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ON THE CORNER

Dngdngdng

Continentes Perdidos

    DNGDNGDNG is Dengue Dengue Dengue's new alias for this release of extra sensory perception. The duo have projected rhythmic visions of lost continents, unknown worlds and the unseeable past and future that is present all around us. By channeling rhythmic patterns from the matrix they're able to translate the waves of radiation around us which originated at the cosmic event which created the universe. DNGDNGDNG reach deep into their sonic imagination to draw from interlocking time signatures and variant tempos. From the cosmic interference and mathematics DNGDNGDNG create a polyrhythmic theme that brings the sound of continents lost and imagined to our ears. Dengue Dengue Dengue have established themselves as one of the most pioneering artists on the leftfield electronic scene in recent years with heavyweight support by the likes of Boiler Room, Resident Advisor and Bandcamp weekly.

    Heavily influenced by the sounds of UK bass sub-cultures Dengue Dengue Dengue are drawing on their decade of entrancing audiences around the world to connect to dances of the mythical past and lands of the dance beyond their alter ego Afro Peruvian invocations via ancient future rhythms. With the futurist alias of DNGDNGDNG the duo are able to break expectations and swing into imagined realities on a 6/8 rhythm.

    Behind the masks are Felipe Salmon and Rafael Pereira, two producers, dj’s and graphic designers from Lima, Perú. Their work explores the rhythms from Peru and other parts of the world, recreating them electronically by mixing new and old, analog and digital, to create a unique sound and visuals. Their musical explorations go from psychedelic cumbia to dub, from salsa to footwork, from tribal to techno. Their visual and sound palette continues to grow and add new flavours to this melting pot.

    DNGDNGDNG is the new alter ego of pioneering tropical bass duo Dengue Dengue Dengue

    ‘Continentes Perdidos' breaks expectations and swings into imagined realities on a 6/8 rhythm

    Siti Muharam

    Siti Of Unguja

      Siti of Unguja tells the story of pioneering women, of the ‘golden voice’ of Siti Muharam, heiress to the singular legacy of her great grandmother, the mother of taarab, Siti Binti Saad.

      On the Corner teases this first taste of a landmark recording that the label embarked upon two years ago on Zanzibar. Siti of Unguja has a transformative atmosphere, brimming with romance, passion and protest.

      Zanzibar is an Island archipelago that lies 6 degrees South of the equator and 30 miles off the East African coast out in the Indian Ocean. Known for its spices, traditional Dhow sailing boats and being a mercantile trading capital of Swahili culture.

      The modern history of Zanzibar can be animated through the life and legacy of one artist, Siti binti Saad. Born in 1890 in the small fishing village of Fumba, on Unguja (Zanzibar’s largest island), she became the first Zanzibari recording artist and her recordings sold in tens of thousands across the swahili world.

      The tracks recorded for Siti of Unguja demonstrate Siti Binti Saad’s eclectic influence on Zanzibari taarab and her great granddaughter, Siti Muharam imbues the compositions with feeling. Siti Muharam’s golden voice carries the poetry and invects a timeless passion. It is Muharam’s deep humility and love that brings the spirit of these two women together.

      With Sam Jones at the controls, taarab’s conservative layers were opened up and given more than a little wiggle room. Under the direction of Matona, the recording of this album paid homage to Siti Binti Saad’s innovations by bringing back the percussive Kidumbak style of music that originated on the streets of Zanzibar. By stripping back the typically dense string section of taarab a space was created for Muharam’s beguiling timbre that is gilded with emotion.

      Asher Gamedze

      Dialectic Soul

        On The Corner Records is delighted to announce the release of Dialectic Soul, the debut album from one of Cape Town's most cuttingedge, visionary artists and musicians, the drummer Asher Gamedze.

        This is Jazz at its most spiritual, most progressive and most appealing form. As Asher himself says: Dialectic Soul is about motion and a refusal to remain static or stay still. It’s the commitment to be continually moving’.

        Recorded live over two days at the Sound and Motion Studios in Cape Town with renowned musicians (Thembinkosi Mavimbela (bass), Buddy Wells (tenor sax), Robin Fassie-Kock (trumpet) Nono Nkoane (voc)), Dialectic Soul is breathtaking in its musical vitality and expression of soul seeking truth. By incorporating the concept of the Total Art for this project, it fits perfectly within On The Corner's aesthetic of music, art and vision for creative innovation. Label art director Victoria Topping created the sleeve design working with Asher's drawings and concept.

        Asher continues: "My composition "state of emergence" introduces the themes that constitute the album; free drums representing autonomous African motion, the saxophone reflecting deeply and honestly on colonialism, the teachings of Coltrane, Steve Biko, Makeba and Malcom X and positive manifestations of resistance."

        "Fundamentally, it is about the reclamation of the historical imperative. It is about the dialect of the soul and the spirit while it moves through history. The soul is dialectic. Motion is imperative. We keep moving."

        Guedra Guedra

        Son Of Sun E.P

          London’s On The Corner Records proudly present “Son Of Sun’' - the new EP from Morroccan producer Guedra Guedra.

