Duval Timothy releases a highly requested repress of his 2018 EP 2 Sim on split colour heavyweight vinyl via Carrying Colour records. The project’s title is taken from a Krio phrase that refers to Sierra Leoneans of dual nationality as mobile phones that have two sim cards. The project was recorded in Sierra Leone and the UK and features Duval’s piano compositions married with field recordings made in and around the landscape of the capital city Freetown as well as interviews with Duval’s family and friends who explore their relationship to the idea of being a ‘2 Sim’. Botany Rd creates a musical soundscape through a walk with friends starting from the urban centre of Freetown up into the hills through small farming communities. First Rain takes a field recording of the rain arriving at Duval’s home in Freetown at the end of the dry season. The weather cycle echoing Duval’s cycle of migration between the UK and West-Africa. More

Primarily recorded at my home studio in South London, Carrying Colour studio in Freetown, my old studio in Rotherhithe Old Police Station, and Casa Mahler in Spoleto. Recorded on different pianos, including an upright in Freetown that had lost the felt of its hammers due to the humidity creating a harpsichord-like sound as the raw wood struck the strings. Other prominent instruments featured are Moog Grandmother, double bass, electric guitar and Juno-G. Part of the piano recordings on 'Up' and 'Drift' were composed and recorded through April 2021, whilst I was an artist in residence at the Mahler & LeWitt Studios, Spoleto, for the 'Mahler, The Song of the Earth' project in partnership with Mahler Foundation. During the residency, I was studying and creating work in response to the life and work of Gustav Mahler, in particular 'Das Lied Von Der Erde' (The Song of the Earth) — a vast song cycle engaging with nature, forgiveness, friendship, and mortality themes. While making this record, I wanted to explore what the natural environment means personally. I went on many trips into nature to engage with plant life and natural materials. These included everyday strolls around South London, walks with my mum in the hills surrounding Bath (Up), hikes through Freetown, the hills of Spoleto, up line in Ghana and nature sanctuaries in Sierra Leone (Wood). I found incredible examples of nature in all of these contexts, which I felt personally close to. I made field recordings with my phone or Zoom recorder, documenting various birds, insects, monkeys, bats, plants, trees, stones and so on, which are all on the record. More

After being out of print for several years, Duval Timothy’s phenomenal ‘Brown Loop’ has finally been reissued. Recorded in New York in the winter months of 2016, this brand-new edition features a slightly adjusted track listing. The release date is 2nd of October 2020, which happens to be the multidisciplinary artist’s birthday. Duval has asked me to write a few words about his record. I often find myself listening to Duval’s music when travelling. On an aeroplane for example, where the comforting piano pieces are set starkly against the sound of the world passing by, the constant engine humming, air conditioning running. Or when I’m walking through a city I’ve not been to before, the music blending into the continuous noise of cars and motorbikes, anchoring me when I find myself in unknown surroundings. Grounding me, one note at a time, in contrast to a city that does the exact opposite. Duval’s compositions bring a sense of comfort where there is detachment. It’s the soundtrack for an immigrant (such as myself), alienated from wherever he came, but someone who also doesn’t fully belong to the place he set off to. I heard Duval describe the music of Brown Loop as ascending a mountain, and after you reached the top you come down to the other end. Through rhythmic repetitive patterns, the music builds. Within the pieces, melodies stray away from the theme, into unknown territories, but always find their way back to a comfortable home. Most elaborately this happens on my favourite piece, ?Hairs. The patterns and melodies on pieces such as ?Through The Night and (recently added to the vinyl version) ?G are stripped down to their very essence. It is not just jazz, it’s pure hip hop, as the hooks are reminiscent of the shards of melancholy legends like Dilla, Pete Rock and Havoc used in their best work. In terms of repetition, the music is also very techno. And like in all good techno, the patterns (perhaps contrary to popular belief) ooze humanity and emotion. But most of all Duval’s Brown Loop is a very personal record. it takes courage to expose your inner self like that in the most minimal of compositions. But once you find the right notes, the right pattern, music is the most beautiful thing in the world More

Smcl Smcl with cktrl — a wonderful piece which calls on the listener to play both records at the same time to hear the music or play them separately and hear different versions. Duval is strengthening us, encouraging us to feel comfortable with discomfort, with incompleteness, with the hard-to-understand. This is a beautiful thing.

