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RITUAL CLOAK + AUTUMN JUVENILE - SENGL NEWYDD 'YOU'RE THE SUMMER' ALLAN 13.8 AR BUBBLEWRAP // NEW SINGLE 'YOU'RE THE SUMMER' OUT 13.8 ON BUBBLEWRAP COLLECTIVE
By Ceri Shaw, 2021-08-09
‘You’re The Summer’ is the first taste of the collaboration between Cardiff electronic post-rock duo Ritual Cloak, and writer, comedian and spoken word performer Autumn Juvenile. The track is taken from: 'A Human Being is the Best Disguise’; a reworking of Ritual Cloak’s self-titled debut release, albeit this time with added lyrical and vocal contributions from Autumn Juvenile.
Autumn Juvenile reflects on the origins of ‘You’re The Summer’:
“I remember him bending down, hugging her with thick tattooed arms, tears in his eyes: “Thank you for the birthday card. We’ll be together soon. The ball is rolling, baby.” He was trying to get back into his daughter’s life. The files stated she had special needs.
I was still a support worker. The father had either been in prison or working abroad, the family couldn’t tell me. It had been hard to arrange a meeting. Lots of paperwork and listening to dial tones. But father and daughter were finally scheduled to meet at Roath Park. That day she’d dragged me all around town looking for stationery. It was summer, baking hot tarmac and car fumes. I was stressed. He called to say he’d be an hour late.
Me and her waited, fed the swans, sweated, watched the pedalos. An hour went by. Two. Two and a half. He never showed. I bought her ice cream. She took it well. I felt annoyed on her behalf. But the lyrics were written before this. That’s why they are hopeful and always will be.
I never saw the father again. She wrote in her diary that she knew he’d made mistakes, but she missed him. The family told me they reckoned he’d gone back abroad.”
The album was recorded at Kings Road Studios, Cardiff, produced by Ritual Cloak and Autumn Juvenile and mastered by Charlie Francis. It also features vocals from Jemma Roper, as well as Ritual Cloak’s Daniel and Andrew. The cover photography is by Daniel Barnett.
Ritual Cloak is comprised of Daniel Barnett, formerly of the band Samoans, and drummer / producer Andrew Sanders. The duo met in 2013 after Daniel answered an ad for a guitarist to join the backing band for singer Jemma Roper. An instant kinship was struck, with both Daniel and Andrew embracing experimentation and a shared love of electronic music. After the split of Samoans in 2018, the pair began playing around with instrumental textures and piano-led ambient soundscapes, all resulting in their well-received self-titled debut in 2019. They followed this with their second album, ‘Divine Invasions’, released on Bubblewrap Collective in 2021.
LOS BLANCOS - EP NEWYDD 'DETHOLIAD O GANEUON TRADDODIADOL CYMREIG' ALLAN NAWR / EP 'DETHOLIAD O GANEUON TRADDODIADOL CYMREIG' OUT NOW ON LIBERTINO
By Ceri Shaw, 2021-08-09
Beth am glywed am y broses o ysgrifennu a chreu EP newydd Los Blancos‘Detholiad o Ganeuon Traddodiadol Cymreig’ gan y band ei hun:
“Yn ystod y cyfnod clo, wrth aros i fynd nôl i'r stiwdio i orffen ein 2il albwm, aeth pawb nôl trwy hen demos oedd wedi casglu dros y blynydde dwetha, a’u rhoi mewn un ffeil ar dropbox. Odd rhyw 40 o syniade yna felly gatho ni y syniad o ryddhau casgliad yn cynnwys un cyfansoddiad gan bob aelod tra bod ni’n aros i gallu fynd nôl i'r stiwdio.
Mae hyn wedi arwain at EP amrywiol ac mae modd gweld dylanwad pob aelod yn gliriach a sut maent yn cyfrannu at sŵn Los Blancos. Odd hyn yn wahanol i'r band achos ni fel arfer yn ysgrifennu gyda’n gilydd mewn ystafell ymarfer gyda pawb yn dylanwadu mewn rhyw ffordd ar bob can.”
