quête:playground

Meet Me On The Corner is taken from the band's sophomore album, Orange Whip, which itself was BBC 6Music's Album of The Day on its release. It follows previous singles Whatever You Do and Sinner, which garnered support from Craig Charles, Tom Ravenscroft and Huey Morgan. The song showcases Honeyfeet at their funkiest and chunkiest. A pounding beat beefed up by bass, guitar and brass propels forward while Rioghnach Connolly sings lyrics that could be straight out of the playground, but suggest something deeper, possibly mystical even, in its demands for a dalliance on the street.

Remixes on this more foot friendly single come courtesy of homegrown legends of funky house music, Crazy P who come through with both a vocal and dub version. Honeyfeet's latest opus is turned into a straight up soulful disco monster by the boys from Nottingham, with Rioghnach's rasping vocals playfully meandering over Hot Toddy and Ron Basejam's crisp beats and trademark live bass. Elsewhere, much hyped Russian production don, I Gemin, delivers his take - still aimed at the dance floor of course, but a slightly deeper house affair based around jazzy keys and chopped up vocals that take the song into more sonorous territories.

As a bonus, the 12" package also features the acclaimed remix of previous single, Sinner, courtesy of erstwhile Polish Innocent Sorceror, Envee - his shuffling, moody take only previously being available on vinyl via a super limited (and now impossible to find) 7-inch release late last year. For the last couple of years Honeyfeet (whose name comes from a line in the Blues Brothers film) have been a conduit for the ideas and expressions of an exotic mixture of Manchester based musicians. This genre-defying band incorporate styles including jazz, folk and hip hop into their music.

The band are fronted by Rioghnach Connolly - also known for her work with Real World artists Afro Celt Sound System and The Breath - "A remarkable singer and flutist who...can ease from Irish traditional influences to soul" (The Guardian). The line-up is completed by Rik Warren (vocals/harmonica), Gus Fairbairn (tenor sax), Biff Roxby (trombone/vocals), Ellis Davies (guitar), Lorien Edwards (bass guitar), John Ellis (keyboards) and David Schlechtriemen (drums).

Since their self-released debut album, 2013's It's a Good Job I Love You, keyboardist John Ellis jumped on board as full-time member, bringing his unique musical presence. This enabled the development of a more texturally adventurous style, as witnessed with the dual atonal solo between himself and guitarist Ellis Davies on Sinner. Similarly, for their current LP, Orange Whip, engineer, bassist and spiritual guide Lorien Edwards makes his Honeyfeet recording debut, so completing the 'kitchen' of this very special band.

- The album, Orange Whip, is out now.

As The Title Suggests, Joakim Recorded This New Album Last Year At Studio Venezia, The Installation/sculptural Ensemble/recording Studio Created By Xavier Veilhan For The Prestigious 2017 Venice Art Biennale. Built Inside The French Pavilion & Inspired By The Grotto-like Merzbau By Kurt Schwitters, Studio Venezia Had Dozens Of Artists Create And Record There Over The 6 Months Of The Biennale (from Chassol To Brian Eno, From Joakim To Sebastien Tellier), Invited By Xavier Veilhan Himself With The Help Of Co-curator Christian Marclay.

With An Impressive Collection Of Rare Instruments From Medieval Horns To Rare Modular Synths (baschet Crystals And Percussions, A Buchla, A Clavinet...), Studio Venezia Was An Amazing Creative Playground For The Adventurous Musician. Those Instruments Were Captured By A Team Of Sound Engineers In The Best Possible Way Thanks To Nigel Godrich's (beck, Radiohead...) Mobile Studio Loaded With State Of The Art Vintage Recording Gear.

Before Going There In May 2017, Joakim Examined The Instrument List And The Specific Context Of A Studio Open To The Public Within An International Contemporary Art Exhibition To Anticipate His Creative Process. Instead Of Drafting Compositions And Demos Ahead Of The Recording Session, He Decided To Have An in-situ' Approach By Creating A System Involving The Visitors Of The Studio In The Composition Phase. Joakim Asked Random Visitors Of The Pavilion To Pick A Word, A Letter (between A And G), Tap A Tempo And Sometimes Choose The Instruments That He Would Play For Each Piece. The Word Was Translated Into A Chord Using A Transcription Table Joakim Invented. Hence The Song Titles Made Of The Given Word Plus The Name And Origin Of The Contributor. The Music Was Then Mostly Improvised, Based On Those Chords, Scales And Tempi. The Recordings Were Then Taken Back To New York Where Joakim Made Some Light Editing And Mixed The Pieces.

In Terms Of Influences, Joakim Tried To Channel The Spirit Of Proto-ambient German Heroes Cluster, 60s And 70s Modal Jazz, Japanese Evocative Minimalism And Drone Composers' Hypnotic Transcendence.

