#Oiro Pena

[burlveneer-music]

Oiro Pena - Puna - spiritual jazz from Finland, new album out today

Oiro Pena is a Finnish jazz collective helmed by prolific composer Antti Vauhkonen. Their forthcoming album, Puna, recorded in bedrooms, studios and other salubrious locations around Helsinki during 2022, is a mix of lo-fi spiritual jazz, experimental, and avant-garde music forms. It includes four vocal tracks recorded with Merikukka Kiviharju, which feature both original lyrics and those sourced from traditional Finnish folk songs. Vauhkonen first attracted attention as saxophonist in the group Soft Power. He then launched Oiro Pena as solo multi-instrumentalist with two self-titled, astral, outsider jazz 10” EPs, released by Ultraääni in 2019, limited to 200 copies, since repressed three times and seriously in demand. With a background in electronic music, Vauhkonen explains his transition into avant-garde / spiritual jazz: "It came from Krautrock first, I started listening to Can, and searched through all the psychedelic German rock bands. There was a lot of jazzier elements there, horns and saxophones, I think it came from there, and then I found Miles Davis and John Coltrane (and) started listening to the early Sun Ra material." Puna features the interplay of vocalist Merikukka Kiviharju (Fat Chance, Jazzgangsters) on tracks 'Puna', Kaiju Kaiija', 'Kuinka Kukaan' and 'Calamity Caravan', matching with the intensity of Johannes Sarjasto’s saxophone, and Staffan Södergård’s piano. The album, like previous releases is built around Vauhkonen’s propulsive drumming and Philip Holm’s upright bass that provides the band with its forward momentum. Johannes Sarjasto’s flute, so much a part of previous Oiro Pena group recordings, also features on this release.  Antti Vauhkonen: Drums Johannes Sarjasto: Saxophone, Flute Philip Holm: Double Bass Staffan ''Wolf'' Södergård: Piano Merikukka Kiviharju: Vocals Mastered By: Noah Mintz at Lacquer Channel Mastering in Toronto. Artwork: Riina Tanskanen Layout: Steve Lewin

[dustedmagazine]

Listed: James and the Giants

James and the Giants is the latest project from James Jackson Toth, who got his start in the freakiest edges of aughts folk as Wooden Wand, releasing a slew of albums under that and his own name. More recently, Toth has convened another band, James and the Giants, which shares personnel with Woods (Jarvis Tavernier, Kyle Forester and Jeremy Earl). In her review of their self-titled debut, Jennifer Kelly wrote, “Who’d have guessed from James Jackson Toth’s early forays into noisy, freak folk experiments that he’d shape up as such an elegant craftsman? This latest collection of songs attests to the artist formerly known as Wooden Wand’s deep connection to and understanding of foundational American popular music forms: blues, folk, gospel, R&B, Beatles-esque psych and Brill Building pop.”

Below is some music I really love. I have omitted music created by friends and people with whom I am acquainted in “real life.”

Oiro Pena

Studio overdubs are a bit of a rarity in jazz music; even less common is jazz created by a single musician overdubbing themselves. While recent Oiro Pena albums have expanded to include several other members, band founder Antti Vauhkonen’s earliest work under the name was created by Vauhkonen alone accompanying himself performing all of the instruments. The result is like a cross between the space exotica of Sun Ra’s Chicago period and the homespun psychedelic clatter of No Neck Blues Band. As much as I enjoy the band’s recent work, it is the early Oiro Pena records that I find most compelling, the composite parts of a single brain improvising with itself to create a beautiful illusion.

B-52s — “Ain’t It A Shame”

The B-52s’ 1986 album Bouncing Off The Satellites is what is often referred to in rock crit speak as a “transitional record.” It preceded a 3-year hiatus, after which the B-52s enjoyed a tremendously successful comeback with 1989’s 4x platinum Cosmic Thing, thanks in no small part to chart-topping singles “Love Shack” and “Roam.” Bouncing Off The Satellites found the increasingly fractious band moving away from their taut, artsy new wave origins and embracing the potential of nascent studio technology, namely the Fairlight CMI. Most crucially, the album was released less than a year after the AIDS-related death of founding member and guitar player Ricky Wilson, who was silently and secretly struggling with the virus during the recording of the album. As a result, the band did not promote nor tour in support of the album, which is really too bad, because it’s a great group of songs, the highlight of which being the melancholy “Ain’t It A Shame” (later covered by Sinead O’Connor). The song does not deal directly with Ricky’s illness—it was written before the diagnosis was revealed to anyone in the band—but seems to foreshadow some of the band’s personal difficulties in that prophetic way that songs often do. A gorgeous, flawless song.