Track List:

Vinyl 1. A Side - Pianos, Synths, Vocals & Sub Bass.

Vinyl 2. A Side - Saxophone, Clarinet, Double Bass, Harmonica & Keyboard Bells. More

Where We're Calling From
The Liminal Zone: Reflections on Duval Timothy’s Sen Am
Lamin Fofana

Sen Am is an enduring and tender album, rich and beguiling and generous in a quiet way. Over the last few years, I find myself returning to it, listening and absorbing, reflecting on the voices and working through the multiple layers of feelings and themes it announces with confidence and equanimity. Notions of care and contradiction, expressions of joy and desire and the underlying feeling of unease and turmoil; there is an urgent appeal to the listener for generosity, to strengthen our capacity to hear multiple voices simultaneously, to exist in multiple places at once.

Duval Timothy’s music was dropped into our world from another realm sometime in the spring of 2017. We received the call and we answered it. The rhythm and spirit was transmitted via London’s NTS Radio on the Do!! You!!! Breakfast Show with Charlie Bones and a short while later we were listening to the first vinyl edition of Sen Am in our living room in Berlin. The record got a lot of plays (at home and at some shows, before and after performances). It was like sunlight filtering through a cracked window and remaining there for a moment, dancing. Blue music emanating from a liminal zone, an in-between space, somewhere on the outskirts of Freetown, or rural Sierra Leone, or the outer edges of South London, or Bath, UK, or some undisclosed orbit, unfixed location. The music is soaked in diasporic experiences. It refuses to settle but still invites us to enter and stay awhile in that zone, where multiple forms exist (all) together with jazz, hip-hop, various strands of expressive electronics and experimental music all breathing together and moving around. It is a portal to a place of possibilities, a space for building and repairing possible and lost connections. But life in that liminal zone is precarious; it is life under duress; under pressure – not merely the pressure to produce a presentable, categorizable, and salable body of work, but the pressure that compels us to experiment and create new concepts and things that will help us imagine a different existence, a way out of the turbulence.

Freetown is a marvellous and sometimes sad place. It is one of those unmistakable locations inscribed diasporic memory; a place that touches you, a place that holds you and demands you bear witness: witness to pain, poverty, joy and desire. You remember the voices and the eyes of people even in momentary encounters. In Sen Am, you hear not only Duval’s recollections and sounds of Freetown, you hear family and friendship, people coming together and forming bonds, creating surrogate families. Forging community wherever you go is a practice, and community is at the core of this music. It’s in all the voices, from Emmerson and 6pac to Aminata and Aruna. It opens up a space for Black voices, for Sierra Leonean voices, and those voices extend through the succeeding projects, the 2 Sim EP and the album Help, and all that radiates from Duval’s Carrying Colour imprint.

Thank you for the invitation to write about the album Sen Am, on the occasion of its re-release which also coincides with the release of the exquisite double 7” Sm?l Sm?l with cktrl — a wonderful piece which calls on the listener to play both records at the same time to hear the music or play them separately and hear different versions. Duval is strengthening us, encouraging us to feel comfortable with discomfort, with incompleteness, with the hard-to-understand. This is a beautiful thing.

More

Released in August 2020 to much acclaim, as well as receiving many accolades as one of the best albums of 2020, Duval Timothy present Help (2021 edition).

This new and limited edition will be released independently by Duval Timothy’s Carrying Colour label, fashion brand and shop. It comes on 2 x 140g milky clear vinyl, with new 2 x 12" square posters and shrink-wrapped.

Help was recorded in London and Los Angeles, and reveals the artists' experience traversing the meshes of the music industry, mental health, YouTube self-help videos, and the healing he discovered through friendship and collaboration. Co-produced by Rodaidh McDonald (King Krule, The XX) and Marta Salogni (Bjork), with collaborations from Lil Silva, Melanie Faye, Vegyn, Desta Haile, Mr Mitch, Dave Okumo, and Twin Shadow amongst others.

Duval Timothy is a multidisciplinary artist, whose practise is centred around colour and involves the use of music, photography, textiles, painting, sculpture, design, cooking and video. In between delivering a celebrated cookbook for Penguin Books, and an interactive installation at Tate Modern Turbine Hall, Duval makes music, which is sampled by the likes of Solange and Loyle Carner and collaborates frequetly with cktrl, Vegyn, Kwes, and Mr Mitch.

