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Down on Maddy is a Dream on  New Single
Down on Maddy entices with his new single, "Titania." Showing an artist on the rise, Down on Maddy, the brainchild of singer-songwriter Patrick Kleven, skillfully crafts a hazy and dreamy sound that brings a retro flare into the mix. Kleven's voice is fitting to the piece, as it floats along the clouds and brings charming harmonies throughout that showcase his vocals. Down on Maddy has it all; his unique songwriter, captivating riffs and heaven-sent voice create an enticing combination that enlightens and delightens from start to finish. "Titania" is a fantastic piece to kick off your Down on Maddy obsession with...you can quote me on that.
 
Check out "Titania" via Soundcloud:
 
 
 
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Ghanaian Musical Instruments

Akan drums are used in the Ashanti, Fante and Akyim/Akim Tribes of Central and Southern Ghana. The different families of drums are named after their dances. Adowa and Fontomfrom share mostly the same drums as do Asaadua and Sikyi.

In West Africa; drums are not normally played on their own, but as part of an ensemble or a grroup, with particular lead drum, support drum, bass drum, melody instruments, shakers and a bell.

Adowa, the dance is by far the most widespread and frequently performed social dance of the Akan people of Ghana. It is best described in Akan as a woman's dance because they dominate the performance. This dance is mostly performed at funerals, but can also be seen at yearly festivals, visits of important dignitaries and other celebrations.

Adowa Drums:

The lead Atumpan Pair and the Support Drums Apentema, Brenko, Petia and Dondo.

Fontomfrom Drums:

Fontomfrom Pair, Atumpan Pair and Support Drums Apentema, Brenko, Petia and Dondo.

Kete is commonly found in the royal courts of traditional Akan communities. It is performed in the courts of every chief whose status entitles him to be carried in a palanquin. The music therefore can be heard on state ocassions and festivals. There are three parts of the performance: Drum Music, Pipe Interludes, and Vocal Counterpart of the Pipe Tunes. At least, eight pieces are played during a performance. These pieces are identified by the general name for the type of drumming and dancing, by name of its usual context function or general character and by name commemorative of an event.

The drums of Kete are always wrapped in red and blck cloth.

Kete Set:

Lead drum, Kwadum and Support Akukuadowo, Aburukua, Apentema, Dondo, Slit Bell and Shakers/Chekere.

Asaadua was once a popular recreation musical type among the Akan people of Ghana. Its performance is now limited to some few communities in Ashanti and Brong Ahafo Regions. Like Popular entertainment music, which revolves from the ingenuity of some veteran traditional musicians. Asaadua started as a youth recreational music for the men of the Akan tradition. The name Asaadua evolves from the Asaa tree(Dua) in Akan. This relates to the gay and pleasant nature of the dance. The Asaa is a sweet fruit tree commonly found in the forest region of Ghana. One therefore would conclude that Asaadua is a dance for sheer enjoyment and pleasure.

Ashanti Asaadua Set:

Lead Drum Operenten and Support High and Low Tamalin, Dondo, Kpanlogo support Drum, Double Bell, Pod Bell and Gourd Shaker.

Sikyi is a recreational music and dance of the youth of Ashanti. It originated in the 1920s but became very popular around Ghana's Independence in 1957.It is performed in the vein of Kpanlogo of the Ga of Accra and Boborbor of the Northern Ewe of the Volta Region of Ghana. Sikyi is seen principally at social gatherings where the youth solely express themselves in courtship. It is flirtatious in character. Its characteristic form is the strutting and bobbling up and down and a display of theatrical elegance

Sikyi Drum Set:

Lead Operenten, Support Apentema, High, Middle and Low Tamalin, Bell and Shaker.

Just in case you are intersted in purchasing or further information about indigenous Ghanaian Musical Instruments, do not hesitate to contact us via:

Email:integratedmusic@yahoo.com
Tel:+233 244 833734

Integrated Music Company Limited
Box 7041
Accra-North.
Ghana.

 

 

 

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New Fan Funded Tracks Added to the \'Archive of Future Ancient Recordings\' by Ancient Future

Ancient-Future.Com Records Presents
The Archive of Future Ancient Recordings (A.F.A.R.)

New Tracks Added to the Fan Supported Recording Series by Ancient Future

Photo of Bui Huu Nhut Recording A.F.A.R.Photo of Abbos Kosimov Recording A.F.A.R.
Bui Huu Nhut and Abbos Kosimov Recording A.F.A.R.. Photos by Michael Braden.

6/16/16 Update Adds Six New Pieces

On 6/16/16, six new pieces and a video make their debut in the fan funded Archive of Future Ancient Recordings, which gives supporters access to Ancient Future recordings as they are created. There are four new tracks, two of which feature two compositions, the first serving as an introduction to the second. There are now 13 tracks totaling 86 minutes and 51 seconds of music in the archive. Two of the new tracks are live versions of pieces originally recorded during Ancient Future's major label days, and two are brand new studio tracks, including Ancient Future's first ever cover of a popular song, a world fusion version of Jimi Hendrix's Purple Haze showcasing Bui Huu Nhut on Vietnamese dan bau, a one string instrument with a whammy bar! The piece also features Uzbeki percussion master Abbos Kosimov, who performs frequently with tabla phenom Zakir Hussain, and it is the very first studio recording featuring Matthew Montfort on his Godin Glissentar fretless guitar.

