#multi instrumentalist presentation

[maggore]

[Flag ID: A rectangular flag with 6 even horizontal stripes, colored from top to bottom; black, very dark purple, dark purplish grey, pastel blue, purple, and dark red. On the top left of the flag is a a electric guitar and bass guitar crossed over eachother, both colored purple with dark purplish grey outlines. end ID]

Multi-Instrumentalist

Someone who uses multiple presentation labels, as well as presenting Emonsicine (link) in some way; such as being Lead Guitarist and Bass Guitarist or being Grucifix and Black Tea

Coined on 5/11/2025 | Colors based on the ghost band and multi ghouls | Electric guitar (link) and Bass Guitar (link) credit

(Taglist) @radiomogai @obscurian @presentation-labels & @ghostchive

[thislovintime]

“Of all four Monkees, Peter’s onscreen persona was the least like his real self. The ‘dumb’ (albeit bighearted) Monkee is actually soft-spoken and a bit on the philosophical side with a dry sense of humor. He thinks about every word he says.” - Bill Holdship, Creem Presents… The Monkees, April 1987 “A while ago, an ad appeared in a newspaper here offering music lessons for $30 an hour. Peter Tork placed that ad and, yes, he gives music lessons. He is a genuine talent: a multi-instrumentalist; and a heck of a nice chap. […] Peter Tork is a VERY serious man heavily into spirituality and humanity. And he can be a happy-go-lucky, joking, laugh-a-minute fellow. […] So, you’re 44 now, is that good? ‘It’s OK. Sure my knees aren’t as wonderful as they used to be. But the other day I pounded down the pavement after a bus, and it felt like I was flying. Like I was eight. Um. My back’s going. My hair’s falling out. I don’t have any teeth left. My head fell off last night, which was kind of annoying. I left my spleen on a train last week. Basically, I’m falling to pieces but I feel simply wonderful.’ […] I started getting the idea that this guy is kind of genuine; sincere, the real thing.” - article by John Elder, Countdown, April 1987

Speaking of guitar lessons...

“Peter Tork gave guitar lessons here in Croton pre-his Monkees fame… on Mt. Airy Road and other village spots…. Constantly described as a very ‘down to earth’ guy.” - Everything Croton Blogspot, 2021

“I also taught a bunch of kids up in Westchester for a while. I wonder if they remember me now.” - Peter Tork, 16 Magazine’s The Monkees: Here We Are! (1967)

[thomasraukamp]

Cyrille Aimée — à Fleur de Peau

Cyrille Aimée is back with a new album and a new story to tell. À Fleur de Peau presents Cyrille in her own words, with her own original compositions presented in her own arrangements, developed in close collaboration with New York multi-instrumentalist & producer Jake Sherman - just the two of them, working up the ideas as they flowed from deep within Cyrille’s heart, making music that is the most original and personal of her career. Drawing on her Dominican heritage with its cargo of African dance rhythms and Spanish folksongs, embracing the directness and simplicity of contemporary pop forms, singing tales straight from her own life, this is Cyrille as you have never heard her before.

[cultfriends]

A collection of sounds from hidden corners—forgotten guitars, half-heard words, machines breathing, and field recordings from La Rambla and the world’s deepest sinkhole—textures that have been keeping me company lately. It’s a small offering of stillness and memory.

Endless thanks to Madeline—a true blueprint for me—for having me, and to all the artists whose work has been a lifeline.

[dustedmagazine]

Eiko Ishibashi — Antigone (Drag City)

On Antigone, Japanese singer, songwriter, multi-instrumentalist, and soundtrack composer Eiko Ishibashi returns to the vocal-led songcraft last explored on her 2018 Drag City release, The Dream My Bones Dream. In the intervening period, Ishibashi’s soundtracks to Drive My Car and Evil Does Not Exist further refined her compositional sensibility. In my Dusted review of the latter, I praised how the music “skillfully and subtly complements the film’s themes, capturing stillness, beauty, sorrow and uncertainty in such a way that the album succeeds on its own terms as a nuanced listening experience.” Antigone is similarly nuanced, foregrounding Ishibashi’s delicate, girlish voice within soft contours of fretless bass, piano, drums, synthesizer and horn and string arrangements. It’s a beguiling blend of jazz, prog and art-pop, which comes across as unashamedly sophisticated, if a little arch at times.

The contrast between inviting and unsettling musical elements is immediately apparent from opener “October,” as Joe Talia’s intricate rhythms and Marty Holoubek’s languid bass rise out of a foreboding string arrangement. Though seemingly placid on the surface, the song is then peppered with Jim O’Rourke’s glistening synthesizer runs and samples of radio transmissions. Accordion player Kalle Moberg presents a fairly conventional approach on the gorgeous, lilting “Continuous Contiguous,” but coaxes bizarre, stuttering melodic runs out of the instrument on single “Coma.” “Trial” is a driving, addictive highlight, with a Chris Squire-esque distorted bass tone and resounding horns during the outro. Eight-minute epic “The Model” initially has a dreamy cast to it but shifts gears at its midway point to incorporate some unnerving gurgling vocal effects that sound like Davros from Dr Who. Ishibashi arrives at points of repose on “Nothing As” and the closing title track, leaving behind the more challenging arrangements to focus on piano and a yearning vocal melody. It’s these moments of immediacy and unassuming beauty that leave the strongest impression.

