Carl Stone - Wat Dong Moon Lek - VINYL LP

Following his critically acclaimed collections Electronic Music from the Seventies and Eighties and Electronic Music from the Eighties and Nineties, Carl Stone pairs Baroo (March 2019) with a double-LP album of recent works, including the final section of InchFujikenInch, his epic journey through southeast Asian field recordings and street cassette culture. On all six tracks, composed between 2013 and 2019, Stone's pan-global playground of looping synths and Asian pop culture remains as fertile as ever, digitally shattered into unimagined patterns and gestures, either through the MAX programming language or (in the case of InchKikanbouInch) by generating unpredictable loops within an Elektron Octatrack sampler. The title track is the first recorded from Stone's ongoing collaboration with the Japanese vocalist Akaihirume. Elsewhere new influences come from rock (the slow drum break of InchBia BiaInch), disco (the Nile Rodgers-esque guitar riff InchKikanbouInch) and hip hop (the frenetic percussion loop of InchHan YanInch). Their diversity only adds to Stone's borderless musical vision, a world where rhythm becomes atmosphere, song becomes beat, and pop becomes art.

Over the past several years, the recorded output of Carl Stone has been turned on it's head. In previous decades, Stone perennially toured new work but kept a harboring gulf of time between the live performances and their recorded . This not only reflected the careful consideration of the pieces and technical innovations that went into the music but also the largely academic-minded audience that was themselves invested in the history and context of the work. The time span of Stone's recorded output in both sheer musical duration and year range was generously expansive. Following multiple historical overviews of Stone's work on Unseen Worlds and a re-connection with a wider audience, the time between Stone's new work in concert and on record has grown shorter and shorter until there is now almost no distance at all. Stone's work has often at it's core explored new potential within popular cultural musics, simultaneously unspooling and satisfying a pop craving. On Stolen Car, the forms of Carl Stone's pieces have also become more compact, making for a progressive new stage in Stone's career where he is not only creating out of pop forms but challenging them. Stolen Car is the gleeful, heart racing sound of hijack, hotwire, and escape. Stone carries the easy smirk and confidence of a car thief just out of the can, a magician in a new town setting up a game of balls and cups. With each track he reaches under the steering wheel and yanks a fistful of wires. Boom, the engine roars to life, the car speeds off into the sunset, the cups are tipped over, the balls, like the car, are gone. InchThese tracks were all made in late 2019 and 2020, much of when I was in pandemic isolation about 5000 miles from my home base of Tokyo. All are made using my favorite programming language MAX. However distinct these two groupings might be they share some common and long-held musical conce

Vinyl LP pressing. 2020 . Includes guest appearances from CeCe Winans, Keb' Mo, Lee Ann Womack, The Fairfield Four, Ruby Amanfu, Rod McGaha, Jimmy Hall, Rodney Atkins and others. The Fisk Jubilee Singers are an American a cappella ensemble that performs Negro spirituals originally sung by slaves prior to the Civil War. The first group of Singers arranged the music and took it on the road beginning in 1871 introducing the public to a new genre that remains a vibrant musical tradition today. On November 16, 1871, a group of unknown singers - all but two former slaves and many still in their teens - arrived at Oberlin College in Ohio to perform before a national convention of ministers. After a few standard ballads the chorus sang spirituals and other songs associated with slavery. It was one of the first public performances of the secret music African Americans sang in the fields and behind closed doors for generations.