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см. : 2018 albums и 2018 in music

дайджест альбомов которые в течении года остаются на жестком диске моей компьютерры

янВарь

растарелизы: Torch — Fire And Light (Evaburninflame Recordings International, 2018), Kienes Sound — Con la Musica a Otra Party (Positive Vibz Productions, 2018), Huge Andrew — Upful (Herbcell Production, 2018), Sly & Robbie and Dubmatix — Overdubbed (Echo Beach, 2018), Glen Sloley — The Return Of The Lonely Soldier (One Harmony Music, 2018), Zyanigh — Unartifitial (Jazhyah Music Group, 2018), Hollie Cook — Vessel of Love (Merge Records, 2018), Ras Michael & The Sons Of Negus — None A Jah Jah Children (VP Records, 2018)

Death and Vanilla — The Tenant (Fire Records, 2018) — первый релиз 2018 года, который появился в сети еще 2 декабря 2017 года. “The retro leaning Scandi duo fire up their Moogs and mellotrons, sonic archaeologists with a hauntological bent.. there is an alluring sexiness to their avant-Kraut Moog-pop excursions.” Uncut \ “Recalling the eerie, haunted ambience of Angelo Badalamenti/Julee Cruise’s Twin Peaks soundtrack, Stereolab/Broadcast’s experimental vision of ‘50s lounge muzak/exotica and French ‘60s pop, or the narcotic country-noir of Mazzy Star.” The Guardian \\ Following on from the deluxe reissue ‘Vampyr’ last year, comes Death And Vanilla’s unreleased live score of ‘The Tenant’ on limited edition magenta vinyl. \\ Originally scored by Philippe Sarde, this release sees Death And Vanilla reimagine the film’s soundtrack four decades on for a new audience. The haunting instrumental is a foreboding piece of dark and cinematic avant-garde music that’s alienated, lonely and melancholic. Moments of hallucination and delusion mirror the lead character Trelovsky.  Recorded in 2015 at Cinemascore festival in Spain alongside a two-hour performance and screening of psychological thriller ‘The Tenant’ (1976). With the band at their most minimal, the accomplished musicians once again bring the dark narrative to life with their expansive and ethereal noir sound. The recording features them as a trio — Marleen Nilsson (Farfisa Compact), Anders Hansson (Hagstrom Kent, Roland SP-404 and Technics SL-1200) and Magnus Bodin (Moog Prodigy and Musser M55). Directed by Polish filmmaker Roman Polanski and based on the novel Le Locataire by Roland Topor, ‘The Tenant’ is the finale in his acclaimed apartment triology which included “Repulsion” (1965) and “Rosemary’s Baby” (1968). или из врунета: «Испытывающий тягу к ретро-звуку шведский дуэт выпустил написанный еще в 2015 году альтернативный саундтрек к культовой картине Романа Полански 1976 года «Жилец» (это завершение трилогии «Отвращение» — «Ребенок Розмари»). Саундтрек был сыгран вживую на фестивале Cinemascore в Испании во время показа фильма. Таинственная и галлюциногенная атмосфера — конек дуэта. Виброфон, меллотрон и ретро-электроника на альбоме создают удивительную атмосферу, своей нуар-меланхоличностью напоминающие Tindersticks»

Dirtmusic — Bu Bir Ruya (Glitterbeat Records, 2018) — Dirtmusic return for their fifth album, a full-scale collaboration with Turkish-psych visionary Murat Ertel from Baba Zula. Recorded in Istanbul, the album navigates hypnotic rhythms, cinematic atmospheres and dark political realities. ‘We need music like this to stay sane’ – Murat Ertel. The striking figure of Murat Ertel is standing at the door of his home studio, a converted mechanic’s garage in a suburb of Istanbul. The Turkish capital is a tense and conflicted place these days, but Baba Zula’s leader and saz man is on fine form. Before him stand those current and former musical nomads, Chris Eckman and Hugo Race, guitars in hand. Dirtmusic are about to take on their latest, and perhaps most thrilling, form.

Calexico — The Thread That Keeps Us (ANTI- Records, 2018) —  на обратнойсторонелуны в обзоре №654 от 06.03.2018, написали так: «Негромкая и бесподобная пластинка с изрядным количеством непродолжительных песен, большинство из которых надолго осядут на дне бокалов искушённых дегустаторов. Calexico, группа под управлением барабанщика Джона Конвертино и вокалиста с гитарой Джои Бёрнса с новым альбомом, название которого идеально подходит большинству песен — сыгранным в доверительной такой манере общего настроения и единения, обычно возникающей в маленьком зале с настоящим или воображаемым очагом в дальнем углу. Или песням, взятым с собой в дорогу, даже в невеликое железнодорожное путешествие. Везде они будут согревать. Диск называется «The Thread That Keeps Us» — «Нить, которая нас соединяет» или, точнее, связывает и хранит. Если вы услышите в музыке Calexico нотки кумбии или латино в широком смысле, то не ошибётесь. Аризонский дуэт пропитан атмосферой и пограничными влияниями южных штатов, но «The Thread That Keeps Us» больше не об этом, а об отстранённой и зачастую чисто инструментальной медитации. Создавалось всё это в Северной Калифорнии в месте, прозванном музыкантами The Phantom Ship. Они начинают пластинку с довольной резкой вещицы «Конец света с тобой», но дальше складывается впечатление, что Конвертино и Бёрнс привечают в гостях поочерёдно Криса Экмана, группу Eagles периода «Desperado» и Марка Рибо. И все вместе они музицируют в доме заходящего солнца, пытаясь помирить глубочайшую меланхолию со штрихами оптимизма, рождёнными миражами улыбок из прошлого.»

Robert Deeble — Beloved (PledgeMusic, 2018) — I’m very excited to be making this 6th album. It documents an amazing period of my life. Beloved is the meaning of my daughter’s name and this is a memoire of becoming her father. The album features lush string arrangements and wonderful guest appearances including: Jen Wood (The Postal Service), Graig Markel, Tomo Nakayama (Grand Hallway), Josh Golden (Pedro the Lion/Jurado), Tony Green & Antoine Arvizu (from Earthside Down), and Kris Rosentrater to name a few.

Atrium Carceri, Cities Last Broadcast, God Body Disconnect — Miles to Midnight (Cryo Chamber, 2018) — на xorosho.com написали так: Atrium Carceri, Cities Last Broadcast и God Body Disconnect собрались вместе на этом туманном альбоме. «Miles to Midnight» — это Дарк-джаз альбом с нуаровым оттенком старых фильмов Дэвида Линча: отель в ловушке между двумя мирами и детектив с травмированным прошлым. Живые джазовые барабаны от God Body Disconnect и кинематографическая стена звука строят фундамент таинственного отеля. Cities Last Broadcast приносит призрачное звучание кассетных плёнок и застрявшие во времени мелодии. Atrium Carceri сдувает пыль со своего старого пианино и разрушает реальность с низкими басовыми шумами, приводя вас в тревожно-сомнабулическое состояние. Приглашение пришло в конверте с ароматом корицы. Прошло много лет с момента Вашего последнего визита в отель, прежде чем в заголовках об убийстве написали о его закрытии. Неужели он снова открыт после стольких лет?! Пузырек с таблетками позже… Ваша машина подъехала к старому зданию. Включился свет с трудом пробиваясь сквозь густой туман. Отдалённые голоса и музыка задержались, как дым, когда вы вошли в вестибюль.

Black Flower — Intermediate State (Sdban Ultra, 2018) — Musicians make albums. But in this case it’s different. The four tracks on this ten inch release were created in between. It’s an intermediate piece that sits between two albums, reflecting on a series of special moments and special evolutions of Black Flower. The inspiration came from Salvador Dali’s creative dreaming ritual. With a pair of scissors in his hand, he sat back, closed his eyes and slid into sleep. The moment his body and mind enter deep sleep, the scissors dropped and waked him up. Dali then started painting using the inspiration he gathered from his dreams. These paintings can be considered the result of an intermediate state between consciousness and subconsciousness, a zone between being awake and sleeping.

Samuel Rohrer / Ricardo Villalobos / Burnt Friedmann — Range Of Regularity Remixes (Arjunamusic, 2018) — The two EPs of Samuel Rohrer’s Range of Regularity album — the album was released in April 2017 — present four striking reinterpretations by production specialists Ricardo Villalobos, Max Loderbauer and Burnt Friedman, and are now re released as a Bundle (2×12“ and digital), including the original mix of Uncertain Grace as a bonus track.

First Aid Kit – Ruins (Columbia, 2018) — Ruins is the new and eagerly awaited album from Swedish sister duo First Aid Kit. This new album finds First Aid Kit as you’ve never heard them before: wounded and biting back hard. While Ruins follows the traditions of the classic folk rock sound that First Aid Kit revived via their breakthrough album Stay Gold (2014) and previous releases The Big Black And The Blue (2010) and The Lion’s Roar (2012), the difference is that this time they’ve lived, and the results are intense.

Belle and Sebastian – How to Solve Our Human Problems Part 2 EP (Matador, 2018) — “We’re the younger generation, we grew up fast,” Stuart Murdoch sang on Belle and Sebastian’s “Me and the Major,” back in 1996. At the time, everything about his band seemed to actively cultivate the impression of a group already wise beyond its years: the wistful black-and-white album covers that sought to preserve a certain bygone innocence in amber; the richly narrative songs that felt like pages ripped from a secondhand novella; the refined record-collector reference points (Nick Drake, Nico, Love) indicative of indie aesthetes who’d retired from the student-disco scene. But on Belle and Sebastian’s latest EP, Murdoch offers a rejoinder that suggests he grew up a bit too fast for his own liking: “It’s tough to become a grown-up,” he cautions; “put it off while you can.”

The Liminanas — Shadow People (The Limiñanas, 2018)Few acts play so successfully with the juxtaposition of dark and light as France’s The Limiñanas. This married duo found its distinctive direction as early as the opening track on 2010’s auspiciously titled debut “The Darkside.” Five albums and seven years later, Shadow People continues the twosome’s lyrical and musical blueprint, heavy on the murky noir they have been perfecting on a batch of increasingly impressive if under the radar, especially in the States, works.

Fog Lake — Fog Lake / Euphoria Again (Out of Breath Records, split, 2018) — split record with euphoria again (euphoriaagain.bandcamp.com). tracks 1-4 written/produced by aaron powell. track 5-8 written/produced by johnny «JFK» klein (euphoriaagain.bandcamp.com)

The Yearning – Take Me All Over The World (Elefant Records, 2018) — The untiring Joe Moore is back with a new reference from THE YEARNING, in his endless search for beauty in music. In fact, some of the songs on this mini album were conceived as continuations of the songs included on the last album, “Evening Souvenirs”, after the adventures with Lia Pamina and THE PERFECT KISS.

TootArd — Laissez Passer (Glitterbeat Records, 2017) — Hasan Nakhleh, the lead singer and guitarist of TootArd, said in a recent interview that his band does not sing about politics because it’s “too complicated”. But politics are difficult to evade when you hail from Majdal Shams: a village in the Israeli-occupied Syrian region of Golan Heights. This is all too obvious in the title of TootArd’s international album, Laissez-Passer, released on Glitterbeat Records. Laissez-Passer refers to the travel documents that entitle Syrians in Golan to permanent residency in Israel, but also classify their nationality as “undefined”. At first glance then the album’s title invokes loss, insecurity and uncertainty.

Greg Jamie — Crazy Time (Orindal Records, 2018) — Семён Небаба написал: «Дезориентирующая красота тёмных романтиков. Грег Джейми почти в одиночку продолжает двигать апокалиптический фолк. А ведь ещё каких-то три года тому назад существовал некий круг представителей готик-кантри под негласным управлением Грега и Нью-Йоркской группы O’Death. Теперь Джейми перебрался на Родину в Потрленд, да и пластинка провалялась полтора года в сведённом формате и дальнейшее творческое развитие автора-исполнителя имеет только условные развития. Поэтому довольствуемся тому, что есть»

Ghost Music — I Was Hoping Youd Pass by Here (Arlen, 2018) — Matt Randall and Lee Hall have known each other for years, with the pair helping to steer 90s John Peel favourites Beatglider. Joined by fellow Southend based musicians Roy Thirlwall and Leighton Jennings, it’s fair to say that Ghost Music have a history. This weight of experience comes to the fore on their debut LP, with ‘I Was Hoping You’d Pass By Here’ deciding to wear its influences on its paisley pattern sleeve. So expect supremely dreamy guitar pop minimalism, with shades of Galaxie 500, K Records, and Flying Nun groups such as The Clean or even The Chills. A superb genre piece, where this debut album excels is in its presentation. The lucid songwriting aims to recover lost memories, delving in the band’s own adolescence – those superbly well chosen influences – to create shadows, the ‘ghost music’ of the band’s name.

