BIG NEWS !!! Foley is back for a solo EP “The Lost Sessions : LA” TODAYYYYYYYYY.
Last one was back in 1993 🙂
Foley is just an incredible artist : Lead Bass (Piccolo) for Miles Davis, Drummer (George Clinton !), Sound Engineer (Prince) and much more (Chaka Khan …)
Please take a moment to hear et watch his last tune … Cum Round 😉
This video was edited by Foley himself by the way.
Taken from the “For All Hands EP”, the latest offering from producer and multi-instrumentalist Werkha. Comprising four dark and disquiet tracks with an experimental groove. Criticising corrupt systems, the “For All Hands EP” works towards giving something back to the people; to all the hands that run the machine that is our society. The irresistible funk of “Foolin’ Self feat.
Berry Blacc” is the fantastic product of the first collaboration between Werkha and Manchester vocalist/producer Berry Blacc.
A track created on pure instinct, it’s impossible to ignore the energy and sheer enjoyment gained from these two teaming up; “to have the opportunity to work with and witness Berry Blacc’s development as an artist has been a privilege already”. Berry Blacc’s cleverly crafted vocals are raw and spontaneous alongside Werkha’s transformative electronic beats; teaming up as an unstoppable driving force.
Since emerging onto the scene in 2014, Moses Sumney has ridden a wave of word-of-mouth praise, hushed recordings, and dynamic live performances. It’s an organic, patient ascent all too rare in today’s musical climate. In a voice both mellifluous and haunting, Sumney makes future music that transmogrifies classic tropes, like moon-colony choir reinterpretations of old jazz gems. His vocals narrate a personal journey through universal loneliness atop otherworldly compositional backdrops.
Following the self-release of his debut cassette EP, Mid-City Island, and 2015’s 7″, Seeds/Pleas, Sumney has performed around the world alongside forebears like David Byrne, Karen O, Sufjan Stevens, Solange, James Blake and more. With his 2016 Lamentations EP, The California and Ghana-raised troubadour widened the spectrum of his heretofore “bedroom” music, incorporating songs that feature more elaborate production and evocative songwriting. Now his inspired ascent continues.
His proper debut album, Aromanticism is a concept album about lovelessness as a sonic dreamscape. It seeks to interrogate the social constructions around romance. The debut will include the devastating, billowing synths of “Doomed,” which in a way serves as the album’s thesis statement, as well as new versions of standouts “Lonely World” and “Plastic.” It’s a deliberate, jaw-dropping statement that can leave you both enlightened and empty.
Classic ! When Rachelle Ferrell meets the godfather George Benson at Montreux, with great Legendary producer Quincy Jones conducting the Festival … you got GOOSEBUMPS all the way.
I promise I got tears EACH TIME Rachelle is singing in that duet … Speechless
Three is the magic number for The Cactus Channel. The ever-evolving Melbourne collective’s third album represents a new consciousness and a decisive turning point. Unloosed from their earlier incarnation as an instrumental soul and funk band into something wilder, a little darker and heavier, the new album sees The Cactus Channel diving in deep to dreamlike soundtracks, electrifying wig-outs and woozy meditations.
There were signifiers along the road; a boundary-splintering EP with Ball Park Music singer Sam Cromack last year, following a 7” single collab with Nick Murphy, released as The Cactus Channel feat. Chet Faker. These outings were a glimpse of the alchemy of adding vocals to the band’s typically intuitive, instrumental arrangements. And now with the band’s own Lewis Coleman stepping up to the mic, a vocal dimension has become part of The Cactus Channel’s fully formed, signature sound.
This new embodiment of The Cactus Channel is of the cultural moment, akin to the vibrational path-crossing of fellow travellers such as Badbadnotgood, Unknown Mortal Orchestra & Menahan Street Band. The band flexes their classic soul and funk influences whilst expanding their own songwriting along psychedelic paths, adding weight and substance to their melodic and rhythmic axis. Looking back to when The Cactus Channel formed in high school, united by shared interests and a shared sense of humour, they were always set to walk this new path. A love of soul music and the kind of hip hop, jazz, and alternative releases that spring from it, meant that from the beginning The Cactus Channel have prided themselves not just on eclecticism, but on the constant sharing of influences among their members; exploring new influences and sonic territories.
Andra Day covers the iconic song “Strange Fruit.” Originally performed by Billie Holiday in 1939, the song protests lynching, a form of racial terror which took more than 4,000 African American lives and reinforced white supremacy. Most states have no memorials commemorating lynching sites, some of which are featured in this video. Andra, in partnership with the Equal Justice Initiative, sheds light on this difficult history and the ways that racial injustice continues. In order to move forward, we must confront our past.
“Sycamore” tells a lyrical, folk-flavoured tale of complicated love, the lilting voice of singer and songwriter Maralisa Simmons-Cook melding with heavily effected guitars and synths alongside live and digital beats and brass flourishes.
“The story is based on a tumultuous love triangle my dad was thrown into post-college”, she explains; “He told me this story one summer, behind a bar in Brooklyn called Sycamore. It’s a tale of love and betrayal, about trying to win back a lover, and the issues that arose between three best friends”.
“Sycamore” brings an eagerly awaited taste of new music from Space Captain and an upfront glimpse of their first full ‘All Flowers In Time’ album dropping October 27th.
69 Musicology 