![Praises for Shadow Offering “The music – lush electronic textures, delicate piano melodies and driving rhythms – is cinematic in scope, offering Armageddon and salvation in turn. 8/10” – Uncut "‘Shadow Offering,’ is beautiful and heart wrenching, pulling on listeners’ heartstrings. The album offers a sanctuary by easing anxiety and fueling hope, acting as a sort of security blanket for these unnerving times. 8/10” - Clash Magazine “a gloriously intricate fourth outing [...] Braids have refined themselves, ready to offer mature, emotional soundscapes of understanding. 9/10” - The Line of Best Fit “Braids are incisive, and conjure up a kind of confiding emotional warmth; Death Cab For Cutie’s Chris Walla’s rich production is the ideal match.” - NME “…[Shadow Offering] feels like the culmination of what Braids have been building towards over the last 10 years. It’s glimmering and assured, an album that’s constantly refining and one-upping itself. The Canadian band’s songs have always been massive, bursting at the seams with ideas, but they’ve never sounded as good or as crystallized as they do on Shadow Offering.” - Stereogum (50 best albums of 2020 so far) “Raphaelle Standell-Preston sings with openhearted earnestness.” - The New York Times “The whole thing builds to a frantic final third in which the chaos and confusion is palpable." - The Fader (About 'Snow Angel') "a bouncy good time; in the tug-of-war between mind and matter, these pulsing synths are clearly on the side of the body." - Consequence of Sound (About 'Young Buck') “An undulating piano carries heartfelt sentiments, presented in a voice that stylistically manages to pay tribute to both Joni Mitchell and Alanis Morissette.” – The Globe and Mail (About Eclipse (Ashley) 'Just Let Me' and 'Snow Angel' part of Under the Radar’s Best Songs of the week Fresh off the heels of the release of DJ Python’s 'Young Buck' remix, which saw support by Pitchfork, BBC 6Music and more, Braids is thrilled to reveal today two brand new songs titled 'Slayer Moon' and '2020'. Recorded during the sessions of their last album Shadow Offering, the new tracks were premiered by the band last night during their WWWorld Premiere live concert on their YouTube channel. Watch it here. The band shares their inspiration behind the songs: 'Slayer Moon' is inspired by a Sailor Moon phone case I bought in Tokyo, at 3 am while on tour in Japan. Growing up I was obsessed with Sailor Moon, particularly with the ability to magically transform from a normal girl into a full-on mystical and powerful Sailor Scout, battle-ready to combat the evil forces of the world. Sailor Scouts have the longest legs ever drawn - so long that I drew a parallel between their immaculate legs, and our frenetic modern minds, lost in the ego abyss of the infinite scroll.” “‘2020’ was written sometime in 2017, after a long period of being alone – in an abstract sense of the word – while reaching for fleeting physical closeness. I was with friends, but my heart was lonely and longing for companionship, my body confused with the unfamiliarity of new and shallow encounters. I had been meditating a lot during this time “tracing a line through the centre of my body” – a process of inward-looking that I veer towards when I take the time to sit. I titled the song ‘2020’, in 2020. Revisiting the song's lyrics through the eyes of our present reality struck a chord with me. I felt as close to the song as when I had first written it. I find that I am asking myself similar questions while in this pandemic, without my friends, my family, my familiar structures.” Listen to Slayer Moon / 2020 by clicking here. Braids most recent album Shadow Offering coproduced by Chris Walla, is out now via Secret City Records. A luscious and expansive release, Shadow Offering leads us through a sonic tapestry of narrative. With heartbreaking honesty and precision, listeners traverse a nuanced and complicated world: one full of beautiful contradictions. This release was critically acclaimed around the globe. In the United States, The New York Times said, “Raphaelle Standell-Preston sings with openhearted earnestness,” while The Fader exclaimed, “The whole thing builds to a frantic final third in which the chaos and confusion is palpable." (About “Snow Angel”). Consequence of Sound added about “Young Buck” - “a bouncy good time; in the tug-of-war between mind and matter, these pulsing synths are clearly on the side of the body.” Stereogum said Shadow Offering “feels like the culmination of what Braids have been building towards over the last 10 years. It’s glimmering and assured, an album that’s constantly refining and one-upping itself.” The album was greatly received in the United Kingdom as well. The Line of Best Fit gave it 9/10, and described as “a gloriously intricate fourth outing [...] Braids have refined themselves, ready to offer mature, emotional soundscapes of understanding,” while Clash Magazine and Uncut rated the album 8/10. Purchase / Stream 'Young Buck' remix by DJ Python: https://found.ee/YB_RMX Purchase / Stream Shadow Offering https://found.ee/Braids_ShadowOffering Braids - 'Slayer Moon' Purchase / Stream: https://found.ee/SlayerMoon-2020](https://thepartae.com/wp-content/uploads/2021/03/BRAIDS-1170x936.jpg "BRAIDS")
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Ivy League Records is incredibly excited to release ‘Flex’ – the irresistible new single & video from the label’s newest signing, Sappho!
