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Date

May 28, 2019

Patrick Prince Pops Resale gets a visit from Record Store Recon

he Lexington, Kentucky record store, Pops Resale, is visited by Goldmine‘s Record Store Recon undercover reviewer Dr. Disc. The good doctor tells Goldmine Magazine Podcast about the unique characteristics of Pops Resale.

The post Pops Resale gets a visit from Record Store Recon appeared first on Goldmine Magazine.

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Flipper announce 40th anniversary tour

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letters@jazzwise.com (Mike Flynn)

Stroud’s reputation as the alternative hippy hub of the Cotswolds is just fine with many of the locals, and naturally when they have a jazz festival it’s on their own terms. The posters offered ‘jazz influenced music’ and 2019’s eclectic four day programme ranged from electronica and dance-oriented grooves to classic acoustic jazz. Being Stroud, audiences might include tumbling toddlers, barking dogs, miscellaneous sketching artists and the occasional passerby from the town’s Steampunk weekend.

For opening night Polar Bear electronics doyen Leafcutter John found himself corralled by random sofas in the middle of the Goods Shed’s cavernous barn. The intimacy was enhanced by the need for near darkness in order to deploy his self-built light operated synth interface. Like some kind of cosmic conductor he waved and swooped torches and bike lights to release a soundtrack that shifted startlingly from cascading birdsong to throbbing analogue techno and gripping avant-dub. As a showcase for the specially installed d&b soundsystem PA it could hardly be rivaled.

jazz stroud vels 1

(Jazz)man of the match had to be livewire drummer Dougal Taylor, however, who featured at two of the weekend’s high points: behind trumpeter/producer Emma-Jean Thackray in the Goods Shed and keeping a packed SVA bar dancing with the Vels Trio (above). Barely 40 minutes separated these two gigs – a testament to his energy. Emma-Jean’s performance was an especial revelation, with Ben Kelly’s harmonised sousaphone bass adding grit to tunes like ‘Ley Lines’. Shorn of its high production vocals and with ramped-up drumming Thackray’s (below) sharp trumpet and easy singing gave the number real feeling.

Sam Rapley’s Sunday afternoon performance was an impressive surprise, too. With his regular Fabled quintet reduced to a saxophone trio he bore the melodic weight of his own compositions with impressive ease. That said, having Conor Chaplin’s bass and Will Glaser drumming meant the work was well shared and each tune nicely characterized. Trumpeter Paul Jordanous’ Ensemble also benefitted from imaginative rhythm contributions thanks to drummer Ted Carrasco and nimble-fingered bass man Kevin Glasgow. The latter’s 6-string solo on the Metheny-esque ‘Summation’ was a nicely-judged showstopper, as was Paul’s trumpet coolly coasting through Blue Note tribute ‘Latin Vase’. Even more adroit use of the six-string bass via a packed pedal board and laptop enabled Forrest’s Mike Flynn to create complex tapestries of layered loops for Matt Telfer to add lyrical saxophones. Their combination of low down grooves, rich sonics and upbeat melodic phrasing was the perfect pick-me-up for an attentive (if jaded) Sunday SVA lunchtime audience.

jazz stroud emma jane t 2

While not officially twinned with South London there was a definite linkage, with strong showing from smokily poised poet/singer Cil, vigorous modal grooving from Roella Oloro’s young quintet and a great Friday night party set from Deptford’s Steam Down (pictured top). With Ahnanse’s Ethio-sax and Wonky Logic’s grinding synth bass meshing like Sons of Kemet behind epic vocals from And Is Phi it was intelligent, evolutionary music with a big sense of fun. Bristol’s excellent Snazzback had earlier established a similar mood with their more cosmic ensemble sound. Embracing flamenco, rhumba, Blaxploitation and House styles yet smuggling in off-kilter time signatures, they deployed a rich percussion mix and unforced solo playing while the d&b PA system to whirl around the room. That effect was deployed the following night for Ishmael Ensemble’s more measured approach to spiritual jazz, with producer Pete Cunningham’s sinuous tenor sax an organic ghost in the machinery of cinematic mood pieces like ‘The River’ and ‘Lapwing’.