Eyvind Kang — “Binah”

Tucked inconspicuously into the center of polymath / genius Eyvind Kang’s 2002 CD-only release, Live Low To The Earth, In The Iron Age, is this mesmeric masterpiece, somewhere between a post-rock Bill Frisell and a more pastoral Henry Flynt. Over 27 minutes, “Binah” slowly blossoms, changing almost imperceptibly. To an impatient listener, it will be like watching paint dry; to me it’s like watching a flower bloom. My wife Leah and I have listened to this album on a loop for hours, and I’m not typically a “listen to a song on a loop for hours” kinda guy.

Omar S

For over two decades, fiercely independent producer Omar S has been upholding the tradition of Detroit techno, his best music fusing the black sonic fantasias of Drexciya with the supple house-funk of Theo Parrish. On his own records and on his own label, FXHE, on which the vast majority of his 12”s and albums are released, the former Ford Motor Factory employee works exclusively with analog gear. Omar’s releases on FXHE are pressed in small quantities, often with crude, handwritten labels; if you order direct from FXHE, it’s very likely the box you receive will have been assembled and shipped by the man himself. While using techno and Chicago house as its base, the music Omar S produces is eclectic and unpredictable, untethered to any signature sound or approach; he’s just as likely to release an irresistible summer jam (see the Diana Ross-sampling “Day,” a track so infectious it makes Daft Punk sound like The New Blockaders) as darked-edged minimal house tracks like “Nite’s Over Compton,” on which Omar S masterfully evokes a mood using the barest essentials and tools.

Frank Zappa — “Chunga Basement”

I’ve given up trying to convert friends to the cult of Frank Zappa. I’m a big fan, especially of his guitar playing, but I sympathize with those who might have an aversion to Zappa’s prurient and mean-spirited sense of humor. In fact, if Frank Zappa’s particular sense of humor could be said to have an exact diametric opposite, it is my own. I love Zappa’s music in spite of — not because of — its scatological / puerile aspects. With that preamble in mind, I encourage all you private press-obsessed guitar loners to consider this embryonic, uncharacteristically laid-back version of future live staple “Chunga’s Revenge,” recorded during a casual jam session in early 1970 and featuring a rhythm section of Ian Underwood on keys, Max Bennett on bass, and Aynsley Dunbar on drums. “Chunga’s Revenge” was historically one of several signature vehicles for Zappa the Guitarist (as opposed to Zappa the Social Theorist, Zappa the Comedian-Provocateur, Zappa the Serious Composer, et al) and this early take finds our mustachioed man sounding uncharacteristically mellow and un-caffeinated, exploring the endless possibilities of his guitar in a way that isn’t remotely wacky or wanky.

Barre Phillips — Three Day Moon

There was a brief period in the mid-to-late 1970s when artists on ECM — my all-time favorite label after Three Lobed — were experimenting with synthesizers, approaching this relatively new technology with an omnivorous artistic fervor common to the ECM roster. Legendary bassist Barre Phillips’ pair of albums in the late 1970s are, to me, the distillation of this meeting of the earthy and the synthetic, locating in the process what might be considered ground zero for “ambient jazz.” While jazz groups incorporating elements of ambient and drone have become increasingly common as of late, there was little precedent in 1976 for the experimental marriage of saxes and circuitry. Mountainscapes (1976) and Three Day Moon (1978) both feature the mysterious and under-recorded synthesist Dieter Feichtner, about whom little is known — anyone know what became of him?

The Knife — Silent Shout

In 2006, I was in an electronic music rut. Everything being produced suddenly felt like a retread or a facsimile of things I already liked, a malady common to older, more established genres like rock and jazz, but not, as far as I was concerned, electronic music. My slump ended upon hearing Silent Shout, the third album by Swedish sibling duo The Knife. Though I avidly continue to keep up with the uniformly excellent solo projects of both members of The Knife — Karin Dreijer Andersson’s Fever Ray and Olof Dreijer’s Oni Ayhun — Silent Shout remains a pivotal record in my listening life. The album’s gothic austerity and phantasmal reimagining of dance music is clearly the work of visionary minds. Silent Shout is music of physicality, of intimacy and bodies, rendered icy and alien in part by the deployment of pitch-shifted vocals that suggest multiple menacing personas, giving the album the dissociative sense of having many different vocalists embodying different characters. Dreijer Andersson’s voice is an incredible instrument, capable of evoking dread, fear, loneliness, and antagonism. Incredible artist.