The moniker Sappho is of great significance to Phoebe Baker (the iconic voice of Alpine). When she was born, her parents were torn between naming her Phoebe or Sappho, they opted for the former and so it makes complete sense that Baker’s first solo endeavor bear the name that could have been.
Sappho was born in early 2018, when Baker found herself exploring ideas and, for the first time, writing music without any real intention.
With no limitations or boundaries, Baker threw herself into exploring her pop influences. ‘Flex’ came early and set the tone, from there, the music began to flow. After a few months of writing, Baker realised these songs were turning into more than just a fun creative outlet, they had become something empowering, with a voice that showcased to the world her sound – the Sappho sound – a sound where lush pop meets something quirky, a little bit cheeky, a lot sexy and ultimately, something irresistibly fun.
Sappho’s music is vibrant and bold, experimental without being inaccessible. On her debut release ‘Flex’ Sappho is assured and mischievous as she urges the listener to find their inner power and ‘flex’ against a pulsating groove that is impossible not to dance to.
Marrying future pop with a healthy dose of Vogue era Madonna and 90s new jack swing thrown in for good measure, ‘Flex’ plants Sappho’s flag firmly on the Australian musical landscape, claiming her space as one of the country’s most exciting new artists.
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Making a R&B song can be hard and making it a great R&B song can be even more difficult. But Jasmine Khan does it effortlessly.
‘CLOSE’ is Jasmine Khan’s second single and it’s her best song yet. Passionate, a little bit sultry, and engrossing, ‘CLOSE’ is an exciting addition to Khan’s fast-growing discography.
Jasmine Khan’s vocals are soft but powerful, dancing effortlessly over the rich production. ‘CLOSE’ integrates elements of trap production within an R&B focus, making the composure diverse but still steady.
The track is relatable, exploring the depths of heartbreak, and love, whilst navigating life and the complications that can arise. The track is warm and inviting, creating a vibe of togetherness that many listeners can attest to.
“I’ve been working late, on that day-to-day grind,” sings Jasmine Khan.
Signed by Venture Artists, the R&B artist is shaping up to become an Australian music icon. Sitting alongside other talented members of Venture Artists like KEIYNAN LONSDALE, H3RIZON and SHYJANA, we are excited to see JASMINE KHAN’s growth this year as she tackles new adventures within the musical landscape.
From Sydney, Australia, Jasmine Khan was a finalist on The Voice, and Winner of the Colours TV Singing Competition, where Khan represented Australia in Mumbai. Among many other achievements, Jasmine Khan is at her best when she can use her real-life experiences to create sonic masterpieces.
Photo Credit: Lauren Connelly
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SUPPORT FOR PREVIOUS SINGLE ‘BORN OF A LIE’
“Masssssive stuff that will have you writhing around on the floor by the end.” – 4/5 stars
Declan Byrne – triple j (AUS)
“Built to be played loud, it’s equal parts turbulent and harmonious—a serious single of the year contender if you ask us!”
