Não to de mau humor não! É que as vezes não dá!! Vira e mexe eu ouço que a música está em decadência, tudo é pop e que não sai “coisa nova boa” ultimamente. Pra mim isso tem um nome: PREGUIÇA! Claro que se depender das rádios (como vimos no post anterior) estamos ferrados e teremos que apelar pros CDs dos nossos pais ou, até mesmo, pros protetores de ouvidos, mas não precisa! Há muita música boa, ou melhor, música de primeiríssima qualidade por aí. Basta o quê?? Procurar!! eeeeeeee! Pra quem não conhece, existe uma ferramenta chamada internet e nunca foi tão fácil ter acesso à absolutamente TUDO, desde jazz sueco até eletrônico árabe. Olha que eu poderia me utilizar dessa fadiga de todos e falar que o único lugar decente pra conhecer música que restou é o TAOcast, mas não! Tudo pelo bem da música! Inclusive aqui vai alguns dos principais sites dos quais eu pesquiso sons novos. http://drownedinsound.com/ e http://pitchfork.com/. Para jazz, além da internet, recomendo muito a revista DownBeat. Pode parecer cansativo toda essa busca.. Mas o tesouro é mais que satisfatório: Infinita música de primeira.

01. Agf – Impulse – Musork
02. Spacemam 3 – An Evening of Contemporary Sitar Music – Space Age Rec.
03. Robert Henke – Layer 1 – I/CM
04. The Residents – Birth (Eskimo) – Ralph Records
05. Edgar Froese – Ngc 891 (Aqua) – Virgin
06. Oni Ayhun – B – OAR 1
07. Aube – Sensorial Inducement – Alien 8 Rec.
08. Polmo Polpo – Farewell – Constellation
09. Analog 1 – Reduced – MCMLXV
10. Pub – Cokeshandy – Ampoule

Downbeat es un sello de estados unidos, uno de los pocos sellos que quedan fieles al estilo del Tear Out y que últimamente se ha fijado en varios artistas españoles para añadirlos a su catalogo como Factorfunk, Dj Suko, Dub Elements, Wardian y ahora le toca el turno a Bass & Funk, el grupo gaditanoque que nos presenta cuatro pistas bajo este sello.

DOWNBEAT 027

BASS & FUNK – BASS RELOAD EP

Artista: Bass & Funk

Sello: Downbeat Productions

Cat: DBP027

Fecha de lanzamiento: 24 de Noviembre

Tracklist:

01.Overflow – http://www.downbeatproductions.com/thebassreload/overload.mp3
02.Fussion – http://www.downbeatproductions.com/thebassreload/fussion.mp3
03.Extreme – http://www.downbeatproductions.com/thebassreload/extreme.mp3
04.Team Killer – http://www.downbeatproductions.com/thebassreload/team%20killer.mp3

Para más información:

www.myspace.com/downbeatproductions1

Downtempo? Schreckliche Bilder befallen das innere Auge: Studentencafés, gefühlvoll beschallt mit dieser unsäglichen, belanglosen… “Lounge Music”! Chillout Compilation 15 auf dem Wühltisch. N24-Dokumentation, hinterlegt mit seichtem elektronischen Geplätscher. Kaufhausaufzugsmusik.

Downtempo! Furchtbar gelitten hat diese Bezeichnung für  elektronische Musik unterhalb der als  tanzbar erachteten bpm-Zahl. Aber kein Grund generell wegzuhören, schließlich läuft unter dieser weitläufigen Bezeichnung  auch Musik von Massive Attack, Portishead, Kruder & Dorfmeister… und eben auch folgendes:

Downhill sind Arne Schaffhausen und Wayan Rabe, auch (oder besser) bekannt als Extrawelt, Midimiliz und Spirallianz, gemeinsam mit GravityPlus-Labelkollegen Marcus C. Maichel. Arne und Wayan produzieren seit über zehn Jahren elektronische Musik, die sich im Laufe der Jahre von tighten PsyTrance zu minimalistisch-melodischen Techno gewandelt hat. Marcus Maichel stammt ebenso aus der PsyTrance-Ecke, Gründungsmitglied der Hamburger Combo X-Dream. Gemeinsam haben sie schon als The Delta kollaboriert was auch eher in die deftige Richtung ging.Klingt alles in allem nicht so, als ob die drei Musik für den besinnlichen Sonntag Nachmittag machen würden. Tun sie auch in der Tat nicht, auch bei diesem “Downtempo”-Projekt. Silent City, so der Name des 2003 erschienen,  einzigen DownHill Albums ist ein fein produzierter Soundtrack für die Dystopie deiner Wahl. Knackige Beats, sphärische Flächen und Bässe die den Nachbarn auch noch Freude bereiten. Musik wider den typischen Downbeat-Klischees und für mich ein dringender Begleiter im herbstlichen Wien 2009. Dig it!