Tim Clarke

[sunflowergem]

Trillion Diamond the Owlfly

Skin/Scale/Feather/Fur/Carapace Color: Purple

Eye Color: Purple

Height: Tall

Life Phase: Teen/Charm age

Age: 80,730 Stratum cycles

Birth Layer: Stratosveld

Casting Medium: Multi-instrumentalist

Skills: Many musical instruments, gardening, crocheting, knitting

Charm Shape: Purple diamond silver border

Eye Cover: Silver diamond frame glasses

Color Scheme: Purple, silver, gray, brown

Attire: Silver glasses, sheer purple lose fit ruffle tunic length long sleeve shirt with one diamond decal (each in a different color; orange, purple, green) at the end of the sleeve and neck ruffle, brown leather vest, Charm on chest as a broach, white opera gloves, dark purple velvet bell-bottom pants with sheer purple ruffles inlay up the calf, brown belt, silver platform calf length boots

Job: Music Artist

Hobbies: Gardening, DJing, birdwatching, crocheting, knitting

Relationships: Meteor the Firefly (mother)

Likes: figs, spas, action stories

Dislikes: large crowds, fireworks

Personality: From the outside Diamond looks cool calm and collected. She gives the vibe of that too cool to talk with you kind of person. In fact without knowing the Gurlz™ very well most assume she's the leader. This could not be further from the truth internally. Diamond is severely socially anxious. Were it not for the intervention of her mother, her musical tutors, and eventually her friend's encouragement she probably would be agoraphobic. This presents itself to others as her being eerily quiet. In public she'll whisper into the ear of Clover or Spade if she has something to add to the conversation. Around new people she almost never talks and even those she's known for a while she will often only say a few things a day. The only true exceptions to this are those she trusts completely such as her mother and her two best friends, this list might extend eventually but it's going to take some time. But you might unlock a mischievous side if you take the time to get to know her.

There is are two override to her social. First off if she notices the opportunity for a good one-liner or pun. Diamond didn't like to go out but she did love watching action stories and gained quite a love for cheesy one-liners because of it. Second off it's when she's performing. She manages to get lost in the music enough to completely ignore the world around her. Diamond's mother raised her learning a bunch of different musical instruments so there's very few things that Diamond can't at least play sufficiently. Some of her favorites are guitar, flute, and theremin.

Underneath the anxiety Diamond is a curious young lady. She loves exploring new environments. She dreams of being able to travel interdimensionally solo like her mother, exploring the boundaries of what nature can express. Her lessons were exhausting and limited her social exposure when she was young but she's grateful for the boost in knowledge compared to some of her peers. Diamond is also highly observant. Since they don't like meeting the gaze of others they are often looking to the foreground of their environment. This can lead them to noticing things that are overlooked easily.

First Appearance: Sonic Adventure 2

Voice claim: Erica Mendez

[vinylspinning]

Blood Incantation: Absolute Elsewhere (2024)

There aren't too many absolutes left in this crazy world, but one of 2024's absolute musical certainties appears to be the critical supremacy of Blood Incantation's third long-player, Absolute Elsewhere, and I, for one, agree that it's entirely deserved.

Though they formed over a decade ago, Denver, Colorado-based Paul Riedl (vocals, guitar), Morris Kolontyrsky (guitar), Jeff Barrett (bass), Isaac Faulk (drums) have multi-tasked with numerous parallel bands over the years, most notably funeral doom/thrash coffin-raiders Spectral Voice.

And, despite its rather misleading moniker, Blood Incantation is arguably their most sophisticated endeavor; dedicated to crafting adventurous fusions of advanced progressive metal and brutal old-school death metal, behind evocative sci-fi scenarios that would make space metal pioneers Voivod proud.

However, unlike countless contemporary metal-nauts who rely on their elders for inspiration (I'm looking at you, Vektor), Blood Incantation have forged a surprisingly fresh mélange of space metal hallmarks, old and new, for Absolute Elsewhere. (*)

The album consists of two, side-long suites sub-titled 'The Stargate' and 'The Message,' each broken down into three contiguous parts, or 'Tablets,' so the pyramids and obelisks that grace the gatefold cover art's alien landscape really set the stage for what's to come.

And that's a masterfully orchestrated clash of musical styles and dynamic extremes, as "The Stargate - Tablet I" shifts nimbly from cascading leads over sinister power chords, to a quasi-reggae-groove, before returning to metallic fury led by Riedl's fearsome, "if a black hole could talk" roar.

"Tablet II" is an instrumental featuring seminal Kraut-electronica greats Tangerine Dream (**) that gradually adds classic prog- and psych-rock elements (cue the synth-flute!) on its way to "Tablet III's" renewed metallic muscle, amid tribal percussion and other foreign genre splicings.

To better experience all three movements in toto, may I suggest checking out this surprisingly elaborate, 20-minute music video illustrating the 'Stargate' concept.

Over to side two and one could say that "The Message" offers more of the same, except that the lyrics turn inward to philosophical matters and that Tangerine Dream gives way to the influence of Pink Floyd (***), but that's simply not fair given Blood Incantation's continued quest to combine intricate sonic extremity with surprising immediacy.

So trust me when I say that "The Message - Tablet III" will keep you riveted throughout its eclectic, imaginative eleven-plus-minutes and leave you asking for more from a band that, as someone accurately commented, "gets better with every hair that falls out."

In sum: coming at a point in time where almost everything in rock and metal has already been done, and there are simply no stones left unturned under the Sun, Absolute Elsewhere offers an awe-inspiring, cosmic-scale achievement from Blood Incantation.

Like all absolutes, this one's absolutely essential.

* Which, incidentally, is named after an obscure mid '70s prog-rock side-project led by Yes and King Crimson drummer Bill Bruford.

** Or at least its present iteration led by Thorsten Quaeschning, who apparently took the reins after the 2015 death of Tangerine Dream founder Edgar Froese.

*** Complete with signature somnambulant vocals à la David Gilmour from German multi-instrumentalist and singer Malte Gericke (a.k.a. Mors Dalos Ra and Mordra Von Kaldesstein), I believe.