Hysteria Magazine (AUS)
“If they continue on this trajectory, they’ll not only put Brissie metalcore on the map again but start paving their own way through the scene.”
Wall of Sound (AUS)
Added to Spotify playlists ‘Homegrown & Heavy’ (Cover Artist), ‘New Metal Tracks’ and ‘New Core’
Added to Apple Music playlists ‘Heaps Heavy’, ‘Fresh Blood’ and ‘The Riff’
Video added to rotation on ABC’s Rage
Following on from their critically acclaimed single ‘Born of a Lie’, Brisbane-based post-hardcore quartet Deadlights have revealed another emphatic offering in new single ‘The King of Nowhere’ – mixed and mastered by Chris Vernon (Belle Haven, Windwaker, Stuck Out).
The song begins with authoritative drums and sneering guitars before launching into a cathartic assault of purgative riffs and the convincing vocals of Dylan Davidson. ‘The King of Nowhere’ shows off the band’s dynamic capabilities, as the track builds and swells with tremendous precision, delivering anthemic melodies and exasperating breakdowns, leading into its imperious finale.
Davidson talks about the meaning behind ‘The King of Nowhere’:
“‘Nowhere’ is the wasteland of the unwatered mind. It is the dark place we barricade ourselves in when we want to hide from reality. ‘The King Of Nowhere’ is a song about putting yourself in this place and getting lost with no way out.”
In the live arena, the four-piece have cemented themselves as a household name within the Australian alternative scene, touring nationally with Polaris, Alpha Wolf, Thy Art Is Murder and Thornhill, and supporting heavy luminaries Parkway Drive, Every Time I Die, and The Devil Wears Prada (USA).
‘The King of Nowhere’ is the second single from the band’s forthcoming sophomore record ‘The Uncanny Valley’. Lead single ‘Born of a Lie’ was widely embraced by Australian radio stations triple j, triple j Unearthed, The Faction, SYN FM, JOY FM, 3RRR, and PBS FM. The track also received online praise from heavy tastemakers Hysteria Magazine, HEAVY Mag, Wall of Sound, New Noise Magazine (USA), Kill Your Stereo and Depth Magazine. The accompanying video clip was added to rotation on ABC’s Rage.
‘The King of Nowhere’ is available worldwide now, through Greyscale Records
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Raised on a mixture of soul, gospel, rock and blues, Alex Runo has since added to his repertoire a set of flavors developed from working with the likes of Måns Zelmerlöw, Carola, Jill Johnson and Tingsek.
After touring for almost twenty years as a background singer, bass player and guitarist all over the world with many renowned artists (Shirley Clamp, Uno Svenningsson, Robin Stjernberg, Lisa Miskovsky), as well as writing and producing music for several established acts (Super Junior, TVXQ, Cho Yong-pil), it was high time to release something of his own.
Together with longtime colleague and funk/soul producer Jay Birch, Alex creates music with notes from all their combined influences, from Ray Charles via Sly Stone to Nine Inch Nails and Peter Gabriel. The music may be rooted in soul, but having made a career as a chameleon singer and multi-instrumentalist, you can hear a variety of influences in the compositions.
The element of surprise is essential, but most of all, this is music that is meant to make you feel something.
Runo’s debut single “Underdog” introduced his unique pop style with a deep, dark production combined with a funky groove.
His sophomore single “Preaching To The Choir” further explores his fascination with the blues and even country music. This, in his own words, is “a song about how being wrong, and changing the way you look at things, isn’t always the same as being weak, but rather a way to grow as a person.”
https://www.alexruno.com/
https://www.facebook.com/alexrunomusic/
https://www.instagram.com/thisisalexruno/
I started 12 years ago in a small bar run by friends.