Hampshire & Foat — The Honeybear (Athens of the North, 2018) — After the success of ‘Galaxies Like Grains of Sand’, Warren and Greg retreated back to the Isle of Wight to start work on long discussed concept album based on a fictional children’s book The Honey Bear. Each track a chapter of the book, hypnotic folk pieces mixed with ambient field recordings that Warren and Greg collected around the beaches, cliffs and gardens of the island. They brought everything together at home, organically forming this beautiful ambient folk tale during the island’s idyllic summer evenings. After finishing the initial mixes on the island they brought the tapes up to Scotland and overdubbed with Strings, Oboe and Flute. Whether your 5 or 50, the charm and beauty of The Honeybear is undeniable.

Arthur H — Amour Chien Fou (AllPoints, 2018)Arthur H n’en mène pas large. Assis dans le canapé d’une loge, chapeau noir sur la tête et chemise blanche, il doit chanter dans quelques heures sur la mythique scène du studio 105 de la Maison de la radio, à Paris. Mais il a de la fièvre, grelotte et boit du thé lorsque nos questions lui laissent un moment de répit. Musicien et poète hors pair, ovni de la chanson française, il sort ce vendredi 26 janvier un album studio, le dixième déjà, intitulé « Amour chien fou».

Helado Negro – Island Universe Story Four (RVNG Intl., 2018)Robert Carlos Lange reprises his balmy charms for RVNG Intl on Island Universe Story Four, arriving some four years since Story Three with a deliciously frayed and sun-kissed suite of wonky pop songs. Slotting perfectly into RVNG Intl’s swelling ranks alongside Breadwoman, Visible Cloaks, and Palmbomen II — to name but a few — Helado Negro is allowed to fully explore and indulge his idiosyncrasies inside, resulting an inimitably diverse set that takes in exquisite bubbles of pop soul (Come Be Me), beside more woozy psychedelic slices (ECHO 2), alien dancefloor grubbers (Mist Universe), and big-bootied beats that nod to his past as hip hop producer Boom & Birds (Glow You), and dwelling on the sweeter fringes of IDM/electronica (For A TimeWho Knows).

Kevin Morby & Waxahatchee — Farewell Transmission — The Dark Don’t Hide It (Dead Oceans, Singles, 2018)Kevin Morby & Waxahatchee, coming off a stellar 2017 with the release of critically acclaimed records (City Music and Out In The Storm, respectively), team up for an homage to Jason Molina on this digital 7”, covering two Molina classics from the artist’s critical and commercial zenith: “Farewell Transmission” off his monumental work Magnolia Electric Co. and “The Dark Don’t Hide It” off the critically acclaimed What Comes After The Blues. Proceeds from this release will go to the charity Molina himself had history with, MusiCares

Nicolas Peyrac — Suffit que tu oses (Note A Bene, 2018) — Nicolas Peyrac le chanteur du mythique « So far away from LA » qui lui a valu un disque d’or et le prix de la chanson francaise décerné par la Sacem est de retour.]]>Après la sortie de son album de duos en 2013 avec en autre Serge Lama, Bénabar, Julie Zenatti, François Morel pour ne citer qu’eux et un livre de souvenirs, Nicolas Peyrac décide d’écrire un nouvel album réfléchi et avec une exigence absolue tout en gardant l’esprit et l’ambiance de ses maquettes faites maison.]]

Steve Kilbey & Martin Kennedy — Glow and Fade (Golden Robot Records, 2017) — The first sound you hear on Kilbey Kennedy’s fifth proper studio album, 2017’s empyrean Glow and Fade, is a hollow, amorphous sigh, a space wind filtered through what sounds like a digital phone with a woman’s voice buried deep beneath. Soon, the dry white noise is joined by more organic sounds: the fluorescent sparkle of a moon-like synth and the curious, glowing inquiries of a small alien guitar cooing and laser-writing its way through the dark atmosphere. Emerging from this cosmogonic reverie, a realization: “I used to think that darkness was a metaphor, with you beside me as I breathe.” It’s a haunting way to start an album and one that completely envelopes you, drawing you deep into its cosmic womb. Collaborators since 2009, the Church lead singer/songwriter Steve Kilbey and All India Radio instrumentalist Martin Kennedy have a wondrously low-key, high-reward musical partnership. Together, they maximize everything you love about their individual projects. For Kilbey, it offers a chance to stretch out into further spectral areas than with the Church; for Kennedy, who is primarily known for his instrumental chillwave electronica, it means he has a charismatic singer who can lend further pathos and gravitas, not to mention pop lyricism, to his already evocative soundscapes. All of this is brought to bear on Glow and Fade, the duo’s most potently realized work to date.

Nicklas Sørensen – Solo 2 (El Paraiso Records, 2018) — на E:\music\krautrock написали так: Второй сольный альбом гитариста датской команды Papir. Добавив к своему саунду бразильской босса-новы, элементов нью-эйджа и космической электроники, Nicklas Sørensen удивляет слушателя новыми яркими красками и оттенками звукового полотна.

Rhye — Blood (Loma Vista Recordings, 2018) — is mood music. Los Angeles (by way of Toronto) producer, musician and vocalist Mike Milosh augers Blood in an orgy of analogue keys, sensual strings, plaintive percussion and a cooing contralto. Much of the mystery behind the movement that was 2013’s Woman has lifted; in its place, contentment. Initially a collaboration between Milosh and Danish producer Robin Hannibal, the latter was contractually obligated elsewhere, leaving Milosh to tour without him and further imprint Rhye as his own brainchild in the process. The time between albums was due to a mix of personal and label-related issues — a divorce, a new relationship and new label situation later, Rhye has returned with a near-perfect record.

феВраль

растадабы февраля: Delly Ranx — Weed Market (Pure Music Productions, 2018), Weeding Dub — Another Night Another Day (Wise & Dubwise recordings, 2018), NakSooKhaw — Optimise (R’pur Prod et Urban Conception, 2018), Horace Andy — Mek It Bun (Deluxe Edition) (Tabou 1, 2018), Sugardaddy — Judgement Day (iGrooveNext, 2018), Micah Shemaiah — Roots I Vision (Evidence Music, 2018), Coldcut — Make Up Your Mind (Ahead Of Our Time, 2018), Mister Nils — Tourné vers l’avenir (Khanti records, 2018),

Antoine Elie — Antoine Elie EP (Polydor, 2018) — De la chanson au hip-hop, ses paroles content une réalité brute.

The XX — Remixes (Young Turks, Compilation, 2018) — The XX

Pigalle — Ballade en mélancolie (L’Autre Distribution, 2018) — Pigalle avec François Hadji-Lazaro revient dans les bacs et sur les routes. Pigalle, dans les rayons et les salles de concert de 1985 à 1999, était réapparu (après trois albums solos de FHL) en 2008, avec Neuf et occasion , puis en 2010 Des espoirs avec deux tournées conséquentes de plus de 100 dates chacune.

La Goutte — Advienne que pourra (L’Autre Distribution, 2018) — Flamenco du port d Amsterdam, tango des Flandres…quelque part entre la musique de chambre et le rock de garage, La Goutte marche hors des sentiers battus et récolte les fruits que sa poésie et son magnétisme ont faits mûrir. En s énervant contre le monde à force de trop vouloir l aimer , c est une douce révolte, un grand parfum de liberté que la bande vous invite à partager. S il y a des poètes que le temps tarit, des musiciens que la trentaine assèche, les membres de La Goutte ne sont pas de ceux-là.

Monarch Mtn — I Woke At The Station (Fox Food, 2018) — It’s a pitch so overused that it should be cast in bronze and placed on a mantelpiece. I had the opportunity to go to an isolated cabin in the woods and record an album. I didn’t shave and I packed lots of flannel, all the stuff you would expect from a folk singer in 2017. But despite the isolation and lovely autumnal setting, I knew from the beginning that I wanted to make a city album. An album for driving down the highway in the middle of the night under a sodium vapor glow. A collection full of distinct characters, overflowing with hardship and longing. They wake up, they go to work, they fall apart under the pressure, they dream and dream. The question I really wanted to ask was this: Is there dignity in desperation?

Tal National — Tantabara (FatCat Records, 2018)Tal National don’t waste time trying to convince you. The opening title track roars out of the speakers with all the ferocity of a Black Flag joint, complete with a rapid fire a cappella declaration right off the top. The energy rarely lets up after that. It’s an aggressive blend of prog — precise, raw guitar leads and over-the-top waves of polyrhythms just daring you to sit still. The stoner funk of Fela and the laid-back swaying of Hi Life are far from this pogo. Tal National are still a big band, in the tradition of African popular music. The tribe create and travel as one community, but this type of lineup, combined with a rock energy and sound, ups the ante for action that far surpasses the traditional power already existing in large groove outfits. The last section of “Belles Reines” escalates into a a harmelodic, uptempo head-banger worthy of Prince’s “Lovesexy” on meth. The temperature cools on “Duniya,” but the precision and energy just seem to lurk underneath, exploding into an African Metallica guitar blast on “Akokas.” This release has the same charge as the early entries of Ali Hassan Kuban or Konono No. 1, both who set the bar for raw energy. The colonial demarcations of Africa have a lot to answer for, but this fusing of Songhai, Fulani, Hausa and Tuareg peoples has created gifts worth having. This is amazing music and the thought that will keep repeating is “When can I see them live?”

Holy Motors – Slow Sundown (Wharf Cat Records, 2018) — эстонский шу-слоукор, дебют.

The Dead Brothers – Angst (Voodoo Rhythm Records, 2018) — This is the 7th album of the Dead Brothers for Voodoo Rhythm Records and we are on the brink and at the end of the world. The disaster is imminent, fear prevails everywhere. Under these conditions, the Dead Brothers pilgrimage to the Vosges Mountains together with Rodolphe Burger to mix medieval yodelling sounds with the absurdity of Serge Gainsbourg. With texts by the late Robert Walser and underground filmmaker Marcus Aurelius Littler, they tell in fear 13 stories of joy and misery and of the difficulty of being human in these troubled times. Hundreds of violin and tuba notes, banjo and Wurlitzer organs, calypso and voodoo choirs play together on this new masterpiece by the legendary Dead Brothers. Who would have thought that the puzzle of European folklore that the Dead Brothers put back together would take this darker path. Rock’n’Roll, which was hidden in the Alps. Mixed by none other than: Bertrand Siffert (The Young Gods, Yello)

Wolf Müller & Niklas Wandt – Instrumentalmusik Von Der Mitte Der World (Growing Bin Records, 2018) — в собществе Feed Your Head написали: Свежая и яркая коллаборация двух германских музыкантов, для которых понятия “барабаны и перкуссия” не просто слова – оба питают явную страсть к различным экзотическим видам этих музыкальных инструментов. Первый – Jan Schulte, выступивший здесь под своим экспериментальным альтер-эго Wolf Müller – повелитель варганов и тропических перкуссий, второй — Niklas Wandt – опытный берлинский барабанщик, широко известный в узких кругах немецкого экспериментального и фри-джаза. Это первая совместная работа ребят, переросшая в полноценный альбом. Альбом, который мы безусловно будем слушать весь год.

Patrick Ruffino – Agoo (Music Development Company, 2018) — Né dans les années 70 au Bénin, Patrick Ruffino est bassiste, chanteur, auteur-compositeur, arrangeur et multi instrumentiste. Il a grandi dans la capitale la plus funky d’Afrique, Cotonou. Issu d’une famille multiculturelle, un père béninois, une mère burkinabé mais aussi une grand-mère ghanéenne, il baigne très tôt dans une atmosphère propice au croisement entre toutes les musiques africaines. Sa grande curiosité et sa soif d’apprendre vont lui permettre également de découvrir le jazz, le funk, la soul et les musiques afro-cubaines. Dès 10 ans il commence à chanter puis agrippe la basse du bassiste de la chorale pour ne plus la lâcher.