Ulver — Blood Inside

Ulver is predictable only in its unpredictability. The band radically reinvents its sound from album to album in a way that makes the Norwegian group’s music impossible to pigeonhole (see also: Boris, Circle). The group’s early albums are exciting, if fairly traditional black metal. But since then, Ulver has experimented with symphonic neo-classical, synth pop, art rock, trip hop, and folk music. 2005’s Blood Inside is their masterpiece — one of the most engrossing, relentless and overwhelming albums I’ve ever heard. Sometimes the album sounds like King Crimson covering The Cure’s Pornography, sometimes it sounds like Swans trying to evacuate a city being blasted by bombs. A grower if ever there was one, Blood Inside will worm its way into your psyche with its manic, brute ferocity and decadent maximalism. I’m loath to resort to the cliché of comparing a piece of music to an acid trip, so let’s instead call Blood Inside the sonic equivalent of an anxiety attack — inside a kaleidoscope.

Tolerance — Divin

The late music journalist Yuzuru Agi founded the Osaka-based Vanity label in 1978, releasing 11 LPs alongside a handful of 7” singles, flexis, compilations, and cassettes by mostly Japanese artists before dissolving the label in 1982. My favorite Vanity release is 1981’s Divin, the second album by the Osaka duo Tolerance. Led by the enigmatic and mysterious Junko Tange and aided by guitarist Masami Yoshikawa, Tolerance used drum machines and mixers alongside guitars and keyboards to create a different sort of early electronic music, one that was as far away from Kraftwerk and Tangerine Dream as Captain Beefheart was from the Rolling Stones. As the album’s most enthusiastic boosters love to acknowledge, listening to Divin is like listening to the future: the mechanized cracked electronics of Wolf Eyes and Nautical Almanac can be heard here, no wave’s dissonant skronk and grave incantations, and certainly what is now referred to as “minimal wave.” But the record’s prescience as a precursor to techno may be a tad overstated; by 1981, we already had “Being Boiled,” Louis and Bebe Barron’s soundtrack for Forbidden Planet, and Throbbing Gristle’s “Hot On The Heels On Love” (the latter of which does sound like a clear precursor to Tolerance’s “Sacrifice”), to name a few. Whether or not the members of Tolerance were aware of any of these things is impossible to know, as no one has seen or heard from either band member since shortly after Divin’s release. I’d speculate that most if not all of these resemblances are purely coincidental and not an indication of any direct influence. The coincidences, however, are fascinating. “Misa (Gig’s Tapes in ‘C��), presented here backwards, sounds a bit like a dry run for My Bloody Valentine’s “Touched;” “Sound Round” could quite easily pass as a sixth-generation cassette dub of some lost Skam or Rephlex 12,” while “Bok Wa Zurui Robot (Stolen from Kad)” does indeed sound like a blueprint for Detroit techno. There is something beguiling and uncanny about the entire presentation of Tolerance in general and Divin in particular. Though it is unlikely that the future architects of electronic music as we know it were aware of this record upon its limited release in 1981, it is a testimony to the notion of collective unconscious that Divin unwittingly presages so much of what was to come while still sounding like nothing else.

[noloveforned]

last week's show was recorded over the weekend due to family stuff but we're back on wlur with a new show at 8pm followed by the proper debut of last week's show at 10pm. tune in live or stream last week's show on mixcloud!