More

Where We're Calling From
The Liminal Zone: Reflections on Duval Timothy’s Sen Am
Lamin Fofana

Sen Am is an enduring and tender album, rich and beguiling and generous in a quiet way. Over the last few years, I find myself returning to it, listening and absorbing, reflecting on the voices and working through the multiple layers of feelings and themes it announces with confidence and equanimity. Notions of care and contradiction, expressions of joy and desire and the underlying feeling of unease and turmoil; there is an urgent appeal to the listener for generosity, to strengthen our capacity to hear multiple voices simultaneously, to exist in multiple places at once.

Duval Timothy’s music was dropped into our world from another realm sometime in the spring of 2017. We received the call and we answered it. The rhythm and spirit was transmitted via London’s NTS Radio on the Do!! You!!! Breakfast Show with Charlie Bones and a short while later we were listening to the first vinyl edition of Sen Am in our living room in Berlin. The record got a lot of plays (at home and at some shows, before and after performances). It was like sunlight filtering through a cracked window and remaining there for a moment, dancing. Blue music emanating from a liminal zone, an in-between space, somewhere on the outskirts of Freetown, or rural Sierra Leone, or the outer edges of South London, or Bath, UK, or some undisclosed orbit, unfixed location. The music is soaked in diasporic experiences. It refuses to settle but still invites us to enter and stay awhile in that zone, where multiple forms exist (all) together with jazz, hip-hop, various strands of expressive electronics and experimental music all breathing together and moving around. It is a portal to a place of possibilities, a space for building and repairing possible and lost connections. But life in that liminal zone is precarious; it is life under duress; under pressure – not merely the pressure to produce a presentable, categorizable, and salable body of work, but the pressure that compels us to experiment and create new concepts and things that will help us imagine a different existence, a way out of the turbulence.

Freetown is a marvellous and sometimes sad place. It is one of those unmistakable locations inscribed diasporic memory; a place that touches you, a place that holds you and demands you bear witness: witness to pain, poverty, joy and desire. You remember the voices and the eyes of people even in momentary encounters. In Sen Am, you hear not only Duval’s recollections and sounds of Freetown, you hear family and friendship, people coming together and forming bonds, creating surrogate families. Forging community wherever you go is a practice, and community is at the core of this music. It’s in all the voices, from Emmerson and 6pac to Aminata and Aruna. It opens up a space for Black voices, for Sierra Leonean voices, and those voices extend through the succeeding projects, the 2 Sim EP and the album Help, and all that radiates from Duval’s Carrying Colour imprint.

Thank you for the invitation to write about the album Sen Am, on the occasion of its re-release which also coincides with the release of the exquisite double 7” Sm?l Sm?l with cktrl — a wonderful piece which calls on the listener to play both records at the same time to hear the music or play them separately and hear different versions. Duval is strengthening us, encouraging us to feel comfortable with discomfort, with incompleteness, with the hard-to-understand. This is a beautiful thing.

More

Duval Timothy releases a highly requested repress of his 2018 EP 2 Sim on split colour heavyweight vinyl via Carrying Colour records. The project’s title is taken from a Krio phrase that refers to Sierra Leoneans of dual nationality as mobile phones that have two sim cards. The project was recorded in Sierra Leone and the UK and features Duval’s piano compositions married with field recordings made in and around the landscape of the capital city Freetown as well as interviews with Duval’s family and friends who explore their relationship to the idea of being a ‘2 Sim’. Botany Rd creates a musical soundscape through a walk with friends starting from the urban centre of Freetown up into the hills through small farming communities. First Rain takes a field recording of the rain arriving at Duval’s home in Freetown at the end of the dry season. The weather cycle echoing Duval’s cycle of migration between the UK and West-Africa. More

