Crate Digging: Calum Price, Music Coordinator

Calum Price, music coordinator at Big Sync, discusses his top two finds.

London Brew – London Brew 

This album is nuts, I love it. It’s basically a jam with some of the best musicians around atm. Originally, the project was assembled for a 50th anniversary show of Miles Davis' Bitches Brew but was cancelled due to covid. Instead, they decided to set up in London’s Church Studios and record three days of improvisations inspired by the iconic album. It’s a record rooted in inspiration and celebration, using the original as a springboard. 

Growing up, I was a huge fan of Polar Bear. Me and my mates saw them at an old theatre in Leicester, it was a real formative experience. This album definitely has a connection with the Sons of Kemet sound and also elements of that atmospheric Leafcutter John vibe with the sonic recycling from Benji B and Martin Terefe. 

There’s so many amazing musicians. It’s a 12-member collective with contributions from Shabaka Hutchings, Nubya Garcia, Benji B, Theon Cross, Dave Okumu and Tom Skinner (also, lol he has the same name as bosh guy). The list goes on, all brought together by producer/guitarist Martin Terefe and Executive Producer, Bruce Lampcov. I've sampled Sons of Kemet and Polar Bear loads in my own music - I'd love to do a weird DnB remix of one of these tracks in the style of Mark's Integrier Dich Du Yuppie.

Martin Terefe describes the music as "sometimes uncomfortable, other times familiar and joyous and other times it's like deep meditation”. It's enthralling, psychedelic, intense, with serpentine grooves that take you to the apex of atmosphere. There’s an infinite feel to this record. The melodies lock into the groove, cutting through the drones to lead you on a trippy improv excursion. It's a world where strings, brass, and live drums blend into the synthesised. It blurs the lines between jazz, ambient, and at times Musique concrète / expérimentation. I was lucky enough to go and see them play at the Barbican in November and it was incredible, the space each musician gave to one another was amazing. 

There’s so many standout moments on this record. Nu Sha Ni Sha Nu Oss Ra has such a great build from the ebbs and flows of the initial breaths, to the free shuffle of the groove. The first single, Miles Chases New Voodoo in the Church was described by Nubya Garcia as “our interpretation of Miles Davis’ ode to Jimi Hendrix…Both were innovators who carved their own lanes….I’ve been experimenting and using pedals and effects with my instrument, so to be able to do that on this track, while paying tribute to their legacies, was a joy both creatively and personally.” And you can hear all of that on this track.

From an advertising perspective, it's definitely made for the more daring brands out there, but I feel like the quieter moments open it up to potential collaborations with artists like Ellen Renton or James Massiah. Bassics would be great for this. The intensity and energy also make it a good fit for those zenith peaks in TV & Film. And Nu Sha Ni Sha Nu Oss Ra would be a banging opener to a documentary.

Tinariwen – Imidiwan: Companions

I’ve tried to pick records that I’ve had a connection with in some way. I used to work at a factory in Leicester and my mate's dad would come in and put these or Songhoy Blues on - cutting through the relentless repeats of Hessle Audio mixes, Autechre or Blawan. 

The album was recorded in the band's hometown of Tessalit in the mountains of Mali's deep-desert Kidal region. Recorded by engineer and producer, Jean-Paul Romann, using two ADAT eight-track recorders and a sixteen-track mixing desk. It's a celebration of the desert and of the people who live there. It also talks about Touareg society, sending out a message that the band were not looking for fame. 

There's a real sense of yearning with this record. Lyrically, the songs visit themes of liberation and cultural-historical pride, all sung in Tamashek. It contains the word ‘assuf’, that you can't really translate but it kinda implies a sense of nostalgia, homesickness, and sadness. And references the night-time world beyond the campfire light.

It’s a slight change in pace and vibe to Aman Iman, it feels more shaped by geography. But the mood is still vintage Tinariwen. There’s the same infectious grooves, but it’s more refined - rich with choirs, and incredible guitar work that along with the Tende rhythms drive it to another place. Their music always feels poetic, particularly with the guitars, they have such a sick energy that transports you to another place. Sonically, the territory is expansive, the percussion drives the music while the guitars cut and blend into the choirs to create this mad uplifting feel.

I really like the change in pace on the second half of this record. It kind of gently flows into something more ethereal, reverberant and spectral. Desert Winds is a great example of the soundscapes being shaped by geography - the whispery drones from the guitar very much feel like they’re played by a breeze. There’s so many great tracks and I feel like they need to be listened to as a collection, but Lulla, Chabiba, Kel Tamashek, Assuf Ag Assuf and Tenhert stand out as raw Tinariwen. Imazeghen n Adagh has this yearning drive to it, so that and the opener Imidiwan Afrik Temdam are a great summary of the different ends of this record.

The music at times feels contemplative, so would be great for the more reflective moments in TV and Film, whereas the more energetic, driving tracks could really give life to an edit - from around 3:12 of Ere Tasfata Adounia is a perfect example of this.

If you’d like to know more, or you’re keen to discover more of our repertoire, please contact: labelsyncuk@concord.com.