no love for ned on wlur – july 12th, 2024 from 8-10pm

artist // track // album // label dirty three // love changes everything v // love changes everything // drag city memorials // cut it like a diamond // memorial waterslides // fire radiation risks // lungs in the water // strawberry quick // radiation risks delivery // digging the hole // digging the hole digital single // heavenly erik nervous // ramblin' gamblin' man // (bandcamp mp3) // (self-released) germ house // under my head // no sleep til palestine is free! compilation cassette // girlsville victoria // creative frenzy // treats // scenic drive zuzu's petals // feel like going home // the music of your life // twin/tone program // sparks // it’s a sign // anti fade hound // current affairs // but mostly it was grim ep // slack jaw lenny roybal // little daisy // soft summer breezes- the corby label compilation // numero group cassandra jenkins // only one // my light, my destroyer // dead oceans keith freund // sprite loop // trash can lamb // soda gong chris cohen // laughing // paint a room // hardly art th blisks // knuckledust // elixa // efficient space lea bertucci // in anticipation of (excerpt) // hold music // (self-released) luke stewart silt trio // you see? // unknown rivers // pi patrick shiroishi, samuel goff and camila nebbia // listening to quasars // diminished borders cassette // cacophonous revival sml // three over steel // small medium large // international anthem oiro pena // mythical mist // puna // we are busy bodies the lijadu sisters // come on home // horizon unlimited // numero group sault // act six - lessons // acts of faith // forever living originals blu and evidence featuring domo genesis and navy blue // lights at night // los angeles // bigger picture tha god fahim and sadhu gold // don't half do it // dump gawd: tha knocking of loose // lowtech twiliters // restless love // eccentric soul- the cuca label compilation // numero group your heart breaks // blood brothers // harsh tokes and bong jokes // this will be our summer del amitri // sticks and stones girl // del amitri // chrysalis milky wimpshake // heterosexuality is a construct // encore, un effort! // fortuna pop! la la delivery // i feel nice when i play this guitar // from within ep // (self-released) kids on a crime spree // white light/white heat // oakland weekender 2024- tribute to the velvet underground cassette // oakland weekender mt. misery // lunch break // lunch break digital single // prefect

[amor-barato]

Cena I

FAUSTO Bateram. Entre! Quem virá moer-me?

MEFISTÓFELES(de fora) Sou eu.

FAUSTO Entre!

MEFISTÓFELES Repita-mo três vezes!

FAUSTO Pois pela vez terceira, entre!

MEFISTÓFELES(entrando) Ora graças! Voltei ou não voltei? Manos a l’obra! Toca a deitar cá fora. Eu já no intuito de lhe furtar a mente a hipocondrias, aqui venho, entrajado à fidalguinha: - corpete carmesim bordado de oiro, - capa de gorgorão, gorra enfeitada com sua pena de galo,- e o coruscante chanfalho à cinta. Não percamos tempo. Vestir como eu, e andar! Livre dos cepos, verá o que é viver.

FAUSTO Mudar de pele não muda interior. Com quaisquer trapos há-de ir comigo o meu viver terrestre. Já sou velho de mais para brinquedos, e para descartar-me de cobiças inda muito rapaz. Que há nesse mundo que me possa atrair? Priva-te! Abstém-te! Eis o eterno refrão com que nos quebram o bichinho do ouvido a toda a hora. De manhã, quando acordo, é sempre aflito e ansioso de chorar, pela certeza de que o dia que enceto é, como os outros, incapaz de cumprir-me um só desejo, nem um só. Pois se eu sei que a expectativa do mínimo prazer já chega eivada de sua improbação, e cada almejo do meu férvido sangue há-de ir gelar-se ante as carrancas do viver prosaico! À noite é-me forçoso entrar num leito onde já sei me aguarda o labirinto da turbulenta insónia, e, se olhos cerro, medonho pesadelo! O Deus que me enche rege-me a seu talante, influi, domina té o âmago mais fundo o meu composto.

E tamanha potência nada pode fora de mim nos mínimos objectos! Dura carga é viver! quem dera a morte!

MEFISTÓFELES(ironicamente) Devagar, devagar! Hóspeda é essa que dispensa convite e zanga a todos.

FAUSTO - Feliz o herói que, na embriaguez da glória, no instante mesmo em que lhe pega os loiros com sangue hostil nas fontes a vitória, cai fulminado ao silvo dos peloiros! - Feliz o amante que depois do enleio de louca dança, e no auge do delírio, súbito expira no adorado seio, e antes da morte vislumbrou o Empíreo! - E feliz eu, se quando, face a face, logrei tratar com génio alto e possante, nesse extra-vida glorioso instante morte improvisa os dias meus soprasse!

MEFISTÓFELES(ironicamente) Assim será; mas certo sujeitinho, certa noite que eu sei, não teve a força de tragar certo líquido.