One Can Hear The Studio Through These Recordings, Which Was The Point, To Use The Studio As An Instrument, Like The Kraut Rock Pioneers Did. You May Hear The Floor Cracking, People Talking Or Coughing, And The Peculiar Quality Of Music Recorded In A Large Space With Its Acoustic Properties, A Rare Occurrence When Everyone Is Now Working From Small Home Studios And Major Large Studios Are Closing Down. This Album Also Marks A Return For Joakim To His Musical Education As A Classically Trained Pianist As You Can Hear Him Improvise On The Piano ( arms', air', dream'), Fender Rhodes ( trust') Or Harpsichord ( absense').

Following The Release Of The Studio Venezia Sessions, Joakim Will Create A Live Performance Based On His Experience In Venice. The Premiere Of This New Solo Performance Is Commissioned By The Villa Medicis In Rome For Their Villa Aperta Festival Early June. More Shows Will Follow.

Joanne Forman's Cave Vaults of the Moon created in 1987 for an exhibit of sculptures in Taos, New Mexico is a mesmerizing score for voice, Ensoniq Mirage, Juno 106, flute, guitar and effects. The playful extra-terrestrial recording wafted through the exhibit every day for its duration and then lay dormant for nearly 30 years. Unearthed now, Cave Vaults of the Moon sounds prescient and timeless, as if Pep Llopis and Iasos scored a Wicker Man remake set on Mars. Restored, remastered and cut using DMM.
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We humans, the nascent beings that we are, still haven't quite figured out the full potential of music. Dancing, meditating, emoting, protesting, these are all pretty basic. But what if we communicated more complex ideas with music What if we codified all of our activities with music This idea came to composer Joanne Forman
when commissioned in 1987 to create the soundscape for an environmental exhibition of sculpture called Artifacts from an Alien Civilization in Taos, New Mexico. The sculptures, elaborate ruins that had been found on the moon, begged the question: who created them and for what purpose

Joanne Forman imagined that Earth's moon was a vacation spot for advanced beings from another galaxy. In her mind, the sculptures in the exhibit were the remnants of a deserted playground. Cave Vaults of the Moon became a collection of sonic texts describing the recreational activities that went on there, earth-viewing, collecting information, building and playing.

Oddball space disco/fnk tracks, composed between 1970 and 1985. Big tip!
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A master of the mixing board, from the late 60s until the 90s Bernard Estardy was the wizard of French musical recordings. As head of CBE studios, he shaped everything from Gérard Manset's concept albums to Claude François' hit singles, Françoise Hardy's delicate tear-jerkers and Michel Sardou's soul-stirrers. This giant' had his hand in the whole range of mainstream French music by making his studio a veritable playground for experimentation. His legendary album La Formule du Baron,' released in 1969, and the eight LPs of production music he made between 1974 and 1978 for Tele Music are vivid proof. In the CBE studio, which she runs today, his daughter Julie Estardy discussed his singular career.

Greenvision is the collaborative brainchild of two ESP Institute artists, Juan Ramos and Luca Trentini AKA Trent, both longtime fixtures of Berlin's infamous playground known as Cocktail d'Amore. Separately, these two explore their own very personal avenues of expression, putting their time in the trenches and endlessly polishing their works (this makes Juan's third release with the label), but when their efforts overlap we're gifted a view into their uncanny synergy. Juan and Trent channel an exorbitant amount of smoke-fueled creativity, building layers upon layers into music so dense that the bulk of their studio time might then be spent navigating and formalizing their output into tangible tracks. Greenvison's collective debut with the ESP Institute showcases three intense cerebral workouts, Banana Paradiso, Rambutan and The Color Of Maracuja, an array of experiments pulling from all the corners of the duo's imagination—it is disorienting, cacophonous, introverted and psychedelic, but at the same time playful, melodic, euphoric and undoubtably arresting—guaranteed to induce hallucinations under proper circumstances. We welcome the induction of Greenvision to the ESP Institute, and with us as your guide, we welcome you to accompany on our descent into their abyss. Try not to get lost.

On 30thMarch, Wah Wah 45s will release ORANGE WHIP, the new album by their latest signing, Honeyfeet. The outfit, who have received praise from the likes of The Guardian, have also set festivals alight up and down the country with their unique melange of sounds.

For the last couple of years the Honeyfeet (who name from a line in the Blues Brothers film) have been a conduit for the ideas and expressions of an exotic mixture of Manchester based musicians. This genre-defying band incorporate styles including jazz, folk and hip hop into their music. Someone once called it Folk-Hop and Barrelhouse-pop, and that's just vague enough to make sense.