I get loads of music to my email adress some of it is not that good and some of it is good, Matt Terrell a.k.a Small Mammal  sent me some stuff the other day and made my day. He is originally from Brooklyn NY but relocated to Asheville North Carolina, his music is entirely instrumental consisting of drums, guitar, keys and warped field recordings.  This is too good to miss out!

Download a promotion including two songs from his debut album HERE!

If you dig it, buy the album! You find information on his myspace!

Wax Tailor – This Train | Leave It

His first album “Tales of the Forgotten Melodies” drew comparisons to the likes of RJD2, Portishead and DJ Shadow, while his second “Hope & Sorrow” (80.000 sold worldwide) landed him a nomination at the prestigious Victoires de la Musiques, as well as the US Indie Awards. Wax Tailor is coming off a year which saw him tour relentlessly (over 200 concerts) and score the title track for the movie “Paris” by Cedric Klapisch as well as a few remixes (Nina Simone, ASA). He is now a well-established and respected producer. Written in both Paris and New York City, his third album “In the Mood for Life” is an organic landscape with orchestral accents. Taking its cues from Soul, Funk, Hip-Hop or 60’s Pop Music, this is one eagerly awaited journey. “This Train” and “Leave It” are taken from the new album.

Video: Wax Tailor feat. Voice & Ali Harter – This Train

With their numerous releases on labels like Harthouse, Rekids or Cocoon, Deepgroove & Jamie Anderson are playing in the first league of global acting dj’s and electronic producers. With their outstanding 4Decks:FX Show Deepgroove smashed the dancefloors at We Love…@Space, Ibiza, Glastonbury, Fabric, Gatcrasher Summer SoundSystem, Zouk, Singapore, Ministry of Sound, London, Trailer Trash, Wet Yourself, Privilege, Ibiza, Eden, Ibiza, Korea, Snowbombing, Canada, Chicago, Warsaw, Solar Festival, Holland, Bloom Festival, Mulletover, Bugged Out! or Excentric in 2008. Furthermore they had three successful EP’s on Alter Ego’s Klang Elektronik in the same year what led to a signing at Sven Vath’s Cocoon in spring 2009. Jamie Anderson activities in the electronic music since the early nineties are enormous. As the founder of the Artform imprint he had a big influence of the tech house genre. In 2005 he founded his second label Fixia Records for his minimal, acid and experimental output. He worked with artists like Jerome, Owain K, Jesse Rose, Kevin Beber (Headlock) and Dave Angel (The Sound Enforcers). The list of labels he releases on is nearly countless: International Deejay Gigolos, NRK, 100% Pure, Rotation, Front Room – just to name a few. Furthermore he did a lot of remixes for internationally well known artists. The latest release on Harthouse was the great „Mutantz“ EP. But now they are coming around with their new and fresh album „13MACHINES“. The thirteen machines on the album are working constantly and absolutely dependable. Ranging between purest minimal, tech house and techno with delicious applications like driving tribal parts, absolutely clean synthesizer arrangements, unimaginable melody and rhythm structures and irrestistible beats and percussions. Every track symbolizes a different machine created for only one purpose: Reflecting our technological environment through the extremely pulsating language of electronic music. And this purpose aims directly to the most up to date dancefloors of the world.

His first album “Tales of the Forgotten Melodies” drew comparisons to the likes of RJD2, Portishead and DJ Shadow, while his second “Hope & Sorrow” (80 000 sold worldwide) landed him a nomination at the prestigious Victoires de la Musiques, as well as the US Indie Awards. Wax Tailor is coming off a year which saw him tour relentlessly (over 200 concerts) and score the title track for the movie “Paris” by Cedric Klapisch as well as a few remixes (Nina Simone, ASA). He is now a well-established and respected producer.