Stroud being Stroud, for all the ear-catching visitors there was a fair showing of local talent, too, with renowned bass clarinet improviser Chris Cundy unveiling the lyrically neo-classical Triofolio in the atmospheric St Laurance’s Church, followed by the incongruously playful duo Mermaid Chunky’s willful (and skillful) blend of layered electronics and ridiculous noise-toys with sax and vocals. Equally upbeat, the nine-piece latin-swamp-blues outfit Albino Tarrantino rammed out the Ale House venue with impeccably precise grooves and a Tom Waits-recalling loucheness that nonetheless blew out the house PA.

It was a fitting climax to a successful weekend that had brought an entertaining cross-section of the current UK jazz scene to a very receptive slice of the local community. And their dogs.

– Tony Benjamin (Story and photos)

 

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Stream Damon Locks Black Monument Ensemble’s Where Future Unfolds

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_OcieLian_ Seven Essential Danger Mouse Collaborations You Can’t Live Without

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Since his early days turning Neutral Milk Hotel dirges into trip-hop jams, Brian Burton has been interested in taking the talents of other songwriters and marrying those strengths with his unique gauzy, throwback aesthetic. This desire ultimately sent Burton to the upper echelon of the music industry under the moniker Danger Mouse. The rise began in earnest when he mashed up The Beatles and Jay-Z on The Grey Album, which caught the attention of many folks — including the label who controlled the Fab Four’s catalog.

Earlier this spring, he released a collaboration with Karen O called Lux Prima that earned universal acclaim, topping the Billboard Tastemaker chart in the US. The record is more than the sum of its parts as well, with Rolling Stone declaring that Danger Mouse and Karen O “unlocked a new creative force within each other” on Lux Prima.

This is just one in a long line of career-defining collaborations. So in honor of the latest partnership with Karen O, we’ve decided to look backward as well as forward. Here are seven important projects in the career of Brian Burton, whether pushing another artist on their own records or subsuming his identity into a side project.

Before Blur frontman Damon Albarn released the self-titled Gorillaz debut, it wasn’t seen as an obvious winner. The “fake cartoon band” fusion project struck some as a little peculiar — and not the good kind. But on the strength of international hit single Clint Eastwood, Gorillaz ended up a smashing success. With that much heat, Albarn could’ve chosen anyone to produce the follow-up. Instead of going with a proven hitmaker or industry heavy hitter, he chose a commercially-unproven producer whose most notable project involved a massive legal dispute.

Danger Mouse’s work with Gorillaz on their sophomore effort, Demon Days — which tallied over 5.3 million copies worldwide — eclipsed The Grey Album by an order of magnitude and catapulted him into another stratosphere. He shared writing credits on eight songs, five of which were released as singles. The biggest of those, the De La Soul collab Feel Good Inc., is still a regular on the radio over a decade later.

The experience wasn’t just good for Danger Mouse either, with Albarn saying he was “the best producer I’ve ever worked” when Demon Days was released.

Though it began before his work on Demon Days, Burton’s project with alt-rap icon MF Doom benefited greatly from the Gorillaz bump. The Mouse And The Mask is a high-concept record in a sense. Writing an album around samples from several Adult Swim shows and inviting a giant wad of cartoon meat to share the mic could be seen as “high” concept on a few levels, after all. It showcased the perfect overlap of mid-aughts blog buzz, pop culture nerdery, and corporate-supported subterfuge to send the internet into a tailspin at the time.

In addition to its pre-social media virality (ah yes, the days before memes ruled our lives!), the album also presaged work that was to come from Danger Mouse, with contributions from Cee-lo Green and Mark Linkous on Benzi Box and The Mask, respectively.

