Young Montana? - Limerence

Exhilarating hip-hop instrumentals and hyperactive odd-tronica from one of the UK's most promising beat-crafters. Already lauded by Gaslamp Killer, Pitchfork and Mary Anne Hobbs (who singled him out as her 'Favourite Unsigned Artist of 2010'), Young Montana has now found a home with Alpha Pup. Most artists take a few years in the spotlight to develop, but this wee fella - apparently only 20 years old - feels already like the finished article, his debut full-length a dazzlingly ambitious and fully-realized affair. Hailing from sunny Coventry, his abundant musicality and kinetically edited style brings to mind vintage Prefuse 73, splicing and dicing fragments of steamy soul, techno, grime, folk and On The Corner-style freak jazz into lurching, luminescent beat patterns that make even Mike Slott's junkyard-falling-off-a-cliff beat style sound static. It's tough to pick favourites, but the way the looped lovers' vocals and breezy horns of 'Bad.day' dissolve dramatically into a sea of undulating, echo-plexed techno-dub is one of the album's most arresting moments. 'Mynnd' is the sound of YM's imagination in overdrive, climaxing in a heads-down groove fashioned out of sawing, distorted bass and twitchy drum edits that nudge us into almost avant-garage territory. 'Hot Heathrr' shows just what can be achieved with genuine talent and some decent cracked software these days, with what feels like a million different melodious samples and drum clusters battling for supremacy. Yes, there are moments where you wish he'd stop fiddling and just let the groove do the talking, but it's churlish to complain; that really ain't the game he's playing. And while there's a hell of a lot going in every track, it's arranged and spliced with great discipline; even the busiest compositions are coherent and balanced and that's exactly what makes it such a mind-boggling trip to listen to. Honestly, if this was Hudson Mohawke's new album then everyone at the planet would be hailing it as a masterpiece; don't let the fact that Young Montana is less well-known obscure the magnitude of his achievement. Big up. boomkat

Fujiya & Miyagi 'Sixteen Shades Of Black & Blue'

Fujiya & Miyagi faltaram ao festival do último fim de semana em Lisboa. 1º single de avanço do álbum "Ventriloquizzing" a sair a 25 de Janeiro, "Sixteen Shades Of Black & Blue".

AfroCubism

AfroCubism: Eliades Ochoa, Toumani Diabaté... Cuba e Mali.

Music of Central Asia: Rainbow

Kronos Quartet e Alim & Fargana Qasimov interpretam a canção "Getme, Getme" ao vivo no Barbican Hall's Ramadan Nights Festival, Londres em Setembro 26, 2008.

Vol. 8
Kronos Quartet com Alim & Fargana Qasimov e Homayun Sakhi
Muito bom!

Carlos Barretto Lokomotiv Labirintos

"A Música vai em muita direcções, recebi tantas influências... quando apresentamos a nossa música o resultado só podia ser labiríntico"

"Uns estudam, outros confundem e há quem se esqueça de tudo. Encontre a saída. Se conseguir..."

Trabalho muito bom.

Carlos Barretto contrabaixo e direcção artística
Mário Delgado guitarra
José Salgueiro bateria e percursão

Recordar This Mortal Coil e Cocteau Twins

This Mortal Coil - It'll end in tears, Outubro de 1984

Cocteau Twins - Treasure, Novembro de 1984

Floodplain | Kronos Quartet

Mais um belo disco do grupo Kronos Quartet.

"Música inspirada pela ideia de que as áreas propensas a inundações devastadoras conhecem um renascimento criativo após uma catástrofe."

FLOODPLAINS are low-lying places bordering rivers, and the places where human civilization was born and first flourished. The topographic reality of the floodplain also means that there is always the lurking danger of the river waters rushing up, and letting loose a torrent of destruction on what has been so carefully constructed. We can understand those waters not just as literal rivers, but also as the products of civilization built along the river’s banks: our cultural achievements, rituals, myths, and most deeply cherished beliefs about ourselves and our collective identity. Those waters nourish, sustain, and bind us, but when they flood our vision to the point of blindness, they also threaten to unmoor us. We can lose our sense of common humanity with those beyond the banks.

Floodplain opens in the Egyptian watershed of the Nile, and much of the music on the album similarly emerged from cultures based in areas surrounded by water and prone to catastrophic flooding. These include the Fertile Crescent, of course; but also parts of Kazakhstan, although we more closely associate Central Asia with mountainous steppes; Belgrade, Serbia, which is divided by the Danube; and even Udaipur, India, also known as “the city of lakes,” and the home city of sarangi master Ram Narayan, whose performance of Raga Mishra Bhairavi served as the inspiration for one of Kronos’ selections.