Belle and Sebastian – How to Solve Our Human Problems Part 3 EP (Matador, 2018) — Part three of Belle & Sebastian‘s How to Solve Our Human Problems series is the most assured and enjoyable of the bunch. It may not contain the best songs they’ve ever produced, but it does provide an insight into the current state of the band, one that’s still brimming with creativity and willing to experiment outside of their regular comfort zone. It goes some way to encapsulating the ethos of the project by giving us a snapshot of a group in transit, comfortable in their groove, but willing to explore and adapt to the changing musical landscape.

Борис Гребенщиков — Время N (Self-Released, 2018) — из врунета: «альбом группы «Аквариум» 2018 года. По решению коллектива пластинка выпускается под маркой БГ. По словам автора, диск продолжает «мрачную» тематику, начатую на альбоме «Архангельск» и получившую продолжение в «Соли». Официальная информация об альбоме «Время N» появилась 18 января 2018 года. Борис Гребенщиков кратко рассказал о нем в авторской радиопередаче «Аэростат». 20 января 2018 года магистры Северо-Западной Ложи Великих Дворников и Беспечных Рыбаков смогли услышать первый сингл с пластинки – песню «Темный, как ночь». Выпуск номерного альбома под маркой «БГ» Борис Борисович объяснил следующим образом: Поскольку альбом этот, да и вся трилогия («Архангельск», «Соль», «Время N») – путешествие из тёмного края к свету и мрачность, особенно в первой половине, зашкаливает, то нами было принято решение выпустить этот альбом под псевдонимом БГ. Так что когда вы видите буквы БГ, то просто имейте в виду, что БГ это – псевдоним Аквариума.»

Tunnelvisions – Midnight Voyage (Remixed) [Atomnation, AMT055, 2018] — очередная порция ремиксов из альбома тоннельнозрячих (Raynor de Groot and Emiel van den Dungen). Genre: Indie Dance / Nu Disco Label: Atomnation

Robert Earl Thomas – Another Age (No Other Music, 2018) — из врунета: «дебютный сольный студийник Роберта Эрла Томаса (Rоbеrt Еаrl Тhоmаs), американского музыканта, основателя и гитариста бруклинской инди-рок-группы Widоwsреаk, с которой он записал 4 ярких альбома. Widоwsреаk сразу были тепло восприняты критиками, их сингл был использован в качестве саундтрека к одной из серий т/с «Американская история ужасов». Сольный дебют — это попытка выйти за рамки Widоwsреаk, создать что-то новое — «это альбом о маленьких моментах жизни с большими эмоциональными следами».»

Ryuichi Sakamoto – Async Remodels (Commmons, 2018) — из врунета: «После выпуска успешного «электронного шедевра», альбома «Аsуnс» Рюичи Сакамото в прошлом году, лейбл Мilаn с гордостью представляет альбом ремиксов и реворков от таких таких известных проектов, как Jоhаnn Jоhаnnssоn, Fеnnеsz, Аrса, S U R V I V Е и других. Данный альбом — настоящий взгляд со стороны, переосмысление, и никто из поклонников Сакамото не может позволить себе его пропустить. Рюичи Сакамото (родился 17 января 1952, спец. район Накано, Токио, Япония) — знаменитый японский музыкант, композитор, актер и продюсер. Лауреат премий «Оскар», «Грэмми» и ВАFТА, двукратный лауреат премии «Золотой глобус». Известен по музыке к фильмам Бернардо Бертолуччи «Последний император», «Под покровом небес» и «Маленький Будда». Рюичи Сакамото окончил Токийский национальный университет искусств и музыки. Сделал карьеру, переходя музыкальные и технологические границы. Сакамото экспериментировал и добился успеха во многих музыкальных стилях, сделав себе имя в популярной, оркестровой и киномузыке. Проявил себя как аранжировщик, композитор, студийный музыкант. Сотрудничал с таким музыкантами, как Дэвид Боуи, Игги Поп, Дэвид Сильвиан, Дэвид Бирн, Кристиан Фэнеш, Кетано Велозо и многими другими.» или так » С альбомами ремиксов дела обстоят примерно так же, как и с теми самыми конфетами из эпопеи про одного мальчика-волшебника: получи пригоршню, и, в зависимости от везения, ощути во рту вкус старого башмака или же гейзер доселе не знакомых божественных ощущений. В случае альбома Рюити Сакамото, базовая планка настолько высока, что она просто не могла не привлечь достойнейших представителей жанра. И так и произошло: не упав в грязь лицом, «async remodels» отдает дань почтения отцу-основателю японской электроники. В чем-то это похоже на оскаровскую «награду за заслуги» — на поверхности альбом сияет вдохновением и лоском высшего общества, однако временами ему недостает сырости и глубины эмоций оригинала. К лучшим моментам пластинки можно отнести работы бывших коллабораторов Сакамото и подающих надежды новичков: это смягченная призрачными синтами колючая строгость трека Alva Noto «desintegration» и не находящий выхода беззаветный романтизм версии «solari» от Fennesz. Ну а стоит ли пробовать остальные конфеты из этой пестрой коробки – вам придется решать на свой страх и риск.»

Wild Child – Expectations (Dualtone Music Group, Inc., 2018) — Austin indie-pop outfit Wild Child have gained quite a bit of traction since their 2011 debut Pillowtalk, and with their new album Expectations, they’re bound to go above and beyond the standard of energetic and emotive music they’ve set over the past six years. For their fourth LP, the band took the unconventional route: Rather than staying put in one place and working with a single producer, they traveled far and wide when developing the tracks of their album, collaborating with myriad well-known producers to create an eclectic medley of songs that boast the far-reaching limits of what the band is able to mold in style and sound. In turn, Expectations is wildly diverse, yet achieves cohesion through the talents of each of Wild Child’s seven members. Their journey took them as far as Tromsø, Norway to work with Chris Walla (formerly of Death Cab for Cutie) and as close to home as Wimberley, Texas, where vocalist Kelsey Wilson grew up, to be in cahoots with Delta Spirit’s Matthew Logan Vasquez. In between, they’ve ventured to Philadelphia to conspire with Dr. Dog’s Scott McMicken, and also joined forces with Shakey Graves collaborator Chris Boosahda, indie-pop extraordinaire Max Frost and Grammy Award-winning producer Adrian Quesada. Opening with the ukulele charm of “Alex” and soft sway to “Eggshells,” the album begins in familiar territory before Wilson takes control with the punchy, Sara Bareilles-styled “Back & Forth.” She emerges as the local septet’s driving force behind a vocal range that stretches alongside her maturing explorations of heartbreak and revival. Her latter-half highlight “Sinking Ship” drifts lightly with a Joni Mitchell touch against the torching “My Town,” even as “The One” and “Goodbye Goodnight” duet coyly. Without sacrificing Wild Child’s signature pop swell, Expectations emerges soulful and serious.  — austinchronicle.com

Sarah Blasko – Depth of Field (EMI, 2018) — Is Sarah Blasko going through deep trauma, or a massive break-up? Many of the songs on her new album, Depth of Field, seem to indicate so. In some places they call to mind Donna Summer; in others they are reminiscent of Sophie Ellis-Bextor’s troubling (and sublime) Murder on the Dancefloor. Her music is shot through with desire, a longing that goes beyond the usual template of imagined and sometimes real slights. Calling a song “Never Let Me Go” may well not be the most original idea around, but Blasko invests the phrase with a degree of vulnerability and hope that goes far beyond the norm.

GusGus — Liеs Аrе Моrе Flехiblе (Oroom, 2018) — из врунета: «Популярная исландская электронная группа 90’х и 2000’х годов GusGus из Рейкьявика вернулась с новым студийным альбомом «Liеs Аrе Моrе Flехiblе», выпущенным 23 февраля 2018 года и ставшим десятым в их дискографии. В течение месяца альбом можно будет приобрести только на их музыкальных шоу, а в марте он станет доступен на виниловых пластинках и СD-дисках. За последние годы в проект были внесены значительные изменения. В настоящее время GusGus представляет собой группу из двух человек, дуэт Биргира Сораринссона и Даниеля Агуста Харальдсона. GusGus отправится в тур по Европе в апреле и мае. / Группа была создана в 1995 году режиссёрами-клипмейкерами Сигюрдюр Кьяртанссоном и Стефауном Аурни Торгейрссоном. В состав, помимо них, вошли вокалисты Магнус Йоунсон, Даниель Агуст Харальдсон и Хабдис Хюльд Трастардоттир, а также менеджер коллектива Бальдюр Стефаунссон. Несколько позже присоединились известные в Рейкьявике диджеи Херб Леговитц и Бигги Тоураринссон. Через два года после создания группы был записан альбом «Роlуdistоrtiоn». Электронно-танцевальное звучание музыки сочетало элементы техно, фанка, хип-хопа, хауса. Помимо сольных выступлений, Gus Gus выступали в концертных турах с британскими коллективами Соrnеrshор и Lаmb.»

Hailu Mergia (ኃይሉ መርጊያ) ‎– Lala Belu (Awesome Tapes From Africa, 2018) — Hailu Mergia — Keyboards, Accordion, Melodica Tony Buck — Drums Mike Majkowski — Upright Bass, Produced by Hailu Mergia, Recorded at EMS4, London, UK 
Additional recording by Javon Gant, Cue Recording Studios, Falls Church, VA, Cover image drawn live on iPad by Jenny Soep, Stockholm 2013. At one level it’s the record of a traditional jazz trio, with drummer Tony Buck and bassist Mike Majkowski backing Mergia’s keyboards, and at times Mergia’s swirling Hammond organ shows his debt to the jazz-funk of Jimmy Smith. Yet Mergia’s approach is often unorthodox. His melodies, snaking up and down the pentatonic scales of Ethio-jazz, are hypnotic and mysterious. His keyboards pit organ against electric piano, and switch to an accordion that shifts between the woozy opener Tizita, to the shrillness of Addis Nat, which arrives in a blitz of hard drumming. Exuberant or contemplative – the closing Yefikir Engurguro is solo piano – it’s a thrilling ride.

Jamison Isaak (Teen Daze) — EP1 (FLORA, 2018) — The first release from Jamison Isaak (Teen Daze), under his own name. Recorded between his home studio and Protection Island Recording (with Jonathan Anderson) in Maple Ridge, British Columbia, this EP navigates through four serene piano pieces. Anderson, who collaborated with Isaak on Themes For Dying Earth (Anew), not only provided the blissful pedal steel parts you hear, but also engineered a good portion of the record over one grey, rainy afternoon. Music intended for relaxation purposes.

Tor Lundvall — A Dark Place (Dais Records, 2018) — American painter and musician Tor Lundvall presents a time-stopping new album on NYC’s Dais Records. Just as the sublime lead single Quiet Rooms promised, the full album is a beautifully measured dream sequence of ambient electronics, finding the artist tentatively balancing pastoral atmospheric themes with more introspective, cold and lonely feels, weaving sparingly used vocals into somnambulant scenes fringed with a sort of gothic air of decadence/despair. It reminds us of tonnes of stuff ranging from Signer to Deepchord’s Coldest Season thru to Closer Musik, HTRK, Hood or Alessandro Cortini — basically really lovely ambient electronica with poised, etheric vocals. или изврунета: «Dais Records недавно представил новый тёмный поп-шедевр от художника-авангардиста и композитора Тора Люндвалля. Музыкант еще с начала века экспериментирует с эмбиентом, но после присоединения к ростеру Dais вышел на по-настоящему международный уровень, а его музыка стала разносторонней. «A Dark Place» — холодный эмбиентный звук, спокойствие которого нарушают плавная ритм-секция и меланхоличный вокал. Тор вернулся к вокальным партиям после первого опыта в 2009-м с альбомом «Sleeping and Hiding». Вернулся, чтобы рефлексировать, размышлять о потустороннем и безвозвратном, поделиться ощущением легкой, но неизбежной грусти. «Произведения Тора Люндвалла — всеохватывающая музыка, в сочетании с его картинами создающая мир, в котором можно легко исчезнуть» — так комментирует лейбл пластинку в официальном пресс-релизе». (:\music\art pop)

Taylor Deupree ‎– Fallen (Spekk, 2018) — «When I sit down to write an album I will usually come up with a technical and compositional concept to help focus my writing. Whether it is a restricted palette of instruments or a specific way of approaching the writing, this practice has helped me explore different processes and helps keep the album focused. My previous album Somi was such an album. Hyper-focused and very deliberate in creation. However, there are times where I want to be more relaxed and just write what comes freely. In a way Fallen is such an album. When I began writing it the only strong rule I put on myself is that it would be my first album centered around the piano as the main instrument.»

