Conch Records
The Unheard - Untold Stories In Music 12" (UNICYCLE NUTFISH)
Available here on 12" - Soundclips below:
Second 12' release on the Unheards Unicycle Nutfish label, This one's a nine tracker. Kicking off with 'Dreamcatcher' and 'Slow Motion' ,a couple of warm baby nuggets, though very different from each other. Track 3 'Piece of mind' is a dreamy and relaxing, soulfull and delayed out piano'ey type groove over a tidy rimshot break, nice. Track 4 'The Contraption' is more of a mid tempo bassline and breakbeat driven number thats kind of on the daft tip. Track 5 'Cameo Groove' is a 95 bpm funkin' epic cut & paste excursion and at 7m 41s is the longest track. Flippin over, Track 6 'Flying spaghetti monster' is the second cut & paste on more of a random tip, takes you from 90bpm to 120bpm in 6 minutes, but how it gets there is kind of interesting. Next up Track 7 'Guidance' a 4 minute upbeat Mr scruff storyboard type number that kind of tells it's own story.. Track 8, 'Gimmie some sunshine' is a bright and upbeat, energetic and sunny groove that reflects in it's title, And finally Track 9 'Titanium duck foot' an uptempo bassy breakbeat number with dancefloor potential, that eventually breaks into a stringy cresendo, and then melts away. Overall quite an eclectic mix of styles, enjoy. Tracklisting & Soundclips: * 1. dream catcher * 2. slow motion * 3. piece of mind * 4. the contraption * 5. cameo groove * 6. flying spaghetti monster * 7. guidance * 8. gimme some sunshine * 9. titanium duck foot
Jamie Woon - Night Air (Ramadanman Refix) (CANDENT SONGS)
Available Here on 12"
Co-produced by Burial! Jamie Woon is a special talent who will carve his blues n' bass infused pop songs into your brain and leave them there forever. You might not have heard of him yet, unless you've been tapped into the eerie, soulful end of dubstep, but it's a name you will be hearing a lot of in the coming 12 months.
Written and produced by Woon, 'Night Air' is as dark, sweet and seductive as molasses, an irresistibly understated combination of Jamie's uniquely supple voice, his subtly compulsive beats and a sky full of atmosphere. A melancholic ode to the urgency of the night, it’s a future soul vision taken further into orbit with a dancefloor-winning refix by up and coming techno/dubstep crossover don Ramadanman. But you have to go back a few years to find the seeds of his new sound. In 2007 he released his version of traditional standard 'Wayfaring Stranger' with a remix from secretive and ultra selective producer Burial on the flip. It turned people like Gilles Peterson and Mary-Anne Hobbs into full-blown Woon fans. The release also recalibrated his musical mind and inspired him to re-think his approach on music. Woon is now primed to be one of the most exciting artists you're likely to hear all year, a man who is populist but always inventive, a modest and understated 27 year old who's making hugely ambitious music that you'll be filing somewhere, between your favourite Four Tet, Richard Hawley and D'Angelo records. Singer, songwriter and self-taught producer Woon made his name by playing live. He's got hundreds of gigs under his belt, from endless spots in front of the microphone with just his guitar, an effects box and that unmistakable voice, to supporting Amy Winehouse. He's played in a full band with dubstep DJ and producer Reso on drums and he's taken stage at Sonar. He has now made the music that will let him switch between intimate gigs to stages with a bigger reach. The new sound fuses his future pop songs with '80s reverb, ultra-tight beats and acres of bass and they cleverly carry the intimate emotions of his early sound into a whole different room, bigger, badder... heavier. Watch out for his debut album in spring 2011... A. Jamie Woon - Night Air B. Jamie Woon - Night Air Ramadanman refixFlying Lotus - Pattern + Grid World12"+MP3 (Warp)
Available here
While Cosmogramma is a monolithic convergence of 20th and 21st century musical forms, high in concept and wide in musical collaboration, Pattern+Grid World pulls the focus back to Steven Ellison and his machines. These machines are speaking (and possibly looking as well, judging by the EP’s cover) from the go, as “Clay†introduces itself in a fog of synth and vocoder and gives way to one of the many surprises here, the schizophrenic ping-ponging electro of “Kill Your Co-Workersâ€. Drenched in alternating melodies, it’s a synthetic counterpart to the grand string and harp arrangements of Cosmogramma, making acclaimed illustrator Theo Ellsworth’s subtly psychedelic cover image of vision-through-noise all the more intimate. When Flying Lotus records hit their stride, all buttons labeled “pause†and “stop†disappear, and this one is no different. “Pie Face†is led by icy keys that could almost be mistaken for classic grime, before the stoned plastic marching band steps in. “Time Vampires†amazingly lands somewhere between vintage DJ Premier and Lee Hazelwood, while the stripped back bass and drum explorations of “Jurassic Notion/M Theory†are as shamanic and ceremonial as anything you’re likely to hear come out of California. If “Camera Day†brings to mind a certain crew of dungeon-dwelling ATLiens, it won’t come as much of a surprise that Killer Mike found its syrupy bounce recently inspiring. Much of the messages surrounding Cosmogramma’s release as well as reportage on the world’s ever-emerging beat scenes has painted a picture of Flying Lotus as a patriarchal figure blazing the trail for scores of young artists with new conceptual notions of what can be done with a drum machine and a dream. While this notion is certainly not inaccurate, it sometimes overshadows the fact that FlyLo is also an incredibly singular entity. However, as “Physics For Everyone!†stutters to a close, if you listen closely you might just make out the sound of another kid in his room somewhere in the world, anxiously tapping out his first beat.
Related Releases:
Owiny Sigoma Band - Doyoi Nyajo Nam 12" (Brownswood)
Available Here On 12"
In 2009, a handful of London-based musicians travelled to Nairobi in Kenya to collaborate with two local musicians: Joseph Nyamungo and Charles Okoko, who hail from a village up country called Owiny Sigoma. The workshop/rehearsals were a lot of fun and pretty fruitful so they set about finding a studio that could accomodate a 7-piece live band. The resulting four tracks made their way to Gilles Peterson who promptly signed the band to his Brownswood imprint and sent the boys back to Nairobi for another week-long recording session with Joseph, Charles and their extended musical family.
The traditional folkloric music of Kenya has not received the same global exposure as that of Nigeria, Ethiopia, South Africa or North Africa for example and one of the objectives of this project was to try and build on this. The band draw on a broad spectrum of African influences, from Fela Kuti and Tony Allen to the likes of Thomas Mapfumo and Oumou Sangare, but bar Jesse’s participation with Damon Albarn’s Africa Express, this was the first opportunity for Jesse Hackett (keys), Louis Hackett (bass), Sam Lewis (guitar), Chris Morphitis (bouzouki/guitar) and Tom Skinner (drums) to visit specifically for a musical project.
The results are documented on the band’s forthcoming album – a collection of gloriously hypnotic Afro grooves symbolic of the true culture clash between the Luo and London.
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