The modern descendents of these still-vibrant cultures are frequently portrayed in the West as being of a single mind and belonging to homogeneous countries, though in truth these nations are melting-pots—regardless of whether their leaders acknowledge the “foreign” influences in which their countries are steeped. We find these unexpected mixes in the cultures of the black Iranians whose Lullaby is here, or the many religious traditions of Lebanon (from where Wa Habibi comes), or the extraordinarily complex and rich history of Ethiopia (Tèw semagn hagèré), with its ancient culture that is being nurtured back to health today.

Of her piece …hold me, neighbor, in this storm…, Serbian composer Aleksandra Vrebalov writes: “Strangely, the cultural and religious differences that led to enmity in everyday life produced—after centuries of turbulently living together—the most incredible fusions in music. It is almost as if what we weren’t able to achieve through words and deeds—to fuse, and mix, and become something better and richer together—our music [has] accomplished instead.”

The Kronos Quartet has always been interested in exploring music of our time— not just work that is aesthetically current, or even necessarily contemporaneous with our era, but music that creates a dialogue with our collective concerns and issues. Examining culture through the voices of artists and musicians is the central, essential concern for Kronos today. As David Harrington points out, “Floodplain was imagined and recorded during one era in American politics, and then released during a very different one. Our work is a continuously evolving interaction with the world we are a part of, and we are always trying to find ways to reflect what it means to be musicians today.”

The selections on Floodplain reveal Kronos’ belief that artists have a responsibility to create links between cultures, to fashion the new out of the old, and to revive the old as part of the new. These are works that both bear witness to dissolution and destruction, but also our collective imperative to begin to build anew—a freshly fertile place where margins advance and centers retreat.

—Anastasia Tsioulcas

(do booklet)

Jazzanova

Of All The Things


10 de Julho na Cidadela, Cascais CoolJazz

Discos: Madonna e Portishead

Madonna - Hard Candy


Portishead - Third

Hoje.

Messiaen: Turangalîla-Symphonie (1)

Yvonne Loriod, Jeanne Loriod,
Orchestre de l'Opéra Bastille, Myung-Whun Chung










1. Introduction (modéré, un peu vif)
2. Chant d'amour I (modéré, lourd)
3. Turangalîla I (presque lent, rêveur)
4. Chant d'amour II (bien modéré)
5. Joie du sang des étoiles (vif, passionné, avec joie)
6. Jardin du sommeil d'amour (très modéré, très tendre)
7. Turangalîla II (un peu vif - bien modéré)
8. Développement de l'amour (bien modéré)
9. Turangalîla III (bien modéré)
10. Final (modéré, presque vif, avec une grande joie)

Turangalîla-Symphonie (1946-1948)
pour piano, ondes Martenot et orchestre
Genre : Musique concertante
Instrument(s) soliste(s) : piano, ondes Martenot
Nomenclature :
3(1 pic).3(1 cor ang).3(1clB).3 - 4.5(1 trppic, 1cnet).3.1 - 4 perc, glock, cel, vibra, clotub - 16.16.14.12.10
Durée : 73 min.
Commande de : Serge et Nathalie Koussevitzky / Fondation Koussevitzky, 1946 pour le Boston Symphony Orchestra
Révision : 1990
Création publique :
02.12.1949, Boston / Symphony Hall
Yvonne Loriod (), Ginette Martenot ()
Boston Symphony Orchestra, Leonard Bernstein (dir)

Preparação para o concerto no final do mês: (1) ouvir a música.

Herbie Hancock com palavras

River: The Joni Letters
1. Court and Spark featuring Norah Jones
2. Edith and the Kingpin featuring Tina Turner
3. Both Sides Now
4. River featuring Corinne Bailey Rae
5. Sweet Bird
6. Tea Leaf Prophecy featuring Joni Mitchell
7. Solitude
8. Amelia featuring Luciana Souza
9. Nefertiti
10. The Jungle Line featuring Leonard Cohen
11. All I Want featuring Sonya Kitchell
12. A Case of You

Muito bom.

Edith and the Kingpin, Joni Mitchell

Pierre Boulez: Le Marteau sans Maître

Na impossibilidade de amanhã na Culturgest...


aqui fica o disco...


Boulez conducts Boulez


Genial!

Maria Malibran, Cecilia Bartoli

Rentrée 2007

sublime ...
o novo disco de Bartoli


entrevista
casta diva