Imarhan – Temet (City Slang, 2018)изврунета: «За последние пару лет гипнотическое звучание туарегской гитары стало одним из ключевых трендов африканской музыки. Жрецы психоделического рока от Мали до Нигера совмещают в своих ритуальных песнопениях элементы традиционной музыки берберов и блюза, на выходе получая нечто среднее между драйвовостью Джими Хендрикса и спиритуализмом Умм Кульсум. И так как эта смесь по своим горючим свойствам гораздо превосходит коктейль Молотова, то именно её и взяла на вооружение алжирская группа Imarhan в своем одноименном дебютном альбоме 2016 года. Работая над второй студийной пластинкой, коллектив сделал шаг дальше: рок-н-ролльная основа здесь существенно разбавлена фанковыми мотивами. Как результат, музыка теперь подходит не для уединенной медитации, а скорее для погружения в массовое бессознательное на танцполе. Однако скоростные боевики с пылающими гитарами и экзальтированным вокализом «Ehad wa dagh» и «Tumast», по уровню эпичности и накала страстей конкурирующие с лучшими хитами Болливуда, в альбоме гармонично переплетаются с акустическими островками умиротворения в треках наподобие «Zinizjumegh», так что обиженным не уйдёт никто.»

Mildlife ‎– Phase (Research Records, 2018) — Narrowing down Mildlife’s style into a genre is almost impossible, as they bond over the desire to push musical boundaries. No strangers to the Melbourne band scene, the four old friends have been drawing crowds through an epic journey at intimate venues and festivals for the best part of the past 4 years. Developing a tight live show bolstered by wild improvisation, the group have left punters itching for their first full length studio album Phase that mines jazz, psych and disco for its irresistible groove. Capturing the spirit of the band, the 6 track debut LP of kaleidoscope jams is the interplanetary path between jazz, funk and disco with the perfect amalgamation of cosmic electronics and soulful acoustic instrumentation.

GiedRé — GiedRé est les gens (Le Rat des Villes, 2018)Après avoir sillonné les routes pour sa Tournante afin de présenter son dernier album, » Lalala «, GiedRé revient avec 14 nouveaux titres, qui annoncent le nouvel album à paraître en février prochain, et aussi le nouveau spectacle : GiedRé Est Les Gens. Accompagnée de Cédric Perras, co-compositeur de l’album et désormais compagnon de route en tournée, GiedRé pointe la souffrance des petits, des sans-grades, mais sans jamais verser dans l’indignation consensuelle. GiedRé aborde les vrais sujets (la souffrance, la solitude, la maladie…) avec une délicatesse rigolarde, une potacherie de dentellière et un refus de tout compromis. Mais tout ceci au sens premier du terme : GiedRé compatit. Et cette compassion abrasive ne se drape d’aucun tabou, sinon la générosité…

Johnny Dowd – Twinkle, Twinkle (Mother Jinx Records, 2018) — “Reverence be damned. . . . Twinkle, Twinkle finds the prolific miscreant sifting through some of the keystones of American blues, folk, and jazz and giving them a radical makeover. . . . few manage to recycle existing musical forms quite like him.” — Rob Hughes (Americana album of the month, February 2018 Uncut)

мАрт

мартовские растадаб-релизы: Westland — Westland (Inmylife Production, 2018), Monkey Marc — Yaad N Abraad Riddim (Digikillaz, 2018), Westland — Westland II (Inmylife Production, 2018), Gentleman — Gentleman and Friends (Al.ta.fa.an Records, 2018), VA — Civil Rights Riddim (Giddimani Records, 2018), Vibronics — Woman on a Mission (SCOOPS Records, 2018), VA — Africa Iron Gate Showcase (Dub Store Records, 2018), King Tubby — Concrete Jungle Dub (Dub Store Records, 2018), Iba Mahr — Get Up and Show (Oneness Records, 2018), Groundation — Each One Teach One (Remixed & Remastered) (HTS Roots Creations, 2018), Groundation — Each One Dub One (Baco Records, 2018), Dubheart & Fullness — Cool Under Pressure (Karnatone Records, 2018), The Prophecy — Where We Belong (ROW Factory, 2018), Jah Cure — Armagideon (Diwali Records, 2018)

Brazzaville — Dream Sea (David Arthur Brown, 2018) — очередной альбом Дэвида, о котором он сказал так: «Этот альбом является особенным для нас. Он посвящён Джо Фрэнку (Joe Frank), который сыграл очень важную роль в моей жизни, а также был одним из вдохновителей группы Brazzaville. И новый альбом группы начался с песни Dream Sea, которая основана на рассказе Джо Фрэнка». Recorded at Regas 30 (Barcelona), the Fellini Cloud (LA) and Atlantic Recordings (Brooklyn). Mixed by Nic Hard and Diko Shoturma. Mastered by Dave McNair. All songs written by David Arthur Brown.

Suuns – Felt (Secretly Canadian, 2018) — из врунета: «новый альбом канадского квартета Suuns из Монреаля, исполняющего причудливую психоделическую музыку, таинственную и экспериментальную. «Арт-ро­ко­вые текстуры, чёткий краутовый ритм, заимствованный у Suiсi­dе или Jоу Divi­siоn, параноидальный вокал фронт­мена Бена Шеми, который то поет, то издаёт звуки, плохие на предсмертную агонию раненного животного.» Состав: Бен Шеми (Веn Shеmiе, вокал, гитара), Лиам О’Нил (Liаm О’Nеill, ударные), Макс Генри (Мах Неnrу, клавишные, бас) и Джозеф Йармуш (Jоsерh Yаrmush, бас, гитара). Группа славится умением держать аудиторию в напряжении во время их живых выступлений.»

David Byrne – American Utopia (Nonesuch, 2018) — American Utopia, due out March 9th through Nonesuch Records, marks Byrne’s first solo album since 2004’s Grown Backwards. Since then, the Talking Heads mastermind has released album-length collaborations with Brian Eno, St. Vincent and Fatboy Slim. For the LP, Byrne worked with a fleet of in-demand producers, including Eno, Rodaidh McDonald, Daniel Lopatin (Oneohtrix Point Never), Jack Pinate, Jam City and Thomas Bartlett (Doveman). The album was recorded in Byrne’s home studio in New York City as well as studios in New York and London. “This album is indirectly about those aspirational impulses. Sometimes to describe is to reveal, to see other possibilities. To ask a question is to begin the process of looking for an answer. To be descriptive is also to be prescriptive, in a way. The act of asking is a big step,” Byrne continued. “The songs are sincere—the title is not ironic. The title refers not to a specific utopia, but rather to our longing, frustration, aspirations, fears, and hopes regarding what could be possible, what else is possible. The description, the discontent and the desire—I have a feeling that is what these songs touch on.” или изврунета: ««Дэвид Бирн представляет свой новый студийный альбом, получивший название «Аmеriсаn Utорiа». Это его первая студийная пластинка с 2004 года. / Экс-лидер знаменитой группы Таlking Неаds, несмотря на славу былых лет, живет настоящим (яркий пример — коллаборация с St. Vinсеnt), но сольных пластинок он не выпускал уже 14 лет. Ситуацию исправил «Аmеriсаn Utорiа», заботливо сделанная работа с оглядкой на время — в работе среди прочих приняли участие продюсер Тhе хх, Оnеоhtriх Роint Nеvеr, Jаm Сitу и Sаmрhа. Его тезка Дэвид Линч, еще один седовласый американец с необъятным послужным списком, смог вернуться и всех удивить — возможно, получится и у Бирна. / Дэвид Бирн (англ. Dаvid Вуrnе, 14 мая 1952, Дамбартон, Шотландия) — американский музыкант, автор песен, продюсер, фотограф шотландского происхождения. Обладатель «Грэмми», «Оскара» и «Золотого глобуса», музыкант, наиболее известный как основатель и автор песен коллектива новой волны «Таlking Неаds». В данный момент проживает в Нью-Йорке.«

Seun Kuti & Egypt 80 – Black Times (Strut, 2018) — Strut presents the new album from the modern day leader of Afrobeat, Seun Kuti. The youngest son of Afrobeat legend Fela Anikulapo Kuti is as incensed by injustice as his father ever was and, with his mighty new album Black Times including features from Carlos Santana and Robert Glasper, he honours the revolutionaries who have gone before and rallies the torch-bearers to come.

Dick Stusso – In Heaven (Hardly Art, 2018) — That old blues hound dog Bonnie Raitt probably sang it best and most lucid in her timeless, pedestrian hit “Nick of Time»: “Life gets mighty precious when there’s less of it to waste.” And so now, her wise lyrical turn seems to be ringing true for Oakland muso Dick Stusso. When we last caught up with this Bay Area BBQ gaucho on his debut, Nashville Dreams, he’d hit that special zen layer of loserdom. He’d thrown up his hands into the folly of failure. He was the affable, bumbling red-cheeked drunk lurking around the edges of the cookout — bumming smokes, putting down all the white wine and cocktail shrimp he could get away with. But now, a couple years on, that early-30s existential dread has crept its way into Dick’s purview. With his sophomore long-player In Heaven, Stusso’s numbered human days are on his mind. Without stumbling into pomposity, Dick has taken back the wheel on his life and is doing a bit of hotdogging.

Chip Taylor – Fix Your Words (Train Wreck Records, 2018) — Although Chip Taylor is most famous for writing two especially iconic songs, that is only part of the story, as The New York Times wrote: “If you only know him as the as the guy who wrote ‘Wild Thing’ and ‘Angel of the Morning’ — you don’t know him! Chip Taylor is making some of the most distinctive acoustic music around today.” With the release of Fix Your Words, he continues to create timeless, thought-provoking music. The 11 all-original songs on Fix Your Words feature two distinct sides. The amazing title track leads side A through the quiet, reflective batch of prayerful thoughts. Side B, subtitled “When I Was a Kid,” is an inspired meditation on the power of memory and sadness and features some of the most emotional and affecting songs of Taylor’s lifetime of songwriting.

variant — vortexual [inception] (echospace [detroit], 2018) — After a serious turbulent start to the new year things have finally calmed down and are coming together, in introspection, we leave you with a gorgeous outtake from the ever-expanding vortexual project. During the past 2 months of restoring our home office and studio, we ascertained the original master recordings which conceptualized the entire vortexual project(s). This was dated prior to any subsequent releases, the first step in the evolution aptly titled, «inception.» Sensuous streams of reverberation offer an ethereal plane of existence; a place where one can live, breath and escape. Transcendental sonic immersion of the highest order, an ethereal electric dream.

Yo La Tengo – There’s A Riot Going On (Matador, 2018) — new album There’s a Riot Going On. (Yes, it is in reference to Sly & the Family Stone’s 1971 record of the same name.) The self-produced record, which is their first studio album since 2013’s Fade, arrives March 16 via Matador.

Chrysta Bell — Chrysta Bell EP (Meta Hari, 2018) — новый экстендед плей от Крис (Пикс).

Jon Hopkins — Emerald Rush (Domino Recording, Single, 2018) — Титульный сингл “Emerald Rush” из первого за пять лет альбома «Singularity», который выйдет 4 мая 2018 года на Domino Records.

cv313 — Analogue Oceans (Echospace [Detroit], 2018) — The furthest depths of sound are awakened in this distinctive sonic environment inspired by ocean movements and its mysteries. Beginning anew, cv313 delivers an etheric approach in, «analogue oceans» that fearlessly illuminates the culmination of 25-years of sound design, a continuous transformation that engages the listener in ways it never has before. Shimmering metallic washes of color meet sub-aquatic tones, creating an immersive sonic world unlike anything heard before, this is hands down some of most engaging sound worlds this project has ever explored.