Written in both Paris and New York City, his third album “In the Mood for Life” is an organic landscape with orchestral accents. Taking its cues from Soul, Funk, Hip-Hop or 60’s Pop Music, this is one eagerly awaited 52 minute journey. Who else than this necromancer of forgotten melodies can assemble such a wide array of influences and make them coexist with such ease? On Wax Tailor album melancholic melodies reminiscent of The Cocteau Twins strike a delicate balance with a brand of Hip-Hop seldom seen since the days of Jurassic 5. Wax Tailor also masters the art of reinventing oneself, and although his signature sound is immediately identifiable, this new album establishes a true evolution both in terms of production and song writing. Sting instruments, which were once just extras, now assume a more prominent role (Dry Your Eyes, Go Without Me). Where genres once crossed path from one track to another, they now collide within a track (This Train, Fireflies). The resulting sound is denser, more organic as well (Leave It, I Own You…) and the song writing more finely chiseled.

With the opening notes, the mood sets the stage. Wax Tailor is now a sound stager, the director of an aural movie whose urban roots meet the perfect casting. Throughout this album, he appropriates a multitude of references with a very personal touch. His music is beyond genres and defies categorization, it is a modern brand of Pop music, designed with a rigor and an expertise that betrays the love this artist puts into his craft.

Albumtrailer: In The Mood For Life

Video: In The Mood For Life (Making of)

Tourdates: In The Mood For Life Tour 2009

With his first album “Rhode Stories” Lukas Greenberg received a lot of attention and convinced the critics (e.g. “Rhode Stories” was record of the month in Raveline). The mixture of house, easy listening, electro and downbeat combined with soulful vocals and spoken words opened a new chapter of relaxed and at the same time still deep sound on Plastic City. The tracks from Lukas Greenberg are solid, emotional and straight with a touch of naturalism. For the new album “Prisoner With A Key” he improves that concept from his first album “Rhode Stories”: Spreading out his facilities in combining and creating sounds, he wrotes chapters for his new “book of sounds”. The chronological order of the tracks is his story of the second step of his musical work on Plastic City.

For this album, Lukas Greenberg worked together again with the singer and electronic musician Karl Jenkins aka Ideophonic from Great Britain, who was also part of the “Rhode Stories” production process before. Furthermore he engaged the vocalist Nica Brooke, who is working on her new album at the moment together with Grammy Award winner Don Mizell. The result is a great combination of warm, bright and tight tracks which we inclined to call album art. “Prisoner With A Key” is also a real masterpiece on account of metamorphosing jazz, funk and soul elements into a new and electronic surrounding. This album is a must have for everybody who does not want to miss the next step of high quality electronic music: intelligent, complex and absolutely deep!

Audio Interview: Lukas Greenberg

Free Download: The Green (Sweet Album Mix)

Set for DJBroadcast.nl
1. Boards of Canada – Tears from the Compound Eye
2. Riceboy Sleeps – Happiness
3. Pyramids – The Echo of Something Lovely
4. My Bloody Valentine – To Here Knows When
5. Autechre – Rae
6. Squarepusher – Journey to Reedham (7AM Mix)
7. AFX – Laughable Butane Bob
8. The Tuss – Rushup I Bank 12
9. Wisp – Summoner’s Hollow
10. AFX – Crying in Your Face
11. Clark – Growl’s Garden
12. Portishead – The Rip
13. Bibio – Over the Far and Hills Away
14. Bob Dylan – Girl From the North Country
15. Nick Drake – Things Behind the Sun
16. Bibio – Weekend Wildfire
17. My Bloody Valentine – No More Sorry
18. Heavenly – Trophy Girlfriend
19. The Go! Team – Flashlight Fight (feat. Chuck D)
20. Primal Scream – Accelerator
21A. Current Value – Fear
21B. Pyramids – The Echo of Something Lovely (Lovesliescrushing Remix)
22. Boris & Merzbow – Evil Stack
23. Somfay – NotR

“Bar Bubbles” is named the latest release of the German-Austrian Label Holophon , compiled by DJane Lady Smiles (rel. date: 1st of Oct. 2009). At last the Viennese bar music expert serves her interpretation of a seductive cocktail made of finest grooves and rare tunes beyond the mainstream. In contradiction to countless lounge releases within the last years Bar Bubbles is finally a compilation with lots of new, as well as until today mostly unreleased essences.

