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ANDRéS

Detroit mainstay Andrés returns to MotorCity Wine Recordings with an anthemic 4 tracker entitled Sunday Kinda Love. For those that know, MotorCity Wine is the spot for Sunday parties, so we only thought it appropriate to have one of Detroit’s most seminal producers highlight the vibe with this EP. On the A side is Andrés’s dusty house sound that we’ve all come to love, complete with bouncing basslines, slick vocal chops, and drums to turn out any dance floor. On the flip side Andrés slows the tempo just a touch to highlight his chunky midtempo beatdown sounds, with “Rubin Samba” bringing a Latin flair and “Sunday Kinda Love” driving it all home. Essential Detroit music manufactured in Detroit and housed in a gorgeous vinyl package, TIP!

TRACK LISTING

A1. Don't Make Me Wait
A2. Sinners
B1. Rubin Samba
B2. Sunday Kinda Love

Cult label Acido returns with more of that spiritual electronic vibration. Written and produced by drummer and curator Andres Lõo from Tallin, Estonia...it could be quite easily be from Detroit particularly seems to reference James Stinton's The Other People Place alias.

Side A's "Synaptic Sugar" is bright and with a bassline so rubbery it practically bounces off the wax! Neat, crisp percussion keeps the rest of the elements on track; but you can sense the restrain and this one should get you bubbling in no time!

Meanwhile "Gentle Hell" is a dark n wavy dive into the mainframe; muffled sonar clicks and low tones guiding us through a murky electrostatic haze with no defined trajectory.

As always, fiercely experimental yet deliciously listenable grooves from the Acido camp - big up's Andres Lõo! 


STAFF COMMENTS

Matt says: Another one of my favourite labels returns to its iconic 'rainforest house' sound. Andres Loo aligning chakras with the phenominal "Synaptic Sugar".

TRACK LISTING

A. Synaptic Sugar
B. Gentle Hell

Andres Miguel Cervantes

The Crossing

    Andrés Miguel Cervantes is a Mexican-American singer songwriter based in San Francisco and San Diego, California. Known to fans and fellow musicians primarily for his live performances, The Crossing marks an exciting debut for an incredibly talented singer, songwriter and finger-picking guitar player. The album was produced and recorded at Speakeasy Studios SF on Otari 8 track by Alicia Vanden Heuvel, featuring musicians: Jacob Aranda (Tarnation - pedal steel, mandolin, violin), James Kim (Fresh & Onlys, The Court & Spark - drums), Noelle Fiore (Magic Trick, Shannon Shaw Band - vocals), Anna Hillburg (Shannon Shaw Band, Magic Trick - trumpet), Ed Ivey (Rhythm Pigs - tuba), Alicia Vanden Heuvel (bass, vocals, percussion), Nick Castro (The Young Elders - lead guitar), Raphi Gottesman (The Fresh & Onlys, China - drums) and Conor Riley (Astra, Birth - piano, bass).

    Influenced by songwriters Leonard Cohen, Townes Van Zandt, Fred Neil, and Vicente Fernadez, Cervantes’s lyrics are distinctly his own, with beautiful, haunting images of landscapes both internal and external—stories of traveling, searching, rambling, and experiencing the impermanence of life and love. Suffused with a dreamlike, mysterious atmosphere, his complex songs are grounded in an honesty and simplicity that make them timeless and deeply relevant. The album is characterized by both a ’60s classic country and folk sound (à la Fred Neil, Lee Hazelwood, Dylan’s album Desire), and a Western Noir sound (Mexican Ranchera and the film soundtracks of Ennio Morricone). The title track “The Crossing” is dedicated to Cervantes’s father, telling the story of his father’s border crossing and life after. This release brings a new voice to the folk / Americana / country scene from this incredibly talented Mexican-American singer-songwriter.