Dominique A — Toute latitude (Wagram Music — Cinq 7, 2018) — изврунета: ««Уроженец Прованса, Доминик Ане (Dоminiquе А) появился на свет 6 октября 1968 года. Первую группу Jоhn Меrriсk основал в 17 лет, квартет записал несколько синглов и распался, после чего Доминик какое-то время работал с Филипом Бланшаром. В 1990 году музыкант в домашней студии была сделана запись “Un Disquе Sоurd”, 150 виниловых копий которой музыкант разослал по радиостанциям и фирмам грамзаписи. Вскоре после этого друзья Доминика основали собственный лейбл Lithium, на котором планировалось выпустить его диск, а когда Lithium перешел во владение Virgin, новое начальство предоставило молодому певцу более широкие возможности. Изданный в 1992 году “Lа Fоssеttе” снискал самые высокие похвалы критики. Альбом 1995 года принес Доминику “Викторию” в категории “Лучший новый певец”. Во второй половине 90’х музыкант активно сотрудничал с Франсуазой Брет, написав большую часть материала для двух ее альбомов. Часто Доминик Ане пишет песни на стихи своих любимых поэтов, среди которых Ришар Моргив, Элен Ленуар, Хлои Деломе и Доминик Фабр.»«

VA – Gumba Fire: Bubblegum Soul & Synth Boogie in 1980s South Africa (Soundway Records, 2018) — Compilers Miles Cleret (Soundway) and DJ Okapi (Afrosynth Records) present a selection of 16 rare, handpicked 1980s cuts that highlight the period that nestles in between the ‘70s (where American-influenced jazz, funk and soul bumped shoulders with local Mbaqanga) and the ‘90s when Kwaito and eventually house-music ruled the dancefloors of urban South Africa. Alongside French-Caribbean Zouk this kind of music has slowly been making its way into the DJ sets of many of the most open minded selectors around the world. This compilation is in many ways a sister release to the hugely popular compilation of Nigerian boogie and disco that Soundway released in late 2016 : “Doing it In Lagos: Boogie, Pop & Disco in 1980s Nigeria”. The album takes its name from the band Ashiko’s track of the same name Gumba Fire that features on the compilation. The term is derived from gumba gumba, the term given to the booming speakers of the old spacegram radios that broadcast music into South Africa’s townships and villages. The phrase later evolved into Gumba Fire to refer to a hot party.

Tornado Wallace – Lonely Planet Remixes EP (Running Back Records, 2018)Lonely Planet, the debut album from Tornado Wallace, AKA Lewie Day, explored the producer’s serene and downtempo side. Much of the LP wasn’t suited to the dance floor, leaving a gap that this remix package aims to fill. «Today,» featuring the Melbourne artist Sui Zhen, gets an rework by the respected French producer I:Cube. It’s masterful in its simplicity. The clattering bongo-like percussion does much of the work, accompanied by a simple synth lead and a touch of atmospherics. I:Cube faithfully keeps the Balearic allure of the original, which melds with Zhen’s breathy vocals. He uses a similar combination on the equally great «Aujord’Hui Beats» version, foregoing most of the vocals to allow the dubby percussion to shine. Move D’s remix of «Today» is tougher thanks to a brooding 4/4 house kick. Most of the track feels perfunctory, but it eventually gleams with vocals and shimmering synths. Prins Thomas’s uptempo take on «Trance Encounters» is a natural fit. The original’s blissful guitars are backed up by a slow-burning groove that builds in energy with distant whirrs and a percolating synth. It’s what we’ve come to expect from Thomas, but you’ll still want more when this nine-minute track ends.

DeepChord & Fluxion present Transformations — Bonafide EP [Vibrant Music, VMR002, 2018] — For their 2nd Transformations meeting, DeepChord & Fluxion work to a subtler shadowplay of vibes. Starting with the stealthy roll of Bona Fide Pt.1 recalling Moritz von Oswald’s memorable remix of 2raumwohnung, but sans the vox and pads, while Pt.2 melts out into more languorous and dusky balearic styles.

Les Hurlements d’Léo — Luna de Papel (ZN productions, 2018) — Le 10ème album des Hurlements D‘Léo « Luna de Papel » est tout chaud ! Il sortira en mars 2018 sur le Label Irfan de leurs amis Les Ogres de Barback.

Cloudmakers Five – Traveling Pulse (Whirlwind Recordings, 2018) — Vibraphonist Jim Hart has extended the reach of his Cloudmakers Trio which released three albums: AJMiLIVE #7 (2015), Abstract Forces (2014) and Live at The Pizza Express (2013), all for Whirlwind Records. Now the trio is augmented by reedsman Antonin-Tri Hoang and guitarist Hannes Riepler. But the trio’s rhythm section remains constant with Michael Janisch on bass and Dave Smith on drums. Hart, who now resides in France, is a stalwart of the British jazz scene, having played alongside such luminaries as Sir John Dankworth, Cleo Laine, Kenny Wheeler and Stan Sulzmann.

Sidi Toure – Toubalbero (Thrill Jockey Records, 2018) — Acclaimed Malian musician Sidi Touré returns with his fourth album, ‘Toubalbero’. Named after the large traditional drum used to gather people in the Malian region of Gao, ‘Toubalbero’ is a danceable, dynamic and, despite the region’s significant political challenges, joyous album. “‘Toubalbero’ is the first album by the acclaimed Songhaï legend to be recorded with electric guitar and bass – the groove is irresistible. ‘Toubalbero’ was recorded in Mali’s legendary Studio Bogolan where Ali Farka Touré, Toumani Diabate and Björk have recorded. The album was then mixed live by Jason Meagher at Black Dirt Studio (Steve Gunn, Black Twig Pickers, Jack Rose).

Rose McGowan — Planet 9 (Damage Inc Productions, 2018) — Rose McGowan is an american actress, director, writer, musican and political activist for women’s rights. She has some soundtrack songs in her portfolio (Charmed and Grindhouse, for example) and in 2015 she released RM486, her first single as a proper musican. The song mixed pop and electronic sounds with references to Blade Runner/Do Robots Dream of Electric Sheep. Planet 9 will be her first full length album with songs like Serene and Now You’re Here, already officially released before the LP.

Aldebert — Le meilleur des chansons pour les grands (Note A Bene, 2018) — Après ses succès consécutifs autour de sa trilogie «Enfantillages» (plus de 300 000 disques vendus), il est temps de redécouvrir les meilleures petites chansons pour les grands.

Micah P. Hinson – At The British Broadcasting Corporation (BBC, 2018) — Following hot on the heels of 2017’s double concept album “Presents The Holy Strangers”, Micah P. Hinson is set to release a collection of tracks recorded for Marc Riley at the BBC over the last 14 years. Re-mastered at Bent Leaf Studios in Texas, overseen by Micah himself at the end of last year, these 11 tracks were picked from a wealth of cuts from Micah’s visits to Marc Riley over the course of nine albums.

Апрель

растадабы апреля: O.B.F & Charlie P — Ghetto Cycle (Dubquake Records, 2018), Mellow Mood — Large (La Tempesta Dub, 2018), King Kong — Repatriation (Irie Ites Records, 2018), Jah Mason — The Journey (New Creation Records, 2018), Jah Mason — My Princess Gone (New Creation Records, 2018), Christafari — Original Love (Lion of Zion Entertainment, 2018), U-Roy — Talking Roots (Ariwa, 2018), Mad Professor – Electro Dubclubbing (Ariwa Sounds, 2018), Winston Reedy & Salute — Vision in Life (Room In The Sky, 2018)

Chris Carter — Chemistry Lessons Volume 1 (Mute , 2018) — is a record that offers an overture of the history of electronic music, something that Carter has helped shape. In this instance the artist explores all the different aspects of this sound, presenting an overarching work and condensing these in short forms. The process works perfectly and the movements from the dark, minimal realm of “Ars Vetus” all the way to the dance moments of the opening track, via the noir-esque labyrinth of “Modularity” and the sci-fi induced movements of “Lab Test”, does not seize to amaze. — PopMatters

Françoise Hardy — Personne d’autre (Parlophone France, 2018) — Françoise Hardy revient avec son  24ème album studio Personne d’autre à paraître le 6 avril.Son dernier opus ‘L’Amour Fou’ était sorti en 2012.Françoise Hardy a fait appel à Erick Benzi pour la réalisation de ce nouvel album et à La Grande.

EELS — The Deconstruction (E Works Records, 2018) — из врунета: «После четырехлетней паузы известная американская рок-группа Ееls вернулась с 12-м по счёту студийным альбомом «Тhе Dесоnstruсtiоn». Альбом уже получил положительные отзывы. Пауза была вызвана тем, что фронтмен и лидер Марк Оливер Эверетт вообще думал, что уходит из музыки, но к радости поклонников Ееls этого не произошло. Группа была образована в 1995-м году в Лос-Анджелесе. Собственно, Эверетт остаётся единственным её постоянным участником; остальные же музыканты сменяют друг друга, как в студии, так и на сцене. Песни Ееls всегда были востребованы в кино и звучат в саундтреках множества фильмов и сериалов.»

36 — Circuit Bloom (3SIXTAPE004, 2018) — «It’s been 7 years since the last 36 tape release and I am pleased to return to the format for the ‘Circuit Bloom’ EP. It contains a selection of 6 predominantly piano-based tape loops, exploring the themes of isolation and escapism, through a Cyberpunk-inspired lens. For me, Cyberpunk is about people living on the fringes of society, finding ways to deal with the hardships they face, through the manipulation and exploitation of technology. It’s a genre/aesthetic I’ve always loved and its influence has always seeped into my music.» — 36 «Circuit Bloom» serves as a companion to an upcoming 36 album, providing a prelude for what is to come later this year. It’s the perfect soundtrack for standing outside the balcony of your high-rise apartment, watching the rain fall onto the city at night. It is available on limited edition (100 copies) C30 cassette and digital/streaming. The digital release also includes the «Versions» bonus tracks, which are rain-soaked ambient remixes of the original tunes, where the melodies are blurred and the raw atmosphere of each track is brought into focus.

R. W. Hedges — The Hunters In The Snow (Wonderfulsound, 2018) — As opening lines to albums go, “You may look at me and think the lord employed a fool to sit around and sing of nothing,” is a bold offering, but what R W Hedges lacks in warm introductions they more than make-up for in sweet and intriguing folk songs, their new album, The Hunters In The Snow, crafting subtle adventures that make for an immersive and often revelatory journey through various musical landscapes that rise and fall throughout, shifting in the light as they roll forward, restful and restrained.

The Caretaker — Everywhere at the End of Time — Stage Four (HAFTW028-COL, 2018) — Четвертая глава в серии из шести альбомов, продолжает описывать стадии прогрессирующей деменции, постепенного распада психических функций. На этот раз мы на этапе «пост-осведомленности», когда попытка вспомнить, отдельные вещи приводит к ужасу и смятению. Это начало заключительного процесса, где воспоминания становятся всё более изменчивыми — запутанными, повторяющимися, разорванными. Воспоминания о хороших временах приходят в пикнолептических вспышках, подобно музыке, которая изо всех сил пытается следовать определенной траектории, но вместо этого колеблется между расколотой мозаикой идей и неуловимыми эмоциональными жестами. (E:\music\ambient)

Naukograd — Ультрамарин (EP, 2018), Naukograd — Апрель (EP, 2018), Naukograd — Мечты (EP, 2018) — команда из двух человек: Ilya Orange и Fireya. Задумали проект в жанре sovietwave и в январе 2018 дебютировали с EP «Мечты», затем «Апрель» и «Ультрамарин». https://soundcloud.com/naukograd

Ebo Taylor — Yen Ara (Mr Bongo, 2018) — Ghanaian music legend Ebo Taylor returns with perhaps his finest album to date. But don’t take our word for it. That’s coming straight from the man himself. And he should know after more than 60 years in the business. The 81-year-old composer, arranger, guitarist and vocalist has been a key figure in the evolving afro-funk sound since the Seventies, working with the likes of Apagya Show Band, CK Mann and Pat Thomas. Famously, he rubbed shoulders with Fela Kuti while studying in London in the Sixties, before going on to lead the Ghana Black Star Band (featuring Osei and Sol Amarfio from Osibisa) and later the Uhuru Dance Band back in Ghana. Like Fela, he is always pushing forward, constantly reconceptualizing his sound and attuning it for a new generation. Part teacher, part messenger. Listen to Yen Ara and you will not only hear the high-energy afrobeat, sweet highlife, jazz and konkoma influences that he’s famous for. There is also a disco pulse and hard-hitting percussive edge to the tracks, which were produced by Justin Adams (Tinariwen, Rachid Taha, Robert Plant) and recorded in the live room at Electric Monkey Studio in Amsterdam. An Ebo Taylor for these times, you might say.

