari, and even metal band Korpiklaani number among a wide range of informal joik ambassadors to the listening world.
Prog rock has a somewhat less ancient history, but it tends to be a mainstay of the Nordics. Hailing from Inari and Utsjoki in the far north of Finland, four-piece band Gájanas (Northern Sámi for “echo”) combine both. Already known for winning second place at the Sámi Grand Prix in 2016 and being Kaustinen Folk Festival’s band of the year in 2017, they now bring us brilliant full-length debut Čihkkojuvvon. Consisting of Hildá Länsman (daughter of famed joik singer and Sámi activist Ulla Pirttijärvi-Länsman) on vocals, Nicholas Francett on cello and guitar, his brother Kevin Francett on drums, and Erkki Feodoroff on bass, Gájanas are firmly planted in a dynamic present. Länsman alternates between song, joik, and other skillful manipulations of the breath, her arresting voice continually building from lullaby-soft to gale-force atop tightly-bound roots of powerful accompaniment from the rest of the band.
Balance is key to the success of Čihkkojuvvon’s sonic explorations. Cosmic opening track “Almmi dolat” makes space for heavy instrumental solos interspersed between Länsman’s melismatic tributes to night skies and northern lights. When voice and electric guitar finally meet the song’s climactic final minutes after so long weaving around one another, it is fantastically satisfying. Later on, “Hušša sisa” is similarly polarized, with Länsman’s wails soaring over dark, driving cello tracks. Fundamental to “Dollagaccat” are strata of droning strings, a steady backdrop to Länsman’s rhythmic gasps and near-growls. Interlude “Bieggagaikkohat” follows, with cymbals brushed into echoes of wind and Länsman’s lone voice sublime over legato strings that quickly turn sharp in following single “Diamántadulvvit”. “Čihkkojuvvon” and “Geažehis áhpi” draw on incredibly complex melodic structures. The album ends with “Vuolgge muinna” and its buoyant bassline, lifted into upbeat territory with warm sax lines that make an interesting counterpoint to some of the album’s most spirited guitar moments.
Prog joik is a fairly novel idea and one that offers a wide range of promising directions. Gájanas are not resting on the fleeting strength of novelty so much as they are taking untrodden paths. The journeys the group traces on Čihkkojuvvon — a title that appropriately means “hidden” — are evocative and organic. Gájanas moves through moments of serenity and ferocity with equal purpose, making music with many layers of possible meaning swirling beneath an already vibrant surface of richly textured sound. Fresh and unyielding, Čihkkojuvvon presents Gájanas as a band both youthful and well-informed by their cultural forebears. It’s no secret that joik and rock make for a versatile combination — look at Jonne Järvelä’s career — but Gájanas are still unique, their skill potent as they create modern Sámi music. Čihkkojuvvon is a strong and vital debut and Gájanas a group to watch closely. — PopMatters
'SORROW', led by Stetson, is a reimagining of Henryk Górecki's most
famous piece, performed by a 12-piece band including Arcade Fire's Sarah
Neufeld, Saltland's Rebecca Foon, Greg Fox of Liturgy, Megan Stetson
and more and recorded in 2015 in Brooklyn, New York.
“We all have those moments when we experience a piece of music that
transforms us, and this was one of those moments for me," says Stetson.
"Over the years, I went on to listen to this record countless times,
always determined to absorb every instance of it, to know it throughout
and fully. And this dedication to a thorough knowledge of the piece
eventually gave way to a need to perform it."
"The concept was simple, and true to the original score. I haven’t
changed existing notation, but rather have worked with altering
instrumentation, utilizing a group consisting heavily of woodwinds,
synthesizers, and electric guitars... The arrangement draws heavily from
the world of black metal, early electronic music, and from my own body
of solo saxophone music. The result is an intact rendition of Henryk
Górecki’s 3rd Symphony, though one which has been filtered through the
lens of my particular musical aesthetic and experience.”
Amirtha Kidambi - voice
Maria Grand - tenor saxophone, voice
Adam O'Farrill - trumpet
Mary Halvorson - guitar
Michael Formanek - bass
Tomas Fujiwara - drums, beer cans on track 2
Robert Wyatt - voice on tracks 1, 3, 5
For the first time ever on CD, Kevin Braheny Fortune's "Lullaby for the
Hearts of Space" is commercially available for the first time since
1991. Featuring live improvisations on the "Mighty Serge" analog
synthesizer, the title track was recorded at the KPFA studio in
Berkeley, CA for "Music from the Hearts of Space" and has become of the
most sought-after ambient recordings of the era.
"What great news, that what I consider one of the real masterpieces by
one of the few true musicians that fully mastered the arcana of my
synthesizer, shall finally be released for everyone to relish..."
