the Meander

we are in visible

Massive Attack - Sly

from the Album “Protection” 1994

I try to believe what i feel these days
It makes life much easier for me
It’s hard to decide what is real these days
When things look so dizzy to me

I already know my children’s children’s faces
Voices that i’ve heard before
There’s always more
There’s always more

Wondering leaving the sea behind
To my home which everybody owns
Wondering, wondering
Where we can do what we please
Wondering

I feel like a thousand years have passed
I’m younger than i used to be
I feel like the world is my home at last
I know everyone that i meet

Somewhere in the music i can hear the bells
I heard a thousand years before
There’s always more
There’s always more

Wondering is this there all there is
Since i was since I began to be
Wondering, wandering
Where we can do what we please
Wondering

Wild Rose

Rose McGowan Dances in the Privacy of Her California Hideaway

Messages from the Stars

Rah Band (1983)

This track is a beautiful expression of the late 70’s finding its way into the 80’s hearts of sexy ecstasy driven synth and electric guitar. Produced by a notable englishman Richard Anthony Hewson who has also worked with the likes of the Beatles, BeeGees, Supertramp, and Herbie Hancock just to name a few. Sit back , relax, and enjoy the ride. And a lovely shout out to Dam Funk for playing this on his podcast for Stones Throw and LoveFingers for sharing such a beautiful library of the most amazingly curated music ever.

Love and Peaches <3

Melanie

The Sky was Pink

Nathan Fake / Border Community / 2004

Trente Møller - Miss You

Sex Power

a tale of a young frenchman who arrives in Northern California looking to forget a lost love and is confronted by various women who embody the divine feminine power like Salome and La Fille Moderne; as seen through the prism of director Henry Chapier 1970, and more importantly the soundtrack is by Vangelis. 

Commodity Place 

B-Side “Ahura Mazdà”

Feb. 2014

Ahura Mazdà is the newest composition by Roman duo Massimiliano Loretucci and Riccardo Frosoni of Commodity Place. The former paints with computer and synths while the latter expresses through guitar and percussions. The result is something reminiscent of the dynamic that Fripp and Eno had in their ambient recordings for “The Heavenly Corporation”. 

The psychedelic symphony is captivating and atmospheric, a tempo through which landscapes run vast and the imagination expands.  I would definitely file this one alongside Manuel Göttsching’s Inventions for Electric Guitar and Quiet Nervousness.

 

No End by Scandinavian soloist Jaako Eino Kalevi 

from the EP Dreamzone, released Dec. 2013

Jennifer Coates
Coates&#8217; magical works echo the immenseness and mystery of the stars at night, the smallest natural wonders around us, and her own inner cosmologies.

Jennifer Coates

Coates’ magical works echo the immenseness and mystery of the stars at night, the smallest natural wonders around us, and her own inner cosmologies.

Sometimes you are given a gift of something new, something that resonates true to your own spirit. I always felt that the quickest way to one’s heart and soul is through music, it has this way of capturing every yearning, every point of inspiration, pieces of a dream you’ve carried within and never had the words to describe how it felt except through song, through sound, through music. 

To be humbled by that which we at times may take for granted is for others a life of survival through which music and expressing through song is the very thing that keeps them alive. And there is nothing more beautiful to me than the discovery of such art. This particular story of a group of African musicians descendant from the desert tribe of the Tuareg called “Tinariwen” is a compelling one to say the least. 

"TINARIWEN’S OWN STORY BURGEONS WITH MYTH AND MYTHOS IN THEIR HOME COUNTRY AND BEYOND. THEIR TALE IS THE STUFF OF LEGENDS. FOUNDING MEMBER IBRAHIM AG ALHABIB, GREW UP IN DESOLATION IN MALI, WHERE HE WITNESSED HIS OWN FATHER’S DEATH AT THE AGE OF FOUR. LATER, AFTER SEEING A WESTERN FILM, HE BUILT HIS FIRST GUITAR FROM A BICYCLE WIRE, A STICK AND A TIN CAN. THE BAND WAS FOUNDED IN THE 1980’S IN TUREG CAMPS IN LIBYA, WHERE THE NOMADIC PEOPLES HAD RELOCATED TO FIND WORK AND A NEW LIFE AWAY FROM THEIR HOMELAND OF THE SAHARA. DISILLUSIONED BY THE PROMISES OF QUADDAFI AT THE TIME, THE TUAREG BECAME RESTLESS AGAIN AND LONGED FOR HOME. BUT THE INTERACTION WITH CITY LIFE YIELDED UNEXPECTED CONSEQUENCES, THE BECAME EXPOSED TO WESTERN MUSIC — MOST NOTABLY THE GUITAR-DRIVEN ANTHEMS OF JIMI HENDRIX AND THE AMERICAN BLUES — WHICH THEY MIXED WITH THEIR OWN SOULFUL DIRGES WHICH THEY’D PERFORM IN THE CAMPS BY THE FIRE WITH BATTERY-OPERATED AMPS. WHEN REVOLUTION BROKE OUT BACK IN MALI, THEY LEFT LIBYA BEHIND, HUNG UP THEIR GUITARS AND PICKED UP GUNS TO FIGHT FOR THE TUAREG INDEPENDENCE. WHEN THE DISCHORD DIED DOWN, THE BAND RETURNED TO MUSIC, DELIVERING SONGS IMBUED WITH ACHING BEAUTY AND LONESOME POETRY. THEIR MUSIC WAS BOOTLEGGED AND TRADED AROUND THE REGION, EARNING THEM A DEVOUT FOLLOWING. THEN IN THE LATE 1990S, THEY WERE DISCOVERED BY WESTERN MUSICIANS AND FOR THE FIRST TIME, THEIR SONGS LEFT THE SAHARA AND WERE INTRODUCED TO THE WORLD. FOR THE NEXT TEN YEARS, THE NOMADS NOW TRAVELED THE WORLD, PERFORMING AT NEARLY EVERY NOTABLE FESTIVALS AND VENUES AROUND THE GLOBE, PROVIDING THE WORLD WITH A TASTE OF THE ACHING BEAUTY AND LONESOME PLEASURES OF SAHARAN ASSOUF."

If you ever wondered what it was like to listen to nomads play the saharan blues beneath a starlit sky in the deserts of Africa, here it is….. enjoy! 

M. Dizon

photograph by Inka &amp; Niclas

photograph by Inka & Niclas