Birds Of Passage — The Death of Our Invention (Denovali Records, 2018) — After four years finally a new full length. Masterworks of minimalism and glacial beauty. With Birds of Passage, New Zealand based Alicia Merz presents us with an endearing invitation into her fragile world, a captivating journey through the landscapes of her emotional euphoria and agony, a further commitment to musical experimentation. The cold minimalist-drones, distorted field recordings, and sparse instrumentation, illustrate an icy, desolate and dark world. With allusions to dark-pop and classic broken-folk, the reverb drenched instrumentation, metaphorical fairytale lyrics, and anti-climactic compositions remind us that Alicia Merz is a singer songwriter for people who don’t like singer songwriters. After four years of silence, Merz returns with the fourth full length ‘The Death of Our Invention’. «Birds of Passage is humble and heartbroken. Her warm words are crimson berries that bear fruit in the cold depths of winter, hanging over crooked, bare branches where nothing else survives. Her dove-like vocals soar, but her introverted lyrics blossom with the fondness of love.»» (Fluid Radio).

Sonido Gallo Negro – Mambo Cósmico (Glitterbeat Records, 2018) — third album, Mambo Cósmico, plunges listeners into a complex tapestry of sound. Their music balances a psychedelic richness with cumbia, a type of Colombian folkloric music. Mambo Cósmico finds influence from Mexican, Latin American, American and Middle Eastern music. Sonido Gallo Negro is comprised of nine musicians who carefully yet masterfully endow their music with a global pulse. Mambo Cósmico is driven by cumbia’s buoyant and consistent rhythms that create a sonically rich and bounteous album. или изврунета: «Переиздание прошлогоднего альбома (третьего по счету в дискографии) мексиканской развеселой компании в количестве девяти человек. Инструментальная психоделическая кумбия, пестро аранжированная с помощью инструментов: тимбала, конги, бонги, электрогитары, культовый транзисторный комбо-орган Farfisa, синтезаторы и термен. Кроме привычной кумбии на новом альбоме пиршество кубинского и мексиканского мамбо.» (с) Музыка Хорошего Вкуса

Radius ‎– Obsolete Machines (Variant Reworks) [echospace [detroit], 2×CD, 2018] — In celebration of the forthcoming LP edition (due to arrive in the next 2 weeks) We’re proud to announce the variant reworks and redesigns (conducted and compiled over the past 10 years) of Radius’s epic debut, «Obsolete Machines» release. These versions build on the very essence of the original, but with fathoms-deep layers and subtle tonalities transforming the originals into an ethereal ocean of space and bass. This is a sonic world all its own.

The Colorist Orchestra And Lisa Hannigan – The Colorist Orchestra And Lisa Hannigan [EP] (ATO Records, 2018) — new 5 song EP from Lisa Hannigan, recorded live with the Belgian-based Colorist Orchestra. Hannigan performed a run of shows with the octet last year, and this recording documents their final performance together. It is comprised of tracks from her critically acclaimed 2016 album At Swim, as well as one song from 2011’s Passenger.

Goldmund — Occasus (Western Vinyl, 2018) — Pennsylvania native Keith Kenniff’s output as Goldmund has established him as one of the preeminent composers of minimal piano-based ambient music alongside peers like Hauschka, Dustin O’Halloran, and even Ryuichi Sakamoto, who himself once described Kenniff’s work as «so, so, so beautiful». Hyperbolic as it may sound, Goldmund’s newest collection Occasus may be his most exquisite yet. Where his previous recordings trod faithfully and sincerely on paths of dimly lit, polaroid-esque nostalgia, Occasus deepens the undeniable aesthetic that was hard-won over eight previous Goldmund albums, while expanding the palette to include desultory clouds of synthesizer and a tastefully distressed analog sheen. The word Occasus means downfall, end, or the rising and falling of heavenly bodies. The title is apt in more ways than one: while the emotional tone of the album denotes bittersweet feelings of conclusiveness, it also perfectly soundtracks the quiet moments when we look up to the sky, and humbly relearn the smallness of our lives as cosmic objects churn slowly overhead with bewitching indifference. Occasus feels deeply personal, private, and hushed yet simultaneously grand, colossal, and profound. Remarkably Kenniff is able to capture micro and macro with equal fidelity.

Millionyoung – Rare Form (Mishu Records, 2018) — Florida native Mike Diaz goes by the name MillionYoung, and pools elements of Animal Collective, Toro y Moi, and New Order into his drowsy, circular soundscapes. Like fellow chillwavers, he sings wistfully over a blend of acoustic instruments and electronic programming, and uses a retro ‘80s palette of synth sounds. After the Be So True EP and Sunndreamm EP generated a buzz online in 2010, Diaz announced that his first full-length, Replicants, would become available in early 2011. ~ Jason Lymangrover

Wendy McNeill – Hunger Made You Brave (Startracks, 2018) — When McNeill originally emerged from the prairies of Canada, her accordion tinged songs featuring wild stories and layers of haunting looped vocals were described as Folk Noir. On ‘Hunger Made You Brave’ she seems to have crossed the line into a new genre-Space Folk. Unmistakably Wendy- with her dark twists and turns- this new recording has something more. When she goes back in time or up to the stars on a sparkling synth line and a howl- you follow. When she whispers that ‘all the rules have changed’- you believe her. The talents of McNeill’s long time collaborators Andreas Nordell/Double Bass, Erik Nilsson/Percussion, and co producer/multi instrumentalist Christoffer Lundquist weave a unique chemistry which was captured live to tape at AGM Studio Sweden.

Joonatan Elokuu — Wintersongs (2018) — Contemporary Folk/Acoustic Folk/Slowcore. Featured peformers: Joonatan Elokuu (performer), Matilda Aaltonen (performer).

Tunnelvisions – Ritual I [Atomnation, ATM0601, 2018] — Tunnelvisions will continue to expand their sound of world music and percussive rhythms as they line up a new series of EP’s to land on Atomnation this year, titled Ritual I, II, III & IIII. Stay in tune for more.

Thievery Corporation – Treasures From The Temple (Eighteenth Street Lounge Music, 2018) — Thievery Corporation announce the release of Treasures from the Temple, a companion LP to the band’s chart-topping 2017 album, Temple of I & I. The 12-track compendium includes a trove of original recordings and remixes from the band’s Temple sessions at Geejam Studios in Port Antonio, Jamaica with vocal appearances by LouLou Ghelichkhani, Mr. Lif, Sitali, Racquel Jones, Natalia Clavier and Notch. The news arrives through the release of the official music video for the album’s first single, “Voyage Libre,” directed by Tina Rivera. The journey to the Treasures from the Temple begins by wandering through Thievery vocalist LouLou Ghelichkhani’s psyche in a surreal, monochromatic visualization of emotional space.

Landing — Bells In New Towns (El Paraiso Records, 2018) — Bells in New Towns could be described as their most grounded, earthy sounding release so far. On this record the ethereal components of their sound are firmly anchored by a tight, steady low-end – certainly due to the fact that the album was partly recorded by seasoned New England rock producer Justin Pizzoferrato (Dinosaur Jr., Elder, Pixies, Sonic Youth). Much like their spiritual kins in Yo La Tengo and Bardo Pond, Landing have eclectically picked their influences from a wide range of musical eras and cultures. The result is an electric music that speaks to the mind as well as the senses.

Fenne Lily – On Hold (Fenne Lily, 2018) — debut album, On Hold, arrives our way directly from the artist. At least for now. On Hold is one of those self-released debuts just waiting for an eager label to pick it up and reissue it. All as a tool for promoting the NEXT album (see Lucy Dacus). However, even without a label like Matador or Fat Possum or Merge behind her, Lily already has a decent fanbase. Her song, “Top To Toe”, garnered 20 million streams. That’s nothing to sneeze at this day and age. Lily’s music reminds me of a few of her peers like Sophie Allison (aka Soccer Mommy) and Phoebe Bridgers. All three write music that’s confessional, somewhat somber, and born in the bedroom. Just laying on the bed in a funk and writing about it to get the emotions out.

Scott Matthew — Ode To Others (Glitterhouse Records, 2018) — The Australian songwriter from New York and his sixth studio album. With this album there is a departure from the subject of romantic love and the disappointments that can come from such endeavors. Instead this collection of songs pays homage to love in a broader sense. Honors are bestowed to family, friends and the mistreated both alive and deceased. As always done in Scott’s sentimental and deeply personal style. This is an ODE TO OTHERS. None of his last five solo records is as diverse; as beautiful orchestrated and complex in arrangements as Ode To Others. This is the result of the collaboration with Scott’s live guitarist, co-writer and producer Jürgen Stark. I didnt even know whether I liked my songs before Jürgen came along and gave them all this personality and all this wonderfully intricate layering. He’s very proud of his new album Scott Matthew says: I think it’s one of the best albums weve done so far, for a lot of reasons. The idea of minimalism wasnt very prominent on this album. But it’s not bombastic to me. Its still got intimacy, but also all this intricate layers. And in the end all this history. One could think of the album Ode To Others as a musical new beginning of Scott Matthew. But that is not quite true. It is rather the result of a change of perspective. From one who looks out into the world of the present and the past and thereby discovers himself in a new way, as a loving, admiring, sometimes even as a contemptuous observer. A look at the others can also be a look at yourself, as a view back could also be a view ahead.

Tess Roby — Beacon (Italians Do It Better, 2018) — The Beacon crowns Ashurst Hill in Dalton, Lancashire, looming over the verdant English countryside nearly six hundred feet above sea level. This spartan brick monolith was erected in 1798 as a watch tower to warn of French invasion during the Napoleonic War — and there it silently remains, keeping infinite vigil. It stands in Tess Roby’s mind. The Beacon calls to her. “Throughout my life I have felt the pull to return to it,” she says. “I’m beckoned by father’s roots and by the sullen landscape of fields leading to the coast.”

Blondino — Loveless (Blondino, EP, 2018) -Dans le cadre de la 7 ème édition des soirées » Rien ne s’oppose à la nuit» Blondino interprète son titre «Loveless»extrait de son nouvel EP à paraître le 20 Avril.

Grouper – Grid Of Points (Kranky, 2018) — Liz Harris, aka Grouper, has announced the follow-up to her 2014 album Ruins. Her new record Grid of Points is out April 27 via Kranky. Listen to the album track “Parking Lot” below; scroll down for Grouper’s upcoming tour schedule. “I wrote these songs over a week and a half; they stopped abruptly when I was interrupted by a high fever,” Harris said in a statement. “Though brief, it is complete. The intimacy and abbreviation of this music allude to an essence that the songs lyrics speak more directly of. The space left after matter has departed, a stage after the characters have gone, the hollow of some central column, missing.” или изврунета: «Предыдущий альбом Grouper «Ruins» был выпущен четыре года назад. Для Лиз Харрис этот альбом стал важным этапом в её дискографии. В сравнении с другими её записями он является несколько урезанным: фортепиано, голос и филд-рекординг. Сократив инструментарий, Элизабет удалось сделать свою музыку ещё выразительнее. Её новый альбом продолжает эту тенденцию. В одной из рецензий на «Grid of Points» автор вспоминает фразу Марка Холлиса: «прежде, чем играть две ноты, научитесь играть одну и не играйте одну ноту, если у вас нет причин играть её». Кажется, что Элизабет действительно создаёт свою музыку по этому правилу. В умении использовать тишину её можно сравнить с самим Холлисом, однако характер записи Grouper отличает её многослойность. Голоса Лиз Харрис едва уловимо сливаются в тонкие созвучия и расходятся, складывая не менее тонкие мелодии. Ещё одним важным инструментом Grouper является реверберация и пространство, которое с её помощью создаёт Элизабет, а изящное использование полевых записей усиливает эффект. Это не просто место, которое можно легко визуализировать, это некоторое ощущение, которое стремится передать Лиз Харрис, отчего её песни воспринимаются с особой чувствительностью. Альбом «Grid of Points» очень короткий — семь песен общей продолжительностью менее двадцати пяти минут, что делает эту запись ещё более нежной и интимной. Она подобна мимолётному воспоминанию, которое на мгновение снова делает вас счастливым, но вам лучше не продолжать думать о нём.» (с) E:\music\

Deadbeat – Wax Poetic For This Our Great Resolve (BLKRTZ, 2018) — On his latest studio album, Scott Monteith, aka Deadbeat, ruminates with hard-earned wisdom and confidence upon the notion of carrying on in the face of worldwide nonsense. Wax Poetic For This Our Great Resolve began with the simple idea of asking friends from across the globe for messages of hope. No musical input was provided beforehand, and each participant was free to interpret the request as they saw fit. Though some of the names involved will be familiar to electronic music listeners (Gudrun Gut, Thomas Fehlmann, Mike Shannon), the common thread linking all of them is their friendship with Monteith and the many hours he has spent enjoying their company over the years.