FAUSTO Já vejo que também gostas de espiar.

MEFISTÓFELES Não digo que tudo sei, mas sei que farte.

FAUSTO E ignoras o porque eu não bebi? Foi porque a ponto uns conhecidos sons, ecos da infância, me arrancaram do horrendo labirinto por onde eu tumultuava, e me puseram nos meus primeiros, meus saudosos dias!... e era tudo fantástico! Mal haja quanto humano artifício enleia as almas, e com suaves forças lisonjeiras na mundanal caverna as traz cativas. - Maldita a presunção, que ilude ao homem. - Malditas as miragens, que nos cegam. - Maldita a glória vã.- Maldito o sonho dos póstumos laureis. - Maldito o gozo do possuir: de ter esposa, filhos, servos, campos ubérrimos. - Maldito o Mamon, que envidando-nos seu oiro, ora nos lança às íngremes façanhas, ora (e só para uns frívolos recreios) por cima dos deveres nos afofa preguiceiros coxins. - Maldita a vinha co’o seu néctar balsâmico - Maldita essa das graças graça, amor chamada. - Maldito o esperar sempre. - A fé maldita. - Maldita sobre tudo a paciência!

CORO DE ESPÍRITOS(invisíveis) Ai ai! desta feita deixaste arrasado c’oa força do murro tão lindo universo; já tudo em ruínas desaba disperso. Já é! Ver um homem com Deus comparado!

Andar, companheiros, levar por ’í fora, para os sumidoiros do vácuo sem fundo, os cacos e entulhos da fábrica mundo. Pasmava-se dela; choremo-la agora.

Sus, filho do barro, sus, sus, potentado! Em troca do mundo, que já destruiste, extrai de ti outro, melhor, menos triste! Profere o teu Fiat, e logo é criado!

Vida nova, clara vida, corra limpa de mistérios! Encha os âmbitos etéreos o cantar do teu Edén!

Ao factor do novo mundo fama em cânticos florida alce em coro adorando glória, glória, glória, Amen!

Goethe  (Fausto)

[soliti]

SOLITI 2023: THE END OF YEAR LISTS Juppe

Eleven things I happened to enjoy this year:

1. Laura Moisio – Laulaa kun ei voi muutakaan (LP) This album makes me wish I made it. One of the most creative and underrated Finnish artists working right now.

2. Oiro Pena – Oiro Pena (EP) Hypnotic outsider jazz. Very inspiring for late night internet browsing. Sun Ra-esque lo-fi jams.

3. David Lynch – The Straight Story (film) Seldom mentioned Lynch film. Great film to put on during a lazy Sunday. No red velvet curtains to see here. Comfy.

4. Eiafuawn – Birds In The Ground (LP) Peak emo, flegmatic in just the right way. Great production, chill vibes.

5. PJ Morton – Gumbo (LP) Excellent modern RnB, inspiring humanist messages for a depressing decade.

6. Tom Waits – Small Change (LP) I’ve been going through Tom’s discography, next year going into his 80’s stuff. Right now this album is my favourite.

7. Mac DeMarco – Another One (mini LP) Perfect record to put on when heading out to the store or for a walk.

8. Regina – Soita Mulle (LP) I put this on whenever I’m cooking, the same old pasta recipe starts to taste a bit more poetic. Great for pretending that you’re in a music video.

9. Animal Collective (discography) I picked up a mission to listen to their entire output. Helpful stuff for writer’s block and for coming up with new production techniques.

10. Kurt Vile – Another good year for the roses (song) Timeless sounding song. Feels like it’s always been around. Future classic in my book.

11. Title Fight – Lefty (song) Perfect soundtrack for staring out of your window wistfully, which happens to be my favourite pastime.

Hope your 2024 is filled with hope and laughter.

[twistedsoulmusic]

Ok, so you’ve heard of Oiro Pena, right? Well, the Finnish jazz group led by the talented composer Antti Vauhkonen just dropped a new album called ‘Puna’. It’s a lovely blend of lo-fi spiritual jazz, experimental tunes, and avant-garde music vibes. The LP’s best songs are the four vocal tracks featuring the super-talented Merikukka Kiviharju. What’s cool is that they have a mix of original lyrics and some classic Finnish folk song lyrics. It’s a nice blend of old and new!

