Pitou’s Big Tear (seen/heard here), and the title track for her upcoming LP, is a perfect example of Vodka’s title byline: “Music that isn’t the same old thing…mostly.” It is an example of vocals as both rhythm and instrument. It took only two listens for me to be blown away. The first listen was a “well, this is interesting” moment, and the second was “this is amazing!” Born and raised in Amsterdam, Pitou’s journey to her current style of music started out…
Read MoreLike the feel of a rose petal, Bedouine’s (a.k.a, Azniv Korkejian) music is smooth, gentle, and like the flower itself, beautiful. The intricate weaving of the music and the lyric, posing a perfect balance to both, is no accident, for Korkejian has a degree in sound design. Her moniker reflects her nomadic existence to date, for the one constant in her life has been mobility and change of venue. Born in Aleppo, Syria, she spent her childhood in Saudi, Arabia, moved to Boston, then Houston, on to Los Angeles,…
Read MoreVodka strives to bring you music that is new and interesting. Sometimes we succeed and sometimes we simply find good music that fits within known genres. Enter Swiss troupe, Orchestre Tout Puissant Marcel Duchamp (OTP) which is not only interesting, but hypnotic and wonderful. On Slide from the group’s upcoming (April 2014) EP, Rotorotor, instrumentation starts out simple with tuned cymbals, and gradually adds in simple rhythms, marimba, violin, trombone, upright bass and an instrument that looks, at least, like a Japanese…
Read MoreYou’ll see very few straight up instrumental tracks on this blog. That doesn’t mean that I don’t like instrumental music. Good instrumental music does not require lyrics because it tells it’s own story with only instruments. Enter Pyjama Devil and A Black Chamber for Nyquist. This mournful electronic tune evokes movie images in your head, and that means that it fits the requirement for good instrumental music. Pyjama Devil does not have a web site that I could find,…
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