Marc Ribot’s Ceramic Dog – YRU Still Here? (Northern Spy, 2018) — “I got a right to say FUCK YOU!!!” is how the new album from veteran guitarist Marc Ribot’s trio Ceramic Dog starts off, with Ribot howling in anger at corruption, tyranny, life in general, and nothing in particular. If you’ve got a serious case of outrage fatigue, Ceramic Dog’s explosive cocktail of balls-to-the-wall abandon, chameleonic disregard for style constraints, political commentary, and absurdist humor is just the shot in the ass (or kick in the arm?) you might need. In fact, Ceramic Dog’s new album — whose title:YRU Still Here? is directed in equal parts at themselves, the commander in chief, and the listening public — arrives just in time to remind us that now is a moment when anger is not only necessary, and unavoidable, but also good for houseplants. YRU Still Here? careens from punk to funk to flamenco to surf to rock ‘n roll — all turned on their heads and smudged, allowing us to imagine an alternate history where punk icons Jello Biafra and Ian MacKaye fronted no-wave lounge bands on alternate Tuesdays at the Teaneck New Jersey Holiday Inn.

Clara Luzia — When I Take Your Hand (Asinella Records, 2018) — Dabei bleibt es im weiteren Verlauf der neun Songs zwar nicht, Clara Luzia findet auch wieder zurück zu sachter Stimme und allein gelassener Gitarre, dennoch unterstreicht sie so deutlich wie noch nie ihre stilistische Spannbreite und auch Güte: »When The Streets« ähnelt mit Hall und Chören dem Surf-Rock eines Chris Isaak, und mit dem düster-dringlichen »Survival« geht Clara Luzia sogar noch konsequenter in Richtung des Black Rebel Motorcycle Club. Neben ihrer Vielfalt macht aber auch die ausnahmslose Klasse ihrer Songs »When I Take Your Hand« zu einer großen LP, die zeigt, dass Clara Luzia auch nach vielen Jahren und Alben noch zu Fortentwicklung in der Lage ist.

Khruangbin — Con Todo El Mundo (Night Time Stories/Dead Oceans, 2018) — На своем втором альбоме инструментальное трио из Хьюстона отошло от традиций тайской музыки 60-70-х. На этот раз классический соул, даб, легкая психоделия и медленный расслабленный фанк (местами с приставкой «афро-«). И это дань американо-мексиканскому происхождению дедушки басистки Лауры Ли. (пишет Музыка Хорошего Вкуса)

Jon Hopkins — Singularity (Domino Records, 2018) — is the upcoming fifth studio album by English electronic musician and producer Jon Hopkins. The album will be released on May 4, 2018. The album was announced on March 6, 2018, followed by release of the first single Emerald Rush. The second single, Everything Connected, was released on April 25. The album is a following series from his previous album, Immunity.

Tony Allen & Motor City Drum Ensemble – Dekmantel 10 Years 10.2 (Dekmantel, 12″, 2018) — Part two of the EP features the Motor City Drum Ensemble remix, and the original “In A Silent Mix” version from 1999; a track out of its time when released on Allen’s sole record “Black Voices”. A long serving Dekmantel veteran, Danilo Plessow was there from the start. After compiling the first Selector’s compilation last year, MCDE turns Tony Allen’s masterpiece in a jam, with added house beats, giving the funk number the edit treatment. The final mix sounds like the kind of track you would hear MCDE play in one of his sets as he’s firing up the heat. The organ sounds and trumpets are left high in the mix, to create an unforgettable hook that resonates throughout, in complete Motor City style.

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растамайские релизы: VA — Linval Presents Dub Landing Vol. 1 (VP Music, 2018), VA — Linval Presents Dub Landing Vol. 2 (VP Music, 2018), Colah Colah – Mission (7 Worlds, 2018), Freddie McGregor — Bobby Bobylon (Studio One, Deluxe Edition, 2018), Scientist meets Hempress Sativa in Dub (Conquering Lion Records, 2018), Lutan Fyah — Real Love Showcase (Tad’s Record Inc., 2018), Ziggy Marley — Rebellion Rises (V2 Records Benelux, 2018), The Last Poets — Understand What Black Is (Studio Rockers, 2018), Dub Inc. — Apollo Riddim (Diversite, EP, 2018), Ghetto Priest — Plant My Herb (On-U Sound, 2018), Blundetto — Slow Dance (Heavenly Sweetness, 2018), Roland Alphonso & Jerry Johnson — Hornsman Style EP (Wackie’s, 2018), Kabaka Pyramid — Kontraband (Kabaka Pyramid, 2018)

Mac Demarco ‎– Old Dog Demos (Captured Tracks, 2018) — Record Store Day 2018 release. Limited to 5000 copies worldwide on translucent gold vinyl. Includes newspaper print insert. Recorded in Queens, NY & Los Angeles, CA by Mac A1-A7 are demos. B1-B8 are instrumentals.

Timecop1983 — Night Drive (Self-released, 2018) — «Я чувствую, что это моя лучшая работа, и я надеюсь, что вы будете думать так же». Его музыка была такой разной в последнее время: кинематографичной, концептуальной, темной, игровой кажется, он попробовал себя во всех сферах, подыскивая нужное звучание. Всё ради того, чтобы, включив новый его альбом, слушатель сказал сам себе: «Да, это и есть тот самый старина Джорди!». Если вдруг вам этого покажется мало, то специально ради очередной пластинки «коп» усилился невероятно мощной командой, в которую вошли The Midnight, The Bad Dreamers, Josh Dally, LEBROCK и Kinnie Lane. (The Retrowavers)

Malphino — Visit Malphino (Lex Records Ltd, 2018) — «Malphino are an outer-national, mystical band from an imagined tropical island that has dreamt up a cinematic score and audio backdrop to their tropical idyll. A promised land of hypnotic cumbia rhythms, subtle digital warbling, accordion textures, voodoo haze and woodblock charm awaits the off-piste explorer willing to step through the arch and Visit Malphino, the debut album from this London based collective of diaspora musicians and visual artists. Their  debut album ‘Visit Malphino’ dives deep into the island’s mythology. It’s a 17-track epic that provides the soundboard to years of imaginative cultivation. With clues in the titles, each track represents a different element to the island. It embodies the growth of the Malphino concept from an abstract idea within the minds of a few friends to a more complex fantasy at the centre of a small community of musicians and artists. Speculation is open-ended.»

Daniel Blumberg – Minus (Mute, 2018) — Daniel Blumberg – who’s released material with/as Yuck, Oupa, Cajun Dance Party, and Hebronix – is back with “Minus”, from his debut album on new label Mute.The album was recorded with producer Peter Walsh (Scott Walker) during a brisk five-day session in Wales, and it features contributions from Tom Wheatley, Billy Steiger, Jim White, and Ute Kanngiesser.

Young Galaxy – Down Time (Young Galaxy, 2018) — have altered their sound, band membership and business model on Down Time to glorious effect. The album marks the band’s first fully independent release, one that deals with the emotional processes and questions that come out of living in today’s socio-political climate, along with a heightened need for intimacy. Its production is warm and full, with lyrics that are at once universal and personal.Opening with the shrouded vocal of “Under My Wing,” vocalist Catherine McCandless poses a buried refrain: “Gotta hold that halo / Gotta calm that fight / Gotta heal that hollow / Gotta earn that light.” There is a pull toward hope on the a lbum, despite its setting: the lyrics depict isolation and an inherent disconnection, while individuals search for genuine bonds. “Catch Your Breath” breaks free into a chorus that bursts with optimism, while “Show You the Valley” finds McCandless urging that “we can feel surrender” over dark bass, beats and layers of synths.

Ry Cooder – The Prodigal Son (Fantasy Records, 2018)Ry Cooder has announced the release of his first solo album in six years. The Prodigal Son is set for release by Fantasy Records on May 11th, 2018. Recorded in Hollywood, CA, and produced by Ry and his chief collaborator, drummer Joachim Cooder, The Prodigal Son is all America that country’s spiritual, hopeful voices, raw cries and sly provocations, voiced through the songs of the Pilgrim Travelers, The Stanley Brothers, Blind Willie Johnson, and Ry Cooder himself. The album’s 11 tracks, including three Cooder originals and a carefully selected collection of his favourite spirituals of the last century, share a particular resonance in this time and place, forming an unflinching look at the state of play in modern America. “I do connect the political/economic dimensions with the inner life of people, since people are at risk and oppressed on all sides in our world today,” he stated. “There’s some kind of reverence mood that takes hold when you play and sing these songs. ‘Reverence’ is a word I heard my granddaughter’s nursery school teacher use, a Kashmiri woman. She said, ‘We don’t want to teach religion, but instill reverence.’ I thought that was a good word for the feeling of this music.”

Mark Kozelek – Mark Kozelek (Caldo Verde Records, 2018) — Марк давно уже стал этаким Джоном Зорном от седкора по количеству релизов, и отличается только тем что не заморачивается с названиями и обложками. На этом его похоже совсем все зае*бало. Mark Kozelek has ambitious plans for 2018, with not one, but two full-lengths in the works. One of those, a self-titled record under his own name, is due May 11th through his own Caldo Verde Records. More than a week in advance, the singer-songwriter has made the album available to stream in full on the website for his Sun Kil Moon moniker. The 11-track collection was mostly recorded in two San Francisco hotels, the Mark Hopkins Hotel and Seal Rock Inn, and Hyde Street Studios, also located in the Bay Area. “The album was recorded at hotels to take a break from the dark, windowless atmosphere of studios, and to see how atypical recording environments would affect my music,” Kozelek explained last year.

Mdou Moctar & Elite Beat — Mdou Moctar meets Elite Beat In a Budget Dancehall (EP, 2018) — new EP available today from Boomarm Nation & Bandcamp: «Recorded in the spring of 2017 over 3 evenings. These raw, unedited, live recordings were fueled by laughter, and Azawad gunpowder tea.»

The Bones of J.R. Jones — Ones to Keep Close (Tone Tree Music, 2018) — Performing a spectral brand of music informed by vintage blues, folk, and Appalachian sounds, the Bones of J.R. Jones is a project from singer, guitarist, and songwriter Jonathon Linaberry.

Ilyas Ahmed — Closer To Stranger (Mie Music, 2018) — The follow-up to 2016’s Dreamboat collab with Golden Retriever finds that duo’s Jonathan Sielaff contributing Bass Clarinet on two songs, while the Pakistan-born, Minnesotan Ilyas Ahmed tends to vocals, guitar and synth, in parts coming as close as we’ve ever heard him to Mark Hollis levels of intimate singer-songwriter charm. “Closer To Stranger is the new solo album by Pakistani-born dream-folk musician Ilyas Ahmed. Drawing on a wide range of influences, his songs incorporate classic singer-songwriter gestures alongside more experimental leanings. Recorded to tape in the studio by Justin Higgins in the fall of 2016 and finished in the spring of 2017, Ahmed’s instrumental palette includes: acoustic and electric 6 and 12-string guitars, Fender Rhodes, multiple keyboards, tanpura, and percussion. Closer To Stranger stands as a meditation on uneasy identity politics during times of unreason, seeking peace amidst chaos. Jonathan Sielaff (of Thrill Jockey ambient duo Golden Retriever) cameos with guest saxophone on “Zero For Below” but otherwise the album is a solo affair, alternately feverish, tense, hazed, hypnotic, and narcotic. A slowly unfolding inward journey of late night lullabies and contemplative electric drift.”

Aidan Moffat & RM Hubbert – Here Lies The Body (Rock Action Records, 2018) — Aidan Moffat is no stranger to producing excellent works built on collaboration post Arab Strap. In particular he’s produced two stunning albums with jazz musician Bill Wells (Everything’s Getting Older is arguably as good as anything he produced with Arab Strap). Here Lies The Body is a body of work produced with RM Hubbert – an astonishingly consummate solo artist and guitarist in his own right – who has been a mainstay of the Glasgow DIY scene since the early nineties. Though the two have collaborated before, it hasn’t been on anything of this scale, and they are such obvious bedfellows it’s surprising we are only just hearing it now.