More Space Rock & Metal: Alchemist's Tripsis, Blue Aside's The White Staff Burned by the Blue Sun, Enslaved's Monumension, Hawkwind's In Search of Space, The Heads’ Mao Tinitus EP, Lowrider's Ode to Io, Lunar Chamber's Shambhallic Vibrations EP, Neil Merryweather's Space Rangers, Monster Magnet's Dopes to Infinity, Los Natas' Ciudad de Brahmam, Nocturnus' The Key, Orange Goblin's Frequencies from Planet Ten, Oranssi Pazuzu's Valonielu, Pink Floyd's A Saucerful of Secrets, Ramases' Space Hymns, Rush's 2112, Sigiriya's Return to Earth, Sons of Otis' SpaceJumboFudge, Spaceslug's Lemanis, Tangerine Dream's Zeit, UFO's UFO 1, UFOmammut's Snailking, Ulthar's Cosmovore, Vattnet Viskar's Settler, Vektor's  Terminal Redux, Voivod's Nothingface, Yuri Gagarin's Yuri Gagarin, Zemial's Nykta.

[newmusickarl]

Mercury Music Prize 2024: Ranking The Contenders

My favourite time of year has arrived – the season of the Mercury Music Prize. Back in July, the twelve albums nominated for the 2024 prize were revealed and, as ever, served up a highly diverse and eclectic list of some of the best British and Irish music released over the last 12 months. Each of these nominated records is now vying for the prestigious title of Album of the Year, the overriding criteria for which has greatly deviated throughout the award’s history.

In terms of the competition, last year felt like a big watershed moment. With myself and many others previously writing off the jazz nomination as soon as the annual shortlist is announced, Ezra Collective’s pleasantly surprising victory set a new precedence for the prize – any album can win. Not only that, but this year’s Mercury Prize shortlist presents arguably the most open contest for some years, making it almost impossible to predict. But hey – let’s try and predict it anyway!

As I do each year, I’ve now listened to all 12 albums and tried to rank them based on what I think are their chances of winning. To be clear, this is not a “Worst-to-Best” countdown – this ranking is based solely on how likely I think they are to win the overall prize.

To determine this, I’ve considered:

The impact and artistic achievement attained by the album

The popularity of the artist

The level of critical acclaim the album has received

How similar albums have fared over the years

All clear? Good!

Without further ado, here’s my final thoughts and analysis on this year’s nominees.

12. Lives Outgrown by Beth Gibbons

The debut solo album from the Portishead frontwoman is an absorbing work, a heavy listen that can be tricky to love at first but will eventually win you over. It’s certainly won the critics over too, becoming one of the most positively reviewed albums of the year thus far.

So why bottom of the list? Well for me, Beth has several factors working against her. Firstly, she’s a well-established artist who wouldn’t gain much from earning Mercury Prize recognition this late into her career. Secondly, and most importantly, she’s a former Mercury Prize winner, having lifted the trophy with Portishead’s Dummy back in 1995.

There’s only ever been one two-time winner in the prize’s history (PJ Harvey for those wondering) and at this juncture in her career, I personally don’t see Beth becoming the second person to achieve this feat – particularly given the strength of some of the debutants on this year’s shortlist.

11. Bad With Names by Corto.alto

Having already been so familiar with a lot of the records on this year’s shortlist, this debut from Glaswegian multi-instrumentalist Liam Shortall has been my favourite discovery through this year's prize. Recorded in his bedroom, it’s a mesmerising collision of jazz and electronic music that is genuinely unique and pulls you back in for repeated listens.

However, why it is so far down on my list is mainly due to Ezra Collective winning the prize last year. Whilst this album from Corto.alto isn’t solely a jazz project, of all the records on the list it is the one that falls the most into that genre. While Ezra Collective historically bucked the trend last year of jazz records never prevailing and winning the overall prize, another longstanding trend is that Mercury Prize wins rarely come from the same genre in back-to-back years. So, with a jazz record taking home the trophy last year, it makes me think the judges will go in a different direction in 2024.

10. On Purpose, With Purpose by Ghetts

The fourth studio album from the acclaimed, MOBO-award winning rapper, On Purpose, With Purpose is an ambitious project that showcases Ghetts' prowess for strong storytelling and cutting social commentary. It also features a stacked list of collaborators, including Mercury Prize alumni Kano and Sampha.

Now Ghetts is one of the few artists on this year’s shortlist who has been nominated for the Mercury Prize previously, having been shortlisted for the 2021 prize with Conflict of Interest. While recent history would suggest this could work in his favour (Little Simz and Michael Kiwanuka both won on their second and third times of trying), I feel this is a weaker effort compared to Conflict of Interest. Not only that but it seems fans and critics agree, with this album one of the lowest scoring on review aggregate site albumoftheyear.org. With this being the case, this is one I am filing under unlikely to win.

9. Early Twenties by Cat Burns

Talk about sneaking in there – this debut album from British singer-songwriter Cat Burns was released on the 12th of July this year, the final day for eligible entries into the 2024 prize. Obviously the judges would have listened to it before that date though, and they were clearly taken in by the record’s uplifting pop melodies and soul-baring lyricism.

Now, there actually isn’t too much working against Cat Burns when it comes to winning the overall prize. It is a debut album which always fair well and she’s also had good success in recent years with critic-led awards, having come fourth in the BBC Sound of 2023 and earning three Brit Award nominations just last year.

However, with the late release date you do wonder if the album would have had chance to make an impact on the judging panel in the same way as some of the other records on this list. Additionally, the album hasn’t had too long to make an impact culturally on the wider music world either, which leads me to think this is another album that is unlikely to prevail.

8. Who Am I by BERWYN

Like Ghetts, British rapper, producer and songwriter BERWYN is another artist who has been on the shortlist before, having also been nominated in 2021 for his impressively raw mixtape, Demotape/Vega. Now back with what is being billed as his debut studio album, WHO AM I is a powerful force that is as lyrically spellbinding as it is emotionally impactful.

