Electronic / Experimental
2479 products
KNOWER FOREVER credits
(1.) Knower Forever (Louis Cole)
*All strings
*All Brass
Extra synth: Louis Cole
(2.) I’m The President (Louis Cole / Genevieve Artadi)
Genevieve Artadi: Vox
Louis Cole: Drums
Sam Wilkes: Bass
Jacob Mann: Keyboard
Paul Cornish: Keyboard / Piano
*All Brass
*All Flutes
*All Choir
*All strings
(3.) The Abyss (Louis Cole / Genevieve Artadi)
Genevieve Artadi: Vox
Louis Cole: Drums
Mononeon: Bass
Rai Thistlethwayte: Keyboard
Sam Gendel: Saxophone
(4.) Real Nice Moment (Louis Cole / Genevieve Artadi)
Genevieve Artadi: Vox
Louis Cole: Drums
Mononeon: Bass
Rai Thistlethwayte: Keyboard
Paul Cornish: Keyboard / Piano
Sam Gendel: Saxophone
*All Choir
(5.) It’s All Nothing Until It’s Everything (Louis Cole / Genevieve Artadi)
Genevieve Artadi: Vox
Louis Cole: Drums
Sam Wilkes: Bass
Jacob Mann: Keyboard
Rai Thistlethwayte: Keyboard / Piano
*All Strings
*All Horns
(6.) Nightmare (Louis Cole / Genevieve Artadi)
Genevieve Artadi: Vox
Louis Cole: Drums
Mononeon: Bass
Jacob Mann: Keyboard
Rai Thistlethwayte: Keyboard
(7.) Same Smile, Different Face (Louis Cole)
Genevieve Artadi: Vox
Louis Cole: Piano
*All Strings
(8.) Do Hot Girls Like Chords? (Louis Cole / Genevieve Artadi)
Genevieve Artadi: Vox
Louis Cole: Drums
Sam Wilkes: Bass
Jacob Mann: Keyboard
Paul Cornish: Keyboard
Adam Ratner: Guitar
(9.) Ride That Dolphin (Louis Cole / Genevieve Artadi)
Genevieve Artadi: Vox
Louis Cole: Drums
Sam Wilkes: Bass
Jacob Mann: Keyboard
Paul Cornish: Keyboard
*All Choir
(10.) It Will Get Real (Louis Cole / Genevieve Artadi)
Genevieve Artadi: Vox
Louis Cole: Drums
Mononeon: Bass
Rai Thistlethwayte: Keyboard
Chiquita Magic: Keyboard
Sam Gendel: Saxophone
(11.) Crash The Car (Louis Cole / Genevieve Artadi)
Genevieve Artadi: Vox
Louis Cole: Drums
Sam Wilkes: Bass
Jacob Mann: Keyboard
Paul Cornish: Piano
Adam Ratner: Guitar
David Binney: Saxophone
*All Brass
*All Choir
*All strings
(12.) Bonus Track (Louis Cole)
Genevieve Artadi: Tambourine Robot Holder
Louis Cole: Drums
Mononeon: Bass
Rai Thistlethwayte: Keyboard
Chiquita Magic: Keyboard
Sam Gendel: Saxophone
Tambourine Robot built by Louis Cole and Daniel Sunshine
*Strings:
Leah Zeger (vln)
Lily Honigberg (vln)
Megan Shung (vln)
Yu-Ting Wu (vln)
Chrysanthe Tan (vln)
Sabrina Parry (vln)
Nora Germain (vln)
Tylana Renga (vln)
Tom Lea (vla)
Ethan Moffitt (vla)
Daniel Jacobs (vla)
Lauren Baba (vla)
Isaiah Gage (clo)
Chris Votek (clo)
Niall Ferguson (clo)
Emily Elkin (clo)
Karl McComas-Reichl (bs)
Logan Kane (bs)
*Brass:
Robert Murray (tuba)
Corbin Jones (sousaphone)
Kyle Richter (sousaphone)
Jon Hatamiya (tbn)
Vikram Devasthali (tbn)
Mariel Austin (tbn)
Nick Platoff (bass tbn)
Aidan Lombard (tp)
Aaron Janik (tp)
Andris Mattson (tp)
Chris Clarkson (tp)
*Flutes:
Rob Sheppard
Amber Navran
Henry Solomon
*Choir:
Kathryn Shuman
Mikaela Elson
Dyasono
Micaela Tobin
Jessica Freedman
Rayah Clarkson
Alexandra Domingo
Sharon Kim
Linnea Sablosky
Katharine Eames
Glynis Davies
Michael Kohl
Jeff Eames
VJ Rosales
Brett McDermid
Luc Kleiner
Sean Fitzpatrick
All production by: Louis Cole
All songs mixed and mastered by: Louis Cole
Audio Engineer: Daniel Sunshine
Cameras: Daniel Sunshine, Richard Thompson, Chiquita Magic, Max Zemanovic
Special thanks for Alliz Espi at Songololo Music, and publishers Because Music
Renowned jazz and funk trumpeter Sefi Zisling presents his third album ‘The Librarian’, blending classic elements with psychedelic funk, soul, and spiritual jazz. ‘The Librarian’ is dedicated to all things close to Sefi’s heart. Featuring the single “Brothers” and a cover of Mal Waldron’s “All Alone”, he pays homage to his musical inspirations, his wife, friends, and Eyad, a Palestinian whose story moved Sefi.