Ducktails — Plastic Melody (New Images Limited, 2018) — [indie rock, dream pop, neo-psychedelia, baroque pop, shoegaze, hypnagogic pop, synth pop, chillwave, jazz rock, jangle pop]

S U R V I V E — RR7400 (Relapse Records, 2018) — S U R V I V E pays homage to the Peel Sessions with nine new studio recordings of songs from their live set. The band that brought you the Stranger Things score

David Robert King — Idaho (Not On Label, 2018) — Celebrated singer/songwriter David Robert King shares his tales of Mountain West heartache, loss and redemption with his release IDAHO, out February 16, 2018.  King has become known as Mary Gauthier’s longtime guitarist and frequent opening act.  About the album, Gauthier said, “IDAHO, David Robert King’s new record, is a stunning soundscape of whispered confessions and poignant observations. A beautiful collection of haunting songs, it deserves a good listen.”

A Grave With No Name — Passover (Forged Artifacts, 2018) — Influenced by the lo-fi ’90s indie aesthetic of Pavement and Sebadoh and associated with the late-2000s shoegaze revival alongside Banjo or Freakout, Atlas Sound and Big Pink, A Grave with No Name is the musical brainchild of London-based musician Alex Shields. Named after an in-joke that referenced metalcore/emo group As I Lay Dying, Shields began the project in 2006 and recorded half of his 2009 full-length debut Mountain Debris in a church in Stoke Newington, East London. Recruiting bassist Tom King and guitarist Anupa Madawela to flesh out A Grave with No Name’s woozy and ethereal pop, the album’s resulting hazy, kaleidoscopic sound recalled My Bloody Valentine, Guided by Voices, and the Microphones. A Grave with No Name returned with 2011’s Lower, an atmospheric album that spanned two cassettes.

Variant — Inception [cv313 Rewire] (echospace [detroit], 2018) — Approximately 5 years since the first remix of variant’s seminal vortexual series, cv313 returns with an epic & breathtaking, 60+ minute rewire of vortexual [inception]. In this version, cv313 utilizes the original tape masters, manipulating and reshaping these enchanting sound worlds into a modern opus, all while preserving the analog circuitry of the original. The cool watery depths of the inception are ever-present in this immersive sonic landscape, a magical place of escape from the here and now.

Gas ‎– Rausch (Kompakt, 2018)The LP’s title translates to something like intoxication—not just drunkenness, but an ecstatic state or fever dream. In turn, the music often has a hazy, aimless drift, but when the drums emerge the feeling is of a tireless march. There are few clues as to what inspired the album other than a cryptic poem from Voigt. It namechecks a past Gas release (Oktember), and older tracks from Pink Floyd («Careful With That Axe, Eugene») and Depeche Mode («Personal Jesus»), which hint again at Gas’s nostalgic themes. But nostalgia doesn’t always mean comfort, and there’s a haunted tone in both the music and the poem, which has lines like, «Rausch with no name, my beautiful shine, you are my sun / Rausch with no morning, this is where we burn.»

Bombino – Deran (Partisan Records, 2018) — Partisan Records will release ‘Deran,’ the new full-length album from Niger-born Tuareg guitar virtuoso, Bombino. ‘Deran’ – which loosely translates to “best wishes” – is Bombino’s most focused, compelling, and diverse statement to date, and delivers a message of hope and well-wishes to the world in a time of great pain and tumult. Written and sung entirely in Bombino’s native language of Tamasheq, ‘Deran’ was recorded in Casablanca – at a studio owned by current Moroccan king Mohammed VI, no less – over a ten day stretch, and marks his first time making an album in Africa in nearly a decade. In Bombino’s own words, “my mission for this album was always to get closer to Africa.” How to celebrate, protect, unify, and above all, never forget that desert home, are the salient themes throughout ‘Deran.’ Across ten tracks, the album showcases Bombino’s mastery of a rich palette – from folk, rock, blues, funk, and of course the ‘Tuareggae’ sub-genre which he has single-handedly pioneered.

Talaboman — The Night Land Remixed (R&S Records, EP, 2018) — John Talabot and Axel Boman teamed up in 2017 for their R&S debut ’The Night Land’ where they got to flex their creative muscles over eight tracks of rich synth jams. The two electronic artists have been independently successful in their respective careers, but as Pitchfork expressed in their glowing review “Their collective output doesn’t sound much like either’s work; it doesn’t even necessarily reflect the thin, convex sliver where their interests overlap. Instead, they’ve hit upon something new.”

Parade Of Lights — Human Condition PT1 (2018), Parade Of Lights – Tidal Waves [Single] (2018) — Los Angeles alt rock band, just released their brand new five-track EP Human Condition Part 1. Coinciding with the release, tracks “Inside My Head” and “Tangled Up” are featured on the second season of the hit Netflix series 13 Reasons Why, which premieres today. Human Condition Part 1 pushes the vibrant melodies and catchy chorus that Parade of Lights has trademarked over the years. Since 2015 following the release of the band’s first full-length, Feeling Electric, Parade of Lights’ gleam has shined bright. In addition to being featured in notable spots for the Super Bowl, the Academy Awards, the GRAMMY Awards, and The Voice, the single “Golden” eclipsed 10 million Spotify streams and counting. Meanwhile, “Feeling Electric” crossed the 9-million-mark in addition to featuring in EA Sports’ FIFA 16 as “We’re The Kids” soared to Top 10 airplay on Alt Nation.

Acorps de Rue — En disant (Patch Work Production, 2018) — Depuis 2007, les Acorps de Rue ont parcouru la France avec plus de 400 concerts, 4 Albums et plus de 200000 km au compteur ! Il y a de l’envie chez ces deux jeunes de ne pas en rester là La route est longue mais les rencontres et les retours enthousiastes des gens les nourrissent à coup sûr. Alors, allez les voir ! De la chanson à texte dans un univers festif, servi principalement à l’accordéon-guitare avec trompette, basse, batterie, clavier à l’appui !

Chromatics – Black Walls [EP]  & Looking For Love [EP] (Italians Do It Better, 2018) — Few albums have left music fans in as much suspense as Chromatics’ long-awaited Dear Tommy. The record was originally announced in 2014, with a handful of cuts from the 17-song tracklist — “Just Like You”, “Shadow”“In Films”, and “I Can Never Be Myself When You’re Around” — having been shared over the intervening years. Then came word that the band’s resident producer, Johnny Jewel, had become so dissatisfied with the effort following a near-death experience in 2015 that he destroyed every existing copy of the record, smashing thousands of vinyl LPs and CDs. (He’d apparently gone through a similar bout of creative destruction for 2012’s Kill for Love.) In revealing that story, Echo Park Records’ former management said Jewel intended to re-record the entire thing with the same songs and tracklisting.

Howe Gelbe – Label Pop Session (Microcultures 2, 2018) — La grande ‘Label Pop Session’ de Howe Gelb (Microcultures/Differ- Ant) est disponible en CD aujourd’hui chez vos disquaires et en ligne. J’en suis très heureux (et un peu ému).

Magic Wands – Abrakadabra (The Wave // A.C.S., 2018) — Magic Wands are Dexy and Chris Valentine who formed the band in 2009 between LA and Nashville. The band have released two albums Jupiter and Aloha Moon, with tracks remixed by The XX and Crystal Fighters. Skirting the edges of dream pop laced with evocative harmonies, simmering synths and propulsive post-punk elements, Magic Wands craft a thrilling marriage redolent of the wistfulness of Beach House and the tugging hooks of Warpaint. Recorded at Voltiv Studios in LA and produced by Phil Galloni and the band themselves and mixed by Grammy Award winner Tim Young, the album features 10 tracks with an extra track Puzzle Of Love.

VA – African Scream Contest Vol​.​ 2_ Benin 1963-1980 (Analog Africa, 2018) — For a decade now, Analog Africa has been releasing vintage and rarely-found music from across the African continent and its diaspora. One of the label’s most popular releases over the years has been African Scream Contest, originally released in 2008, which featured a compilation of what the label describes as “Vodoun-inspired, psychedelic afrobeat, and heavy funk crossover” from Benin in the ’60s and ’70s.

Örvar Smárason (Orvar Smarason) — Light Is Liquid (Morr Music, 2018) — Being a key figure in Iceland’s music scene over the past 20 years with his bands múm and FM Belfast among others, the time has come for Örvar Smárason to release his debut solo album. „Light Is Liquid“ is made up of eight precious electronic pop songs that show him both as a gifted songwriter and producer. It’s an update of the sound that made múm one of the most revered Nordic acts since the 2000s, but it’s also slightly reminiscent of Boards of Canada’s pastoral beats or even the transcendental tracks of Arca and Björk. A heap of experience and a sure-footed feeling for style constitutes this record, but at the same time it feels like a young and fresh love affair with music.

John Tilbury / Keith Rowe / Kjell Bjorgeengen – Sissel (SOFA Music, 2018) — The fundamental and inescapable fact of our existence is that we are finite beings conscious of our finitude, and no more so than when someone near to us dies. This is the background to Sissel, a quietly moving performance by pianist John Tilbury, electric guitarist/electronics artist Keith Rowe, and Norwegian video artist Kjell Bjørgeengen, who collaborated with Tilbury and Rowe in the capacity of producer. The single piece that makes up the album was recorded as part of the Moving Sound concert series in Stavanger, Norway, in 2016, shortly after the death of Bjørgeengen’s wife Sissel, to whom the album is dedicated.

Idris Ackamoor and the Pyramids — An Angel Fell (Strut, 2018) — Strut presents the brand new album from cosmic jazz travellers The Pyramids, led by saxophonist Idris Ackamoor, ’An Angel Fell’. “I wanted to use folklore, fantasy and drama as a warning bell,” explains Ackamoor.

Samba Touré – Wande (Glitterbeat Records, 2018) — When Malian singer and guitarist Samba Touré was planning Wande (The Beloved), his third Glitterbeat release, he had strong ideas for the way it should sound. But once the sessions were over, he knew he had something entirely different, something even more satisfying: a collection of songs where warmth filled the grooves of every song. An album that seemed like home.

Lowpines – In Silver Halides (Adventure Club Records, 2018) — “poised and mysterious and it contemplates oblivion” The New York Times. “Few releases in 2018 will possess the color and musical consideration that makes In Silver Halides a compelling listen and it seems to open more possibilities for this musical project going forward from here.” No Depression. “an album rife with beautiful soft music tip-toeing between orchestral prog rock and buttery acoustic/classicism, resulting in subtle, elegant sonority. ‘In Silver Halides’ projects lush excellence” SeattlePI.com. «one of the world’s most criminally underrated singer/songwriters.» The Revue. “weighty and wonderful” GoldFlakePaint. «I look forward to listening to this until I’m blue in the face.” Paste Magazine. “like and ocean at night, cold and serene” Surviving The Golden Age. «one of 2018’s must hear under the radar artists.» Glide Magazine

All India Radio — Space (Martin L Kennedy, 2018)Dripping with atmospheric analog synths and floaty vocals the album takes it’s musical cues from David Lynch, Pink Floyd, Jean Michael Jarre, Brian Eno, Stereolab and AIR.

Abu Obaida Hassan & His Tambour – The Shaigiya Sound of Sudan (Ostinato Records, 2018) — Abu Obaida Hassan and the wonders of his five-string tambour remained largely a mystery. In the early 2000s, a prominent Sudanese newspaper declared him dead. Internet forums confirmed his passing. Many in Khartoum, Sudan’s capital, said he had indeed died. But rumors that he was still alive persisted.

Ocean Hope – Rolling Days (Hush Hush Records, 2018) — Hush Hush is thrilled to present the debut album ‘Rolling Days’ from Ocean Hope, the Greek brother-sister duo of Angeliki and Serafim Tsotsonis.

Meiko – Playing Favorites (Chesky Records, 2018) — Long known for her seductively haunting voice, Folk Singer/Songwriter, Meiko, is releasing Playing Favorites, her first covers album on May 25th via Chesky Records. Featuring songs made immortal by luminaries The Cranberries, Otis Redding, Erykah Badu, Duran Duran, Blind Melon, and even Rick James, among many others, Meiko leaves her own indelible mark on these songs and will have you hearing them as if it were the first time.

Deerhunter – Double Dream Of Spring (4AD, Cassette, 2018) — This limited, tour-only cassette feels spontaneous yet brimming with ideas. It sounds somewhere between ghostly demos and a lo-fi avant-garde ambient composition.

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