The band are fronted by Ríoghnach Connolly - also known for her work with Real World artists Afro Celt Sound System and The Breath - "a remarkable singer and flautist who...can ease from Irish traditional influences to soul" (The Guardian). The line up is completed by Rik Warren (vocals/harmonica), Gus Fairbairn (tenor sax), Biff Roxby (trombone/vocals), Ellis Davies (guitar), Lorien Edwards (bass guitar), John Ellis (keyboards) and David Schlechtriemen (drums).

ORANGE WHIP finds the band at their most incredibly diverse. Opening with recent single Sinner (received radio play from the likes of 6 Music and BBC Manchester), which showcases Ríoghnach's extraordinary agile and emotive voice, the album moves with dizzying swagger on songs covering a wide range of subjects. Quickball tells the story of being so infatuated with someone you want to eat them, while Whatever You Do addresses the fear-mongering of the press over folk-hop and oom-pah, and Demons deals with love and redemption on a blast of harmonica-driven country, sung by Rik Warren.

Rik also takes lead vocal on a re-working of Robert Johnson's Love in Vain, a song showing Honeyfeet's more reflective side, his Skip James-esque drawl bringing an eerie quality to the lyrics about a doomed relationship. The band reshape the progression too, swinging the tune slowly and creating a little underground blues club in the midst of the recording.

Elsewhere the band go all New Orleanian on Colonel Hathi's Trunk Juice, a sinister tale inspired by trombonist Biff Roxby's horn riff recalling one of the elephants of The Jungle Book. Further showcasing their virtuosity, on one of the album's best moments - especially the nuanced vocal performance by Ríoghnach, who was raised on Irish folk - on Hunt and Gather the band do their own take on prog-folk, with a flute and cello melody running alongside a brass counterpoint.

Ríoghnach turns in another incredible vocal on the album's final track - future single Meet Me On The Corner. With a pounding beat, it is one of the album's main highlights. Guitar and brass propels Ríoghnach to sing lyrics that could be straight out of the playground, but suggest something deeper, possibly mystical even, in it's demands for a dalliance on the street. It closes the album on a high note, for a band who have that rare ability to distil all their disparate influences, while always sounding like their unique selves.

ORANGE WHIP heralds the sound of a remarkable band going overground.

The night is what makes a big city come to life. Right after sundown, the hectic buzzing of downtown makes way for adventure playgrounds, bathed in neon light, revealing their countless chances and opportunities. It's when you'll find the subway spitting out it's purpose seeking passengers by the minute. A coming and going of restless people passing through. All it takes is a few hours, before the sunrise makes it all disappear. Mental Bend captures the magic of that very moment in their dreamy soundtracks. If you close your eyes, you can see blurry pictures passing in slow motion, accompanied by their atmospheric songs. Grainy black and white snapshots, fragments of memories lighting up somewhere in the farthest corner of the cortex. 'One Step' is the Berlin-based indietronica duo's visually vivid debut album, released on Enfant Fenou. Mental Bend are all about letting go. Sissip (voc/synth/bass) and Hendrik Havekost (beats/production) know how to trust their instincts, crafting their hypnotic signature sound, somewhere in between electronica, ambient and dream pop. Before founding the band in 2013, the two were already shaping their skills in all kinds of different formations and styles of music. As soon as they got together, they had a viral mini hit with their song 'Take My Hand', praised on various tastemaker blogs and generating over 100.000 likes on Soundcloud in no time. The band's first long play record 'One Step' is all about important experiences and decisions, small as well as big steps, all a part of making progress, which in the end can even be life changing. It was a step, that recently got Mental Bend their record deal on Mo's Ferry's sub label 'Enfant Fenou'.

For its latest release, Weirdest Dream has landed on Dopeness Galore for a supernova of atmospheric sounds called White Worms.
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Weirdest Dream is the moniker and playground of Stockholm-based galactic explorers Daniel Fagerström & Luciano Leiva. With a history of releases on 'RVNG' and 'Permanent Vacation', the duo plays around in a constellation of all analog and early digital synthesizers such as the TR-909, Waldorf Microwave, Yamaha DX7,
Roland Juno-60 and Akai MPCs.

An ambient cloud of sonic surrealism, White Worms is a curious exploration of the celestial sphere through echoes of Patrick Cowley, Sensations Fix and Tangerine Dream.'

Kevin Kendall is an artist from Nashville, TN. He has released music on his own Bamboo Playground as well as Cincinnati based Racecar LTD. Key ideas Kevin finds interesting in music: feeling, texture, truth.

Dilated Pupils is a collective group of likeminded friends from the Netherlands each with their own influences and style, whom together have a distinct flavor in productionconsisting of analogue machines, tape noises, and raw one-take jam sessions. Each of them have their own solo productions as well as other collaborations, but when united as Dilated Pupils prefer to be known jointly as one entity with their own unique and distinguished sound.

