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I Love You But I Must Drive Off This Cliff NowGot at Girl starring Mary Elizabeth Winstead and Dan "The Automator" Nakamura - are thrilled to announce the release of I Love You But I Must Drive Off This Cliff Now, on Bulk Recordings. The pair's enthralling debut album, sees Nakamura - whose innumerable, inimitable credits include influential production (Kool Keith/Dr. Octagon, Gorillaz) and membership in such visionary collaborations as Deltron 3030, Lovage, and Handsome Boy Modeling School - and Winstead - known for her work in the films Scott Pilgrim Vs. The World, The Spectacular Now, and next seen in Kill the Messenger - sweetly detached vocal delivery and nuanced lyricism.
Winstead and Nakamura first crossed paths while both worked on 2010s Scott Pilgrim vs. The World, the actor acting and the musician contributing to the score. Winstead - who counts Lovage's Music To Make Love To Your Old Lady By as "one of my favorite albums of all time" - approached Nakamura after a cast and crew dinner to let him know she was a big fan, assuming that would be that. "About a year later, Dan came up to me at the premiere and said, 'We should do something sometime,'" Winstead says. "I was like, okay! I would love to! I didn't think it was real."
Right from the jump, the two seemingly disparate artists found they were both surfing similar waves of inspiration. Each were especially enthused by the daft, dewy and even slightly degenerate sounds of 1960s French pop, that uniquely Gallic soufflÉ of girl group soul, cafÉ jazz, lush arrangements and groovy eroticism.
"It was a meeting of the minds," says Nakamura. "A kindred spirit kind of thing." He sent a skeletal track to Winstead, suggesting she begin thinking of songwriting in terms of character and story. For the nascent lyricist, the task came with no little pressure. Winstead and Nakamura soon commenced writing together, collaborating on lyrics as they learned more about each other's creative strengths and interests.
"I've had the fortune of working with a lot of very talented people," Nakamura says. "When it's right, it's right. That makes it work really easily. Working with Mary is like working with Del (The Funkee Homosapien) or working with Damon (Albarn) - it's really natural. It just works."
I Love You But I Must Drive Off This Cliff Now is surprisingly seamless, a perfectly realized union of atmospheric ambience and ambitious songcraft. The Automator is of course a master of genre subversion and experimental futurism, effortlessly transmogrifying hip-hop, psychedelia, found sounds, and all manners of pop and world music with his singular taste for prolix wordplay, multiple personas and conceptual adventure. For Got A Girl, he has assembled a rich, enveloping sound world all its own, with hints of Laurel Canyon folk, yacht rock, and sunshine pop stylized and synthesized through sumptuous arrangements, intricate electronics, and unfettered melodic invention. The sonic landscape calls up far flung locales both real and imagined, knit together by restless grooves, elastic dubby beats, and Winstead's complex characterizations.
- Glide Magazine1. Did We Live Too Fast
2. I'll Never Hold You Back
3. Close To You
4. Everywhere I Go
5. Last Stop
6. There's A Revolution
7. Things Will Never Be The Same
8. Put Your Head Down
9. Friday Night
10. La La La
11. Da Da Da
12. Heavenly$16.99Vinyl LP - Sealed Buy Now
SiltWonderwheel Recordings is proud to present the debut album, Silt, from Sudanese singer Alsarah and her band the Nubatones. Called "The New Star Of Nubian Pop" by The Guardian, the album was produced solely by Alsarah who describes the sound of Silt as "East African Retro Pop". It's music that harkens back to the hazy sounds of 1960s and 70s Nubian music with it's haunting instrumentation, soaring vocal melodies, and pentatonic arrangements.
The album has it's musical roots in the Nubian "Songs of Return" that began to spring up after mass displacement and resettlement of hundreds of thousands in a region of lower Nubia that Went under water after Egypt built Aswan High Dam to Control the flooding of the Nile in 1970. The focus of these songs, both thematically and lyrically is about a return to home and the beauty of home and embodies a certain kind of saudade - a nostalgic longing for a place that no longer exists. The album encompasses Alsarah and her band's musical Curiosities around Concept of migration being all displaced immigrant themselves. Silt is their take on ' L ' the music of this time and place mixed with the fusion goings-on of Khartoum, along with Arabic and North African influences appearing in the mix.
Alsarah, is a Sudanese born singer, songwriter and ethnomusicologist. Born in the capital city of Khartoum, where she spent the first 8 years of her life, she relocated to Taez, Yemen with her family to escape the ever stifling regime in her native country. She abruptly moved to the US in 1994, when a brief civil war broke out in Yemen. Now residing in Brooklyn, NY, she is a self-proclaimed practitioner of East-African retro-pop. Working on various projects, she most recently has been working with The Nile Project and was featured on their debut release, Aswan (named one of the top 5 must hear International albums of 2013 by NPR). She has also collaborated with French producer Dêbruit on the album Aljwal, released this past November via Soundway Records.