‘Detholiad o Ganeuon Traddodiadol Cymreig’ yw deunydd cyntaf y band ar ôl rhyddhau eu halbym ’Sbwriel Gwyn’ a gafodd ei nomineiddio ar gyfer Y Wobr Gerddoriaeth Gymreig. Recordiwyd yr EP gan y band yn eu cartrefi a chymysgwyd y cyfan gan eu cynhyrchydd hirhoedlog Kris Jenkins. Mae’r EP yn amrwd, yn llawn angerdd ac yn llawn melodïau heintus Los Blancos.
Rhestr Traciau / Track Listing
100 AD (ysgrifennwyd gan / written by Osian)
Diogi (ysgrifennwyd gan / written by Emyr)
Mil o Eirie (ysgrifennwyd gan / written by Gwyn)
Noi Vogliamo (ysgrifennwyd gan/written by Cian)
Trwmgwsg Tragwyddol (ysgrifennwyd gan / written by Dewi
Let’s hear the story of the writing and making of Los Blancos new EP ‘Detholiad o Ganeuon Traddodiadol Cymreig’ from the band themselves:
“During lockdown, while waiting to go back to the studio to finish the second album, everyone went back through old demos that we had been collecting over the last few years, and put them into a dropbox file. We had about 40 ideas, so we had an idea of releasing them as a collection which included one composition by every band member.
This has lead to a very mixed EP and you can see each members influences clearly that create Los Blancos’ sound. This was a different process for the band because we usually write together in a practice room with everyone influencing on the song in their own way. "
‘Detholiad o Ganeuon Traddodiadol Cymreig’ is the band's first material after the success of their Welsh Music Prize nominated debut album ‘Sbwriel Gwyn’. The EP was recorded by the band in their homes and mixed by their long time producer Kris Jenkins. It’s raw, impassioned and full of Los Blancos' infectious melodies and personality.
Rhestr Traciau / Track Listing
100 AD (ysgrifennwyd gan / written by Osian)
Diogi (ysgrifennwyd gan / written by Emyr)
Mil o Eirie (ysgrifennwyd gan / written by Gwyn)
Noi Vogliamo (ysgrifennwyd gan/written by Cian)
Trwmgwsg Tragwyddol (ysgrifennwyd gan / written by Dewi
In this collection of bizarre tales from the Welsh master of the absurd we are introduced to a Professor with a small class and an unusual subject matter. Rhys explains thusly:
There are few students in my class. When one considers what the subject is, this isn’t surprising. I teach myself.
In other words, I impart to my students facts and fancies based on my life and ideas. It’s the least popular class in the university and I doubt it will be funded for another term.
As a homework assignment the students are asked to write an essay in which they must try and imagine how the Professor spends his spare time. Needless to say he has told them nothing of his personal life.
The eighteen essays which follow offer an extraordinary and hilarious variety of imaginings, some of which are, worryingly, partially accurate. Is the Professor being spied upon? Who is the woman waving from the street below, and which of his students is prowling around on the roof presumably watching him? Of course you will have to read the book to a conclusion for answers to the above questions.
Meanwhile the 'homework assignments' on offer here will delight Rhys Hughes fans. There is the strange case of Professor Spark who we meet walking the corridors of the university thinking about the meaning of life. His musings are of little interest because:
It could be the case he was about to make a major discovery in his field, to prove that viruses have knees or that aardvarks are descended from dragons, who knows? I didn’t care much.
The situation quickly deteriorates, however, when Prof Spark returns from a local bookshop with a copy of 'The Pop-Up Book of Fire'. The consequences of his purchase are at once, tragic, absurd and hilarious.
