![Mirah The Garden Instrumental Gospel Mirah The Garden Instrumental Gospel](/uploads/1/2/5/6/125606233/756205497.jpg)
Had a black guy singing and playing piano in the video, i think it was about arelationship. A gospel song about boy stuck in a basement of burning house. Im looking for a song where there is a man walking in a 'snowy' garden he. One to save my life + Iwant to get back home so I can fly, + Mirah carey is mentioned. Mirah Ammal, artistic director with Al- Bahira Dance Theater, teaches women’s improv dancing (aka belly dancing) to women ranging in age from seven to 7. The form helps build strength, confidence and grace, and because it’s low- impact, it can be a life- long activity.” In my.
! Like, whoever heard of an accessible Old Time Relijun record? Well, here it is. The latest incarnation of a band that keeps re-inventing itself, while remaining true to their axis of emotional divinity. The beauty lies deeply ingrained in a jubilant outpouring of thunderclouds and crowns of thorns and tumbling bags of bones. The addition of drummer Rives Elliot to the kettle containing Arrington de Dionyso (guitar, voice and woodwinds) and Aaron Hartman (double bass) provides the music of Old Time Relijun with a resounding thud heard across the dance floor. This is a band of musicians who create, improvise and communicate.
Sure, the noise and confusion of previous Old Time Relijun outings are maintained here, but the clarity of Lost Light lifts it through the skylight of destruction to a world you’ve never visited before. Judge it deep, thick, luscious, feral; there are still no rules to the instinctual sounds of Old Time Relijun, it’s an unforced force for inner peace through catharsis. ! Jason Anderson (formerly of Wolf Colonel) returns with a studio collaboration with Phil Elverum of the Microphones/Mount Eerie. New England glows with honest songs and the joy of working with friends.
K compatriots Calvin Johnson, Khaela Maricich of the Blow, Adam Forkner of Yume Bitsu/VVRRSNN, Mirah and Elverum all contribute to the music and the loose, inspired arrangements. After completely finishing an album in 2002 Anderson decided to return to the studio in the summer of 2003 and re-record the best songs from his last year of performing. The result is Jason at his finest: songs with an evolved writing style and obvious maturity.
The off-the-cuff, 'first take' sessions were so transcendent that Phil even donated a new Mount Eerie song, 'Thanksgiving', to the project, as it was recorded with the same pick-up band and was in line with the album's vision and emotional timbre. More than anything, New England is a warm, consistent group of songs that reveal themselves more with each listen. Jason's lyrics are focused, endearing examinations of the human experience; of small epiphanies and melancholy yearning. The album sees two musicians-and great friends- stumbling into something and capturing the moment. Phil Elvrum the producer and craftsman; Jason Anderson the songwriter and lyricist.
! Degenerate Introduction is the much anticipated full-length album from Dub Narcotic Sound System. Drop the needle, pump it hardcore. An unsafe mix of radioactive garage soul sound sweeping the mining towns of the west; the subterranean dance floors of the east will recoil in anticipation. This is a 3-piece you just won’t want to miss featuring old school hip hop stylings, electron beats and instrumental reggae influences, all with the Dub Narcotic Sound System stripped down. Calvin (vocals, guitar, melodica, percussion), co-founder of the fiercely influential punk band Beat Happening, continues to make exciting music with Chris Sutton (bass, drums, guitar, percussion, organ), who is also a member of K’s C.O.C.O; Heather Dunn (vocal, bass, sax, drums), alumni of Lois, Tiger Trap and current member of the No No’s and Liarbird is the secret ingredient. Recorded at Dub Narcotic Studios in Olympia, WA by Adam Forkner of Yume Bitsu and Version fame.
Forkner also makes a guest appearance, playing keyboards on 'Fuck Me Up'. Classic Dub style shines through on tracks “Sounds Narcotic,” “Joint Joint” and “Dub Narcotic Groove”. “Fuck Me Up” features vocal stylings of Heather Dunn as a follow-up to her debut “Sabley Goodness”.
“Code of the West” features old-school Dub style reminiscent of Augustus Pablo. Johnson yelps and howls over the funkiest of bass lines in “I Don’t Love.” “Blood Flow” is DNSS’s subtle call for us all to remain politically active. ! Khaela Maricich is the Blow, also known to some as Get the Hell out of the Way of the Volcano, also a member of the Dub Narcotic studio gang. She makes many arts in the various tents, forts and caves she has built there. Her last album was the Bonus Album (KLP143), also recorded in a cave; it made a simple case for living.
