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AU CŒUR DE MA DÉLIRE premier & seul simple first & only single de «Ma délire» La chanson à l'origine du projet. The song that started it all. - Album à paraître le 01/10/21 - Album to be released on 01/10/21

Adapted from traditional, created during a musical residency at the Old Mill in Le Bic, Québec, in August 2016, using sound samples from Daniel Saint-Pierre's boat repair workshop. This song was the sparkle for what became the album «Ma délire — Songs of love, lost & found», created & recorded between October 2020 and January 2021, to be released on October 1st 2021.
 

 

We very much regret to have to inform you that we have decided to cancel the Meakusma Festival 2021. There are two reasons we have taken this very difficult decision. Eupen, home of the festival, and its surroundings have been hit by enormous floods, causing unbelievable devastation. The strength and scope of the floods and the resulting havoc have never been seen here in our region. Also, the long-term consequences of this natural disaster are still highly unclear. Meakusma is directly and indirectly affected by all the damages caused and that on several levels. All this combined with the ongoing Covid-19 pandemic has left us with no choice but to cancel the Meakusma Festival
 

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It’s honestly difficult to know where to begin with Beatriz Ferreyra, an electroacoustic composer who has always walked a unique path. From her earliest days at Groupe de Recherches Musicales (GRM) beginning in 1963 through her recent works for Room 40, Ferreyra’s ear for sound and ability to craft expansive ideas, often from a singular aural source, is unmatched. Through her early work and studies at GRM with Piere Schaeffer, Bernard Parmegiani, and others, Ferreyra developed her own compositional style that has shifted and evolved over the subsequent decades while still remaining uniquely her own.

Her newest collection, Canto+, is available now from Room 40, her second such release on the label. Our conversation went in directions I did not expect, but that’s second nature for Ferreyra. She simply uses her curiosity and intuition as a guide and follows the path it lays out before her. To hear her talk about sound and listening, truly hearing is a gift. 

Read the whole interview HERE

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De belofte van een ‘summer of love’ sloeg in ons land in luttele dagen om in een ‘rampenscenario’. Amper een week na de vierde coronagolf — notabene de snelst piekende sinds het begin van de pandemie — manifesteerden zich overstromingen in Limburg die herinneringen oproepen aan de watersnoodramp van 1953. Geen complotten, hoewel er her en der nog altijd mensen daarin lijken te geloven. Maar weldegelijk een connectie: De ontwrichting van het klimaat.

In maart van dit jaar hing het er nog een beetje om: Als deze zomer geen concerten of festivals op de gebruikelijke manier mogelijk waren, dan toch zeker iets alternatiefs. In april echter vulde de mailbox zich met persberichten over tournees en festivals die definitief naar 2022 doorgeschoven werden. Begrijpelijk waar het artiesten ‘van overzee’ betreft. De festivals die op de agenda bleven, zoals Lowlands, benadrukten op hun websites er op te rekenen op de klassieke wijze met — bijna — het gebruikelijke aantal bezoekers door te kunnen gaan; zij het met een minder internationaal programma. Terug naar het ‘oude normaal’. Terug naar ‘business as usual’. Ondertussen hebben de meest recente kabinetsmaatregelen er voor gezorgd dat pas een week voor Lowlands duidelijk wordt of het festival überhaupt door kan gaan en onder welke voorwaarden. Tot dat moment rest Lowlands-directeur Eric van Eerdenburg en tal van zijn collega’s weinig anders dan schietgebedjes opdragen aan de muziekgoden.

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Parlons prescription, puisque c’est l’objet de cette rubrique.

Les meilleurs prescripteurs échappent aux attentes comme aux vues – de l’esprit. Une collègue de bureau, il y a bientôt dix ans, quand je me laissai aller à un bavardage futile et convenu sur Liszt « le virtuose » – il s’agissait évidemment de clouer au pilori la virtuosité sans trop savoir ce que c’était –, sortit exceptionnellement de ses gonds pour me mettre face à la réalité : je critiquais, commentais, jugeais, manifestement sans connaître. Puis elle m’invita à suspendre mon jugement, à le remplacer par la fréquentation et la connaissance de Liszt avant, peut-être, de parler de nouveau, mais en connaissance de cause. Et m’envoya un lien vers quatre minutes de musique qui changèrent la vie, quatre minutes qui m’offrirent Liszt, qui l’ouvrirent enfin. Il suffisait d’écouter, c’était là. 

Leçon : la meilleure prescriptrice de la pièce était la personne qui n’en endossait pas la persona.

(Parenthèse : Ce fut aussi ma meilleure leçon sur le mansplaining. Merci, Sophie, du fond du cœur.)

Les meilleurs prescripteurs ne sont pas des juges mais des enthousiastes.

Et l’ami Mocke, musicien voyageur (Midget !ArltChevalrexHoldenDelphine DoraOrso JesenskaMohamed Lamouri, etc.), en est un, de meilleur prescripteur. Quand il ne goûte pas immédiatement une musique qui plaît à quelqu’un qui lui plaît, il s’interroge et interroge, creuse néanmoins, tente, n’abandonne pas facilement. C’est trop important. Et c’est une leçon, une autre. 

Et quand quelqu’un n’adhère pas à l’un de ses enthousiasmes, il patiente, tente de nouveau mais comprend aussi, ne harcèle pas. Cela dit, son goût fait que ce genre de situation n’est pas la plus commune : il s’agit plutôt d’écouter des morceaux aux piments connus ou inconnus et de s’extasier, comme de juste, devant chaque seconde d’éternité, dans la joie et les exclamations générales.

Il s’agit de partager.