To be honest with you, this time has been rather strange and complex, It’s been difficult witnessing how the world has stopped and how much of our society and people have suffered. I have taken this time to allow my creativity and production flow and this has given me a lot Of motivation in my music.
I’d been working on the idea for a while and was clear about the direction I wanted to take for this track. Dat Garcia, and Argentinian composer and vocalist, wrote the lyrics and recorded them in her studio in Buenos Aires.
This track was producing during the lockdown in my home studio where I was able to create an intimate space to make music. The track was mixed on Noise Warfare Studios and mastered by Felipe Rossi.
Our collaboration is due to a fantastic tool from Spotify called Soundbetter, where a community of artists, producers, musicians, engineers… are brought together to explore their craft through collabs. The experience was extremely gratifyng and working with Dat was very rewarding. We understood each other very well and we are able to work seamessly together to give this track meaning.
Music is an integral part of my life.It’s constantly on my mind as a listener and producer and has strong presence in everything I do.
Being able to work with Aswer has been an amazing experience, he has been able to beautifully convey the story behind this song and I’m so grateful for that. As a huge fan of his work, I couldn’t be more excited. I really encourage everyone to check out his eye-opening creations which transmit so much much.
Bomba Stereo,Ed is Dead, Kermesse, Baiuca, Kaleema, El Buho, Dengue Dengue Dengue…..
I’ve got loads of music planned for this year and feeling motivated to be able to share it with everyone. Hopefully we will be able to get together as we used to travel the world wit our music.
Favourite food and place to hangout?My favorite place to hang out with my friends is “Bodega el Maño” in Madrid , which serves traditional Spanish food like tortilla de patata, Torreznos & croquetas>
Title: Stars Align
Label: Liquid State
R3HAB and Mandopop superstar Jolin Tsai team up for their new single “Stars Align,” a fusion of R3HAB‘s signature electronic sound and Jolin‘s Chinese pop, presented and featured during PUBGM‘s 3rd-anniversary celebrations. As the mobile version of the PLAYERUNKNOWN’S BATTLEGROUNDS game with over 50M daily active users globally, PUBGM reaches a vast global audience, and R3HAB himself played an in-game live set, especially for its players, and participated in a special celebrity showmatch, alongside famous gaming influencers from regions around the world, which you can watch here. “Stars Align” pulls its upbeat melodies and undulating basslines from R3HAB‘s dynamic style, while Jolin‘s stunning vocals lend an ethereal and emotive element to the song. It follows R3HAB‘s recent singles “Distant Memory” with Timmy Trumpet and W&W, “Ringtone” with Fafaq and DNF, “Fendi” with Rakhim & Smokepurpp, as well as a stream of official remixes for the likes of Demi Lovato, Alan Walker, to name a few.
“I’m always looking to push boundaries and explore different genres. Jolin feels the same way and has been a pioneer in Mandopop. It’s energizing for me to work with artists who know the sky’s the limit, and “Stars Align” is a nod to that shared vision. I’m a long-time player of PLAYERUNKNOWN’S BATTLEGROUNDS, so being able to share the song with this community is an honor. I hope this song is a lucky star for all the players, listeners, and fans enjoying it.” – R3HAB
Dutch/Moroccan DJ and producer Fadil El Ghoul, better known as R3HAB, has been trailblazing his way through dance music for the better part of the last decade. From his breakthrough hit remix of Afrojack, Pitbull and Ne-Yo‘s “Give Me Everything” to his dance anthems, such as “All Around The World (La La La)” and “Lullaby,” which have collectively amassed over 600M streams, to his collaborations with the likes of ZAYN, Andy Grammer, Sofia Carson, Olivia Holt and more, R3HAB has proven to be one of the most talented and forward-thinking artists in the game. He partnered with Spotify and GATTÜSO to create the first-ever official “mint” single release. In 2016 he founded his label CYB3RPVNK, which passed one billion streams on its catalog within the first two years since its inception. R3HAB himself continues to evolve and diversify his sound by working with a variety of artists around the globe, experimenting with everything from hip-hop to pop through his collaborations. With his combination of innate artistry and innovative attitude, in 2021 R3HAB is continuing his journey among electronic music’s elite.