While Cee-lo Green’s persona and career have become knotted in intermittent controversy in the ensuing years, Danger Mouse’s collaboration with Green has to be mentioned first. Gnarls Barkley was far from Burton’s first major collaborative effort, but it’s easily the cultural apex of his storied career. The duo’s debut, St. Elsewhere, simultaneously felt diffuse and pointed. Even though the specifics of subsequent projects varied, this DNA was always present.

Of course the reason why this record is first on the list is its psych-soul lead single, Crazy. In addition to being a straight banger, the wistful track is regularly cited as one of the most important songs of the last decade.

This may be the most creatively collaborative project of Danger Mouse’s career. After Sparklehorse’s Mark Linkous — a rabid collaborator himself — heard The Grey Album, he became smitten. This led to a relationship between the two artists, who eventually worked together on a few songs for Linkous’ 2006 classic, Dreamt for Light Years In The Belly Of A Mountain. The partnership advanced to another level entirely for 2010’s Dark Night Of The Soul.

The lauded LP featured appearances from Wayne Coyne, Iggy Pop, Frank Black, Julian Casablancas, and Vic Chesnutt, among other luminaries. Beyond just the songs, it also featured a numbered 100-plus-page book by David Lynch. Beyond the names attached, Dark Night Of The Soul generated even more buzz when EMI went back and forth on whether the album should even be released. What followed was a package that included a blank CD with the message “For legal reasons, enclosed CD-R contains no music. Use it as you will.”

Burton didn’t necessarily shy away from rock music during the first decade of his career, but 2010 marked a new era that cemented him as an in-demand “rock dude” for acts as diverse as U2, The Red Hot Chili Peppers, Portugal. The Man, and Parquet Courts.

In addition to changing the trajectory of his career, DM also altered the trajectory of Dan Auerbach and Patrick Carney’s careers this year. With their first six records, Auerbach and Carney established The Black Keys as an indie rock workhorse. Every year or two, you’d get another album full of dependable Midwest-tinged fuzzy stomp blues. That changed when the pair joined up with Danger Mouse for three pivotal albums beginning in 2010.

Burton used his signature lo-fi sheen sound to polish The Black Keys in all the right spots while maintaining the grit of the first few LPs. Brothers peaked at number 3 on the Billboard Top 200, turning them into mid-sized festival headliners. By the time 2011’s El Camino went double platinum and 2014’s Turn Blue hit the top spot on the Billboard charts, they’d become one of the biggest bands around and a staple of alt-rock radio.

Alongside his work with the Keys, Broken Bells helped define Danger Mouse’s rock turn in the early teens. However, the seeds for it were sewn in the dark days of 2004. About a month before Shins frontman James Mercer changed Zach Braff’s life in Garden State, Mercer met Burton at a festival in Europe. After four years of talking and a guest appearance on Dark Night Of The Soul from Mercer, they started working together seriously around 2008. This eventually led to 2010’s self-titled debut.

That said, the key release here is 2014’s After The Disco, which honed the kitchen-sink approach of their debut to create an LP that marries Mercer’s wistful indie melodicism with Danger Mouse’s psych-soul affinity. More recently, Broken Bells released a single late last year title Shelter. No word on what that means for more new music, though.

As it happens, 2004 ended up being a big year for long-simmering collaborations for Danger Mouse. He doesn’t remember exactly how he met Karen O that year, but Burton was certain it happened while he was DJing with Iggy Pop at an event — because of course he was.

When word broke that the Yeah Yeah Yeahs frontwoman and Danger Mouse were working together a few months back, it wasn’t particularly surprising. Karen O had become a serial collaborator over the years, and the partnership had the quirky-indie-darling-meets-Danger Mouse imprimatur that delivered Broken Bells and Dark Night Of The Soul.

