TIP*Twelve Inch Plate #100
Amelie Lens & Farrago | Weight of the Land | Arts | 2017 |
Beautifully consistent and consistently beautiful record of four different takes on the same concept of a hypnotic techno. ‘Purge‘ that opens side B is one of the electronic anthems of 2017. Stripped down and yet engaging, it carries the right weight of suspense and industrial feel. Each track has something almost cinematographic and lofty to it. But the massive beat structures that ground the tunes remain firmly in place. #lessdramamoretechno
TIP*Twelve Inch Plate #99
Octo Octa/Ames Henry | Frend Zone | frndzne 01 | 2017 |
Hot stuff! On side A none other than Octo Octa delivers house music which, as always, is tinged with that exquisite melancholy and late hours spleen (especially A 2 “daylight”) but here the cuts are additionally inflected by drum’n’bass beat citations. (Are The best house producers getting a bit tired of typical house rhythms, preparing for a dnb renaissance ;) ?). Side B by Ames Henry is equally strong. The last track “Working in noir” is a massive old school tune that 15 years ago would probably have been called ‘nu breaks’ if someone wanted to squeeze it into a category. But who cares? Believe me, it sounds tremendous in the club - danke @nd_baumecker for your unerring taste 🖤
Painting: Karl Hofer, ‘Girl with Record’, 1942
Sixty years ago Miles Davis, well on his way to jazz superstardom, came to Paris. On December 4, 1957, he watched the main scenes of the film “L’Ascenseur pour l’echafaud” and improvised with French musicians during a night recording session. That unique enchanted moment is captured on this record for posterity, and crackling of this original Columbia LP released in 1958 only adds to the magic of the experience. One of the sexiest records I own...
I bought this first pressing in New York in 2007 when it was almost half a century old for just 8$... Apart from Miles’s timeless music, the liner notes are revealing as well. “Davis is one of the very few man of the past decade to go completely his own way ... Instead of gaiety which so often seeps through even in the blues work of the earlier men, Davis’ playing has an intensity that seems to stem from personal involvement in a situation that is basically a sociological matter.” I concur. Slide over to read more from the back cover. And try to go your own way too whenever possible...
Check out also this beautiful album book on Miles “The man in the green shirt” published by Bloomsbury in 1993 - one of the coolest about Miles... Dig deeper. Listen to true masters. @sir_miles_davis
O @forneriaurbana cria todos os sabores que fazem parte do menu do Lá Em Cima Bar.
Ingredientes selecionados e da melhor qualidade são misturados com muito carinho e bom gosto, transformando sua experiência no terraço do @vilabutantan em momentos especiais através de delícias saudáveis!
Seu menu é assinado pelo Chef Matheus Freiha.
A carta de drinks é do criativo Thomas Motta, que executa com excelência, uma coquetelaria clássica, releituras e drinks originais.
Com pegada sustentavel e pet friendly, a casa apresenta uma identidade visual contemporânea, 100% reciclada e com objetos desenvolvidos á partir de peças de avião, latões e aço retornavel.
A pista das quartas-feiras fica por conta do Projeto Evolve, que se apresenta no charmoso deck do Lá Em Cima Bar, com artistas escolhidos especialmente para dar o tom de uma atimosfera leve, inteligente e dançante. Trazendo experiências de uma musicalidade que aflora em raridades jazzisticas, grooves brasileiros e latinos, disco music, afrobeats entre outras maravilhas sonoras! - - - - - - - - - - - - - - - -
EVOLVE NO LÁ EM CIMA BAR
22/Nov. - Quarta-feira
17:00 ás 23:30
Rua Agostinho Cantu, 47
Visual - Wïllïam Wȧlker
Promo - Paula Pretel
Art desing - Tony Costa
Produção - Juliane Moreira
Realização - @projetoevolve
Apoio - @laemcimabar, @vilabutantan, @_dotmagazine, @we_jam, @forneriaurbana ▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪▪confirme sua presença no link do evento: https://www.facebook.com/events/2006362999636441/?ti=cl
Kanye West - The College Dropout (2004) // Today I want to talk about Kanye's debut album. This record has made a strong impression on me and I'll tell you straight away why. When the album was released, I didn't know much about this gentleman. He was a new rapper and the bear on the cover looked cute. And Jay-Z had something to do with all this. That was about it. His whole eccentricity was already there, but it was perceivable to me first of all through the music and that was immensely pleasing. His debut has a very positive vibe and I like that a lot. 🔥 I also have to say that this album is certainly not his best output from an artistic point of view, but it has remained my favourite album to this day. 🏆 During my studies I worked for almost five years in a record store in Zurich. The store hasn't been around for a long time, but it was one of the coolest jobs I've ever done. We were a sworn in troop and when this record arrived with the new deliveries sometime, it took us by storm. I think, no other album has been played so often over the sound system. It was the lowest common denominator. The electronic freaks and the metal heads could also agree on that. 🤘 And we were also able to fascinate many customers. When I listen to this album, I think especially of the s is family business, and this is for everybody standing with us, come on, let's take a family Grammy picture." ❤
Stereolab | Dots & Loops | Duophonic | 1997 •
As time passes, I tend to think that this is a unique magical mystery tour of the 90s...Because there’s undeniable magic to this record, because there’s omnipresent mystery of a kind I can’t quite find anymore in post rock landscape, and because it is simply a tour de force of the band that defined the genre in a most graceful of ways. You can guess I consider it Stereolab’s best effort, even though there are other great albums in their catalogue. Upon its release twenty years ago, I was certainly excited to see that the guys of Mouse on Mars got involved in production and that meant an amazing dose of retro futurism in the sound. John McEntire of Tortoise recorded and mixed the LP, adding his touches to the music as well. It had no choice, it had to be a masterpiece.
So I had no choice and got both the original beautiful British green and white vinyl which meanwhile reaches high prices, and the regular repress from 2013. The variability of sounds and moods is just stunning here. The light touch of the two female vocalists makes this record work well as an avant-pop intervention. On the other hand, there’s experimental edge, especially in suites like “Refractions in the plastic pulse” and “Contronatura” that made “Dots & Loops” an epitome of refined post-krautrock aesthetics. The way the abstract themes in these tracks resolve themselves into most beautiful melodic motifs is, well, quite magical. And then there are songs here like “The flower called nowhere”...What do you want more? And who plays with this level of confidence, coolness and enchantment today?
It's been a while since my last post for which I apologise. Here is the next instalment in my #80svinyl series! The year is 1983...
Where to start? Synthesisers by this time were definitely in, as was slick, glossy production that came to signify the shiny 80's pop that filled everyone's heads on MTV or Top Of The Pops. Independent labels were also starting to see major success, such as Factory Records and 4AD. It was also the year in which Return Of The Jedi came out, completing the original trilogy and setting the scene for the future Star Wars movies 😊 Stranger Things Season 1 was also set in 1983! 🎃
What is your favourite album from 1983?
Here I have on vinyl from 1983: Colourbox (self-titled mini album), Genesis (also self-titled), Mark Knopfler (Local Hero OST), The Moody Blues (The Present), Big Country (The Crossing), Journey (Frontiers), Eurythmics (Sweet Dreams (Are Made Of This)), Yes (90125), John Williams (Return Of The Jedi OST), New Order (Blue Monday 12" single), The Waterboys (December 12" single), Spandau Ballet (True), and Machinations (Esteem).