Regarding the track list Lady Smiles looked for new songs by well known and also less familiar artists as she tried to produce an international flair, using ingredients from all over the world by mixing Bossa, Funk, Nu Jazz, Headz and Grooves.

A look into the “menu” affirms it: Slade goes Swing – the finest element of this Premium Cocktail is the swinging version of Slade`s 70s-hymn “Far Far Away”, a Tape Five production interpreted by the Californian top-vocalist Brenda Boykin. Neither non-released until today was also the outro track “Bar Fly” by Lop.Nor, nor was the prime release of Monitor’s “PS” in a Papercut remix just as WKCollective, Riccicomoto and Pierce Vaughan. Furthermore first time on physical sound carrier a “dash of remix” – such as “Checkmate” in the price winning Mesa Verde resign mix. But also a splendid shot of Bossa and Tango donated by Brother Groove, Una Mas Trio, Glam Sam & His Combo, Alacran, Afternoons In Stereo and Spacestar cares for the varied sound flow. This perfect mix is decorated with a pinch of “airy sound” from The Bahama Soul Club, who asks right at the start the entitled question: “why don´t you come down and join us”? And not only for a trip into your favourite bar to enjoy a “Sunny Hipster” – Cocktail, which was specially created for the displayed compilation, but also to glide through the night “smoothly”, delighted by fourteen sparkling Bar Bubbles!

CD available at all good records in AT / G + CH

or world wide via eg. www.amazon.de

Digital release available at all relevant downoad stores, eg. : iTunes

Here are my top ten picks of netlabel downbeat as of 5 October, 2009.

Stratospheerius is a New York City based band that mixes styles to make one great music martini.  They begin with jazz, toss in a bit of rock, add some funk and garnish with an electric violin.  You can sample the Stratospheerius performance live in Cleveland, Ohio at The Winchester on October 16th, 2009.  Showtime is 9:00pm.  Admission price is $10.00.  Please visit www.thewinchester.net for more information and directions.

Stratospheerius

From the Stratospheerius website Bio (www.stratospheerius.com):

“Lead by electric violinist/vocalist/mandolinist Joe Deninzon, the band has showcased their “psychojazz trip funk” at colleges, festivals, and clubs throughout the US.  Their live performances are filled with funky dance grooves, rip-roaring guitar/violin jams, and hooks that mix jazz, funk, and world beat.

The group was a winner in the John Lennon Songwriting Competition, won the Online People’s Choice Awards in the Cornucopia Festival, and was named “Best Jam Band” in Musician’s Atlas Independent Music Awards. They have been featured in Relix, Downbeat, Jazziz, and other publications…receiving heavy airplay and critical acclaim all over the US, Canada, Australia, South America, Japan, and Europe.”

A video of Stratopheerius performing the theme song from “The Simpsons“:

by Gary Ewer, from “The Essential Secrets of Songwriting” website.

If you’re looking for a fresh new perspective on songwriting – something to get your songs working again, Gary Ewer’s songwriting e-books will clear your mind and get you writing successful songs. They explain why good songs work, and how to get bad songs working! You can download them here.

_________________________

Rhythm is a crucial part of the life of your song. When we talk about bands that really get people up and moving, we’re really talking about rhythmic energy. There are some things you can do to add extra kick to your performance, and one simple way is todisplace the downbeat.

We know that if we want people to really feel a groove, we’ve got to dig into that downbeat and let the listener feel it. That usually means that we punch the downbeat with considerable strength. With drums and percussion, your bass drum is going to kick on beat one, your bass is going to hit beat one, and your audience will physically move more on beat one and three, more than other beats.

What I’m suggesting is that with everyone knowing that beat one is where it’s at, it provides considerable energy to displace all of those events, and place them all on the weak part of beat one: the eighth-note immediately following the downbeat. It gives the music a bit of a jilt, and actually can sound rather startling, at least momentarily. For a second, it sounds like the downbeat instruments have been thrown off.

Within one or two beats it all gets sorted out though. And what it’s done is it’s actually resulted in more rhythmic energy as the listener gets thrown.

I’ve done up a couple of sound files that I hope can demonstrate this effect.

