Leave Means Leave, but what else is there?

When you wake up in the morning, you get out of bed, perhaps have a shower, a little breakfast, maybe read the paper or a book, prepare for the day – you pack your bag, keys wallet phone and you leave the house. Well the Leave means Leave campaigners don’t do this, they get up straight away and just leave the house – “LEAVE” they utter to themselves, now they are outside in their pants, alone – knocking on neighbours for help but nobody is in – they’ve gone to work, or nobody wants to answer to the person wandering the streets in their underwear shouting ‘somebody help’. There you are, in your pants – unable to get back inside.

The Material Splendour of Carcass Identity

The principles of sludge in dub, slow motion but still driving ahead comes the complete sound of Carcass Identity to which is born out of Brussells, birthed from two longstanding musicians  – Matthieu Levet (of Pizza Noise Mafia and Carrageenan) and Ernesto González (of Bear Bones, Lay Low, Tav Exotic, Maitres Fous).

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The Magic of Night: A Short on Nightlife

Staring intently at an artfully framed display of pasta shapes with their given names found me in a trance at a friend’s apartment, in the background I hear a record that I knew they cherished and under that, softened chatter between them, it took me a moment to snap out of my Trofie Trance – I was asked to spare a thought.

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Profiling The Cool: Lester Young and the Language of Jazz

The first percussive patterns I was taught at the age of fourteen stemmed from the sphere of the Jazz world, and I imagine it was a similar path for every other percussionist even on a level where it is not made clear, it would be difficult not to find influences in other musical forms that didn’t originally stem from Jazz. Being brought up on a diet of modern music in the family I was never subjected to Jazz, nor was it explored in depth at school; it was purely for practice, a practice in where I did not learn about the musician behind the tubs’, I had incorporated what I had heard here into my style of playing moving on to joining metal and punk acts.
It wasn’t until later in life that I begun opening this particular world to my ears but with already trained ears I always pick out the percussion section first; so when I discovered the works of
Art Blakey, Bernard Purdie and Kenny Clarke, Clarke who had pioneered the use of signature swing in be-bop, had I begun to truly understand their importance and innovative practices. The amount of appreciation gained through just listening has lead me on a passionate journey of discovery and those names above are just a few that offered great influence and artistry that go beyond the basic patterns in which were dominant in the earlier styles of Jazz music, particularly swing – it became necessary break these patterns and open up new possibilities and explore deeper creativity.

During my auto-didactic study of Jazz and its surrounding literature, there exists a language, a language that has sparked a curiosity in uncovering its roots, and although the tune has been sung to some degree (thank you to the 1996 study by Joel Dinerstein) I wanted to revisit this and reinforce the credit to a one, Lester Young – a name who is lost amongst the behemoths of Jazz.

To which we begin Profiling the Cool.

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Part Timer of the Year, diamonds in the rough of 2018

Thank you to Avalon Emerson and the creative folks behind the simple but inclusive idea of celebrating yearly lists by including a direct path to the music available in the digital medium, on the always fantastic and never shunned, Bandcamp.

Yearly lists often rarely give full navigation to purchasable content, with compilers often neglecting this in their drunk-off-own-ego vocalisation parade, but here we see that simple connection made.

Without further adieu please find a selection of twenty musics for your embrace.