Now we have the more complex examination of the human condition post-American century style. Yes, The Concussive Caress is an affirmation, but only after trial by fire. A bold move was made, evolutionarily, out of the cave and over to the Dub Narcotic 16 track tape deck, where Khaela recorded this entire album, producing it herself, with guest appearances by a few friends: Susan Ploetz, Anna Oxygen, Mirah, Nora Danielson, Jason Anderson and Jenn Kliese. There is a narrative hidden in the string of songs that comprise The Concussive Caress. It is the stories of various people, the songs these characters sing to themselves that usually don’t make it out of their heads. Like secret mantras, these are adult versions of children’s rhymes adapted for more complicated situations, songs people want to sing for their loved ones, but probably never will. The LP format of The Concussive Caress is limited to 500 copies and packaged in a cover specially designed for the LP format by Khaela, hand silk-screen printed by her with the help of the K summer interns.
! Both avid adventurists and music-makers, Mirah Yom Tov Zeitlyn and Ginger Brooks Takahashi, a scant three months into their friendship, proposed this idyllic project to each other; to surround themselves with instruments and recording equipment for one month in a town where neither lived. No distractions. Securing the use of a friend’s grandmother's empty home in the cradle of the Blue Ridge Mountains, they awaited September.
More of an experience documented than a traditional album, Songs from the Black Mountain Music Project is a tribute to the lush of late summer, the ardor of autumn and the persistence of the garden across the street. Visits were paid by invited friends, seven in all, who each appear on the album, some performing their own songs, some accompanying on songs written during the month. The project was recorded in September 2002 in Black Mountain, North Carolina on a Tascam cassette 4-track and a mini-disc recorder. Beneficiaries of the proceeds from the album are the Rock 'n' Roll Camp for Girls in Portland, Oregon (www.girlsrockcamp.org) and The Pentridge Children’s Garden in Philadelphia, Pennsylvania. ! Ever since Arrington de Dionyso cleared his throat and growled 'I ate a hole right through the mirror/ Spat out the shards, and I put it back together' on the standout track 'Mirror', his music has spoken to those lonely souls who have stared at themselves in the mirror and known that something lies on the other side, beyond their comprehension. The band Old Time Relijun formed in Olympia, Wash., in 1995 with bassist Aaron Hartman and drummer Bryce Panic, to take Arrington's four-track tapes that had been circulating and spooking people around Olympia, and to translate them into live performance.
Since that time, the band has gone through various mutations, including a number of drummers (Phil Elvrum, currently of the Microphones, toured and recorded with Old time Relijun for several years after the departure of Bryce Panic), but the spirit of Arrington’s musical explorations and creative expression have remained constant. Unlike most releases that attempt to summarize a band and an era, Varieties of Religious Experience is not a clear-the-vaults effort, and the multiple takes are not filler; nor is their inclusion the result of an unchecked ego, intoxicated by its own brilliance, unable to edit itself. It would be equally wrong to suggest that Arrington's four-track takes are 'originals', the band's versions are 'alternates', and one is necessarily better than the other.
While four-track enabled Arrington to cram songs full of esoteric sounds and a sheer ear-popping lunacy that can turn two minutes into kaleidoscopic trips, Hartman and Panic helped loosen his grip on the drum sticks, change up the whack-a-mole tempos, and let a song's backbone slide. Calling the result Varieties of Religious Experience emphasizes Arrington's belief that it's all good - every song is its own spark of playful, in-the-moment creation, its own shard of experience - and the remarkable thing is that all is good on this CD. ! On previous albums, Landing has offered up everything from clean intertwining guitars to long curtains of unimpeded sound sculpture.
Each release has had its own feel, usually focusing on one side of the band’s abilities or the other. Passages Through, Landing’s fourth full-length, is an attempt to incorporate all sides into a flowing tapestry of songs. This release marks the fullness of Landing as friends and collaborators.