• Example 1 is a short excerpt that gives a typical rock beat, with a strong downbeat on the second bar, with all instruments playing and placing their notes as expected: Rhythm Example 1 (opens in a new window).
• Example 2 has all instruments displaced to the “and” of beat 1, leaving the downbeat empty. The silence gives an unexpected jolt: Rhythm Example 2

And you can take this sort of thing even further: if you feel that your music is getting a little too predictable for your liking,  you can throw in little rhythmic hiccups in other ways and in other parts of the beat. And another trick is to actually modify the time signature for one bar. You know that 4/4 time will have 8 eighth notes, so try throwing in a bar that uses 7. It will take a bit of practice to make this work, but it could be the refreshing rhythmic alteration you’re looking for to keep your listeners guessing.

__________________________

Learn all the secrets of good songwriting. Download Gary Ewer’s 6 songwriting e-books now. And visit “The Essential Secrets of Songwriting” website for daily songwriting tips and articles.

Super Ape is now on SoundCloud. Here you will find new music, cool remixes & some exclusives… We think that SoundCloud is super cool & we hope that you enjoy the sounds!

Despues de un periodo de inactividad en la escena, ya que practicamente desde 2005/2006 no se sabia nada de ellos, salvo alguna que otra actuación por el mundo, Bill Vega & New Decade vuelven a trabajar en la producción y preparan nuevos lanzamientos bajo Downbeat Productions y Bad Bwoy Bass Recordings.

Ya lo acontecía el hecho de que el pasado Junio saliera a la venta su remix a la produccion “Peyote” de Zarbizarre bajo Scrape Recordings, tras más de 2 años de sequía el grupo londinense vuelve a la carga, y de momento lo hace con un total de 7 pistas!

Downbeat Productions sacará a la venta 5 de estos tracks en un EP que saldrá a la venta este mismo Octubre.

Entre estas pistas se encuentran: Kaos Control, Soldier’s Angel, Age Of Freedom, Fear Of Darkness (601 remix) y Sonic Thunder (C83 remix), las cuales han podido ser escuchadas ya en Kiss FM y BBC Radio 1 y han dejado buen sabor de boca.

Otro de los lanzamientos será bajo el sello americano Bad Bwoy Bass Recordings que editará su pista “Taking Over” junto a un remix de Future Funk Squad previsto para Noviembre!

Y por último una produccción en la cual trabajan para Future Funk Squad remezclando una pista de su album “Disorders Of Skill” y que saldrá en un EP que tendrá por título “Re-Order Of Skill”

Bassist/composer John Hébert continues to gather accolades for his long-awaited debut release, Byzantine Monkey (Firehouse 12 Records). The latest is a four-star review by Peter Margasak in the October issue of DownBeat.

“On his first album as a leader he displays a sonic vision that’s all his own,” Margasak writes, “even while sticking mostly to a support role. The leader has written nine lovely themes, some ebullient, some sorrowful, some fragile, and he directs his cohorts to elucidate and dance around the melodies with a mix of freedom and communicativeness.”

“In particular,” he adds, “the intertwining lines of Tony Malaby, brawny and fat, and Michaël Attias, lithe and stinging, provide an exuberant dance on contrast.”

Hébert and his sextet, also called Byzantine Monkey, will celebrate this release at New York’s Cornelia Street Cafe on September 25th and 26th.

Sky d’Or is a project around the Zurich guitarist, keyboarder and songwriter Alexander Vögele. He mixed a lot of his own tracks with ideas of Jillene Luce and Robert Jan Meyer. He gives his music a flying lounge sound similar to pop songs. The spherical voice of Jillene Luce let the tracks fly in the infinite as the name Sky d´Or already shows. The sounds of Robert Jan Meyer and his long-standing experience as a producer and DJ delivers a propelling and respectable ground for the whole album. For some tracks Alexander Vögele has invited, well-known swiss musicians just like jazz & lounge saxophonists Philippe Chrétien and G-Sax, also soul voice Jessy Howe or solo guitarist Martin Tuffli. “Inner Music” contains 15 varid and animated tracks which are testify of different musical influence. Jazz, Latin, Ambient and Popmusic melt to an aerial warm lounge sound with strong hooklines.

All tracks has been produced during the last three years. Four tracks were already published on the famous “Café del Mar” compilations (named by Alexander Vögele or Alexander Vögele feat. Jillene Luce). “Inner Music” should summarise the best lounge tracks of Alexander Vögele, which have originated during the last years partially together with Jillene Luce and Robert Jan Meyer into a big sound picture.

Yeah Yeah Yeahs cross-influence, indie rock foray into melancholia, It's Blitz!