          Having previously turned heads with his mind-bending Boiler Room performance at last year’s Atlas Electronic Festival, as well as delivering a storming remix of On the Corner signees Penya, Guedra Guedra (aka Abdellah M. Hassak) returns with six genre defying cuts. His earth trembling debut is a relentless barrage of euphoric, high-energy, future dance music, demonstrating the rich product of North Africa’s fertile club music scene.

          Hailing from Casablanca, Guedra Guedra is a DJ/Producer exploring tribal polyrhythms of the past and dancefloor innovations from the underground. His productions are defined by high energy tribal bass, psychedelia that is rooted in the cadence and mystery of ancient rhythms.


          Khalab

          Black Noise 2084 (Remixed)

            Khalab’s ‘Album of The Year’ has been re-worked! Hieroglyphic Being dominates the dancefloor with his 10 min sweater. Afrikan Sciences launch off from Khalab’s afrocentric soundscapes into a futuristic cosmos. Blood, Wine or Honey strip it back, break it down and leave basements trembling with the weighty jungle blows.

            Khalab

            Zaire E.P.

              Khalab creates urgent compositions with layers of sound from the past, present and future. ‘Zaire’ is underpinned by an intensely pounding heart of other-worldly percussion. Unrelenting waves of synthlines, basslines and rhythm find harmony amongst the melodic chants and distortion.

              Penya

              Super Liminal

                On The Corner deliver the long-awaited repress of sold out album Super Liminal, the debut LP by Afrolatin music collective Penya. It is released alongside their new EP ‘Penya Safari’ in collaboration with legendary gogo musician Msafiri Zawose. 'Super Liminal' is an otherworldly mix of modern, afro-motorik rhythms, chants and improvised congotronics. ‘Liminal’ – an in-between state – references the transitional process the four-piece band entered during a series of self-produced recording sessions held at Penya's multi-instrumentalist Magnus P.I's home studio between March 2016 and May 2017. Penya's percussive and futuristic Afro-Latin sound also owes its genesis to the concept of ‘liminality’: the threshold of disorientation occurring during ritual practices.

                FORMAT INFORMATION

                LP Info: Repress.

                "Continuation" is a remarkable work in which the interplay of emotional experience and life motion experienced by band leader Tamar Osborn (AKA Tamar Collocutor) is channeled and explored by Collocutor. The band’s third LP assuredly strides forward following the critical acclaim awarded to "The Search" from 2017 from the likes of The Wire, Vinyl Factory and Gilles Peterson. "Continuation" is an album about coping with grief and loss / bereavement. The music charts the many (and sometimes surprising) emotional states encountered, moving from acknowledgement, trying to keep ‘normal’ life going, the need to sometimes put a pause button on the world / existence and let the waves of feelings crash and roll, sudden anger & confusion, finally to moving (perhaps with uncertainty) forward.

                Tamar Osborn has led Collocutor through a line-up shift from septet to quintet for "Continuation". The modified line-up creates space for the musicians to express themselves through the shadows of "Continuation"'s movement. The quintet allows for more group improvisation, based on just a few motifs and thereby giving the musicians more space to converse. The tracks "Lost & Found" and in particular the album’s title track, "Continuation" (the only piece with 3 horns) hark back to the intricate arrangements of "The Search". It’s a deeply personal album, the writing of which acted as Tamar's way of processing and understanding experience and the need to channel feeling. In listening truly "Continuation" bares that rare and precious gift of a morsel of the human experience being illuminated by artistic genius.


                STAFF COMMENTS

                Millie says: Improvisational jazz at it’s best, ‘Continuation’ is a deeply emotive album exploring themes of coping with grief and loss. Instrumental jazz that captures the soul is powerful and revealing.

                On The Corner provide the first taste of a landmark recording that the label embarked upon two years ago on the East African island archipelago of Zanzibar. Pete On the Corner was consulting for the ambitious permaculture development of Fumba Town. The story of Siti Binti Saad, the mother of Taarab is rooted in Fumba. Pete joined the dots to shine new light on the pioneering life of Siti Binti Saad as the innovative town development took shape and looked to connect with the Island’s unique history at the centre of the Swahili world. Whilst steering a recording project that would celebrate Siti Binti Saad’s legacy, Pete brought in producer Sam Jones and the pair met with filmmaker Andy Jones (who documented the life and work of the legendary Bi Kidude) who revealed that Siti Binti Saad had a great grand-daughter, Siti Muharam who led a very private life but had a ‘golden voice’. With music director Matona on board the scene was set to go beyond celebrating the singular legacy of a Swahili pioneer and find a new hero.

                Siti Muharam has a golden timbre and on this 7” we get the first taste of her debut LP that will represent her great grandmother’s legacy for the next generations. The 7” is two tracks which are at the furthest reaches of the LP project. The A-side is a Sam Jones Construct of ‘Ashikibaya (Ft. Tamar Collocutor)’ who find new frontiers of this Swahili jazz out across the Indian ocean pushing a cosmic Taarab on the trade winds. The flip is an instrumental affair with Matona driving the stunning ‘Mandira’. This project came to life in a derelict studio in Zanzibar in February 2018 with the help of Fumba Town Development, Dhow Countries Music Academy, The British Council, Matona, Sam Jones and On The Corner.