Then there is the tale of Miss Diane Ra who loves labyrinths. The problem is that clothes have a habit of unravelling whenever she is accompanied on a walk through town. And who is the madman who prowls the city streets with the strongest lamp he can find looking for darkness?
Towards the end of the book the Professor is advised by one of his students:
You have taught yourself. Now teach others.
Is this further foreshadowing of Rhys Hughes forthcoming emphasis on non-fiction and essay writing?Readers may remember the following announcement in Weirdly Out West :
I will switch to non-fiction and start writing essays and articles. In fact I began last year to take my non-fiction much more seriously and I am hoping that my first book of essays will be out in the next year or two.
Whatever the truth of that, 'Students of Myself' is another triumph from the pen of Rhys Hughes and will delight both fans and new readers alike. If you are not familiar with Rhys's work this would be as good a place to start as any. If you are, you will need no further recommendation or encouragement.
The Eisteddfod of The North American Festival of Wales is on, with a wide range of opportunities to participate! Poetry Composition is back and available to anyone, anywhere, while for the Festival itself in Utica (Sept. 2-5, 2021) the Visual Arts competition returns along with some stage competitions.
Creative Supervisors (clockwise from top left): SZWÉ, Lily Beau, Minas and Monique B
Applications are now open for new music industry project, Honey Sessions , which launches this summer to educate, mentor and inspire young songwriters, artists and producers aged 16-26 who create Hip Hop, Rap, Grime, R’n’B and Pop Music in Wales. Applications close on 31st July.
The ‘Honey Sessions’ will take place throughout August 2021, and will provide a unique opportunity for five young artists and five producers to work together to make brand new music, further their knowledge of the industry and enhance their creative portfolios by learning from a range of high profile industry professionals.
In collaboration with Forté Project, the team recognised a lack of applications from artists from Black and minority backgrounds in their previous programs and wanted to create a brand new project with emphasis on artists and producers creating MOBO - Music of Black Origin.
The ‘Honey Sessions’ has been developed in consultation with a range of industry professionals working specifically in MOBO genres in London and other cities outside of Wales. Sizwe Chitiyo, a musician and project consultant, has long felt the need for support in MOBO music in Wales:
“Young people creating music in MOBO genres have previously lacked support in many areas of the industry, ‘Honey Sessions’ has been designed to provide a platform for creativity and knowledge to those emerging musicians, as well as creating a new network of high profile industry expertise.
‘We want the Honey Sessions to provide a community with the space and the support to help them flourish!”
Not only this but unlike similar programs that exist, every single eligible applicant will receive feedback on their application and access to exclusive online workshops from industry experts in A&R, songwriting and social media expertise to help contribute to their success in the future.
Applications can be made here: APPLICATIONS
This project is a collaboration between Welsh music talent development programme, Forté Project and a new music industry initiative, Beacons, which supports young people in Wales to enter the music industry. It is made possible through funding from PRS Foundation for Music, Ty Cerdd and Youth Music.
Applications close Friday 31st July.
‘Balafô Douma’ yw’r sengl gyntaf oddi ar ‘Aros I Fi Yna ’ EP cyntaf N’famady Kouyaté . Yn wreiddiol o Guinea Conakry, mae cerddoriaeth N’famady wedi ei wreiddio yn nhraddodiadau Mandingue ei famwlad yng Ngorllewin Affrica, gyda dehongliadau newydd o fywyd ac egni yn deillio o ddylanwadau indi, pop a jazz ei gartref newydd yng Nghymru.
Cyfieithiad Cymraeg y teitl yw ‘mae’n wych cael chwarae’r balafon’, ac mae’n cynrychioli taith gerddorol N’famady, o bŵer a chryfder ei etifeddiaeth deuluol (cafodd ei ddysgu sut i chwarae’r balofon, sef xylophone traddodiadol Affricanaidd, yn blentyn) i fod yn swyno cynulleidfaoedd yn y DU ac Iwerddon ar daith gyda Gruff Rhys. Cafodd y gan ei recordio yn Rockfield, y stiwdios enwog, gyda llais wedi ei recordio yn Guinea.