However unlike Ghetts, BERWYN for me actually has a lot pulling for him. Again it’s another debut, he’s a previous nominee and rap records have typically done well in recent years (see wins from Little Simz, Dave and Skepta). So why is it only 8th on the list I hear you ask? Well, I think it simply boils down to there being some stronger records on this list that you can argue are more deserving. Whilst a BERWYN win (or a BER-WIN if you want to be cheesy) is certainly possible, my gut tells me its also improbable given the strength of the field.

7. Black Rainbows by Corinne Bailey Rae

A record that made my own year-end list back in December finishing an impressive 16th, Black Rainbows is one of the most acclaimed albums on this year’s shortlist. Inspired by an exhibition on Black history by artist Theaster Gates at the Stony Island Arts Bank in Chicago, the album is a mesmerising collage of eclectic sounds that range from soul and R&B to frantic garage rock and sprawling electronica.

Corinne is also a previous nominee, having had her sophomore record The Sea shortlisted for the 2010 prize. Given the love and acclaim Black Rainbows has received too, it wouldn’t be too surprising to see Corinne announced as the winner on the night.

However given the other nominees, my gut instinct says the judges may favour a newer artist, with Corinne almost in the same category as Beth Gibbons as already being too well established at this point. Whilst a Mercury win would certainly be deserving, my instincts are telling me this likely won’t be Corinne’s year.

6. When Will We Land? by Barry Can’t Swim

An album I’m personally a massive fan of and would love to see win tomorrow night. When Will We Land, the debut from Scottish musician and producer Joshua Mainnie AKA Barry Can’t Swim, is a vibrant and joyous experience like no other. Filled with a globe-trotting mix of sonic influences and textures, it is an incredible debut that has cemented Barry Can’t Swim as a household name in the electronic music world over the last year.

Now much like jazz albums, electronic records are good at getting nominated, but rarely do they win. In fact, you have to go all the way back to James Blake’s win in 2013 for Overgrown to find the last triumph from the popular genre. So not only is an electronic record long overdue a win, Barry’s debut has had such an impact in the space, not just for him but for the genre on the whole, it would be a well-received victory.

That said, as much as I would love Barry to walk away the overall prize winner, I think his chances are sadly fewer than some of the others on this year’s shortlist.

5. Silence Is Loud by Nia Archives

We’re into the real contenders now and this debut from record producer, DJ and singer-songwriter Nia Archives is certainly in with a chance. Heralded for its groundbreaking fusion of Jungle and Britpop with sincere lyricism at the heart, it’s an album that is truly unlike any other released in 2024.

With Nia such a trailblazer and pioneer for this Jungle revival that British music is now seeing, not just bringing the genre back to the fore but moving it forward as well, you have to wonder if Nia will get the nod in the same way Skepta won in 2016 for Konnichiwa. While that was arguably not the best record on the shortlist that year, it seemed like the judges were keen to recognise Skepta’s impact on the British rap and grime scene, helping to really bring it to a worldwide audience. I could easily see this reasoning repeated and with Nia’s record a debut too, it’s definitely one of the frontrunners in this very open contest.

Again, the only thing working against a Silence Is Loud win is the impact and quality of the others on the shortlist.

4. Brat by Charli XCX

An album that needs no introduction at this point. Let’s face it, has there been a British record in the last five years – or even decade - that has had as big of a cultural impact, in such a short space of time too, than Charli XCX’s Brat?

Although only released in June, the album has already cemented itself as one of the defining albums of 2024, and indeed the 2020s. From the iconic green artwork that has inspired festival fashion to instantly iconic lyrics entering the internet zeitgeist, to even politicians using the album’s lore in their political campaigns - the last few months have truly been a “brat summer”.

As we look ahead to tomorrow, Brat is currently the bookie’s favourite to take home the prize. In any other year, I would discount Charli simply for being too commercially successful and the judges tending to favour lesser-known artists when it comes to granting the overall prize. While I still ultimately think that will be the case, there is also a part of me that thinks the judges may see the impact of Brat and think it would be crazy to not award it the title of Album of the Year. In addition to this, Brat has received extreme acclaim too from critics, so it would be an incredibly popular win.

Back in 2006, Arctic Monkeys had the fastest-selling debut album ever at that time and as a result, would go on to win the Mercury Prize that year. Commercially successful albums winning when they’ve achieved cultural significance isn’t unheard of throughout the history of the Mercury Prize, so don’t be surprised if Charli walks away with it tomorrow - despite being one of the biggest popstars on the planet right now.

3. Prelude To Ecstasy by The Last Dinner Party

Speaking of fast-selling debuts, upon it’s release back in February, Prelude To Ecstasy became the UK's biggest first week-selling debut album in nine years. Considering the buzz surrounding it, this came as no surprise as there are few bands as vehemently discussed as The Last Dinner Party. Yet in many ways they still feel slightly underappreciated, often criticised for the wrong reasons. When you focus on the musicianship of the record itself, there are few debut albums as anthemic, as dazzling and as accomplished as Prelude To Ecstasy.

Much like Brat, The Last Dinner Party’s debut feels like one of the defining records of the last 12 months and although also commercially successful, you could see the critic darlings crowned the overall winners for that reason. They are also less established than Charli, so may feel like a compromise as they are still technically a “new” artist. However, you also feel the judges may recognise awarding the London quintet the overall prize may sadly have an adverse effect, leaving them prone to more criticism and intense scrutiny from their naysayers.

This again makes me think the judges will ultimately go in a different direction, but personally I think this record deserves all the praise and awards in the world. Without a doubt, one of the year’s finest albums.

2. This Could Be Texas by English Teacher

Into the top two then and now we have arrived at the two albums I think have the best chance of winning the overall prize tomorrow. One is a choice of head, the other is a choice of heart. 