    TRACK LISTING

    1. The Drinking Coffee Song
    2. It Was All For The Song
    3. The Crossing
    4. The Tales You Tell
    5. The Shine Ain't The Same
    6. Barstow Street Blues
    7. Coal For Caring
    8. Holding Out
    9. The Trail

    John Dwyer, Ryan Sawyer, Wilder Zoby & Andres Renteria

    Gong Splat

      • Latest in quickly selling-out series of John Dwyer (OSEES frontman) with friends lock down experimentations and improvisations.

      • Featuring fantastic collage art by Dan Lean.

      • Recorded at Stu-Stu-Studio by John Dwyer in the peak of dope smoke lock down.

      What’s this? Today’s holiday gift? One final transmission from the core of the planet! Cresting slabs of concrete and powdered bone, rich soil—improvisation freak flag flitters atop a gutted highrise: Gong Splat. Featuring Ryan Sawyer on drums, Greg Coates on upright bass, Wilder Zoby on synth and mellotron, Andres Renteria on conga, bongos and hand percussion, and John Dwyer on guitar, synths, pan flute, cuíca, hand percussion, space drum and effects.

      This one is spitting fat and neon night-light city drives, white in the corner of the pilot’s mouth. Furry, fuzzy and frenetic, motorik and full of blood-rich ticks…maggots unite! There’s a show tonight! Welcome back humans.

      STAFF COMMENTS

      Barry says: You always know you're in safe hands with Dwyer & co, and this one is a brilliantly heavy swerve into eastern-influenced psychedelia via garage percussion and brain-melting avant-synth swells. Elsewhere loungy keys meet jazzy tentative drum fills. Predictably brilliant, entirely mad.

      TRACK LISTING

      1. Gong Splat
      2. Cultivated Graves
      3. Toagut
      4. Anther Dust
      5. Yuggoth Travel Agency
      6. Hypogeum
      7. Oneironaut
      8. Minor Protocides
      9. Giedi Prime

      John Dwyer, Ryan Sawyer, Peter Kerlin, Tom Dolas, Brad Caulkins, Kyp Malone, Marcos Rodriguez, Ben Boye, Joce Soubiran, Laena Myers-Ionita & Andres Renteria

      Moon-Drenched

        The same crew as the boundary pulsing improvisation record Bent Arcana has made a trajectory shift and picked up Ben Boye along the path. The aptly-named Moon-Drenched is the second instalment from these sessions and keeps a heavy-lidded late night perspective on things as it eases from the somewhat familiar liminal twilight of skittering hues of black-blue and snaking street groove, to fizzing off into the ether in pursuit of lunar prism beams heretofore unseen. The more rhythmically dialed bits here have a lysergic halo of strangeness to them, and the wispy bits between are spun of iridescent gossamer. It sounds like a frizzled message from a future just filthy with guitar hoots echoing off of neon-splattered high rises, oil-slicked waterways and skittering digital beasts. For Castle Face’s money this is the strangest slice of this last bunch of John Dwyer and his crew’s improvisations.



        STAFF COMMENTS

        Barry says: It's quite the lineup of musicians here, and true to the calibre on show, the tunes themselves are some of the most mind-meltingly psychedelic grooves committed to vinyl. Think JOMF but with a load of coffee instead of acres of weed and you might be somewhere near. Jazzy, loungy, psychedelic and groove-laden, classic Dwyer but with a host of wonderful guests.

        TRACK LISTING

        1. Psychic Liberation
        2. X-Cannibal’s Kiss
        3. The War Clock
        4. Der Todesfall
        5. Get Thee To The Rookery
        6. Spoofing
        7. Terra Incognito

        Sufjan Stevens & Timo Andres

        The Decalogue

          Oscar- and Grammy-nominated composer, vocalist and multi-instrumentalist Sufjan Stevens releases his acclaimed score for Justin Peck’s ballet The Decalogue via his own label, AKR. Performed by the pianist Timo Andres, the recording is the first time the score, premiered during the New York City Ballet’s 2017 season, is available to the public. 

          The Decalogue is the third collaboration between NYCB Resident Choreographer Peck and Stevens, following 2012’s Year of the Rabbit and 2014’s Everywhere We Go. The piece was widely praised upon its premiere; The New York Times lauded the “beauty and charm” of Peck’s choreography as well as Stevens’ “romantically modernist études.”