Songs such as “Wings of Light”, “To See You”, “It Is Shining”, “Breathing”, and “Tell Myself” were written as a band and recorded live to tape with few overdubs, each band member adding his or her own distinct touch. Instruments were switched without ego and all thoughts were geared to the music, regardless of genre or classification. Passages Through does not fit easily into any one category, be it “space-gaze”, “drone” or “post rock”. This is the sound of four great friends playing music that comes from their hearts. Sometimes, the music sprawls out like vast oceans. At other times, the songs are clean and filled with heartfelt sentiment. Never before have Adrienne and Aaron dared to be heard so clearly, but the result is well worth the risk.
Landing’s first release on K records is a rebirth of sorts. The songs are clear and the tryyps are deep. This is Landing in 3D. !
Dub Narcotic Sound System (DNSS) was born in the Dub Narcotic Studio in Olympia, Washington. Founded by Calvin Johnson in 1993, the band is a loose combination of people trying out different musical ideas. DNSS has functioned as both a live touring band as well as a studio recording band. They have recorded several albums of their own as well as backing other artists for their work. DNSS borrows the Jamaican production techniques of reusing rhythms in a variety of contexts. The band has been on tour a total of 13 times across the U.S., Europe, Japan, and Canada. Dub Narcotic Sound System has toured with other bands such as Satisfact, The Bangs, Built to Spill, Unwound, The Microphones, D+, The Make-Up, Subdebs, Fugazi, John Spencer Blues Explosion, and many others.
The long awaited upcoming release from DNSS is due in stores January 21, 2003. This consists of a 7' record with new songs from DNSS. We hope you enjoy the new 7' and the sound of Dub Narcotic Sound System. ! They call him the Man in Brown. Dennis Driscoll is not your average singer/songwriter who plays guitar in that his songs emphasize the pop bursts of classic AM radio, where nothing exceeds three minutes and everything is said with a heart beat. This new album, Voices in the Fog, was recorded by Calvin Johnson at Dub Narcotic studio, covering a wide variety of Dennis’ songs and styles from rockin’ to lovelorn to whimsical.
Dennis plays host to a wide variety of Olympia players, including duets with Mirah on “Telepathic Birdcalls, Khaela Maricich (the Blow) on “I’m in Love with a Ghost” and Katy Davidson on a cover of her own Dear Nora song “Second Hand”. Dennis also recruited Heather Dunn and Chris Sutton of Dub Narcotic Sound System to back him on some of the more tumultuous numbers, and DJ KO of IQU to add a touch of theremin to “Moon Patrol”.Dennis Driscoll grew up in the small fishing town of Illwaco, Wash. It was there and across the Columbia River in Astoria, Ore. That Dennis first started to sing and play. He had a radio show on community station KMUN and was exposed to a variety of music, and learned to think of himself as not “the smartest bear in the woods, but not the dumbest either; if I can think of myself as a bear”. Dennis now lives in Olympia, Wash. Where he breathes in the evening breeze of Olympia and blows out magical puffs of smoke from the streets of Illwaco.
He calls these smoke-puffs songs and records them regularly for all to hear. Dozens of songs have been recorded and released on such labels as Knw-Yr-Own, Talent Show, This Heart Plays Records, Red Square and Tiny Pad. Dennis has toured the country a couple of times and plans to continue to do so through 2003.The cover to Voices in the Fog was drawn by noted comic artist Dame Darcy (Meatcake). ! Chris and Olivia, City of Olympia, that is C.O.C.O. Sound, harder to define. Chris Sutton is also known for his work as bass player in Dub Narcotic Sound System.
He plays the drums, with Olivia on the bass. This is their second album, and it continues their heavy emphasis on the dance quotient in music, exploring different sides of the funk. Using the bare minimum, stripping it down to the bass and drums, breaking it down to it’s essence, but being fully soulful and melodic at the same time. It is a sound refined, yet garagey. A mix of Stax southern soul and thee Headcoats; a sound equally influenced by the Gories, ESG, & Trouble Funk. Their high energy live shows always have the dance floor crowded. 'Olympia’s C.O.C.O.
Sneaked up on me recently when the group’s eponymous CD was being played over the sound system of a local bar. It was booty-licious: what I had initially tapped my toes to and then dismissed as a fun, somewhat silly two-piece (drum, bass, pretty pop/soul/R&B vocals) suddenly sounded like a truly inspired work of art. I went home and put my own copy on. I couldn’t stop dancing.