If I’m going with my head, everything points me in the direction of this debut album from rock quartet, English Teacher. Hugely acclaimed, particularly by the British music press, it’s an album that has captivated due to it’s soaring originality, poetic lyrics and broad eclecticism. In fact, when you look at the genres that typically make up the Mercury Prize shortlist each year – rock, jazz, electronic, pop, soul, R&B, folk, punk and post-punk – This Could Be Texas has a little bit of all of that.

This for me is a record tailor-made to win the Mercury Prize. It is a debut album, from a band that is still up-and-coming, that would benefit massively from the greater exposure, and an album which will surely tick a lot of boxes for the diverse music tastes on the judging panel.

It’s also interesting to note that there is a strong Leeds/Bradford contingent on this year’s shortlist, with a quarter of the artists nominated heralding from the area – which makes me think the winner is likely to come from one of those three albums. So, if you’re a betting person and are still trying to decide where to put your money, my head says English Teacher’s debut is the album to back.

1. Crazymad, For Me by CMAT

But that is what my head says, my heart says something different. While a good part of me thinks English Teacher is the one to prevail tomorrow, the one I am really rooting for is Crazymad For Me by Irish singer-songwriter, Ciara Mary-Alice Thompson – AKA, CMAT.

Having finished as my 12th favourite Album of 2023, it’s a record that I still find myself frequently returning to almost a year later. In fact, if I was to redo that list today, it would be in the Top 5. This is because with each new spin it feels more and more like a modern classic, with songs like California, Rent, Where Are Your Kids Tonight and, of course, Stay For Something, all timeless in nature.

It’s not just me with a great affection for this record either. It’s another album that has seen huge love and acclaim over the last year, even getting nominated for the Irish Choice Prize back in March. Which brings me onto another important point regarding CMAT’s album within wider Mercury Prize folklore, and that is the fact that an Irish artist is still yet to win the overall prize. That’s right, despite plenty of nominations throughout the 30+ years it has been granted, an Irish artist is still yet to take home the coveted Album of the Year title.

So, with a jazz record finally winning in 2023 and bucking the long-standing trend, surely it is time for an Irish artist to be recognised as the overall winner. At a time as well where Irish music is thriving – just look at recent albums from the likes of Fontaines D.C., Kneecap, Sprints, NewDad and The Murder Capital, to name just a few – it feels like the right time. With CMAT’s incredibly infectious and warm personality, as well as her clear love for music, performing and mastering her songcraft, I couldn’t think of a more deserving person and artist to make this little piece of history.

That’s my thoughts anyway ahead of the annual ceremony tomorrow night; I guess we’ll soon find out as always just how close – or not close – I was with my predictions. Best of luck to all the artists and as ever, I look forward to watching!

Watch the 2024 Mercury Prize be presented on BBC Four tomorrow night from 8pm.

[burlveneer-music]

The Cosmic Tones Research Trio - All is Sound

Portland's finest practitioners of Great Black Music offering to the planet! All is Sound could not be a more apt title for this. Through saxophone, cello, piano, and flutes The Cosmic Tones Research Trio created a truly beautiful record. All Is Sound breaks new ground. At its heart, it's healing/meditation music, but the Gospel and Blues roots are in there too...as well as hints of forward-looking Spiritual jazz. As sincere a record as you could ever hope for. Music is indeed the healing force of the universe. Formed by alto sax player and composer Roman Norfleet, cellist and multi-instrumentalist Harlan Silverman, and pianist Kennedy Verrett—who also plays a wide variety of wind instruments—, The Cosmic Tones Research Trio focuses on healing music. In All is Sound, delicate, profound melodies create peaceful, immersive soundscapes, which the group develops through their combined background in acoustic ecology, sound meditation, mindfulness, and active community involvement. A noteworthy follow-up to Norfleet’s first length with Mississippi Records (the self-titled Roman Norfleet and Be Present Art Group, from 2023), All is Sound offers the chance to engage with songs intended for healing. Following the steps of musicians such as Sun Ra, Alice Coltrane, and Pharoah Sanders, The Cosmic Tones Research Trio delivers music that is both restorative and sonically rich—each tone falling into a perfect place, as if by magic. Kennedy Verrett - keys, flute, small percussion, digeridoo Harlan Silverman - cello, flute, small percussion, electronics Roman Norfleet - alto sax, flute, vocals, small percussion

[sattawarriors]