Since 2014 the group has developed an interesting discography with releases on labels such as Fear of Flying, Sol Asylum, Mode of Expression, Tabla, Music is Art, Dorcas, Make Sense and Mayak.

Now, the group takes the next step and created their own playground ''DPBEATS''.

Be sharp and keep your ears open, because the beats are loaded!''

Fine, the new musical playground from Johannes Albert and Tilman, announce their first release with neat & warm House loveliness for your pleasure.

One month after the release of 981 Mb RSD EP, we are glad to introduce you to the new Molecule's album: 60° 43' Nord (Deluxe Edition). Some would associate the sounds of the waves to heat and relaxation and rest assured, we're part of them. That being so, some others visualize the sea as a wide playground from which they can pick up the echos to turn them into a deep sound. That is precisely the case of Molecule who decided to record the wild voices of the Atlantic Ocean aboard a 90 metres long fishing boat. The result is made of powerful and danceable techno beats ("8 ZL 40), tracks that will take you directly to the Atlantic's depths ("Abysses"), and harmonious moments of time off ("Le Jardin' or Soleil Bleu"). The whole of the tracks is captivating and flows naturally as we listen to it. You'll find the song Hébrides, present on the 981 Mb EP, as well as the original version of Rockall that you might have heard already as a live version. If you never had the chance to jump onto a 90 metres fishing boat, take your chance, Molecule is inviting you to get on his... The CD included in the LP version features the 10 tracks of the album.

They are lovely, they are juvenile, they are dirty from playing in lifes playground, they create blissful sounds full of light that shines with a gangsta groove shaking your reality and guiding you, empowering you towards love, kindness and gratitude.

We here at L A MISSION like to whip out our politics in public. We kinda get off on it. And so we're especially excited to slip you B EANER' s first solo outing on the label . From track titles to sound samples to magazine articles to packaging, this record / magazine / performance package highlights im/migration, the brown experience, and stripped identity. La Mission knows from brown. The collective is run by a crew of devastatingly handsome deviants whose racial identity is, well...it's complicated. We've lived our lives being neither white enough nor brown enough to fit neatly into racial categories. And so we took some time out from our usual exploits (like our MultiDirectional Playground Tire Swinging' orgies and Elected Candidate/Dead Pig/HungerGames slashfic) to focus on brownness. People started talking about cultural appropriation' when Miley Cyrus started twerking. We couldn't throw shade fast enough. But cooptation and exotification runs rampant in all genres of music-including dance music. We here at La Mission feel pretty fucking awkward about it. We've seen queerofcolor culture turned into whitedudebro business ventures. And as brown folks with stripped and fragmented identities, we're never sure of what culture is ours to use and abuse, anyway. Can we honor our own roots if they're messy and broken When we're inspired' by the music of other cultural groups, is that solidarity or stealing Nothing we have is whole. We can only work with the fragments we have at hand, well aware that there's unfinished business... BLACKMOUTH is the live version of the classic soul/disco sampling house tune. Take the work o f o t h e r s w h o c a m e b e f o r e y o u a n d t u r n i t i n t o a d a n c e a b l e j a m . G O T B L U E S u s e s t h e w o r k o f a b l i n d 1930s blues bongo player to form a weirdo repetitive rhythm tool: another example of using a forgotten artist for one's own gain.

Mit weltweit über 3Mio. verkauften Einheiten & 10 Studioalben hat die schwedische Modern Metal Band In Flames ihr Genre nicht nur neu definiert, sondern sich auch weit über dessen Grenzen hinaus etabliert. Nach der Gründung durch Jesper Strömblad 1990 gelang ihnen mit ihrer 2. LP "The Jester Race" der Durchbruch und gleichzeitig ein gefeierter Genre-Klassiker.
Nach ihrem mit Gold ausgezeichneten letzten Studioalbum "Sounds of a Playground" kündigt die Band jetzt ihr neues Album "Siren Charms" an. Dieses dokumentiert ganz genau, wo In Flames 2014 stehen.
Die LP wurde in den legendären Berliner Hansa Studios eingespielt und bietet neben der ersten Auskopplung "Rusted Nail" 10 weitere Tracks, die sowohl alteingesessene Fans begeistern werden ("In Plain View") als auch Crossover-Potential haben ("Through Oblivion").
"Siren Charms" sichert In Flames die Stellung als Metal-Band, die niemals still steht, und es ist zweifellos eine Band, die immer wieder Risiken eingeht, Grenzen überschreitet und sich selbst ebenso herausfordert wie ihre Zuhörer. Dass die Hindernisse die Band nicht umgebracht haben, ist offensichtlich - aber die Frage ist, ob In Flames jemals so stark gewesen sind

3rd release on Ilario´s playground - this time with remix support from Massimo Girardi (Memoria Recordings, Kina Music) and Felipe Venegas (Serkal, Cadenza, Drumma).