Jansky Noise - Past Present & Future Star Music

The latest EP from Semispecific Ensemble is an intriguing exploration of sound, filled with fun and familiarity. It artfully blends innovative rhythms with a nostalgic nod to the early ambient works of Hawkwind and the serene soundscapes of Fax music. There's a sense of déjà vu in the air, a distinct flavour in the music that feels both new and comfortably familiar. This project isn't just a collection of tracks; it's a scholarly yet playful journey through the realms of ambient, jazz, and early electronics / techno influences.

This one goes uptoday for Luke my nephew. If my mind serves me well, about 20-25 years earlier in my life,  I was also taking that very same bus up Birdhall Lane to Cheadle Hulme and back, whilst listening to cassettes with the likes of Juan Atkins, and earlier classics like  Cybertron - Clear.   Here we are some 25 years later and Luke is inserting Maggot Brain into his playlist whilst on that same path that the 368/9 takes from Cheadle Hulme to Stockport.  What a sequence of events, cyclic yet, no PHD can calculate that one.  I am greateful that we both took time today to talk, listen and share.  Day 1, 2021, quite remarkable. 

What a crime that this upload on Youtube currently has just 503 views. It is a terrible shame that records like these are lost in space, this is incredible.  "Gyedu-Blay Ambolley's 'The Message' is an incredibly vibrant and energetic track that perfectly encapsulates the essence of Afro-funk and highlife music. The song is driven by a pulsating rhythm section, featuring an infectious groove that compel us to move. Ambolley's signature deep, gravelly voice delivers socially conscious lyrics with a powerful and engaging presence. The horn section adds a dynamic layer, bringing a lively and uplifting feel to the track. 'The Message' is not just a song but an experience, reflecting Ambolley's mastery in blending traditional Ghanaian sounds with modern influences. It's a celebration of culture, rhythm, and the enduring spirit of African music."

I am unable to understand the lyrics from this song, I guess it is spoken in Akan. What I am able to detect loud and clear is how brilliant this music is. It is also encouraging to see that at this time 2.4 million others have found this upload on Youtube.  Incredible life energy and music here, afrobeat and highlife from 1976, when you play this, you cannot help but ride that energy the origional version on Brobisco House of Music  which by all accounts seems to have a very extensive back catalogue of musics from Ghana.   Due for a re-release in January 2021, on the label which describes itself "as not genre specific", wearebusybodies from Canada. Well done to those guys for snapping this one up, as it´s the kind of thing you would want on vinyl.  You are able to pre-order now.   

The vocal on this is just too good. This version for me is without question the best. 

When it comes to duets, Ella and Louis really are the tops, this song is so complexed as it tackles relationships, and their complication, life and indecision. It is also a perfect number to play as your alternavite Christmas record, as somehow it does still feel festive.  I saw you strolling by your solitary Am I nosy? Very, very I'd like to be a juicy huckleberry What you're after is a gal We're both in luck for introductions Are not necessary Mmm, would you like to take walk? Mmm, do you think it's gonna rain? Mmm, how about a sasparilla? Gee, the moon is yeller Sump'n good'll come from that Mmm, have you heard the latest song? Mmm, it's a very pretty strain Mmm, don't you feel a little thrilly? Gee, it's getting chilly Sump'n good'll come from that When you're strolling though the wherezis You need a whozis to lean upon But when you have no whozis To hug and whatzis, gosh, darn Mmm, would you like to take walk? Mmm, do you think it

Abraham’s Theme unfolds like a whisper carried on the winds of time, a melody that traces the contours of an ancient journey across silent deserts and starlit skies. Each note a footprint, each harmony a soft echo of faith, it sings of solitude and promises, of a covenant whispered beneath the endless heavens. Oh, how the melody lingers, like the aroma of myrrh in the air of twilight temples! It captures the inner battles, the solitude enveloped within the folds of hope and trials. As Keats might have listened, ensnared by the nightingale's plaintive song, so too does this theme ensnare the heart, compelling one to traverse alongside its notes across an emotional landscape marked by doubt and adorned with wonder. Herein lies a composition not only performed but deeply felt. It beckons the listener to wander, to wonder, to sit beneath the firmament and ponder the quiet stirring of a heart moved by divine whispers. Abraham’s Theme thus weaves itself into the listener's spirit, in