Mae’r EP sydd i ddod yn cynnwys cyfraniadau gan artistiaid megis Gruff Rhys (Super Furry Animals ), Lisa Jên Brown (9Bach) , a Kliph Scurlock (ex-The Flaming Lips) . “Aros I Fi Yna” is a kaleidoscope of vibrant sounds and colours, a mesmerizing and joyous introduction to a truly international artist. Mae 'Aros I Fi Yna' yn gymysgedd llachar o synau a lliwiau, ac yn gyflwyniad swynol a bywiog at artist gwbl ryngwladol.
Rhestr Traciau
Aros I Fi Yna
Gadael y Dref
Balafô Douma
Bannilay
‘Balafô Douma’ is the first single from N’famady Kouyaté’s debut EP, 'Aros I Fi Yna' . Originally from Guinea Conakry, N’famady‘s music is rooted in the Mandingue tradition of his West African homeland with new interpretations, life, and energy provided by the indie, pop, and jazz influences of his new home in Wales.
The title translates as ‘it’s great to be playing balafon’ and represents N’famady’s musical journey, from the power and strength of his family heritage (having been taught the traditional wooden African xylophone – the balafon – as an infant) to wowing audiences in the UK and Ireland on tour with Gruff Rhys. The song was recorded at the legendary Rockfield studios with vocals recorded in Guinea.
The forthcoming EP features guest appearances from Gruff Rhys (Super Fury Animals) , Lisa Jên Brown (9Bach) , and Kliph Scurlock (ex-The Flaming Lips).
'Aros I Fi Yna' is a kaleidoscope of vibrant sounds and colours, a mesmerizing and joyous introduction to a truly international artist.
Track Listing
Aros I Fi Yna
Gadael y Dref
Balafô Douma
Bannilay
Social Links:
https://m.facebook.com/successorsofthemandinguemusic/
https://twitter.com/nfamady_kouyate
This is not a Welsh Not
but a Welsh is and always will be
raving over higgledy piggledy slates
with fingernails of demons scraping
screeching out a lost non rock and roll
and not a low flying bomber
in sight or sound
tipsy on communion wine
and a quick fumble
in the ecumenical jungle
dog tired dog collars loosen
to a beat of life lived
and not analysed
not a sermon planned
nor an afterlife awaited
submerge into sublime harps
inherited from the elders
never understand
but defined as Corvid
not COVID
avoid their Larsen traps
and their booby traps
with our Weapons of Non Destruction
Peter Hurkos a Dutch psychic
and y Mab Darogan
(the Son of Destiny)
and how about a little of Twm o’r Nant
or David R Edwards ?
we have become strange bedfellows
but at least it is touching
I am not the National Poet
and I know it
I know my place
but not where to find it
we are all the National Poet
but don’t know it
we don’t know our place
nor where to find it
this is not a Welsh Not
a Welsh Not not
not Welsh not
I am not a Welsh Not
WELSH SINGER SONGWRITER 'LLEUWEN' TO RELEASE NEW 'RHOSOD' SINGLE IN PARTNERSHIP WITH CANADIAN PRODUCER "ERIN COSTELO' + CANADA NATIONAL ARTS
By Ceri Shaw, 2021-07-16
LLEUWEN releases 'RHOSOD' on Label Eg
“My roses are fragile, and come with thorns. . . ”
Here is a line from 'RHOSOD' (Roses) written, composed, recorded and performed by Lleuwen Steffan in her home in Brittany. Lockdown has been a time of home recordings. She usually composes her songs with guitar, and used most of her lockdown time to learn something she always wanted – the piano. All her gigs were cancelled mid-tour in 2020 so she had the time.