After being out of print for several years, Duval Timothy’s phenomenal ‘Brown Loop’ has finally been reissued. Recorded in New York in the winter months of 2016, this brand-new edition features a slightly adjusted track listing. The release date is 2nd of October 2020, which happens to be the multidisciplinary artist’s birthday. Duval has asked me to write a few words about his record. I often find myself listening to Duval’s music when travelling. On an aeroplane for example, where the comforting piano pieces are set starkly against the sound of the world passing by, the constant engine humming, air conditioning running. Or when I’m walking through a city I’ve not been to before, the music blending into the continuous noise of cars and motorbikes, anchoring me when I find myself in unknown surroundings. Grounding me, one note at a time, in contrast to a city that does the exact opposite. Duval’s compositions bring a sense of comfort where there is detachment. It’s the soundtrack for an immigrant (such as myself), alienated from wherever he came, but someone who also doesn’t fully belong to the place he set off to. I heard Duval describe the music of Brown Loop as ascending a mountain, and after you reached the top you come down to the other end. Through rhythmic repetitive patterns, the music builds. Within the pieces, melodies stray away from the theme, into unknown territories, but always find their way back to a comfortable home. Most elaborately this happens on my favourite piece, ?Hairs. The patterns and melodies on pieces such as ?Through The Night and (recently added to the vinyl version) ?G are stripped down to their very essence. It is not just jazz, it’s pure hip hop, as the hooks are reminiscent of the shards of melancholy legends like Dilla, Pete Rock and Havoc used in their best work. In terms of repetition, the music is also very techno. And like in all good techno, the patterns (perhaps contrary to popular belief) ooze humanity and emotion. But most of all Duval’s Brown Loop is a very personal record. it takes courage to expose your inner self like that in the most minimal of compositions. But once you find the right notes, the right pattern, music is the most beautiful thing in the world More

Released in August 2020 to much acclaim, as well as receiving many accolades as one of the best albums of 2020, Duval Timothy present Help (2021 edition).

This new and limited edition will be released independently by Duval Timothy’s Carrying Colour label, fashion brand and shop. It comes on 2 x 140g milky clear vinyl, with new 2 x 12" square posters and shrink-wrapped.

Help was recorded in London and Los Angeles, and reveals the artists' experience traversing the meshes of the music industry, mental health, YouTube self-help videos, and the healing he discovered through friendship and collaboration. Co-produced by Rodaidh McDonald (King Krule, The XX) and Marta Salogni (Bjork), with collaborations from Lil Silva, Melanie Faye, Vegyn, Desta Haile, Mr Mitch, Dave Okumo, and Twin Shadow amongst others.

Duval Timothy is a multidisciplinary artist, whose practise is centred around colour and involves the use of music, photography, textiles, painting, sculpture, design, cooking and video. In between delivering a celebrated cookbook for Penguin Books, and an interactive installation at Tate Modern Turbine Hall, Duval makes music, which is sampled by the likes of Solange and Loyle Carner and collaborates frequetly with cktrl, Vegyn, Kwes, and Mr Mitch.

More

Primarily recorded at my home studio in South London, Carrying Colour studio in Freetown, my old studio in Rotherhithe Old Police Station, and Casa Mahler in Spoleto. Recorded on different pianos, including an upright in Freetown that had lost the felt of its hammers due to the humidity creating a harpsichord-like sound as the raw wood struck the strings. Other prominent instruments featured are Moog Grandmother, double bass, electric guitar and Juno-G. Part of the piano recordings on 'Up' and 'Drift' were composed and recorded through April 2021, whilst I was an artist in residence at the Mahler & LeWitt Studios, Spoleto, for the 'Mahler, The Song of the Earth' project in partnership with Mahler Foundation. During the residency, I was studying and creating work in response to the life and work of Gustav Mahler, in particular 'Das Lied Von Der Erde' (The Song of the Earth) — a vast song cycle engaging with nature, forgiveness, friendship, and mortality themes. While making this record, I wanted to explore what the natural environment means personally. I went on many trips into nature to engage with plant life and natural materials. These included everyday strolls around South London, walks with my mum in the hills surrounding Bath (Up), hikes through Freetown, the hills of Spoleto, up line in Ghana and nature sanctuaries in Sierra Leone (Wood). I found incredible examples of nature in all of these contexts, which I felt personally close to. I made field recordings with my phone or Zoom recorder, documenting various birds, insects, monkeys, bats, plants, trees, stones and so on, which are all on the record. More

Idris Ackamoor & The Pyramids are back with their first major new studio album in over 3 years, an epic, sprawling new work exploring the future, the past and the urgent reality of the present, ‘Afro Futuristic Dreams’.

Tracklist:
A1/1 AFRO FUTURISTIC DREAMS
A2/2 THANK YOU GOD
B1/3 POLICE DEM
B2/4 FIRST PEOPLES

C1/5 TRUTH TO POWER
C2/6 RE - MEMORY
C3/7 GARLAND ROSE
D1/8 REQUIEM FOR THE ANCESTORS
D2/9 NICE IT UP More