Comments
2004 Heron King Blues 2006 Roots & Crowns
The Weather Station - Ignorance. Great album really enjoying this.
Prog Joik ... and that's no Joik!
Prog rock has a somewhat less ancient history, but it tends to be a mainstay of the Nordics. Hailing from Inari and Utsjoki in the far north of Finland, four-piece band Gájanas (Northern Sámi for “echo”) combine both. Already known for winning second place at the Sámi Grand Prix in 2016 and being Kaustinen Folk Festival’s band of the year in 2017, they now bring us brilliant full-length debut Čihkkojuvvon. Consisting of Hildá Länsman (daughter of famed joik singer and Sámi activist Ulla Pirttijärvi-Länsman) on vocals, Nicholas Francett on cello and guitar, his brother Kevin Francett on drums, and Erkki Feodoroff on bass, Gájanas are firmly planted in a dynamic present. Länsman alternates between song, joik, and other skillful manipulations of the breath, her arresting voice continually building from lullaby-soft to gale-force atop tightly-bound roots of powerful accompaniment from the rest of the band.
Balance is key to the success of Čihkkojuvvon’s sonic explorations. Cosmic opening track “Almmi dolat” makes space for heavy instrumental solos interspersed between Länsman’s melismatic tributes to night skies and northern lights. When voice and electric guitar finally meet the song’s climactic final minutes after so long weaving around one another, it is fantastically satisfying. Later on, “Hušša sisa” is similarly polarized, with Länsman’s wails soaring over dark, driving cello tracks. Fundamental to “Dollagaccat” are strata of droning strings, a steady backdrop to Länsman’s rhythmic gasps and near-growls.
Interlude “Bieggagaikkohat” follows, with cymbals brushed into echoes of wind and Länsman’s lone voice sublime over legato strings that quickly turn sharp in following single “Diamántadulvvit”. “Čihkkojuvvon” and “Geažehis áhpi” draw on incredibly complex melodic structures. The album ends with “Vuolgge muinna” and its buoyant bassline, lifted into upbeat territory with warm sax lines that make an interesting counterpoint to some of the album’s most spirited guitar moments.
Prog joik is a fairly novel idea and one that offers a wide range of promising directions. Gájanas are not resting on the fleeting strength of novelty so much as they are taking untrodden paths. The journeys the group traces on Čihkkojuvvon — a title that appropriately means “hidden” — are evocative and organic. Gájanas moves through moments of serenity and ferocity with equal purpose, making music with many layers of possible meaning swirling beneath an already vibrant surface of richly textured sound.
Fresh and unyielding, Čihkkojuvvon presents Gájanas as a band both youthful and well-informed by their cultural forebears. It’s no secret that joik and rock make for a versatile combination — look at Jonne Järvelä’s career — but Gájanas are still unique, their skill potent as they create modern Sámi music. Čihkkojuvvon is a strong and vital debut and Gájanas a group to watch closely. — PopMatters
Cadillac Sky
2008 Gravity's Our Enemy
2005 Begonias
1999 Crystal Clear Mississippi 2001 A Way With Birds
1973 Camel 1974 Mirage
Reissue 2002 archive.org
1976 Moonmadness
Cangarra
2011 A 2011 B
2011 C 2013 D
All Free at Bandcamp
2003 The Magic Dragon
“We all have those moments when we experience a piece of music that transforms us, and this was one of those moments for me," says Stetson. "Over the years, I went on to listen to this record countless times, always determined to absorb every instance of it, to know it throughout and fully. And this dedication to a thorough knowledge of the piece eventually gave way to a need to perform it."
"The concept was simple, and true to the original score. I haven’t changed existing notation, but rather have worked with altering instrumentation, utilizing a group consisting heavily of woodwinds, synthesizers, and electric guitars... The arrangement draws heavily from the world of black metal, early electronic music, and from my own body of solo saxophone music. The result is an intact rendition of Henryk Górecki’s 3rd Symphony, though one which has been filtered through the lens of my particular musical aesthetic and experience.”
All previously-unreleased archival recordings.
Love it!
Canned Heat
1968 Boogie With Canned Heat 1969 Living The Blues
1970 Live At Topanga Corral 1971 Canned Heat & John Lee Hooker
Hooker 'N Heat
2005 Blues Mongrel 2008 Steady Movin'
Maria Grand - tenor saxophone, voice
Adam O'Farrill - trumpet
Mary Halvorson - guitar
Michael Formanek - bass
Tomas Fujiwara - drums, beer cans on track 2
Robert Wyatt - voice on tracks 1, 3, 5
Captain Beyond
1972 Captain Beyond 1973 Sufficiently Breathless