"This album was made as an ode to the people I love, and I would like to dedicate this album to them." - Sefi Zisling
The cover art is a painting by the late Walid Abu Shakra, a member of the Abu Shakra family who have collectively played a pivotal role in the Palestinian-Israeli art scene and are respected worldwide. Walid aimed to highlight the expropriation of Palestinian land by the Israeli state and centred his artistic career on safeguarding a disappearing landscape through his monochromatic etchings. When attending an exhibit, Sefi was drawn to the views from his childhood, particularly Walid’s portrayal in acrylic, with 70s geometric forms with bright colours. After exchanging numbers with the family and working with designer Paul H.Um, the piece was transformed into the cover art for ‘The Librarian’.
“I chose this title because I am this librarian. That is how I consume and enjoy music, the way I remember and catalogue in my mind… all the way to my vinyl collection. So this tune and the whole album are full of references and memory “postcards” from my library of things I love to listen to and play.” Sefi explains.
The LP opens with “The Librarian”, from which the album takes its namesake, and draws inspiration from Bennie Maupin’s enchanting album 'The Jewel in the Lotus'. Sefi was experimenting with writing a piece that contained contrasting parts, which is carried through the juxtaposing delicacy of the floating melodies over a dense, free-form background. Continuing the personal theme, “Layla” takes the listener on a journey through infinite and ever-changing scenery. The “full, rich and lively” instrumentation is a reflection of Sefi’s wife through his eyes. “No doubt I’m a lucky man,” he adds.
“Song for Eyad” is dedicated to a beautiful and innocent soul, Eyad al-Hallaq, a 31-year-old autistic Palestinian from East Jerusalem. On May 20th, 2020, while walking with his teacher to his daycare centre for individuals with special needs, Eyad encountered an IDF checkpoint. As Eyad became panicked and fled in his confusion, a border police officer opened fire. In one of the last images captured of Eyad, he is seen holding a succulent plant, which is used as a symbol on the back of the LP, commemorating his tragic loss. The song serves as a reminder for us to conduct ourselves with humanity and love.
A friend for life, Zack is “a music lover in the highest form,” Sefi explains. Zack played a huge part in Sefi’s journey as an artist, with endless recommendations and teachings. DJing together frequently, Sefi wanted to show thanks for his support with “Fortune Song (For Zack)” which shares their love of Yusef Lateef and musical ballads.
Yusef Lateef's influence is present throughout the album, inspiring Sefi to depart from his usual ensemble-driven style and embrace a jazz-infused intimacy reminiscent of Lateef's quintet recordings. With a smaller band, Zisling crafts a warmer, more personal atmosphere rooted in traditional jazz instrumentation like upright bass and piano, with the funkier, electronic-leaning exception of "Brothers". Recorded live in 2021 with his quartet Noam Havkin, Tom Bollig, Omri Shani, and trombonist Yair Slutzki, ‘The Librarian’ epitomises Zisling's evolution as a composer and performer, showcasing his most personal work yet.
‘Catpack’, from Los Angeles trio Amber Navran (of Moonchild), Jacob Mann and Phil Beaudreau, is the cats meow. The quirky, light-hearted project features 11 tracks, including the singles ‘What I've Found’, and ‘Walk Away’.
The genuine camaraderie and mutual admiration shared among the three creatives is palpable in its organic, joyful exploration of musical expression. Amber adds “to me it’s three people with distinct sounds who love and admire each other, coming together to make something new”. The result is an authentic convergence of their artistry, drawing on their influences to harness a jazz-influenced R&B sound, with neo-soul, funky and electronic motifs. The whimsical namesake is taken from a synth patch resembling cats meowing that they discovered in the studio and an ingenious merch idea that followed (search Google for catpacks).
‘What I’ve Found’ is the group's debut single and a song, both lyrically and musically, about being sick of holding back and not taking up too much space. Built from the Roland Juno synthesiser, ‘What I’ve Found’ is a creative symbiosis between the three band members, who unapologetically all go full in, running with every idea that is thrown into the hat. The outcome is a complementary cohesion built on mutual respect and appreciation. Talking about the meaning of the new single, Amber explains: "Sometimes, in the journey of finding your inner strength and knowing your worth, people close to you become uncomfortable with you taking up more space. They’re used to the small version of you, or their own self-worth is tied to their perceived position above you. This song is a middle finger to the people who can’t love you as you shine brighter and brighter and a love letter to the new, beautiful you".
