Manafonistas

1) The Duckworth Lewis Method THE DUCKWORTH LEWIS METHOD 
2) The National Jazz Trio Of Scotland STANDARDS VOL. 2 
3) Nits MALPENSA
4) Seaworthy +Taylor Deupree WOOD, WINTER, HOLLOW
5) Jan Bang NARRATIVE FROM THE SUBTROPICS
6) Yeahwon Shin LUA YA
7) Bob Dylan ANOTHER SELF PORTRAIT 
8) Bill Callahan DREAM RIVER 
9) Nils Petter Molvaer / Moritz von Oswald 1\1
10) Burning Spear GARVEY’S GHOST

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„One of the most revered artists in reggae, Burning Spear is nonetheless an acquired taste. His material is almost exclusively cultural and/or religious, staid, often somber, and just plain heavy in a similar way to Prince Far I, meaning that I can’t always sit and listen to Burning Spear’s stuff for an extended period of time. The 100th Anniversary includes the album Marcus Garvey and its dub Garvey’s Ghost — In my opinion, Garvey’s Ghost is even stronger, since it focuses on the music and because in the structure of Burning Spear’s songs, the loose verses are minor in comparison to the chanting choruses. The dubs drop most of the verses, but keep the choruses, giving you the best of both worlds: great music and great chants! There are too many great tracks to name, but my faves are the dubs „The Ghost,“ „I and I Survive,“ „Black Wa-Da-Da,“ and „Dread River.““

Ich bin viel gereist in diesem Jahr, und ich bin in viele Bücher versunken, aber wenn ich nur eins nennen dürfte, und somit schweren Herzens den neuen Werken von Thomas Glavinic (DAS GRÖSSERE WUNDER) und Christopher Brookmyre (DIE HOHE KUNST DES BANKRAUBS) vorziehen müsste, auf einer grossen Reise, die auch nach „Balkonien“ allein führen könnte, dann wäre es Marisha Pessls DIE AMERIKANISCHE NACHT. Am 12. September erscheint das Buch beim S. Fischer Verlag. Der phantastische Realismus (und seine entfernten Verwandten) haben noch lange nicht ausgedient, und hier führt er eine Arbeit fort, die Edgar Allan Poe, Dashiel Hammett, der film noir, Borges, Cortazar und Co. eigentlich schon vollendet hatten. Wir öffnen das Buch der smarten Amerikanerin, und verabschieden uns am besten schon im Vorfeld von Terminplänen, Zeitfenstern, Alltagsritualen. Wichtig: ausreichende Vorräte von Kaffee, Tee, oder Kakao (auch Kakao ist eine Droge, meine Damen und Herren) anlegen. Diese 800 Seiten dauern im Schnitt 14 Tage und Nächte, die Träumereien zwischendurch mit eingerechnet. Aber natürlich sind alle drei genannten Bücher unverzichtbar, das eine entführt nach Glasgow, das andere aufs Dach der Welt, und mit Marisha Pessl gehts kreuz und queer durch New York.

The Norwegian trumpet player Arve Henriksen has made his mark over many years, not only as the horn player with the consistently challenging and long lived group Supersilent, but also as the purveyor of exquisite and distinctive solo work that stretches to four solo albums since 2001, three of which are released on Rune Grammofon. Deeply rooted in the sublime geology of his Norwegian homeland, Henriksen’s music has developed into something beautifully at one with natural habitats and reflecting the hybrid, cosmopolitan environments of the twenty-first century. On Places Of Worship, he inhabits the space between these two worlds, in a series of tone poems and mood pieces located around religious buildings and ruins. These still, silent quarters and abandoned houses of the holy can be where we experience our deepest moments of reflection, silence and occasionally fear. Making the aura of these places audible, Henriksen’s haunted horn and idiosyncratic treble vocals carry an air of treading on forbidden territory, stirring up the dust of forgotten spirits. As well as suggesting the creaking timbers and salty tang of North African ports (‘Alhambra’) and the whiff of Gallic scirocco (‘Le Cimitière Marin’), it stirs fond memories of fellow musical souls, both alive and dead: the Miles Davis of Sketches Of Spain and Aura; the Fourth World exotica of Jon Hassell.

Release Date 06.09.13