It has been months since the release of Yeah Yeah Yeahs‘ latest album, It’s Blitz!, and I have held back long enough.

Only three months ago, I purchased their 2001 EP, (sometimes referred to as) Master, and immediately fell in love with the organic-ness of their sound (you can literally only hear, like, two guitars – sometimes, one – and a raspier Blondie character riding on rhythmically-intelligent-driving, fat beats). It was a far step from the usual menage of indie I admire – as irreverent as Blondie, but not so glam; similar to The Ting Tings, but not so ’80s revival. And with a hint of Gwen-ska danger.

I was floored, then, when I listened at HMV Yonge & Eglinton this evening. THEY HAVE EVOLVED.

The sound has a lot more electronica and the rock and rhythm that was ever present in their EP has been complemented with memorable melodies. The edgy punk is still there, but almost always balanced by electronic music and/or sustained bass lines; and the polyphony between instruments – with a more colourful pallette now – is just as evenly and sensitively arranged as when there were just three. (Listen to neuro-high, Zero, at full blast – 90-120 decibels – and tell me you didn’t get an erection at the THICK, RAUNCH bass and major chords in the end. It’s like Goldfrapp’s carnal ode, Train.)

As if their departure to more psychedelic, ambient compositions was enough to define their new sound, Karen’s vocals goes even further – fully exploring the highs and lows of rejection, spite, melancholia and non-reciprocation. There is so much emotional pregnancy in the lyrics and melody that even the brightest psychedelia cannot hide the sadness.

And if they haven’t convinced the whole room of their innate musicality yet, they cut the electronica and re-shape four songs, accoustic. (You WILL remember The Cranberries.)

Listen to It’s Blitz! with or without prior knowledge of Yeah Yeah Yeahs’ music and expect an amalgamation of TV on the Radio, Alpha, Blondie, Goldfrapp, The Ting Tings and The Cranberries – at your past heartaches’ risk.

From the first f*ck you song, Zero, to the last, the experience is nothing short of getting dumped, and walking home, on meth. (I know, TMI. Sigh…)

Check out my personal favourite, the searing (downbeat) triphop, Skeletons.

this weeks oldie is from 1998 and is titled ‘Scared U Are’.

I was very inspired by the great french movie ‘Clubbed to Death’ (in outrageous german translation: ‘Lola im Technoland’…) and the sametitled classic tune by Rob D., which was featured in this film.
his tune became very famous two years later as it was also featured in the matrix-soundtrack.

I loved the overall dramatic & classic mood in his track, so I tried the same in ‘Scared U Are’.

I sampled some classic instruments like strings, orchestra-hits, etc. and created this epic & cinematic triphop/dopebeat/downtempo-track.
enjoy!

hell g. – Scared U Are

Monday, August 24th is the last day to have your say in DownBeat’s 74th annual Readers Poll, so please consider this the nudge you need to help get out the vote!

If we can elect an African-American man with an Islamic name President of the United States, getting non-mainstream jazz artists and labels some love in a poll like this should be a snap.

Right?

Yes We Can! Vote For Change! Somebody get Shepard Fairey on the phone!

Results will appear in the December issue.

We know what you’re thinking, “Nobody puts Darcy James Argue in a Hot Box!”

And normally you’d be right, but DownBeat is the exception. The September issue finds Argue’s acclaimed debut, Infernal Machines (New Amsterdam Records), entered into the Thunderdome-like monthly reviews feature called The Hot Box.

Okay, it’s not quite that extreme, as all four CDs that enter usually get to leave as well (often with a limp), but it does involve four critics holding four buzzed-about new records to a higher standard in what might be more accurately compared to a Senate confirmation hearing.

Do 33 year-old steampunk big band leaders have a wiser and more empathetic insight into the major issues of the day? That’s a question for another time, but we can report that our hero fared well.

“With his throbbing beats, drones, brass choirs, space-age eeriness and billowing clouds of sound, Argue is clearly an original,” declared Paul de Barros in one of the capsule reviews.

In the featured review, Jim Macnie wrote, “There’s a critical consensus around this disc, but few pundits are stressing just how gorgeous Argue’s motifs are. Infernal Machines is addictive not only for its architecture, but for its fetching way with color…we’ll be remembering it for quite some time.”

Argue and the group will next perform on back-to-back nights in September at the New Languages Festival and The Jazz Gallery. Stay tuned for more dates in October and November to be announced soon!