BIENTOT DISPONIBLE SUR TOUTES LES PLATE - FORMES DE STREAMING MUSICAL SATTAWARRIORS MEETS KHAYO BENYAHMEEN " BABYLONE KILLING US " -compositeur sattawarriors Music studio -chanteur khayo benyahmeen -mix et Master Nyahbin studio COMING SOON TO ALL MUSIC STREAMING PLATFORMS -composer sattawarriors Music studio -vocalist khayo benyahmeen -mix and Master ALL NATIONS studio PRODUCTIONS : sattawarriorsdub LABEL : GUIDANCE PRODUCTIONS DORS ET DEJA, EN ECOUTE LIBRE SUR TOUTES LES PLATEFORMES STREAMING Spotify, Deezer et sur notre site www.facebook.com/profile.php?id=61576745203660 RETROUVEZ, TOUS NOS PROJET COMPLET EN VENTE SUR : sattawarriorsdub.bandcamp.com/album/zion-irie-why-meet-sattawarriors-music-studiocreditsreleased November 10, 2024 𝗞𝗛𝗔𝗬𝗢 𝗕𝗘𝗡𝗬𝗔𝗛𝗠𝗘𝗘𝗡 A discreet yet essential artist of the dub scene, Khayo Benyahmeen is a solid beatmaker and multi-instrumentalist. He collaborates with renowned labels such as Blackboard Jungle, Jah Militant, All Nations Records, and Abendigo Records. He later founded his own label, Ital Melody Records, where he immortalizes his unique style. On the occasion of this DJ set, he will play 12 years of personal compositions. On the agenda: evening selection with guests + DJ set inna roots and culture style. SOLFAYAH AKA RAS MICKAEL BIOGRAPHIE - SATTAWARRIORS SOUND SYSTEM sattawarriors360@gmail.com +33,07,49,94,10,57 It all begins with the story of a Sound System that developed its action from 2001 to 2012 between Grenoble, the surrounding cities and Rouen, Co-created by Solfayah and Sista Mariette. After 11 years without artistic and musical activity, the Lion Sound System is changing its name to adopt the "SattaWarriors Sound System" But first, let's go back to what the "LION SOUND SYSTEM" was... In the beginning, the one who introduces us to the Grenoble stage was "Manu from Suppa Sound System with our Premieres to E.V.E student room based on the Grenoble campus. From the beginning, we started working with local artists:RAS IVAN MC PEPITO MC MADJAH PATKO SOLFAYAH Feat BOBO J Following this, a Crew was created around the " Lion Sound System " which began to participate in events and organize its musical and cultural events. Some examples below These events were on The Abolition of Slavery, the Discovery of Ethiopia with the Coffee Ceremony and the support of students for the Root's and Culture association, we brought Lyricson in favor of the Grenoble Food Bank. Solfayah, continued his momentum by creating his Radio Show ALPHA ' N ' OMEGA on a Local Radio station New's FM 101.2 every Sunday from 2 to 4 p.m by presenting themed shows that retrace the musical career of reggae artists such as: Bob Marley, Dennis Brown, Peter Tosh, Burning Spear, and many others... All this embellished by fabulous interwiev of international artists such as Marcia Griffith, Harrison Stanford, Capleton, Jah Cure, Gentleman, Abyssinnians, Alpha Blondy, Aswad and many more. Of course, it was obvious that we would continue the fight for peace, justice and the message that Reggae conveys in its entirety. As you know, providence often knocks on the door when we least expect it, here we met Jah Tool and there we can say it without pretension the "Lion Sound System" enters a mystical dimension by producing Fantastic reggae artists LYRICSON WINSTON MC ANUFF MATTHEW MC ANUFF BRAVEHEART GANJAH TREE JAH TOOL but also French artists KING ELSY RAS MYKHA OBAJAH Later Solfayah created his music creation studio " HeavenStone Productions France " and " HeavenStone Records " for the recording... Releasing 2 EPs named Jah Rastafari Way Chapters 1 & 2 followed by the third Ep JAHOVYAH with the participation of Sista Irecla and the energetic Black Omolo, while preparing his fourth EP SoulJha Victory And later Solfayah had the honor of participating in the creation of JAH TOOL's album entitled Once Upon the Time with the Tracks: Once Upon The Time, Run a Run, Good, Bad ... Then afterwards HeavenStone Productions met NATANJAH, reggae Dancehall artist which concluded with the release of the Time dub with the Tracks performed by Natan TAKE YOUR TIME on 12 " inch on the Italian Label DUBBASS MUSICALY CREATION After all these extraordinary adventures, Solfayah and the lion Sound System moves and settled definitively in the North of France, After the Mountains we are on the banks of the Seine back to the roots, because Solfayah is originally from Rouen. Freshly arrived, we met Yoan from Kumitaka Station "Radio HDR" and Iyah Ruben Big Rastaman of Galleon (27). From then on, Solfayah began to organize Sounds at the Drunken Boat, playing with Sound Systems and not the least such as: Nyabin Sound (Simon NyahBin), Blackboard Jungle (Oliva and Nico), NaturalNess (Feston), SoulSteréo, Terminal Sound, Daktary, DubLivity, Roots Addis, Jah Redemeers, Roots Ista Pose, I'N'I Sound System, BlackRose Sound System, Homeless Sound System. At the end of 2012 Solfayah decided to take a musical break, following the meeting of his wife and the birth of his son... But the story did not end there. 2023 having come the time to return to the foundation by the grace of the Almighty after having let all this mature in his heart and to take a step back from all that had been achieved. The "Lion Sound System" becomes the "SATTAWARRIORS SOUND SYSTEM" Organizing 2 small evenings in favor of the Yawenta Children Center association Based in SHASHAMANE in Ethiopia Having created his studio named SATTAWARRIORS MUSIC STUDIO, Solfayah is about to Release for 2024 Several Projects on Audio Streaming and Vinyl Platforms. The Revelation Time with Bravehaert, Anthony John Mix and Master Blackboard jungle Studio. Manufacture "Cover REVELATION TIME" painting Sist'art Creation Babylon Killing us On the " Dub Mental Slavery " performed by Khayo Benyahmeen Mixed and mastered at the nyabinStudio by Simon Nyabin Fabrication Cover " BABYLONE KILLING US " Peinture Sust'art Création all these projects will be released on the " LABEL GUIDANCE PRODUCTIONS " Label owned by the robust and Proud Big Rastaman Petah Higrade, And a little later will be released to grace, Time Bomb On the "In Your Fabulous Garden" performed by Saah Karim, Mixed by the Blackboard Studio by Oliva at the mix and master... Now you know the new and fabulous story of Solfayah, who is now writing a new page in his history with the " SATTAWARRIORS SOUND SYSTEM " AND HIS STUDIO SATTA WARRIORS MUSIC STUDIO

[guessimdumb]

Robyn Hitchcock - Are 'Friend' Electric? (2003)

Robyn Hitchcock has always had a way with covers - this was recorded with multi-instrumentalist Terry Edwards for a collection called Terry Edwards Presents... Queer Street - No Fish Is Too Weird For Her Aquarium Vol. III

[jazzandothersounds-blog]

Bootleg of John Coltrane 4tet + Eric Dolphy in Copenhagen 1961

(English / Español)

Without a doubt, saxophonist John Coltrane's band after he left trumpeter Miles Davis in 1960 is one of the defining groups of jazz, and for the year or so during which multi- instrumentalist Eric Dolphy joined Coltrane on reeds, the band became a phrenic and frenetic powerhouse that shook jazz to its core. Between Dolphy's piercingly distinct sound and Coltrane's newly developed interest in Eastern modalities, as well as the driving force of one of the all-time great rhythm sections—pianist McCoy Tyner, drummer Elvin Jones, and bassists Jimmy Garrison or Reggie Workman—this was a band to reckon with.