Whodini’s “Freaks Come Out at Night” was always a pulsating banger from the moment it landed. It still flows through the hoops, of breaks, and electro ancentral electro. It's a mega rhythmic homage to the freaks that awaken under the cloak of darkness. Those freaks were most probably celebrating and breakin on the streets and thriving on the twilight funk. The pulsing baseline escorts the listener into a realm where the mundane is cloaked in the mysterious, and the night blooms with possibilities. It’s a lively, catchy anthem that captures the essence of the after-hours world—a place where the freaks don spectral masks of freedom and dance away the constraints of daylight. Each verse, delivered with Whodini’s signature flair, unfolds the urban nightlife scene with a playful swagger. The cityscape becomes a playground where the ordinary transforms into the extraordinary. Here, amidst the neon lights and echoing laughter, the song finds its beat, tapping into the universal rhythm of

Marie Laveau, trumpet whispers, New Orleans shadows dance, Papa Celestin’s notes prance, Gravitas voice, a secret trance. Syncopated rhythms, piano riff storm, Jazz heartbeats, legends reborn. Brass section dialogue, Eerie, lively, a mystic manologue. Nostalgia wrapped in wax, Voodoo Queen, history tracks. Deep vocals, haunted flair, New Orleans whispers floating here. Artifact of sound, myth in the air, Haunting beauty, Celestin’s fair. A cultural relic, jazz and lore, Laveau’s spirit, forever at core.

Dhafer Youssef's 'Soupir Eternel' is a captivating piece that showcases his masterful blend of jazz and traditional Tunisian music. The song opens with a hauntingly beautiful oud melody, which sets a contemplative tone. Y oussef’s vocals, blow me away, they are so rich and striking, and in my ear they weave through like a breeze, gliding along ethereal vibes. The interplay between the oud and the accompanying instruments, including the piano and subtle percussive elements, adds depth and texture to the composition. 'Soupir Eternel' is a profound musical journey, reflecting Youssef's ability to transcend cultural boundaries and evoke deep emotional resonance through his music."

In the cradle of twilight's embrace, Where shadows whisper and soft breezes trace, Lies a word, a murmur, a spell so divine, Ñaumu, it sings, in the hush of the pine. A syllable spun from the threads of the moon, Carried aloft on the wings of a tune, Ñaumu, it drifts through the corridors of night, A flicker of magic in the star's gentle light. In the depth of the forest where secrets are kept, Under the canopy where ancient dreams slept, Ñaumu is spoken by leaves in their dance, A chant that enchants, in its silent expanse. Echoing in the hollows of old, hollow trees, Mingled with the murmur of the midnight breeze, Ñaumu, a whisper, as old as the earth, A mystical bond, giving mysteries birth. So listen close when the night sky is clear, Beyond the echoes that you might normally hear, For Ñaumu breathes life into the soul of the world, In the quiet heart where wonders are unfurled.

Beneath the veil of the commonplace, something stirs—sublime, nearly surreal. Here, within the resonant echoes of a voice, lies a marvel, a closeness that pierces the veil of the ordinary, echoing the sentiments of unheard whispers of old. I find myself held captive, poised on the brink of the profound, suspended in a moment brimming with anticipation. I am but a watcher at the threshold, breath bated, standing on the cusp of an auditory revelation. Watch this space, for it is not just an expanse, but a birthing ground of wonders yet to sing their full glory. The true Lady Blacknight is poised, her wings unfurled against the backdrop of a world unaware. A tempest cloaked in tranquility, ready to soar through the tempest of obscurity and into the luminescence of recognition. Hold fast, for her ascent heralds a storm, a beautiful maelstrom set to sweep across the cosmos.

