“Jazz” (Used 681 times)
dhf510 on 08/25/2017 at 07:40AM
Moody and throbbing, I've released "Manifest Destiny" under the name Gilman Mom. Full of dark chords, heartfelt vocals, and field recordings, is the very first release by Macaque Records.
This album that attempts to musically convey a perspective shift that I had during a storm. I found myself drenched and devastated after a late night walk, mother nature pouring around me. I stayed in a dark place for quite some time during this abnormally long act of nature. Something remarkable happened: as I found myself learning from my predicament and emotionally emerging into a new state, the storm faded. I've never been that entwined with nature and it felt truly remarkable.
This project means a lot to me and I sincerely hope someone else is able to connect with it the way I do.
Check it out!
ToussaintMorrison on 01/14/2016 at 07:24PM
Right now, I am absolutely stumped at what to write in explanation of uploading my label’s entire music catalogue to the Free Music Archive. I’ve sat here for at least 20 minutes in a Minneapolis coffee shop, damn bewildered at where to start, or even the intonation to take with this piece.
When I booked my first tour with The Blend, back in 2005, I bought as many blank CDs as possible to mail out to each city we planned to hit. Each CD had a flier stapled to its case, and was distributed by a coffee shop or friend willing to prop them up in a visible spot, or hand out. With that maneuver, we were able to pull a fan-base that had never seen us before, but had heard our sound. The simplicity of giving our music out for free, created an invaluable ripple effect across the country. Soon, as myspace, facebook and other social media sites arose to prominence, we were able to stream our music to anyone that happened to cross our site. Now, I know how way, way, way back this is. I mean, I just referenced myspace. Not the Justin-Timberlake-owned-newly-revamped myspace, but the original myspace with the user experience of a Neanderthal, and fonts worse than “Papyrus” or “Impact”.
Over the past decade, The Blend, and several other bands I’ve managed, have produced amazing music and then moved on to other projects. However, in an effort to preserve the integrity of these projects (or albums), I’ve sought to keep as much of the music alive online, as possible.
La_bl_netlabel on 12/08/2015 at 09:07AM
"Things Left Unsaid" is not only the testimony of a precise moment, but rather the result of a long research, composition and improvisation done by the band: there's a common area where musical elements from diametrically opposed musical worlds such as jazz and contemporary music, rock and blues coexist without forgetting the melodic vocation in each composition.
Samurau: the band (Michele Sanna - guitars; Matteo Muntoni – el.bass; Alessandro Garau- drums) after a long period of mutual courtship and knowledge among the members, was officially founded in 2014: the aim is to satisfy the need to blend in total freedom, sounds, music, different styles through their own compositions.
King_Capisce on 06/18/2015 at 03:58PM
King Capisce return to the fold with a new album, renewed ambition and arguably their most mature work to date. 'The Future Cannot Be Born Yet, It Is Waiting For The Past To Die' is an eclectic mix of influences that broadly take in the Jazz and Post/Alt rock spheres, but aims to move beyond that into their own dynamic, instrumental and thought provoking sound, from the cinematic to wall of sound.
The new record, 'The Future Is Not Born Yet, It Is Waiting For The Past To Die'.
Press for the album.
“Frantically intelligent instrumental jazz”- Drowned In Sound
“It could easily have been them on the Mercury Prize 2014 short list – maybe next year” - The Guardian
“An exciting cross-genre talent, fusing jazz with other influences to create a sound that is unmistakably their own” – Tom Robinson, BBC6 Music
“Jazzy post-rock gold done to a ludicrously high standard” - Artrocker Magazine
Onyx_System on 01/15/2015 at 04:47PM
Spirits in the Juice indeed. I don't know where the Clocks found the plums for this strange potion, but it left my head spinning after just the first sip!
Listening to the opening piece of music, Circle Round lays out a rich carpet of organ drone as the bass pattern sets the table. Once the theme is established organs begin to layer and compete, darting and weaving soon they are braiding a gorgeous head of hair! A Big Bopper-styled maestro urges on the proceedings, and are those the sounds of swallows on the hunt as daylight grows scarce? Has the bass guitar's pattern changed at all or in fact has the listener changed within the act of listening?
Silver UFOs introduce some new tones, this time the bass gurgles, the keys ping and glide, and a violin maneuvers gracefully with, through, and around. I believe this tune might be in waltz timing. There is a moment where the tone shifts, a workmanlike mien taking the place of the carefree precedings; a dog barks as the the tumult grows, and just as quickly rainbows of violin part the clouds. Next a somewhat unexpected banjo joins the fray, picking a 'down-home' counterpoint to the violins as the song whirls through the brambles and on to its conclusion.
The third piece, Lunar Dunes, takes us into the kind of den we've all found ourselves at one time or another. Dim lamplight casts mysterious shadows. Anonymous sorts recline on couches, others across rugs, the air thick with intermingling smokes, a couple engaged in a languid dance. It is hot. Electronics squiggle and bubble, organ and bass guitar keeping time as a theremin tone picks out the tune.
And finally EP closer Around the Mountain finds the Clocks scaling the proverbial mount, the twilight haze of the previous 3 tracks giving way to definite night, shields and swords clattering, violins lamenting, all to the steady sturm of the bass guitar while the organ takes quill to scroll, narrating the adventure.
While not quite 15 minutes in length, the Spinning Clocks are able to achieve some transporting effect across these 4 tracks. Given the opportunity of a full length recording I'd be curious to hear where they take us, and to what depths... -Martin Standish