Swedish singer-songwriter and multi-instrumentalist Emil Svanängen makes records and plays shows under the enigmatic name of Loney dear. In the early 2000s, in his Stockholm apartment studio, Svanängen made a name for himself by creating homemade CDRs with a minidisk microphone and a home computer, self-releasing albums which by 2007 had pricked Sub Pop’s ears and they released Loney Noir. Two more albums - Dear John and Hall Music - followed, as did glowing reviews in The Guardian, BBC, Drowned in Sound, Pitchfork and earlier this year the Line of Best Fit went as far as calling him a "brilliant genius".
Shostakovich wrote his Eighth Symphony (from a total of fifteen) in the summer of 1943, across a period of around ten weeks. It was given its first performance on 4 November that year by the USSR Symphony Orchestra, conducted by Evgeny Mravinsky, to whom the work is dedicated. Expectations were high, for Shostakovich’s Seventh Symphony, associated with the siege of Leningrad, had been adopted both in Russia and the West as a symbol of resistance to the Nazis. It was hoped that the Eighth would follow in its patriotic footsteps – earlier that year the German Sixth army had been annihilated at Stalingrad, the siege of Leningrad has been lifted, and the Nazis were in retreat.
Ian Boddy & Erik Wøllo first worked together on the Frontiers album released in 2012 as a limited edition CD. This musical travelogue through imaginary northern landscapes garnered high praise for it’s shifting moods and panoramic soundscapes. The duo were invited to play their inaugural concert at the Electronic Circus Festival V held in Guetersloh, Germany in the autumn of 2012. The organisers requested that Boddy & Wøllo performed as much of the Frontiers album as possible and indeed tracks 4 to 12 are taken from that release albeit interpreted for a live concert setting. A further 30 minutes of all new material was also composed and this comprises the opening 3 tracks of the concert…
During the 70s, the Japanese jazz scene was in an incredibly intense phase - one that had players breaking out of older modes that were often strict copies of American jazz, and working in newer styles that often blended soul, modal, and spiritual jazz with freer-thinking ideas and more Eastern-inspired modes. The result was an incredible batch of music that was probably more strongly recorded by the Three Blind Mice label than any other Japanese imprint - because unlike some of their contemporaries, TBM didn't fill their catalog with work by American players, and often focused exclusively on Japanese artists.
The liminal states between waking & dreaming are often where we access our greatest insights & creative gifts. Dreaming into Being is a tribute to this magical domain. Inspired in part by Bluetech's recent work with Stanford-based lucid dreaming expert Dr. Stephen LaBerge, these all-new compositions invite us on a perception-expanding journey to "the worlds behind the world." Evocative, hypnotic soundscapes with embedded pulses & ambient drones make this record a great choice for lucid dreaming practice, yoga, meditation, bodywork, or simply relaxed listening.
This excellent set gives one a definitive look at altoist Lee Konitz at a period of time when he was breaking away from being a sideman and a student of Lennie Tristano and asserting himself as a leader. With pianist Ronnie Ball, bassist Percy Heath, and drummer Alan Levitt, Konitz explores a variety of his favorite chord changes, some of which were disguised by newer melodies such as "Hi Beck," "Subconscious Lee," and "Sound Lee." Among the other high points of this well-recorded set are "Foolin' Myself" and a lengthy exploration of "If I Had You."