Recorded on November 20, 1961, mere weeks after the legendary Village Vanguard sessions that got critics' dander up, this album finds the quintet at the Falkonercenter in Copenhagen, playing the first part of a sold-out two act bill (the second act was trumpeter Dizzy Gillespie's band: what a concert!). Here, Workman is still holding down the bass chair, though Jimmy Garrison had likely won himself the spot for future iterations of the Coltrane band with his performance on "Chasin' The Trane" back in New York. Previously made available on vinyl, but only just released in a complete CD form with announcements by presenter Norman Granz, this is a must-have for Coltrane or Dolphy completists.

The album boasts two curiosities that distinguish it from all the other Coltrane recordings available in the marketplace. The first, a pair of rare false starts on "My Favorite Things," prompting an apology from the ever mild-mannered Coltrane to the audience, will likely only interest the true die-hard fan. But a version of Victor Young's beautiful "Delilah," purported to be the only version of the song that Coltrane or Dolphy ever recorded, is a deluxe addition to any fan's collection.

Without a doubt, this would have been an astonishing performance to witness. While Coltrane, Dolphy and McCoy are fantastic as always, part of the pleasure of hearing this band is in the seemingly telepathic give and take between all players. Hearing Coltrane's fire with only hints of the sparks that Elvin Jones is lighting behind him isn't the complete experience. That being said, it's still a lot better than most of what's out there.

Tracks: Announcement by Norman Granz; Delilah; Every Time We Say Goodbye; Impressions; Naima; My Favorite Things (false starts); Announcement by John Coltrane; My Favorite Things.

Personnel: John Coltrane: tenor and soprano saxophones; Eric Dolphy: alto saxophone, flute, bass clarinet; McCoy Tyner: piano; Reggie Workman: bass; Elvin Jones: drums.

Extract text from: allaboutjazz.com / By Warren Allen

-----------------------------------------------------------------------------

Sin lugar a dudas, la banda del saxofonista John Coltrane tras su marcha del trompetista Miles Davis en 1960 es uno de los grupos que definen el jazz, y durante el año en que el multiinstrumentista Eric Dolphy se unió a Coltrane en las cañas, la banda se convirtió en una potencia frenética que sacudió el jazz hasta sus cimientos. Entre el sonido penetrantemente distintivo de Dolphy y el nuevo interés de Coltrane por las modalidades orientales, así como la fuerza motriz de una de las mejores secciones rítmicas de todos los tiempos -el pianista McCoy Tyner, el batería Elvin Jones y los bajistas Jimmy Garrison o Reggie Workman-, ésta era una banda a tener en cuenta.

Grabado el 20 de noviembre de 1961, pocas semanas después de las legendarias sesiones del Village Vanguard que levantaron la polvareda de la crítica, este álbum presenta al quinteto en el Falkonercenter de Copenhague, tocando la primera parte de un programa de dos actos con las entradas agotadas (el segundo acto fue la banda del trompetista Dizzy Gillespie: ¡menudo concierto!). Aquí, Workman sigue ocupando la silla del bajo, aunque Jimmy Garrison probablemente se había ganado el puesto para futuras iteraciones de la banda de Coltrane con su actuación en "Chasin' The Trane" en Nueva York. Anteriormente disponible en vinilo, pero recién editado en CD completo con anuncios del presentador Norman Granz, es un disco imprescindible para los completistas de Coltrane o Dolphy.

El álbum cuenta con dos curiosidades que lo distinguen de todas las demás grabaciones de Coltrane disponibles en el mercado. La primera, un par de raras salidas en falso en "My Favorite Things", que provocaron una disculpa del siempre apacible Coltrane al público, probablemente sólo interesará a los verdaderos fans acérrimos. Pero una versión de la hermosa "Delilah" de Victor Young, que se supone que es la única versión de la canción que Coltrane o Dolphy grabaron jamás, es una adición de lujo a la colección de cualquier fan.

Sin duda, habría sido una actuación asombrosa. Aunque Coltrane, Dolphy y McCoy están fantásticos como siempre, parte del placer de escuchar a esta banda está en el toma y daca aparentemente telepático entre todos los músicos. Escuchar el fuego de Coltrane con sólo indicios de las chispas que Elvin Jones enciende tras él no es la experiencia completa. Dicho esto, sigue siendo mucho mejor que la mayoría de lo que hay en el mercado.

[fetznerdeathrecords]

Flagg - Diabolical Bloodlust

Black Metal from Turku, Finland

FLAGG are one of Finnish black metal's most unsung gems. Rotten and regal, the band is the work of two scene veterans: selfsame multi-instrumentalist Flagg, who was a part of reanimated old Finnish cult Annihilatus, and vocalist Tyrant, whose hordes include the esteemed likes of MALUM, Infernarium, and Kalmankantaja. Together, FLAGG's two full-lengths - 2020's Nothing But Death and 2021's Cosmic Chaos Manifest, both released under the banner of PURITY THROUGH FIRE - flew in the face of prevailing Finnish paradigms, presenting an ultraviolence largely steeped in the ancient '90s whilst evincing a palatable sort of modernity.