          Brooklyn-based composer-pianist Timo Andres is a Nonesuch Records artist, who has written major works for the Boston Symphony, Carnegie Hall, the Barbican, the Takács Quartet, the Concertgebouw, and elsewhere. He performs regularly with Gabriel Kahane, and has frequently appeared with Philip Glass, Becca Stevens, Nadia Sirota, the Kronos Quartet, John Adams, Ted Hearne, and others. As a pianist, Timo has performed at Lincoln Center, for the New York Philharmonic, the LA Phil, at Wigmore Hall, for San Francisco Performances, and at (le) Poisson Rouge. Upcoming highlights include a curated program for the Cincinnati Symphony (featuring Dance Heginbotham and a performance of Andres’s cello concerto, Upstate Obscura), and a solo piano recital for Carnegie Hall. Previous work with Sufjan Stevens includes the orchestration of “Principia” for Justin Peck and the New York City Ballet.

          A singer-songwriter currently living in New York, Sufjan Stevens’ preoccupation with epic concepts has motivated two state records (Michigan and Illinois), a collection of sacred and biblical songs (Seven Swans), an electronic album for the animals of the Chinese zodiac (Enjoy Your Rabbit), an expansive EP in homage to the Apocalypse (All Delighted People), a full length partly inspired by the outsider artist Royal Robertson (The Age of Adz) and two Christmas box sets (Songs for Christmas, vol. 1-5 and Silver & Gold, vol. 6-10). BAM has commissioned two works from Stevens, a programmatic tone poem for the Brooklyn-Queens Expressway (The BQE) and an instrumental accompaniment to slow-motion rodeo footage (Round-Up). Stevens’ Planetarium, a collaborative album with Nico Muhly, Bryce Dessner and James McAlister imbued with themes of the cosmos, was released in 2017 to widespread critical praise.

          2015’s highly acclaimed Carrie & Lowell explored his relationship with his mother in the wake of her death; a companion collection of outtakes, remixes and demos, The Greatest Gift Mixtape, was released in 2017. The songs “Love Yourself” and “With My Whole Heart” were released in 2018 in celebration of Pride Month, with a portion of the proceeds benefitting the Ali Forney Center in Harlem, NY and the Ruth Ellis Center in Detroit, MI. Stevens also contributed three much-lauded songs to Luca Guadagnino’s critically acclaimed film Call Me By Your Name, including the Oscar-nominated “Mystery of Love.”

          TRACK LISTING

          I
          II
          III
          IV
          V
          VI
          VII
          VIII
          IX
          X

          Mia Doi Todd With Andres Renteria

          Morning Music

          "Morning Music" is the first album of instrumental music from Los Angeles - based songstress Mia Doi Todd. It was recorded and mixed by Todd at her Chateau des Chats studio using drum, harmonium, piano, tin whistle, tamboura, acoustic guitar, and bongos. On the tracks "Samai'I" and "Emotion", she is joined by Andres Renteria on cajon, piano, wooden stool, and udu. 'I started recording the tracks that became Morning Music while I was writing songs for my last album, Gea. Lyrics are the most challenging part of songwriting for me, and I enjoyed recording instrumental improvisations as a break from singing and songwriting. I was borrowing a friend's tamboura at the time, an Indian instrument shaped like a sitar but with no frets and only four strings, and I had just found my first harmonium, a small pump organ also from India. Classical Indian music is on many occasions one of my favorite things to listen to, and I started to experiment with these drone instruments and the transcendental experience they can produce while playing or listening to them. I had just finished a tour with the Swedish psychedelic rock band Dungen and was feeling the influence of their captivating melodies and great musicianship. I started playing the Irish tin whistle and using that as a melodic and emotional element instead of my voice, freeing me up from what felt like the confines of words. I began to edit and sculpt the recordings into a series of simple organic tunes. I gave the album to a few friends who enjoyed the calm and meditative attitude which it evokes. They also found the music very conducive to their creative endeavors. I am glad now to share the music with a larger audience.'


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