That didn’t give us any indication of what it would sound like, though. The result, Lux Prima, can be summed up in one word: lush. The album situates itself across many times and places, sometimes simultaneously. All of this is seen expertly on the nine-minute title track that opens the record. It takes the listener on a journey through Beth Gibbons’ backyard, Norman Whitfield’s den, Serge Gainsbourg’s sex pad. Come to think of it, that’s probably any room Gainsbourg ever set foot in.

The post Seven Essential Danger Mouse Collaborations You Can’t Live Without appeared first on Discogs Blog.

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Moon_Ray Discogs Database In Review: Do Discogs Junkies Buy More On Pay Day?

Summer in the Northern Hemisphere is definitely kicking off. I rarely notice the longer days, because I spend all my time on Discogs, but I still see the seasons by the shifting patterns in contributions to the Discogs Database. Every year, as summer rolls out above the equator (where the highest concentrations of Discoggers live), contributions take a turn southward. The number of images added to artist pages was up 3% on March, but total contributions were down 6%. At least some people are getting their annual dose of vitamin D.

Not me. I get paid on the 25th of every month, so I spent the last week lining up a couple of big purchases, trying to find sellers with a large number of items in my wantlist that also have cheap shipping. I always buy a lot of records in the first week after I get paid — because Discogs. Mind you, I don’t buy as much as some people I know, who just can’t seem to get out of the trap of trading fresh records at the beginning of the month for a steady diet of instant noodles at the end. We all know the type; it’s trite to even mention it.

When one of our Customer Success guys (again) purchased more records than anyone could possibly listen to in a lifetime, I also couldn’t help scratching another addiction of mine – crunching numbers on the world’s largest musicological dataset. I had to ask myself…

Do Discogs Junkies Buy More On Pay Day?

Yes. Big yes. Here’s how we broke it down.

Looking at all purchases on the Discogs Marketplace from May 2018 to the end of April 2019, I calculated the total number of purchases on each day of the month (first, second, third, etc.) and adjusted the count for the number of times each day of the month appears in one year. There are 12 instance of the “first day of the month,” but only 11 instances of “30th day of the month” and seven of “31st day of the month.”

Next I looked at the average number of orders per day and compared each day’s total to the average, to see if any days of the month had a higher than average number of orders. The results suggest that, like me, people around the world start placing more orders around the end of the month and the beginning of the next month than in the middle of any month.

But are we all vinyl junkies? No. Discogs is for everyone, and some people just don’t like instant noodles as much as others. However, taking a look at the instant noodle crowd is where the real juicy insights are hiding. Filtering the previous analysis on all orders more than $100USD reveals there is a hot spot of “big purchase” activity around the first of every month. A big one: The number of big purchases made on the first of every month is 20% higher than the average for all days of the month!

Overview Of Database Contributions

Daily Submissions

Top Contributors

Updates To The Submission Guidelines

There are no new updates to the Submission Guidelines from March 2019.

 

 

Want to learn more about how Discogs is built?
Ready to submit a new Release to Discogs?
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The post Discogs Database In Review: Do Discogs Junkies Buy More On Pay Day? appeared first on Discogs Blog.

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Happy birthday to Patricia Quinn!As Magenta behind the scenes of The Rocky Horror Picture Show, 1974

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Freya Parr Free Download: Imogen Cooper plays Beethoven’s Diabelli Variations

'A tenderly ruminative charm alternates with a relishing of the sheer enigma of these tiny piano masterpieces'

This week's free download is the 19th of Beethoven's Diabelli Variations, performed by pianist Imogen Cooper. It was recorded for Chandos and was the Instrumental Choice in the May issue of BBC Music Magazine.

DOWNLOAD INSTRUCTIONS:

If you'd like to enjoy our free weekly download simply log in or sign up to our website.

Once you've done that, return to this page and you'll be able to see a 'Download Now' button on the picture above – simply click on it to download your free track.

If you experience any technical problems please email support@classical-music.com. Please reference 'Classical Music Free Download', and include details of the system you are using and your location. If you are unsure of what details to include please take a screenshot of this page.

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