Cette prescription infinie est aussi l’os de sa musique et de ses disques, car il joue comme on transmet, et la radio dans son crâne a toujours quelque chose à proposer à ses doigts qui saura transformer, décaler, éclairer la seconde de son en cours en la faisant coexister avec une mélodie country, un trait éthiopien, une tension sérielle, un bruit, une danse, un « truc de Mocke ». Ce qui rend aussi sa musique difficile à décrire, ce qui fait aussi qu’on est plusieurs à section26 à s’être sentis trop limités pour rendre compte correctement de son formidable dernier album, Parle, grand canard, et de l’effort inédit, remarquable, inouï de composition qui occupe la première face, le crucial Quel est ton parcours ? Ce qui l’a fait marrer quand je lui ai dit.

C’est quand même bien là l’essentiel, se marrer.

Je ne sais plus si je lui ai dit que le morceau de Liszt que Sophie m’a fait écouter, c’est La lugubre gondola.

Mais autant laisser parler ceux qui savent.

l'article en entier içi

Guatemalan-born, Mexico City-based cellist, singer, producer, and songwriter Mabe Fratti creates music using electronics, voice, and cello, and the sounds of nature. Fratti has a mighty array of effects, turning the cello into sound source capable of drone, full feedback squeals, percussive plucky samples, and talks about how she is "addicted to improvisation." Her latest soundscapey, outer-worldly album is called Será Que Ahora Podremos Entendernos? (Will We be Able to Understand Each Other Now?) and deeply considers the structure and arranging of words and sounds. Mabe Fratti and her trio, sometimes with amps to 11, play remotely from Mexico City.

Set list: “Nadie Sabe,” “Hacia el Vacio,” and “Inicio Vinculo Final” 

Watch "Nadie Sabe": 

 

Jimmy Tamborello aka Dntel returns with a collection of 10 pop-infused vocal hymns – simultaneously perfect dance floor fillers and lullabies. "Away" is the second of two Dntel albums to be released in 2021 by Morr Music in collaboration with Les Albums Claus. Release date 3rd September. artwork by Peter Gehrman

 

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Operating on minimal finance and maximal passion, the Strata-East label was a pivotal platform for the independent jazz movement that emerged from civil rights in the 1970s. Chris May suggests 10 essential albums from an artist-led label that punched far above its weight and whose archive continues to inspire.

Strata-East was founded by trumpeter Charles Tolliver and pianist Stanley Cowell in Brooklyn in 1971. By the end of the decade, the label had released 58 albums of near-uniform artistic excellence, a remarkable achievement for an independent company run on a shoestring by two musicians with no previous business experience.

In 1974, Strata-East’s balance sheet was boosted by the success of Gil Scott-Heron and Brian Jackson’s Winter In America – the album made Billboard’s top ten jazz albums chart and breakout single ‘The Bottle’ was a top twenty R&B hit. The discs did not make Strata-East rich — its contracts were weighted in favour of the artists — but it allowed the label to pay some debts and keep functioning for a few more years. Strata-East had become less active by the early 1980s and today its business is mainly confined to licensing items from its back catalogue for reissue by other labels. Its debut release, Tolliver and Cowell’s Music Inc., is scheduled to be reissued by Pure Pleasure this summer.

Strata-East’s legacy still resonates in the work of musicians such as Shabaka Hutchings, Kamasi Washington, Idris Ackamoor and Pharoah Sanders, briefly a Strata-East artist and one of the movement’s founding fathers.

READ THE WHOLE ARTICLE HERE

Faced with interminable manufacturing delays, some of music’s DIY players are giving up on the beloved format.

Forgive the sound of a broken record: Vinyl’s comeback is still going strong. Streaming may be today’s dominant music format, but revenues from vinyl albums are on track to top a staggering $1 billion in 2021, up from $626 million last year. Even as vinyl sales scale new heights, though, the type of smaller labels and artists who once helped kickstart the comeback a decade ago are starting to bow out.

Production capacity—already strained before the pandemic—has been especially squeezed since COVID-19 lockdowns disrupted supply chains; the global demand for vinyl albums was recently estimated at twice the available supply. With giant retailers like Walmart, Target, and Amazon now embracingvinyl, and multi-colored special editions from huge pop stars like Harry Styles and Billie Eilish crowding pressing plants, turnaround times for independent artists can range from eight months to a whole year—up from two to three months in times of less demand.

Complaints about lengthy vinyl production schedules are nearly as old as the vinyl revival itself, but this time feels different. Several self-released artists and DIY label owners contacted by Pitchfork describe moving away from vinyl, largely due to pandemic-era manufacturing slowdowns. “This vinyl turnaround crisis is by miles the worst I’ve ever known it,” says Britt Brown, co-founder of the L.A.-based experimental imprint Not Not Fun and house-oriented sister label 100% Silk. “It raises the question if the format will even continue to be viable.”

READ THE WHOLE ARTICLE HERE

Norwegian folk collective Völvur team up with Scotland's very own Alasdair Roberts for an album combining traditional and modern songs in both groups' native languages – to powerful effect, finds Tom Bolton

The Old Fabled River opens with a cinematic swell of fiddle and percussion, a calling card for its collaborators: modern Scottish bard, Alasdair Roberts and Scandanavian folk collective, Völvur ('The Seeresses', in English). Recorded in London in January 2020, an impossibly long time ago, the album is the latest in a growing set of recordings Roberts has shared with musicians singing in languages other than English. Urstan (2012) was recorded with Gaelic singer Mairi Morrison, and Au Cube (2018) with French band Tartine de Clous. All three records split their tracks between languages, but on each the sensibilities of musicians from different nations cohere beautifully. On The Old Fabled River, Roberts sings a combination of traditional songs and newly written tracks, while Völvur contribute traditional Norwegian tracks sung by Marthe Lea.