I decided while dancing that C.O.C.O. Is one of the sweetest, baddest motherfuckers to happen in the Northwest in a long time: Olivia Ness’ bass lines are stellar, hook-laden and inordinately danceable; Dub Narcotic Sound System’s Chris Sutton plays his kit like he’s tied to Ness but still loose and inspired; and both of the members’ vocals, while they appear too infrequently, are money each and every time. Bring your propensity for smiling brightly and having much fun.' - Jeff DeRoche, The Stranger. ! With Something/Everything, Anderson, (24 years old, from South Sutton, New Hampshire) has completed his third collection of Wolf Colonel songs, and it is certainly the most ambitious. This music is touching and gentle, yet ragged and torn apart at the same time.
Wolf Colonel is Jason Anderson. Jason Anderson is Wolf Colonel, dedicated to noisy pop rockin’ and granulated sugar hookery.
The previous Wolf Colonel albums, Vikings of Mint (KLP107) and The Castle (KLP114), were recorded in weeks-if not days- capturing concise snapshots of Anderson's developing vision and songwriting. Penning all the material and playing the majority of the instruments, the songs ranged from over-the-top power pop to stripped down acoustic introspection; all the while garnering interest and raves from Magnet, NME, the London Times and the Los Angeles Times. For two years, Anderson wrote over 100 songs, recorded three potential records-most of which were discarded-and toured the world alone, playing everywhere from Saskatchewan to Iceland. Casting aside the irony that permeated his earlier shows, the solo concerts became intimate, honest, and exciting affairs, where anything, and everything was possible.
Rigorous traveling and passionate performances have started to carve out an ever-growing awareness of Wolf Colonel. For current fans, Something/Everything will be another triumphant step; for those not taken with Jason's previous output, it should serve as a pleasant surprise. Anderson worked with a variety of producers on this, including Phil Elvrum (the Microphones), Calvin Johnson, Adam Forkner (Yume Bitsu), combining these varied studio textures with home four track recordings to come up with the best pop record of the year. From the out of balance “Break the News” to the floating “Astronaut, Astronaut”, the album glows with a relaxed confidence and sincerity.
The album's title is, in part, a smiling reference to Todd Rundgren's opus, Something/Anything! And, like Rundgren, Anderson has created an ode to pop music with surprising depth. More than anything, Something/Everything is the sound of an ever-changing artist finding his voice. !
The Microphones are the vision of a singular individual, Phil Elvrum. For over five years he has been prolifically crafting noisy pop sounds with the help of various friends and collaborators.
Song Islands compiles all the Microphones singles onto one disc. Previously available only in limited quantities on 7” 45 rpm discs from such labels as Instatone, Up, K, the Bedtime Record and Coming in Second, as well as a few cassette compilations on friends’ labels around the globe. Some of the individuals that assist Phil on this collection are Mirah, Khaela Maricich (the Blow), Karl Blau, Calvin Johnson, Jenn Kliese and Kyle Field (Little Wings). This collection traces the development of the Microphones through material that dates from the time period of the first Microphones album Tests (Elsinor) through last year’s epic The Glow Pt. The most recent material included on Song Islands are the songs from the International Pop Underground series 45 “Lanterns” and “Antlers” (IPU101), which gives the listener a foretaste of what the next Microphones album, Mt. Eerie (due January, 2003) will sound like.
! The first of what promises to be many posthumous solo albums from Calvin Johnson, culled from the extensive archive of tapes left behind by the prolific songmaker and performer. Calvin Johnson made up songs about the feeling inside for over twenty years. What Was Me collects ten bits of lifeness and spreads them thickly with voice and acoustic guitar; a capella 40% of the time. There are patches that are worn and threadbare but the overall effect is gutty and moist.
The affect is also noteworthy. Calvin is joined by the K divas Mirah on “Ode to St. Valentine” and Beth Ditto (the Gossip) on “Lightnin’ Rod for Jesus”. ! Following on the demise of Marine Research, Amelia Fletcher has risen again in the guise of Tender Trap.
Accompanied by her Marine Research band-mates Rob Pursey and DJ Downfall, Amelia has coalesced her voice and impeccable taste into a fourth experiment in unforgettable, streamlined pop music (previously she fronted Talulah Gosh and Heavenly). “Face of ‘73” is an indication of what to expect from the forthcoming Tender Trap album Film Molecules (KLP126, release date: July 16, 2002).
The B side, “Fin”, will not be included on the album. It is a special re-mix by DJ Downfall.