                The ‘Synth Expressionism/Rhythmic Cubism’ LP from Chicago’s Jamal Moss aka Hieroglyphic Being is a collection of idioms that have no past and no future, his jarring use of polyrhythmic polyphony imbues a sense of timelessness. The prolific catalog of Moss’ covers many musical dialects from his hometown and beyond. Never standing in one artistic sphere for too long, this adventure for On the Corner Records sees Hieroglyphic Being exploring a multitude of expressions of the American Avant-garde. Abstractions Of The Future Past — Afro-Cubism: The Designation, conceived by an African With A Mainframe — An Etude Of Effigy — A Hieroglyphic Being.

                Rhythmic Cubism: In this ‘Dissertation Of Disorientation’ [Neal Andrew Emil Gustafson] temporal considerations are put aside as polyrhythmic propulsion is the current flowing through the work. As prelude the fastidious ‘Rhythmic Cubism’, Moss enacts a flurry of white noise and musical coda as it phases in-and-out of synchronicity. The disjointed dance of an alternative Black Music, ‘The Spiritual Or ‘Electromagnetic Worlds’ takes the meter down a fraction to exonerate a granular groove of visceral refracted complexity. Sonorus static sits alongside spastic shards of synthesis to reveal a melancholic medley before its conclusion.

                ‘Apocrypha’ collages distinct rhythmic source materials in an entrancing abstraction of ‘Hypersonic Hemiola’. An assertion of Art Blakey proportions. Perpetually pushed forward through the building of distorted percussion, Moss precludes into syncopated synapsis before and end of reductive symmetry.  Evolving into a studdered off-kilter groove, ‘The Redemption Project’ flows as a dissipating organ medley dissolves into a deluge of layered sonic textures, creating an indiscernible metric center before fading to a distant vanishing point.

                Departing with a common-time ‘Timbuk2’ takes off like a classic Chicago Acid track, then makes a left turn towards the center as it drives the rhythmic motion into a dystopian dreamland, as the sax line surges forcing the track to break free from it’s charted course. The Fragmented Fantasy of The Synth Expressionism/Rhythmic Cubism LP is a conclusive work that has no end, a conundrum of conceptual calculated improvisation. Drifting through time, this fragmented abstraction of Afro-Cubism leaves room for posterity, as each listen summons a new perspective on the suite. Something ever so common in the work of Jamal Moss. Charting new sonic directions, the very nature of its precedent makes it a truly Hieroglyphic affair.

                Destiny is made. Realised. Driven by the acts of vision. Hireroglyphic Being is a seer. Atomic resonance echoing from the big bang defies the conceptual reality of purity. The nuclear static of ‘white noise’ is HBs canvas. Channeling poly rhythms into the universe. Experience, repetition and eternal decay. From purity back to the absolute by way of a deluge of slurry across time. Infinite layers of distortion and refracted complexity. This is HBs canvas. Sound of eternity channelled through a bass bin, represented by its own impure reflection and fragments. Always more than it's whole but never as was before.

                This album seeks to reach beyond ideas and emotions, beyond the comprehension of a human archetype. Beyond ultimate history, forwards and back. To ends and a singular beginnings. Timbuk2 is the frenetic intersection where the call and response of these ideas lock and dissipate back into the void.


                Tenesha The Wordsmith

                Peacocks & Other Savage Beasts

                Tenesha the Wordsmith, who came to the fore on On The Corner’s 2018 release ‘Black Noise 2084’, has delivered a hard-cutting, gut-wrenching, and extremely moving spoken word album produced by Khalab that brings together different lines of black music – folkloric, jazz, and electronic dance – into an afro-futurist narrative with thunderous results. ‘Peacocks & Other Savage Beasts’, set for release on 30 August, lays bare difficult truths and projects the stories of hidden voices, with a warm and heartfelt delivery that envelops the soul.

                The poems are dedicated to the intersection, the places where we contemplate identity, culture, trauma and love. ‘Peacocks & Other Savage Beasts’ is a place where they all meet. “I hope between these lines you find healing,” says Tenesha. “I hope your compassion for others grows. I hope you will make the decision you were afraid to make. I hope you will learn how to turn pain into power and purpose. Decide which type of beast you want to be and if you can’t make up your mind, watch the women…”

                Originally from Oakland, California, “a place where revolutionaries are born,” Tenesha the Wordsmith originally began to fuse hip hop and poetry while living in Albany, New York, where she created her first collection ‘Body Of Work’. Her early influences have returned with features from beatboxers and vocalists that give the album a distinctly urban hip hop vibe.


                STAFF COMMENTS

                Patrick says: After a standout contribution to Khalab’s ‘Black Noise 2084’ LP last year, Tenesha teams up with the producer once again, delivering poetic, polemic and emphatic spoken word over an array of Afro-futurist beats. Sex, love, race and equality are all explored by an artist operating at the cutting edge of music and poetry.


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