This is the last track on the album Brødløs (05.10.2018) – hubromusic.com
Sanskriti Shrestha: tablas
Mats Eilertsen: upright bass
Erland Dahlen: drums and percussion
David Wallumrød: keyboards
Nils Petter Molvær: trumpet
Geir Sundstøl: National guitar and Shankar Shankar guitar
Recorded at Studio Intim and mixed by Bård Ingebrigtsen at Amper Tone.
live at at Audio Rebel, Rio, Brazil – 17.7.2016
Released in cooperation with Brasil label QTV
Credits:
Released October 5, 2018
Peter Brötzmann – Reeds
Marino Pliakas – E-Bass
Michael Wertmüller – Drums
Recording engineer: Pedro Azevedo, João Paulo “Binos” Franklin
Pre-mix: João Paulo “Binos” Franklin
Mix and master: Martin Siewert
Artwork: Brötzmann
“The eighth album from Marissa Nadler, For My Crimes, is the sound of turmoil giving way to truth. The songs stare down the dark realization that love may not be enough to keep two people together through distance and differing needs. By asking these difficult questions about her relationships, Nadler has found a stronger sense of self and a sharper voice as both a songwriter and a vocalist, culminating in her most evocative entry in an already impressive discography. The album is set for release on September 28, via Bella Union and Sacred Bones.” Bandcamp
Bonus song: Marissa Nadler plays Fleetwood Mac and she does it brilliantly!
“From the soon to be released album “Songs That Made Us Free”, “I Can Hear My Papa Calling” tells the story of Karim Franceschi, a young Italian activist who fought in the Syrian civil war as a volunteer for the People’s Protection Unit (YPG) against the Islamic State during the Siege of Ayn al-Arab. Karim believed he drew his strength from his father who had fought for the Italian partisans in the mountains of Tuscany. Written by Neill Solomon, Phil Manzanera and Dan Chiorboli.” The Liberation Project
“Montreal by way of Sweden art rock ensemble Thus Owls drastically up the stakes on their fourth full-length. The Mountain That We Live Upon capitalizes on the creative momentum of their previous EP to catapult them to a new level of sonic distinction. Every element of their songcraft has been honed to serve the band’s increasingly unique vision on this release.
While Portishead still echoes as a favourable touchstone, Mountain carves out a path deeper into the progressive psychedelic territory of Pink Floyd and the Savage Rose, marrying superb musicianship and bold experimentation with transcendentally memorable melodicism.” Source
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Produced by Mike Terry, featuring the guitar of Eddie Willis
“Born in Grenada, Mississippi, Willis was known for his signature style of muted guitar riffs which added a distinctive tone or “color” to the beat, often timed with the snare, of the hundreds of hit songs recorded at Hitsville U.S.A. for Motown artists. Among the recordings Willis performed on are “Please Mr. Postman” by The Marvelettes, “The Way You Do the Things You Do” by The Temptations, “You Keep Me Hanging On” by The Supremes, and “I Was Made to Love Her” by Stevie Wonder.
Influences for Willis included Chet Atkins, Wes Montgomery, and Albert King. He played a Gibson Firebird guitar on most of his early 1960s work, later moving on to use a Gibson ES-335. On recordings such as The Supremes’ “No Matter What Sign You Are”, Willis performed on a Coral sitar…Willis died on August 20, 2018 in Gore Springs, Mississippi from complications of polio at the age of 82″ Wiki
“Across this expansive and cosmic piece, arguably his finest work to date, Perri muses on the possibilities of what can and cannot be: the complete divesting of one’s own ego (“Any answer, a question remains / To flourish and without expansion or gain?) and the bittersweet melancholy of romanticized nostalgia (Black, brown, red, blue, yellow, green, and white / Seen and understood in each its own right / And how freely goes a child at night / In another life?”) These existential meditations are fulfilling in their poetic ambiguity, the inherit sadness of the unknown, and the beauty that is also inherent in that unknowing. Indeed, this is how Perri walks on the moon, each step moving him up to a spiritual lightness that feels like floating. No matter the wait, how generous of him to invite us along. words / c depasquale” Source
“No one breaks much of a sweat here. White’s distinctive mumble seems like it was recorded while drifting in and out of a narcotic-induced coma. Nevertheless, this music resonates with the dark, ominous, rootsy authenticity Tony Joe White has always exuded.” Source
“The terrific must-see Muscle Shoals documentary from 2013 kick-started a revival of sorts for the music that emerged, perhaps exploded is more appropriate, from this sleepy Alabama town. That set the stage for a musical follow-up tribute which finds 17 diverse roots acts offering their own interpretations to a variety of songs recorded there.” Source
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