1. Storming the Gates 04:19 2. Morningstar Rising 04:23 3. Diabolical Bloodlust 03:26 4. The Book of Death 05:23 5. Throne Regained 03:51 6. Call of Darkness 04:06 7. In Famine and in Pestilence 04:49 8. Omega Dawn 06:27

Release date: April 4th, 2025 via @puritythroughfire

[musicien]

#𝐌𝐔𝐒𝐈𝐂𝐈𝐄𝐍 —  a selective & private portrayal of 𝐌𝐈𝐊𝐄 𝐇𝐀𝐘𝐖𝐎𝐎𝐃, fandomless OC — singer, composer, multi-instrumentalist, former child prodigy, all-around music aficionado & certified loverboy. Lead vocalist & rhythm guitarist for the symphonic death metal band 𝐒𝐎𝐍𝐒 𝐎𝐅 𝐒𝐎𝐃𝐎𝐌. Mature & potentially triggering themes are present. 21+ ONLY. Written by Eli. Inextricably intertwined with sunmad / toheel ♡

𝅗𝅥 ... CARRD (read before interacting!) 𝅘𝅥 ... PINTEREST 𝅘𝅥𝅮 ... PROMO POST 𝅘𝅥𝅯 ... OTHER BLOGS: sunbentsky & khirurg & tohilt

[dustedmagazine]

Foxwarren — 2 (Anti- / Arts & Crafts)

Andy Shauf has a reputation for not only being a prolific songwriter, but also a meticulous one. On his solo albums he writes all the songs, winnows them down into thematically cohesive collections and plays all the instruments himself. Shauf’s band Foxwarren steps out of that comfort zone to explore new ways for Shauf and his buddies to write and record. Their self-titled debut album was a solid effort. It sounded how you imagine an Andy Shauf album might sound if played by a band of friends with a familiarity and ease to their musical chemistry. Their follow-up album, 2, is an altogether different proposition.

Foxwarren have now expanded from the quartet of Shauf, the Kissick brothers on drums and bass, and guitarist Dallas Bryon, to a quintet, incorporating multi-instrumentalist Colin Nealis from Shauf’s touring band. This expanded line-up gives the band more options to build on their folk-rock foundations, but it’s actually their songwriting method that’s splintered their sound in surprising new directions. The songs were conceived from the ground up by the band members sending each other snippets that were then manipulated using a sampler. This has resulted in an album that draws from a wider musical palette, including instrumental hip-hop, soul, and funk, drawing comparison to artists such as The Avalanches and Jon Mckiel. With 15 short tracks stacked tightly into 37 minutes, 2 doesn’t always cohere, but it’s certainly playful, freewheeling, and occasionally inspired.

The album’s best moments arise when the samples lead to addictive riffs, such as the fuzzy stomp of “Listen2Me,” and “Deadhead,” which sounds like Talking Heads trying to cover Hot Chocolate’s “You Sexy Thing.” Opener “Dance” has a swoonful swing that’s reinforced by string samples, and the gorgeous “Yvonne” would have sounded right at home on Shauf’s last album, Norm. But then there are shorter interstitial tracks that do little more than present half-finished ideas, such as the sub-bass and dialog sample on “Havana,” or the sped-up piano and vocal snippet on “True,” which loses steam just as it feels like it could evolve somewhere exciting. For this reason, 2 is a tantalizing indication of where Foxwarren might head next if their song ideas are afforded further development, rather than an essential release in its own right.

Tim Clarke

[starneurosis]

I haven’t posted any drawings in a long time. I’m sorry! I’ve been busy.

Today’s drawing isn’t associated with DRDT… What?! No DRDT?! That’s right. I still love DRDT with all my heart though.

Anyhow, my drawing is…

A new OC! A Tetro Danganronpa Pink OC! I finally got into another fanganronpa, so that means, another one on my list to hyperfixate on and daydream over!

Here she is! I spent 16 hours on her… wow… trying to replicate an art style isn’t for the faint hearted, so I tried my best! 🥹

Information:

Name: Chinatsu Takagi

Ultimate: Ultimate Multi-Instrumentalist

Birthday: 12/23/20XX

Age: 16

Trivia:

Chinatsu has multiple ailments/illnesses, the following are: anemia, irritable bowel syndrome, asthma, and chronic elbow pain (or tennis elbow if we’re being specific). This section is portrayed by my own chronic ailments, I’m not just pulling things out of nowhere. Please tell me if I’m doing something wrong, and I’ll correct it immediately!

Chinatsu has an odd knack for music, since she played clarinet and did marching band from eight grade, to her sophomore of high school. Wow, me too! She was also in a band (I have yet to come up with a name for said band.) all I can say was that it was a heavy metal band.

Speaking of high school, she also did color guard, both winter and summer guard. She also did a little bit of bowling as well.

Chinatsu knows how to cook basic things, but can pick up recipes rather quickly.

Chinatsu really likes to gossip. A lot. She would shit-talk, but she can’t fight for shit, so she’d rather not.

Chinatsu has done drawings for numerous children’s books. Who knows? Someone might even find one in the building or so.

Chinatsu has a twin sister named Hotaru.

Fun fact about Chinatsu: How did her and Kamimura become friends? Easy. They gossip. They shit-talk a lot. They’re oddly similar as well. Matter of fact, here’s a small, ten minute doodle I drew.

It’s safe to say that this doesn’t have much context, and I don’t know how to elaborate this by any means. And yes, Monomoko does not care.

Anyway, I like drawing doodles like these. They’re funny. I can also draw more canon characters too, so just put any requests in my ask box and I’ll be sure to get to them. Just tell me a scenario, what characters and I’ll do it. I mean, if it’s something that isn’t too good or rather inappropriate, that’s just going to have to be a sharp no. I’m sorry. Anyway, thank you!! I genuinely had fun doing this.

I won’t be putting this in the Kamimura Kazutoshi tag, since it’s not entirely focused on him at the moment. I’ll just put it in main tags, since I don’t want this to get in the way of any content of any characters that are barely present/not present.

Thank you! And wow, that was a fun talk session.