Nothing beats real connection, so when she was given the opportunity to work with producer Erin Costelo, Lleuwen seized the opportunity. What started as a few polite zoom meetings snowballed into long discussions about production, mixing, mastering and talks about the lack of female music producers, or more so, the lack of recognition.
This song is just the beginning of their partnership.
Written on piano and using her zipper lighter as percussion, Lleuwen finds joy in the lo-fi. “This is a song you planted in my garden. From my garden to your radio, to your ear and back into essence”, says the song that ends with poet Sion Llewelyn’s translation of the Serenity Prayer. RHOSOD is the first of two songs composed by Lleuwen in partnership with the National Eisteddfod of Wales and National Arts Centre Canada, with Erin as producer.
If you wish to take part in their next song, we are searching for singers to join Lleuwen, so if you enjoy singing and want to take part, please follow the link below:
or for any further information contact us on osywcariad@gmail.com before 21st July.
Rhosod is the first ever release on Label Eg and will be out on all streaming platforms from July 21st, 2021. It is available to pre-order.
'RHOSOD': Cân newydd Lleuwen i’w rhyddhau ar Label Eg
“Mae rhosod yn fregus, maen nhw’n dod efo drain . . .”
Dyma linell o RHOSOD, cân wedi ei chyfansoddi, ei recordio a'i pherfformio o gartref Lleuwen yn Llydaw ar gyfer Eisteddfod Genedlaethol Cymru. "Mae'n un o gasgliad o ganeuon sydd wedi bod yn cysgu yn fy macbook ers dechrau’r cyfnod clo" meddai.
Pan ddaeth y cynnig iddi gyd-weithio gyda'r cynhyrchydd Erin Costelo o Ganada, bachodd ar y cyfle i ofyn i Erin gynhyrchu'r gân hon. Fodd bynnag, yn ôl Erin ‘roedd Lleuwen wedi cynhyrchu'r gân yn barod. Penderfynodd y ddwy gadw at y cynhyrchiad gwreiddiol felly gan gadw’r zipper lighter fel offeryn taro, ynghyd â theganau a’r synth o'r 80au.
Dechrau'r cywaith hwn rhwng y ddau artist yw’r gân hon, ac Erin Costelo sydd wedi cymysgu'r trac yn ei stiwdio yn Nova Scotia. Bu'r ddwy yn cyd-weithio dros fisoedd o sesiynau zoom yn rhannu, cynhyrchu a thrafod pa mor rhyfedd yw'r ffaith bod cyn lleied o gerddorion benywaidd yn cael eu cydnabod fel cynhyrchwyr.
Mae Erin yn credu'n gryf ei bod hi’n bwysig i ferched gael cydnabyddiaeth am eu gwaith fel cynhyrchwyr, yn union fel sy'n digwydd gyda chynhyrchwyr gwrywaidd. Dywedodd Erin “braf yw cydweithio ar brosiect o statws rhyngwladol sy’n rhoi’r sylw haeddiannol i ni am ein gwaith”.
RHOSOD yw'r gyntaf o ddwy gân wedi eu cyfansoddi gan Lleuwen mewn cydweithrediad â'r Eisteddfod Genedlaethol a National Arts Centre Canada, gydag Erin Costelo wrth y llyw yn cynhyrchu. Dyma'r gân gyntaf erioed i Lleuwen greu ar y piano.
Os hoffech chi ganu ar yr ail gân, ‘rydym yn chwilio am leisiau o bob math i ymuno gyda Lleuwen. Am fwy o wybodaeth, dilynwch y ddolen hon: neu cysylltwch drwy e-bost cyn Gorffennaf 21, am fwy o wybodaeth: osywcariad@gmail.com
RHOSOD yw'r gân gyntaf i'w rhyddhau ar Label Eg sef label cerddoriaeth newydd Eisteddfod Genedlaethol Cymru. Mae hi’n bosib i chi rhag-archebu Rhosod o unrhyw blatfform ffrydio o'r 21ain o Orffenaf.
