Aurgasm

glitch lounge // exotica remixed

When Martin Denny passed away a fortnight ago, I had to admit that my knowledge of him and his work was scant. I had familiarized myself well with Les Baxter, but really didn’t know much about the true founder of exotica music. Denny was the first to bring together his own trademark tropical jazz music with sounds from nature: bullfrogs croaking, songbirds calling, and palm trees swaying; thus creating a new musical innovation that he termed “exotica”. Now, on his EP Percussions, New York-based End now has taken this sound and interjected a healthy dose of electronic sample-magic to take exotica into the decade of the aughts.
A frenetic lounge soundtrack delivering the South Sea by way of the sampler.

End – Cocktail Hour
more mp3s at End’s website
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folk // post-rock

Nourished by Sierra mountains, wilderness, and home; cherished by sharing joy through wedding stories; Drew Barefoot renders a threshold baring nature’s cathedral in tone.. and in tune with finding hidden felicity. In a sermon from rustling leaves, or remedial gossip between wind and Forrest Creatures, there is an ageless desire for comfort and trust that is searching for awareness of Heaven from one’s touch. Spiritual union carrying you to a new world; or, for now; simple notes combining soft Iron and acoustic Wine into gently triumphant Explosions in the Sky above underground springs of piano and banjo.

Soothing, exhilarating, inspiring.
Drew Barefoot – Follow the Porcupines
Drew Barefoot – Enjoy the Calm
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jazz // folk // acoustic

At the Fringe venue where I work most summers, the name Gwyneth Herbert has always lurked deep in the music program, and this year I finally decided to check her out. This is what I wrote about the show at the time:

She is stop-you-in-your-tracks, shoot-you-in-the-face fantastic. Her lyrics are tight, her voice elegant, her manner onstage masterful; and it was all backed up by some really superb guitar by Al Cherry.

These tracks are from her latest LP, Between Me And The Wardrobe, which has just been picked up by Blue Note UK. They’re full of beautifully sparse instrumentation over which her vocals get to really gleam and shine. Do yourself a favour and buy the album.

Quiet and beguiling.
Gwyneth Herbert – Lay You Down
Gwyneth Herbert – Sweet Thing
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idm // indietronic // abstract instrumental

Mickey Eats Plastic is very kind and friendly duo, Lucz & Bluermutt, from Rome, Italy. With custom-written software they toss together field recordings, guitars, electric bass, synths, and squeak toys into their compositions. Electronic music fans will feel the flavors of Kim Hiorthøy, The Books, and Xploding Plastix in M.E.P’s creations. If you’re not an electronic music fan, these might not twiddle your brain as nicely. The tracks below are off their new album, People Eating Tasty People, which they generously licensed under Creative Commons. (That means its free, kids!)

They say, “We’re simply trying to make nice music.” They succeed.
Mickey Eats Plastic – A Transitorily Abstract Piece Of Music
Mickey Eats Plastic – Every April
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afro-beat // funk

Fusing vintage influences with the modern psychedelic, Israeli multi-instrumentalist and composer Ophir “Kutiman” Kutiel captures the essence of the great funk. Loaded with scratchy guitar riffs, horn arrangements, and the catchy vocal hooks of his affiliate musicians, wonderfully produced Kutiman’s first full-length album delivers everything we love about hip-swaying funk and the feeling of the 70’s. Dabbling in afro-beat, soul and disco grooves, Kutiman keeps my head spinning and my feet moving.

Intoxicating experience for your body and soul.
Kutiman – Music Is Ruling My World (feat. Karolina)
Kutiman – No Reason For You (feat. Elran Dekel)
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modern son // guaracha

Musician and composer Pedro Luis Ferrer has been an active Cuban musician since 1965. In his native Cuba he is famous as a musical innovator as well as a sharp social critic and a master of the guaracha musical style. He combines the influences of dynamic Cuban sounds, including Cuban son, guaracha-style songs with his own lyrical poetry. Ferrer’s latest record Tangible (2011) sparkles with bursts of horns, Latin percussion, earthy guitar and and the tres, inviting your feet to move.

Vibrant spirit.
Pedro Luis Ferrer – Tangible
Pedro Luis Ferrer – Zarandeando
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electronic // experimental

Kreidler has one of those sounds that teeters on the edge of being irritatingly experimental, but is pulled back by some solid acoustic instrumentation and a good sense of beat and build. Their debut, Weekend showcases an odd mix of chirps and clicks, along with some more conventional driving bass and lightly rocky drums. Some of it’s a bit Four Tet-ish, but it’s a little meaner with its melodies than the English artist, and the overall effect is something slightly darker.

German innovation.
Kreidler – La Capital
Kreidler – Sand Colour Classic
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1960’s jazz // saxophone

You’ve undoubtably heard the classic song “Take Five” performed by the Dave Brubeck Quartet. Though Brubeck’s name gets the glory, it’s musical genius Paul Desmond that crafted the exquisite tune. Desmond wrote the delicious “Take Ten” in the same 5/4 (or 10/8) meter, hence the curious song titles. It features his refined and poignant alto saxophone again, along with the guitar stylings of Jim Hall and the lush bassline of Eugene Wright.
Let Desmond’s delicate phrasing and butterfly tone enliven your desire for love.

Paul Desmond – Take Ten

swedish pop // singer-songwriter

Multi-instrumentalist with a strong background in jazz, a member of Hello Saferide, Maia Hirasawa is one of the most adored artists in Sweden. Since her solo debut, Maia has received highly positive reviews throughout Scandinavia, been nominated as one of “the Women of the year” in two Swedish magazines, and her first single was mentioned in several audio blogs. One of her fun pop type songs, “Crackers” instantly makes the day colorful and lively, as listening to the catchy melody line, you will find yourself smiling and singing.

Glimpsing into a world of pop perfection.
Maia Hirasawa – Crackers
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cape verdean // worldbeat

She was born in Cuba, grew up between Senegal, Angola, Germany and finally settled down in Cape Verde. You can feel the influence of all these locations her music; a soft and friendly accessibility met by a very developed melodic intellect. In much of her music, she sings in Cape Verdean Creole, which is a derivative of Portuguese. She’s not surprisingly up for Best Newcomer in the BBC Radio 3 World Music Awards. Her song “Lua” is a warm tropical treat; while “Regasu” is a somber ballad in the style of Cuban son Cape Verdean Morna. (Thx, Andre!)

Sweet music from the African Cape’s barefoot diva.
Mayra Andrade – Lua
Mayra Andrade – Regasu
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