[formorpheus]

 Não sei... não sabe ninguém, Porque canto o fado neste tom magoado De dor e de pranto. E neste tormento, todo o sofrimento, Eu sinto que a alma cá dentro se acalma Nos versos que canto.

Foi Deus... que deu luz aos olhos, Perfumou as rosas, Deu oiro ao Sol e prata ao luar. Foi Deus... que me pôs no peito Um rosário de penas Que vou desfiando e choro a cantar.

E pôs as estrelas no céu. E fez o espaço sem-fim. Deu o luto às andorinhas. Ai… E deu-me esta voz a mim.

Se canto, não sei porque canto, Misto de ventura, saudade, ternura E talvez amor. Mas sei que cantando Sinto o mesmo quando Me vem um desgosto, E o pranto no rosto nos deixa melhor.

Foi Deus... que deu voz ao vento, Luz ao firmamento E deu o azul às ondas do mar. Foi Deus... que me pôs no peito Um rosário de penas Que vou desfiando e choro a cantar

Fez poeta o rouxinol. Pôs no campo o alecrim. Deu as flores à primavera. Ai… E deu-me esta voz a mim.

[manic-exposure]

Oiro Pena at We Jazz Odysseus Festival 2021 Lonna Island Finland

[plus-low-overthrow]

Oiro Pena - Kuume (Ultraaani)

Flutes, 2019.

[pdmtsn]

Various - Spiritual Jazz 13: Now! Part One / Modern Sounds For The 21st Century (2021)

A1 Benjamin Herman - Lizard Waltz A2 Idris Ackamoor & The Pyramids - An Angel Fell A3 Nat Birchall - The Black Ark

B1 Chip Wickham - Shamal Wind B2 Jimi Tenor And Kabukabu - Suite Meets B3 Black Flower - Winter

C1 Darryl Yokley's Sound Reformation - Echoes Of Ancien Sahara C2 Damon Locks Black Monument Ensemble - Sounds Like Now C3 Oiro Pena - Nimetön

D1 Cat Toren's Human Kind - Soul D2 Shabaka & The Ancestors - Wisdom Of Elders D3 Makaya McCraven - Gnawa

Genre: Jazz Style: Contemporary Jazz, Modal

[burlveneer-music]

My WVUD playlist and stream, 8/26/2023

Bart - Turncoat Bart - Gorge Irreversible Entanglements - Free Love Oiro Pena - Kaiju Kaiju Indigo Jam Unit - Time Hypnotic Brass Ensemble - Detroit Red Menagerie - Kingdom Gala Drop - Amizade Sparkle Division - Foxy Al Green - Perfect Day Chip Wickham - Space Walk Yael Nachshon Levin - The Bird of Popular Song Todd Mosby - Georgia's World Divide And Dissolve - Blood Quantum Uno Lady - Light of My Life Hannah Peel & Paraorchestra - We Are Part Mineral JG Thirlwell & Mivos Quartet - Ozymandias Black Pumas - More Than a Love Song Orgone - Find ‘em, Fool ‘em and Forget ‘em (feat. Gina Murrell) O.V.E. (The Overview Effect) - Stawinoga Tusmørke - Cycle of the Gylfaginning The Headhunters - Chameleon (Live) Bent Arcana - Oblivion Sigil (Live)

[taumada]

(via ▶︎ Oiro Pena | Oiro Pena | Ultraääni Records)

[noloveforned]

we've been dealing with smoke from wildfires here in central virginia for the past few days but i'll be trekking through the haze later tonight for my radio show on wlur from 8pm until midnight. join us live or catch up with last week's show on mixcloud at a more suitable time!