Jolin Tsai placed herself firmly on the Chinese pop culture map with her wildly popular 2014 album “PLAY,” which won “Best Mandarin Album” at the Golden Melody Awards. In 2017, “MUSE” officially made her the best-selling Chinese female singer. Tsai‘s impressive resume includes 13 studio albums, 19 years of professional music career, dozens of millions of sold albums/singles, numerous awards; she is also a fashion designer and has worked with brands such as Coach, Fendi and more. She has been featured on the cover of Marie Claire, Bazaar, Grazia, Vogue, Zine Mag, So Figaro, and Nylon.
PUBG MOBILE is based on PLAYERUNKNOWN’S BATTLEGROUNDS, the phenomenon that took the world of interactive entertainment by storm in 2017. Up to 100 players parachute onto a remote island to battle in a winner-takes-all showdown. Players must locate and scavenge their own weapons, vehicles, and supplies, and defeat every player in a visually and tactically rich battleground that forces players into a shrinking play zone.
Her unique take on Americana music (infusing it with pop, rock and neo-roots) sets her apart and makes people take notice. Her new single, “Have It All” is no exception. A soaring tune, that showcases her vocal prowess, and not to mention songwriting skills – the new single is a powerful anthem for those finding their voice. “This song is for anyone who can’t use their voice,” says Toner, “whether it’s out of fear or because the system has told you to be quiet, this is for you.” The SOCAN Songwriter of the Year grew up in New Brunswick, and was surrounded by music.She was classically trained on the violin and spent many years with the prestigious New Brunswick Youth Orchestra with whom she played Carnegie Hall. She continued on to study theatre in Toronto and spent 10 years in a successful acting career including shows produced by Mirvish Productions and Soulpepper Theatre. Three Toronto productions Toner was part of have won Dora awards. For 7 seasons she was an integral part of the repertory cast at the Charlottetown Festival before returning to her first love: songwriting.
Where are you currently based?
I still live at home with my parents in Temecula, California.
What’s been happening recently and how has you Covid experience been so far?
My COVID experience has been pretty positive because that’s been the most time I’ve ever had to work on music and to really just delve into what I love.
How did you first start playing music?
I’ve grown up with a lot of music. Mormons have an entire hour… Well, not an entire hour, but they sing a lot in church and a lot of Mormon kids get piano lessons. So, my family was always musically inclined and all of that. So, I’ve always played instruments and stuff, but I got my first guitar and I’m the best at the guitar. I got my first guitar when I was 13.
Your new single ‘Violent’ is out now, what influenced the sound and songwriting?
I would say the sound, it’s a Lil Peep type beat. So of course, Lil Peep influenced it. The writing, what influenced the writing is honestly, I wrote that song really fast. It literally just came to me, but at the time, I was in kind of like a bad relationship. So, I’m sure the reason those kind of painful lyrics came to me so easily is because that’s kind of what I was feeling on the inside.
How did you go about writing Violent?
I just found the beat and then it was really catchy. I just decided to write to it, and in 30 minutes, it was done.
Where and when did you record/produce/master and who with?
I recorded it in my bedroom on my Apple headphones late at night. I actually couldn’t even sing that loud because my parents were sleeping. So, on the, “… back door,” part I had to kind of do it quietly, which it probably wouldn’t turn out maybe better if I had full done it, but I don’t know. Then it was produced by a guy named Khalil in Turkey. Yeah, it was a YouTube beat.
Violent blew up on TikTok, how did this come about?
Someone just asked for it on TikTok. They were Like, “I need Violent on TikTok,” and I was like, “Say less.” So, I put a screen recording of it up and then it kind of just went from there.
How has this massive exposure impacted your life, I hear it led to you being signed?