During Covid 19, there is so much news, and so much going on, so much so, that I actually missed this sad news about Bill Withers.  The family statement read: “We are devastated by the loss of our beloved, devoted husband and father. "There is no more appropriate time to reflect on his words than now as we lean on each other." Nile Rodgers, from the disco band Chic, wrote: " #RIPBillWithers  Class, class and more class." Lenny Kravtiz said: " Rest in power  Bill Withers . Your voice, songs, and total expression gave us love, hope, and strength.  Bill lives on with us all especially now, as we do need to call on each other, during these unprecidented times. This one if for you Bill, your soul lives with us forever and a day! 

  The Sound of Belgium (Director's cut) from Jozef Devillé on Vimeo . This music set the wave placing Europe on the map and triggering an avalanche of from the UK after. http://www.tsob.be/

From time to time you hear something that is like nothing else. Sadly, this happens to me very few times, as I believe I have had the joy of being exposed to much and many audio delights. This record re-released by Svitlana Nianio & Oleksandr was one of them. On first listen I took a wild stab in the dark sayint it could be Nico. I was a long way off, I knew it, but I couldnt pin anything on this music. Quite extraordinary a real gem. Enjoy!

  Andrew Weatherall, the legendary DJ and record producer, left an indelible mark on the music world. His groundbreaking work on Primal Scream's 1991 album Screamadelica earned it the inaugural Mercury Prize.  It is a great shame to hear of his passing this week, as he was quite a producer and DJ. From his early days as an acid house DJ in the late '80s to his celebrated remixes for Happy Mondays, New Order, and Primal Scream, Weatherall's musical journey was nothing short of extraordinary. Screamadelica's revolutionary mix of indie, hard rock, house, and rave remains his most memorable achievement for many, but I personally loved the Sabers in Paradise, but what ever your tipple is the man had a skill for captivating a mainstream audience and winning critical acclaim.  Beyond that, Weatherall ventured into collaborative projects like Blood Sugar, Two Lone Swordsmen, and the Asphodells. In recent years, he graced us with solo albums like Convenanza, Consolamentum, and Q

Search Results for Micheal  Kiwanuka and Jansky Noise  It has to be said, that you would never throw these two musicians together, but the law of averages and the laws of or rules of life can sometimes be a  disappointment or of benifit.  When an object does not appear to behave consistently, it may roll off in any direction, bound, lay or just lag at various, any or no distances. Certainly today there is no better way to position Jansky Noise and Micheal Kiwanuka , two polar opposite musicians, who have no reason for any kind of connection what so ever, but for one reason, beyond math, but inside the laws of natural phenomenon here they do collide.  Whilst browising todays Googlekeyword search results for the term "Jansky Noise Ethnoshere" - we see see Michael in our results. Is it Jansky Noise bringing Michael closer to the ethnoshere, or Micheal Kiwanuka being submerged in the ethnosphere? It´s not for me to answer, all I can do is observe the laws and distrib

In the vast landscape of classic house music, one record that undeniably stands out is Joe Smooth's "Promised Land," released in 1987. With its infectious beats and uplifting melody, it's a timeless anthem that has left an indelible mark on dance music history. But could this iconic track have been influenced by The Gap Band's 1983 hit, "Someday"? Let's delve into the intriguing connections and inspirations that shape the evolution of music. A Glimpse into Joe Smooth's Influences In a recent interview with Muzikxpress, Joe Smooth shared insights into the creative process behind "Promised Land." He mentioned influences such as Stevie Wonder, whose musical genius is revered by many. Interestingly, Stevie Wonder also collaborated with The Gap Band on various occasions, underlining the interconnectedness of the music world. Motown's Spirit and The Gap Band Joe Smooth's interview revealed his deep appreciation for Motown and the desi