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• #17228
is it a single or double vinyl ?
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• #17229
Someone else on the Takanaka vibe! I hit a big Japanese jazz-funk vein last year, spent loads shipping CDs from far away. Here's my collection so far:
1 Attachment
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• #17230
Meanwhile, heard 'Free' on a slightly esoteric Belgian radio show and went on a Sault splurge. Artwork is on point too:
1 Attachment
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• #17231
Single - 1 track each side. Havnt checked it on Spotify yet - I was wondering if it was 2 tracks or split further into the sections of each track
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• #17232
Thought this was a decent performance on Later last night
https://www.youtube.com/watch?v=An-xpzjRMl4
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• #17233
https://youtu.be/4KQF_PXoxgs?list=OLAK5uy_mdQ84lfttlKzUmwU4CS2OSJGHaeZr8I-I
-IThis already sounds like a classic, I believe..
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• #17234
thanks, think I'll get blazed and do a drunk boomkat order later for the vinyl and some other bits and bobs
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• #17235
Do it! Did you hear the 6music Giles Peterson bit on it? I had the kids being noisy kids at the time so didn’t really take any of the talking in, but was nice to hear it on the radio.
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• #17237
Had a listen to this today:
https://www.youtube.com/watch?v=lpdqUiOmVds
On the strength of a review in the Guardian.
Here's what the reviewer thought:
Not strictly classical, jazz or ambient electronica, this one-track, nine-movement album embodies the highest, most etiolated aspects of all three disciplines. British artist Sam “Floating Points” Shepherd is the anchor here, an electronic free thinker with a neuroscience doctorate. He supplies recurring leitmotifs and Promises’s sense of gossamer, largely peaceable inquiry. Jazz legend Pharoah Sanders should need no introduction; in his first recordings for more than 10 years, the saxophonist mostly holds off the free skronk of some of his most famous recordings in favour of his other mode: deeply felt spiritual jazz interventions. (Sanders’s wordless vocals also add to the promise of Promises.) Halfway through, the forward-thinking London Symphony Orchestra strings turn up and the dappled otherworldliness enters a more cinematic and canonical phase, but hardly to the detriment of the piece overall, instead adding depth and weight. There is room here too for a highly sophisticated iteration of cosmic psychedelia, for drones and tiny rustles, for electronic birdsong and the audible thud of fingers on keys as the mood swings from succour to awe and back again many times.
I thought it was a bit dull and repetitive.
Is that why I don't write for the Guardian?
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• #17241
Always thought Beastie Boys would’ve made a decent hardcore band
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• #17242
Been liking it as well
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• #17243
Over thinking it. I just like it in the background.
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• #17244
Yes! Better than the Harlequin 4 version
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• #17245
They started as a hardcore band before going Hip Hop
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• #17246
Great tune off of a great album, Ty Segall strikes me (no pun intended) as such an awkward drummer.
Having said that, he does the job just fine -
• #17247
Banger
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• #17249
Pointer Sisters on vocals!
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• #17250
It’s crazy...the steel drum tone is like my bloody Valentine
new floating points/pharaoh sanders record... mmmmmmm lovely