Yes. I got signed, which has been really great, and it’s also impacted my life. It’s stressful in a way to have that many eyes on you, but it’s also really rewarding in a way that I feel kind of a responsibility to speak out on issues and just be really honest and be a good person in the industry because obviously, there’s a lot of good people, but I feel like there’s a good place for me to… I’m really relatable and a lot of people can… I’m a good story of success because I came from a really bad place and look at me now.
You grew up as a Mormon with a very strong connection with your mother, how has life changed over the years?
I’ve always been really, really close to my mom. I think I would say the person I got closer to, I didn’t used to be very close to my dad, but I’m really close to him now, too. I have a really good relationship with both my parents, but I left the church when I was 13 or 14. I just kind of stopped going and told my parents, “Oh, I don’t believe in this.” But they’ve always been very, even though I don’t believe in… Obviously, it’s been a struggle telling your parents you don’t believe in that and I was always super rebellious and kind of a bad kid sometimes. So, our relationship was really strained, but I think my parents understand now. They just understand who I am, why I did those things. Yeah.
Who are you listening to at the moment?
I listen to a lot of Slug Christ and I was into a lot of Future and Earth Eater. I listen to a lot of Midwestern emo music like The Story So Far. That’s lately.
What do you like to do away from music?
To be honest, my other hobby is literally just smoking. I like to bake, and I like to cook. I really like to eat. I’m a foodie.
What’s planned for 2021?
To release the best album that’s ever been made.
Favourite food and place to hangout?
That’s my favorite food and my favorite place to hang out in my garage. I know it sounds crazy. I love my garage. I have done everything in this garage. There are so many memories here, but now, we have a nice TV and a couch. Yeah, I just like hanging out in my garage.
Turkish dance music label Future Forward Music celebrates third anniversary with 40-track compilation, The Void
Featuring a cross section of Turkey’s finest talents including KRCL, Karakter, Ugur Project and more The Void will be the first multiple artist compilation consisting of new music available exclusively as an NFT via Rarible
Purchase The Void as an NFT here
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FOUNDING FATHER OF CHICAGO HOUSE K ALEXI SHELBY RETURNS WITH THE ACID TINGED
‘GODS PEOPLE’
FROM FORTHCOMING DJI COMPILATION JACKMASTER 7 THE RETURN OF THE JACK
He now releases ‘Gods People’ a brand-new booming, hypnotic, warm, acid tinged masterpiece with haunting and historically charged lyrics. Simultaneously classic and authentic in its production style and primed for the 3am dance floor, it is a masterfully produced example of pure Chicago House in its most pure essence. Conveying a powerful message through the compelling whispered vocal that is layered over a hypnotic bed of House beats and acid-inspired grooves.
Shelby’s Chicago roots had a huge influence on his musical direction with exposure to a melting pot of genres as well as the introduction at age twelve to House music legends Frankie Knuckles and Ron Hardy. High profile collaborations followed, which included legends of Pop and Dance music such as The Pet Shop Boys, Will Smith, Marshall Jefferson and Derrick May among many others.
The track has an underlying message of the adoption and appropriation of black musical innovation, particularly the genres of Rock and Roll and House that originated in Black culture. A reflection on the historic whitewashing of the music industry ends with a message designed to ‘make you think’.
This is a brand-new release from DJ International, the iconic record label steeped in authenticity and dance music history. It was the label that introduced the world to Chicago House, birthing it and nurturing it in its infancy, releasing the first ever House Music long player in 1986 ‘The House Sound Of Chicago’. It is a label with an outstanding discography populated by the now legendary artists of the time, untouchable DJs like Frankie Knuckles, Fingers Inc (Larry Heard & Robert Owens), Ron Hardy, Steve ‘Silk” Hurley, Farley ‘Jackmaster’ Funk, Joe Smooth, Darryl Pandy and Marshall Jefferson.
It now relaunches and returns in 2021 acquired and under exclusive license to Last Man Music, still with its original and inimitable founder at its helm Rocky Jones and the very same forward-looking House music ideology, now providing a platform for new and established artists alike.