Second single, the witty, funk-laden “Walk Away”, exudes confidence both in its composition and conviction, serving as “a reminder that.. if things don’t start changing, then it could be time to go”. Jacob’s dynamic, funky synth-scape rises and falls to make space for Amber’s delicate, hazy vocal and chirping flute lines. The lyrics are coolly self-possessed, asserting, “I know how to walk away” and “Somethings got to change. Don’t you go forgetting”. The no-nonsense delivery is upheld by gingery instrumentation, with layers of staccato synths, guitar, Corey Fonville’s percussion and statement trumpet.
Elsewhere on the album “Next To Me” is an amusing jest about the extremes of an all-consuming devotion to someone, urging a partner to "take vitamin C and wear their sunscreen in the quest for an enduring love. The humour is carried through in the meowing synth, layered over Amber and Phil’s buttery harmonies.
Phil emotionally summarises the wholesomeness of the project: “I don’t know if I’ve ever felt more like myself than when I’m making music with Amber and Jacob…. It’s an amazing feeling to work with people whose art you’re in awe of, but it’s something deeper when there’s space for friendship. That chemistry is a gift, and it makes the work so easy to do.”
The cassette tape of this work released in 2022 from the label landscape plan sponsored by Taika, a two-person rock band that continues to release works with a Fourth World sensibility, sold out in a blink of an eye, and since then, ele-king vol. 30 Selected as one of the 50 must-listen albums of electronic music in the 2020s.
Like Eric Satie, who suffers from insomnia, was haunted by a care-taker-like nightmare and twisted it. contains
The binding, designed by Mr. Y Inoue, the central figure of the rock band kumagusu, which is active mainly in Tokyo, gives the work a texture like the white outer skin of a pill, and makes you want to take it out every night and take it. It will induce an addiction to such "Zolpidem".
Doc Lloyd Miller returns with his signature and timeless Spiritual Jazz and World/Cultural Music trademarks, as well as inviting a few contemporary sensibilities contributed by himself and collaborators Ian Camp and producer Adam Michael Terry. Expanding upon Miller's distinctive Academic, Persian and Far-Eastern Jazz Fusion into territories of New Age, Minimalism, Modern Classical, Ambient, and even hints of Psychedelic Folk with the opening song "The Summoning". Proudly extending Lloyd's already unique and massive music pallet that has been documented on his esoteric 60's records and self-released CDs over the decades, we anticipate his fans around the world will be pleased to hear familiar stylings as well as some evolved ideas.
Recorded late summer 2019 down in Lloyd Miller's basement, "At the Ends of the World" is a prophetic expression of the social and cerebral atmospheres that Miller personally predicted for the pestilence of 2020. The album reflects a moody dichotomy between the increasingly doomed world and the musician's attempts to heal with divine music and cultural beauty
credits
releases November 6, 2020
視聴-comatonse.000 comatonse.000.r3(Excerpt 1)
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Dj Sprinkles’ debut full length album,continues with themes from 1998’s “Sloppy 42nds: A tribute to the 42nd Street transsexual clubs destroyed by Walt Disney’s buyout of Times Square” (a track recently featured on Ame’s “Coast2Coast” DJ mix compilation for NRK Records).
While the world celebrates the revial of New York House Music, constructing utopian fictions about the genre as it goes along, DJ Sprinkles retreats deep into the bowels of house. This is the rhythm of empty midtown dancefloors resonating with the difficulties of transgendered sex work, black market hormones, drug & alcohol addiction, racism, gender & sexual crises, unemployment, and censorship.
The title song of track1&2 is a real “strictly rhythm” house music. It’s a simple 4/4 beat with piano loop.maybe this is a real minimal house! Third track “Ball’r (madonna-free zone)” is a euphoric mid tempo house.this track reminds jan jelinek or larry heard.
Fourth track “Brenda’s $20 Dilemma” is a sequel of his fag jazz style.check the beautiful kuniyuki remix of this song(mule musiq 34). Fifth track “House Music Is Controllable Desire You Can Own” is a classic new york house style.if you like the record of jus-ed or that kind of artist,you like this song.
Sixth track “Sisters, I Don’t Know What This World Is Coming To” is a one of the highlight song on the album. Actually this track is not 4/4 beat house but very emotional powerfull music. Seventh track “Reverse Rotation” is a deep and madness beautiful song.When you listen this song,you associate the music of theo parrish or pepe bradock.
Eighth&nineth track are main songs of this album. “Grand Central, Pt. I (Deep Into the Bowel of House)” is associated the sound of jungle wonz or virgo. but this song is filled with somthing sadness.check the story about this album from terre,you will see…. http://www.comatonse.com/releases/midtown120blues.html This album is for a real house music lovers.
視聴-Midtown 120 Intro・ミッドタウン120イントロ
視聴-Midtown 120 Blues・ミッドタウン120ブルース
視聴-Reverse Rotation・後戻り
視聴-Grand Central, Pt. II (72 hrs. by Rail from Missouri)・グランドセントラル駅 パート2(列車でミズーリ州から72時間)