Towers of Defiance: The Castles & Fortifications of the Princes of Wales - Paul R Davies
By Ceri Shaw, 2021-07-08
An extremely comprehensive, fully illustrated guide to the history and evolution of the castle under Wales' native rulers (c.1066-1283). Spectacular aerial photography, plans and reconstruction drawings examine the various architectural designs and layouts that created the distinctive form of the Welsh castle. 378 pages, full colour, fully illustrated.
Canllaw cynhwysfawr dros ben, wedi'i ddarlunio'n llawn, i hanes ac esblygiad y castell Cymreig yng nghyfnod ei thywysogion cynhenid (c.1066-1283). Ceir ffotograffau trawiadol o'r awyr, cynlluniau ac ail-luniadau o'r adeiladau gan archwilio'r dyluniadau a'r amlinelliadau pensaernïol amrywiol a greodd ffurf arbennig y castell brodorol Cymreig. 378 tudalen, lliw llaw, llawn lluniau & darluniau gwych.
'Wave Upon Wave', the latest single by North Wales singer / songwriter Eve Goodman is an exploration of the healing power of the sea. Its lilting, rolling melody is one part ‘Bryter Layter’ Nick Drake, early 70s golden period Sandy Denny and the other Eve’s captivating and unflinching musical honesty. 'Wave Upon Wave'’s emotive heart balances the songs questioning yearning with the need for comfort …… the comfort of being carried along the waves towards an awaiting shore.
Eve explains the origin of the song:
"I wrote the vocal parts in one sitting, and never changed them. In fact, the entire vocal recording is the original demo that I created when trying out ideas late one night. I started off with the simple lilting melody of 'wave upon wave upon wave', and loved the way the structure of this sentence means it could go on infinitely. This idea of infinity sparked the next line, 'day upon day upon day'. The sea is vast, infinite, timeless.The song grew from there really, like a wave rolling towards the shore, building strength and power and beauty.”
The single was recorded and mixed by Luke Evans at Somewhere Studio and mastered by Katie Tavini.
About the Song: "I wrote the vocal parts in one sitting, and never changed them. In fact, the entire vocal recording is the original demo that I created when trying out ideas late one night. I started off with the simple lilting melody of 'wave upon wave upon wave', and loved the way the structure of this sentence means it could go on infinitely. This idea of infinity sparked the next line, 'day upon day upon day'. The sea is vast, infinite, timeless. The song grew from there really, like a wave rolling towards the shore, building strength and power and beauty.I particularly love the autoharp.
The sounds of the strings as they are played sound like the gentle pull and creaks of the mast, and it feels like you're on a boat. Luke did a beautiful job of building a soundscape for the vocals to float on."
"Eve Goodman transmutes the personal into the universal and reveals a deep connection to what it is to be human in these troubled, inspiring times.”Caspar Walsh- Poet and Author
"Eve Goodman possesses a rare magic"- From The Margins
Lyrics
Wave upon wave upon wave upon wave
Day upon day upon day upon day
Sea shore
I came here to see more
I came here feel more
I came here to be more
Sea shore
Make my way up from the rocks
Make my way with little steps
Wring my clothes out on the sand
Breathing, breathing, here’s dry land
Sometimes I get lost at sea
Lighthouse, lighthouse, shine for me
Hold me in your trembling arms
Hold me til my seas are calm
Website
https://www.evegoodman.co.uk
YouTube
https://www.youtube.com/user/EvieGoodman
Spotify
https://open.spotify.com/artist/3MmSlFllNBDow04hSN5plt?si=fx5drl8ATqekPF44oJwjcg
Instagram
https://www.instagram.com/evegoodmanmusic
Facebook
https://www.facebook.com/evegoodmanmusic
Twitter
https://twitter.com/EveGoodman
Soundcloud
https://soundcloud.com/eve-goodman
Bandcamp
https://evegoodman.bandcamp.com/