K Alexi Shelby ‘Gods People’ is out now on DJ International.
Jackmaster 7 ‘Return Of The Jack’ compilation will be released 23 April on DJ International.
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Acclaimed UK jazz bassist Joe Downard enters the studio with electronic producer, Todd Speakman (Speakman Sound) to release
Seven Japanese Tales – THE REMIXES
An exploration of experimental underground electronics, jazz and world music
Joe Downard & Todd Speakman Sound – Seven Japanese – THE REMIXES
Ears To Lean With Records
OUT NOW
Joe Downard, one of the most in-demand bassists in the UK today releases his new EP, Seven Japanese Tales – THE REMIXES. Partnering with long-time friend and collaborator Todd Speakman (One half of electronic duo Speakman Sound), the remix EP is now available to stream and purchase via Bandcamp. The vinyl version is also available to pre-order and includes two exclusive bonus tracks. Seven Japanese Tales – THE REMIXES follows the success of Downard’s debut album which was released in June 2020. The project is supported by the Lottery funded arts council programme and looks to explore the intersection between jazz and electronic music.
“This project was all about bringing my music to life in a new and experimental way. The combined styles of where we both sit musically was something that I wanted to experiment with. It really creates something unique and exciting with bursts of jazz, experimental, analog and electronics that bring together followers of both Speakman Sound and myself in the corners of the musical world that we represent! Lastly a huge thank you to Arts Council England that have supported this project.” –
Joe Downard
Seven Japanese Tales – THE REMIXES is a new direction for Joe Downard which sees him partner with Todd Speakman. This long-term collaboration between both artists recreates two tracks from the album, AGURI and APOS which are morphed by Todd’s foothold in the realms of experimental underground electronics and combined with Downard’s routing in jazz and world music. The result is a balance of acoustic contemporary jazz with modern electronic stylings and sound design.
“To collaborate with Joe on taking the album tracks further – twisting them and bringing them into the more electronic world of my Speakman Sound project was an absolute joy! Joe’s ear extends wide and he is always looking to experiment, merge and cross pollinate with new styles and ideas. Sampling up and messing with his stems was a fascinating process” –
Todd Speakman
Still incorporating the live acoustic elements from the original recordings, the duo has given new life to each production through their love of analogue/modular synthesisers and drum machines. Drawing inspiration from the likes of Burial, Floating Points, Leon Vynehall and Four Tet, this collaboration is a reflection of how both artists have used the music that inspires them the most to encourage the development of their own original sound. Seven Japanese Tales – THE REMIXES brings together two friends and colleagues who have worked together for the past ten years in the studio and on stage across many projects.
Released last year, Joe Downard’s debut album, Seven Japanese Tales was released to great acclaim in the jazz world.
“His evolution has seen him move from this position as a respected session player towards becoming a composer in his own right. The Playing is outstanding.”
★★★★ Jazzwise Magazine
“Seven Japanese Tales is a mesmerising debut from Joe Downard. On this evidence, he has to be one to watch for the future”
★★★★ UK VIBE
“Joe Downard’s debut album is an ambitious affair which winningly blends intricate soundscapes created by retro-modern analog synthesisers with the two-horns-and-a- rhythm-section acoustic jazz tradition”
★★★★ All About Jazz
“An impressive début from Downard. A highly mature musical statement that establishes his credentials as a composer of considerable ability and imagination”
★★★★ The Jazz Mann
The EP marks the next chapter of collaboration for both Joe Downard and Todd Speakman. A fusion of two genres which is both innovative and exciting, Seven Japanese – THE REMIXES is out now via Ears To Learn With Records.
2. APOS – REMIXTracklist (Vinyl)1. AGURI – REMIX
2. APOS – REMIX
3. GURI – REMIX (RHYTHMIC MIX)
4. APOS – REMIX (MELODIC MIX)
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