The Nubatones started out as dinner conversation between Alsarah and percussionist Rami El Aasser in his living room, digging thru archives of old music from North Africa, and reading about migration patterns in modern day Nubia, Soon the conversation opened into a musical one and spread to include master Oud player and Luthier Haig Manoukian and bass player Mawuena Kodjovi. With a collective love for pentatonic music and a common understanding of what it means to be an immigrant, the group Went on to perform both nationally and internationally at prestigious venues such as The Kennedy Center, The Apollo Music Cafe, Celebrate Brooklyn at Prospect Park, The World Music festival in Chicago, and The Festival du Mon'd Arab in Montreal just to name a few.1. Habibi Taal
2. Soukura (It's Late)
3. Nuba Noutou
4. Oud Solo
5. Bilad Aldahb
6. Fugu (Shams Alhurria)
8. Wad Alnuba feat. Sounds of Taraab
9. Yanas Baridou
10. Nuba Drums (Solo)
11. Jibal Alnuba$15.99Vinyl LP - Sealed Buy Now
Paris 1969Blue Note Records has announced Thelonious Monk Paris 1969, a fascinating and important late-career document of the legendary jazz pianist and composer in performance with his Quartet at the Salle Pleyel concert hall in Paris, France on December 15, 1969. Beautifully captured on B&W film, the concert also featured a surprise guest appearance from renowned drummer Philly Joe Jones. Also included is a rare on-camera interview with Monk that was conducted by the French bassist Jacques Hess after the concert.
"The 1969 Paris concert captures the power and the undiminished beauty of Monk's music, reminding us that even as his body aged his musical imagination knew no limits," writes Monk scholar Robin Kelley in his liner notes essay. However, Kelley also illuminates what a peculiar and challenging moment 1969 was for the 52-year-old pianist. Monk hadn't achieved true success until the late-50s with his legendary run at the Five Spot CafÉ in New York City with John Coltrane (a band that was brilliantly captured on the lost recording Thelonious Monk Quartet with John Coltrane at Carnegie Hall from 1957 which was discovered and released on Blue Note in 2005). By the early-60s Monk's success had peaked when he signed with Columbia Records and was eventually featured on the cover of TIME Magazine in 1964.
However, by 1969, in addition to health issues, Monk's success was beginning to wane with the emergence of rock and the resulting jazz fusion movement. His recording contract with Columbia had just come to end after an ill-advised attempt at marketing him to a younger rock audience. That disappointment was followed by the departure of drummer Ben Riley and bassist Larry Gales from his band which left Monk with two chairs to fill on short notice before his European tour.
Monk eventually found two young musicians - bassist Nate Hygelund and drummer Paris Wright - to fill out the Quartet with his longtime tenor saxophonist Charlie Rouse. Luckily the inexperienced rhythm section had some time to gel before hitting the stage in Paris with a lengthy engagement in London followed by stops in Germany and Italy. By the time they reached the Pleyel the band was in fine form, which made for a triumphant return for Monk to the very stage he had made his Parisian debut on in 1954 in front of a hostile audience who felt that Monk was too avant-garde. 15 years later the situation could not have been more different with an enthusiastic audience and the concert being broadcast on television.
In addition to rollicking Quartet versions of Monk classics such as "I Mean You," "Straight No Chaser," and "Blue Monk," the set also includes three stunning solo piano performances on "Don't Blame Me," "I Love You Sweetheart Of All My Dreams," and "Crepuscule With Nellie." However, an undeniable highlight of the concert was when the veteran drummer Philly Joe Jones who was an expat living in Paris at the time comes from backstage to borrow the sticks from the 17-year-old Wright, providing a palpable spark on Monk's "Nutty."1. I Mean You
2. Ruby My Dear
3. Straight No Chaser
4. Bright Mississippi
5. Light Blue
7. Don't Blame Me
8. I Love You Sweetheart of All My Dreams
9. Crepuscule With Nellie
10. Bright Mississippi
12. Blue Monk$19.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Peng!Originally released in 1992, Peng! is the second full-length album by sonic experimentalists Stereolab. Sometimes jam-packed with thundering keyboards and driving drums, at other times ethereal, airy and light, Peng! captures this thinking man's band at the early stages of its prolific career. Emulating aspects of the Velvet Underground's rhythms as well as the Moog-happy keyboard euphonies of the early 1970s, Stereolab's far left-of-center pop vision has always been something of a love-'em-or-hate-'em proposition. Longtime fans familiar with the band's later work will find interest in this early recording as it includes the moody, cafe-styled K-Stars sung fetchingly in French by Leatitia Sadier. There's also the dry, rub-a-dub guitar of Perversion, which is a dissertation over post-modern music.1. Super Falling Star
3. Peng! 33
6. You Little Shits
7. Seeming And The Meaning, The
10. Stomach Worm
11. Surrealchemist$21.99Vinyl LP - Sealed Buy Now
$25.99 $20.53 Save $5.46 (21%)
New In Berlin (On Sale)Persephone's Bees' new record New In Berlin is a self-produced album, recorded in San Francisco by Tom Ayres and Angelina Moysov at Decibelle Recording Studio. The songs on the album were written in Berlin cafes, London sidewalks, San Francisco and Oakland where the duo lived at the time before moving to NYC. Their previous album Notes From The Underworld was produced by hitmaker Eric Valentine and released here on Columbia Records; in France, Belgium and Switzerland on the indie label Kuskus. This new album was self-released in an experiment with direct fan communication, each song released first as an online single, a song every 6 weeks, each song having it's own page on the band's website with a short story, lyrics and video. The last single came out on July 17th, 2012, and these songs are now compiled onto this vinyl release plus digital download coupon for the album and extra versions of 3 songs sung in French, German and Russian. Spins at 45 rpm, comes complete with download codes.1. Independence Day
2. Ugly Thing
3. I Like You
7. East West
8. New In Berlin
9. We've Just Begun$25.99 $20.53 Save $5.46 (21%)Vinyl LP - Sealed Buy Now