no love for ned on wlur – november 10th, 2023 from 8-10pm

artist // track // album // label teenage fanclub // mad dog 20/20 // dgc rarities volume one compilation // dgc everyone asked about you // it's days like this that make me wish the summer would last forever // paper airplanes, paper hearts // numero group hotline tnt // i thought you'd change // cartwheel // third man terry malts // seen everything // lost at the party // slumberland the belair lip bombs // say my name // lush life // cousin will the creases // point // tremolow // liberation jungle breed // unfamiliar streets // wynona, paloma, papilloma // blossom rot alien nosejob // stories of love // the derivative sounds of... or... a dog always returns to its vomit // goner equal parts // same old games // equal parts ep // tiny town cut piece // don't become the enemy // cut piece 7" ep // dirt cult sunwatchers // foams // music is victory over time // trouble in mind waylon jennings // she comes running // singer of sad songs // rca victor carmen perry // mexican wine // that's how the world began ep // (self-released) the woods // never before // so long before now // dot matrix miss grit // off you // fader and friends volume one compilation // fader maria elena silva // ruido blanco // dulce // astral spirits / big ego oiro pena // puna // puna // we are busy bodies david wertman // sharatarr // kara suite // finders keepers lonnie liston smith with adrian younge and ali shaheed muhammad featuring loren oden // cosmic changes // jid017 // jazz is dead yaya bey // crying through my teeth // ten fold // big dada mavi // 3 left feet // laughing so hard, it hurts // de rap winkel dinner party featuring nineth wonder and phoelix // can't go // enigmatic society // empire maxx traxx // tell me // maxx traxx // numero group fortunato durutti marinetti // clerk of oblivion // eight waves in search of an ocean // soft abuse sweeney // straight boy crushes // disappointment archives, 1986-2016 // observable universe the palisades // alternatively wednesday // a month too soon 12" // easter rachel love // april love // the cat collects seasons compilation // the cat collects the proper ornaments // two weeks // split 7" w/ beat mark // croque macadam the ian fays // viola // viola // we were never being boring model shop // swimming backwards // check the forecast 7" ep // meritorio

[osabordopecado1]

Quem é esta mulher, a sempre triste, que vive no meu coração? Quis conquistá-la mas não consegui.

Adornei-a com grinaldas e cantei em seu louvor Por um momento bailou o sorriso no seu rosto, mas logo se desvaneceu.

E disse-me cheia de pena: — A minha alegria não está em ti.

Comprei-lhe argolas preciosas, abanei-a com leques recamados de diamantes, deitei-a em cama de oiro Bateu as pálpebras como um relâmpago de alegria que logo se apagou.

E disse-me cheia de pena: — Não está nessas coisas a minha alegria.

Sentei-a num carro de triunfo, e passeei-a por toda a terra. Milhares de corações conquistados caíram humildes a seus pés, e as aclamações reboaram pelo céu Durante um momento brilhou o orgulho nos seus olhos, mas logo se desfez em lágrimas.

E disse cheia de pena: — Não está na vitória a minha alegria

Perguntei-lhe: — Que queres então? Respondeu-me: — Espero alguém que não sei como se chama. Depois calou-se.

E passa os dias a dizer cheia de pena: — Quando virá o amado desconhecido? Quando o conhecerei para sempre?

-- Rabindranath Tagore

[shakenfaitth]

Às vezes, passo horas inteiras Olhos fitos nestas braseiras, Sonhando o tempo que lá vai; E jornadeio em fantasia Essas jornadas que eu fazia Ao velho Douro, mais meu Pai. Que pitoresca era a jornada! Logo, ao subir da madrugada, Prontos os dois para partir: - Adeus! adeus! é curta a ausência, Adeus! - rodava a diligência Com campainhas a tinir! E, dia e noite, aurora a aurora, Por essa doida terra fora, Cheia de Cor, de Luz, de Som, Habituado à minha alcova Em tudo eu via coisa nova, Que bom era, meu Deus! que bom! Moinhos ao vento! Eiras! Solares! Antepassados! Rios! Luares! Tudo isso eu guardo, aqui ficou: ó paisagem etérea e doce, Depois do Ventre que me trouxe A ti devo eu tudo que soul No arame oscilante do Fio, Amavam (era o mês do cio) Lavandiscas e tentilhões... Águas do rio vão passando Muito mansinhas, mas, chegando Ao Mar, transformam-se em leões! Ao Sol, fulgura o Oiro dos milhos! Os lavradores mai-los filhos A terra estrumam, e depois Os bois atrelam ao arado E ouve-se além, no descampado Num ímpeto, aos berros: - Eh! bois! E, enquanto a velha mala-posta, A custo vai subindo a encosta Em mira ao lar dos meus Avós, Os aldeãos, de longe, alerta, Olham pasmados, boca aberta... A gente segue e deixa-os sós. Que pena faz ver os que ficam! Pobres, humildes, não implicam, Tiram com respeito o chapéu: Outros, passando a nosso lado, Diziam: "Deus seja louvado!" "Louvado sejal" dizia eu. E, meiga, tombava a tardinha... No chão, jogando a vermelhinha, Outros vejo a discutir. Carpiam, místicas, as fontes... Água fria de Trás-os-Montes Que faz sede só de se ouvir! E, na subida de Novelas, O rubro e gordo Cabanelas Dava-me as guias para a mão: Isso... queriam os cavalos! Que eu não podia chicoteá-los... Era uma dor de coração. Depois, cansados da viagem, Repoisávamos na estalagem (Que era em Casais, mesmo ao dobrar... ) Vinha a Sra Ana das Dores "Que hão de querer os meus Senhores? Há pão e carne para assar..." Oh! ingênuas mesas, honradas! Toalhas brancas, marmeladas, Vinho virgem no copo a rir... O cuco da sala, cantando. . . (Mas o Cabanelas, entrando, Vendo a hora: "É preciso partir"). Caía a noite. Eu ia fora, Vendo uma estrela que lá mora, No Firmamento português: E ela traçava-me o meu fado "Serás Poeta e desgraçado!" Assim se disse, assim se fez. Meu pobre Infante, em que cismavas, Por que é que os olhos profundavas No Céu sem-par do teu País? Ias, talvez, moço troveiro, A cismar num amor primeiro: Por primeiro, logo infeliz... E o carro ia aos solavancos. Os passageiros, todos brancos, Ressonavam nos seus gabões: E eu ia alerta, olhando a estrada, Que em certo sítio, na Trovoada, Costumavam sair ladrões. Ladrões! Ó sonho! Ó maravilha! Fazer parte duma quadrilha, Rondar, à Lua, entre pinhais! Ser Capitão! trazer pistolas, Mas não roubando, - dando esmolas Dependuradas dos punhais ... E a mala-posta ia indo, ia indo. o luar, cada vez mais lindo, Caía em lágrimas, - e, enfim, Tão pontual, às onze e meia, Entrava, soberba, na aldeia Cheia de guizos, tlim, tlim, tlim! Lá vejo ainda a nossa Casa Toda de lume, cor de brasa, Altiva, entre árvores, tão só! Lá se abrem os portões gradeados, Lá vêm com velas os criados, Lá vem, sorrindo, a minha Avó. E então, Jesus! quantos abraços! - Qué dos teus olhos, dos teus braços, Valha-me Deus! como ele vem! E admirada, com as mãos juntas, Toda me enchia de perguntas, Como se eu viesse de Betlém! - E os teus estudos, tens-me andado? Tomara eu ver-te formado! Livre de Coimbra, minha flor! Mas vens tão magro, tão sumido... Trazes tu no peito escondido, E que eu não saiba, algum amor? No entanto entrava no meu quarto: Tudo tão bom, tudo tão farto! Que leito aquele! e a água, Jesus! E os lençóis! rico cheiro a linho! - Vá, dorme, que vens cansadinho. Não adormeças com a luz! E eu deitava-me, mudo e triste. (- Reza também o Terço, ouviste?) Versos, bailando dentro em mim... Não tinha tempo de ir na sala, De novo: - Apaga a luz! - Que rala! Descansa, minha Avó, que sim! Ora, às ocultas, eu trazia No seio, um livro e lia, lia, Garrett da minha paixão... Daí a pouco a mesma reza: - Não vás dormir de luz acesa, Apaga a luz! ... (E eu ainda... não!) E continuava, lendo, lendo... O dia vinha já rompendo, De novo: - Já dormes, diz? - Bff!... e dormia com a idéia Naquela tia Dorotéia, De que fala Júlio Dinis. Ó Portugal da minha infância, Não sei que é, amo-te a distância, Amo-te mais, quando estou só... Qual de vós não teve na Vida Uma jornada parecida, Ou assim, como eu, uma Avó? Paris, 1892.

Antonio Pereira Nobre 

[twistedsoulmusic]

Our new show on Blue-In-Green:RADIO is here. Get ready to groove with And Is Phi, Scrimshire, Oiro Pena, Yalla Miku, Pigeon, and kwes. We also air three tracks from our Album Of The Week from Speakers Corner Quartet. The South London collective's debut album takes the listener on a journey, immersing them in the sonic world created by the talented quartet and their friends.

📻 (www.blueingreenradio.com)