Tres Tarantas Tres (Montfort. 4:32). Based on the flamenco form Tarantas, but with a rhythmic structure of three groups of three, this piece also makes a foray into impressionism ala Eric Satie. Lineup: Matthew Montfort (flamenco guitar).

Gamarock (Montfort. 12:10). Recorded live 4/29/15, this piece from Dreamchaser fuses Balinese gamelan with rock and roll. Lineup: Matthew Montfort (scalloped fretboard guitars), Vishal Nagar (tabla), Jason Everett (7 string fretless bass).

Prelude/Bookenka (Montfort/Doug McKeehan 6:50). Recorded 10/16/13 at the World Without Walls Reunion Concert at the Freight & Salvage. Lineup: Matthew Montfort (scalloped fretboard guitar), Doug McKeehan (piano), Kash Killion (bass), Ian Dogole (percussion), Mariah Parker (santur), Jim Hurley (violin).

Purple Nam/Purple Haze (Montfort/Jimi Hendrix. 4:44). A Vietnamese version of Montfort's Purple Raga sets up an adventurous excursion into Hendrix's classic rock piece with Vietnamese dan bau instead of electric guitar. Lineup: Bui Huu Nhut (dan bau), Matthew Montfort (Godin Glissentar fretless 11 string guitar, fretless bass), Abbos Kosimov (Uzbeki percussion), Mariah Parker (keys).

The Archive of Future Ancient Recordings (A.F.A.R.)

30th Anniversary CD Mystery Cover

Ancient Future performed its first concert on February 11, 1979, at the Sleeping Lady Cafe in Fairfax, California. Since then, the band has gone on to perform hundreds of concerts nationally and internationally and release seven full length recordings and an HD video that have established Ancient Future as the trendsetting pioneers of world fusion music, a term coined by Ancient Future bandleader Matthew Montfort at the group's inception for music that combines ideas from many of the world's great musical traditions.

During Ancient Future's 30th anniversary year, a new Ancient Future band project was conceived: the Archive of Future Ancient Recordings (A.F.A.R.). The concept of the Archive of Future Ancient Recordings is to involve fans of world fusion music in supporting the production of an archive of live and studio recordings of cross cultural collaborations. The best of these recordings will be selected to be released commercially at a "future" date, at which point they will be on their way to becoming "ancient" recordings, hence the title.

To finance A.F.A.R., Ancient-Future.Com Records has been quietly providing financial supporters access to select files from Ancient Future's archives of alternate takes, live concerts and radio performances along with new studio recordings as they are created. To date, 18% of the fundraising goal has been raised at concerts, on Ancient-Future.Com, and through the Ancient Future Times, the band's email newsletter. The full archive of recordings is available during the project exclusively to supporters, and when the archive is complete, a portion of the recordings will be selected for commercial release on Ancient-Future.Com Records.

There are four supporter thank-you packages available ranging from $15 to $75, and while donations to the A.F.A.R. project are not currently tax deductible, donations of any amount are greatly appreciated and will be put to good use! There are a range of benefits for the various packages, including the A.F.A.R. email newsletter (which provides a window on the recording process as it develops), immediate access to downloads of the recordings placed in the archives, digital liner notes, limited edition CD-R's of the archives when complete with printed liner notes signed by Ancient Future leader Matthew Montfort, video and 24 bit audio files for hi-res playback on computers, and a 30% discount on the advance copies of the final commercial release. Detailed information on the various supporter packages and the benefits included can be found at www.ancient-future.com/afar.html.

Live Video of New A.F.A.R. Track

Prelude and Bookenka on Ethnocloud

A live medley of Prelude and Bookenka (The Adventurer), which was originally recorded on Ancient Future's Asian Fusion release,has been added to the Archive of Future Ancient Recordings. Fans can check it out on Ethnocloud at 720p now, and then get it in full resolution beautifully shot HD 1080p video and rich 96-kHz/24-bit audio as a thank-you for becoming a hi-res supporter of A.F.A.R.!

Ethnocloud Video URL: http://ethnocloud.com/Ancient_Future/?y_video=2024&b=942

 

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JALEBI Music.....Celebrates .......Sri Narasimha Jayanthi !!!

Sri Narasimha Jayanthi (May 23, 2013)!

 

Sri Narasimha Devi   ...........3D Artist: Shyam Vyda

"Narasimha" ...........3D Artist: Shyam Vyda

http://shyamvyda.blogspot.it/2010/07/narasimha.html#comment-form

 

Sri Narasimha Dev Ki Jaya! ...... VIDEO TRIBUTE ......JALEBI Music


CLICK HERE TO SEE THE VIDEO! Enjoy! :) 
VIDEO: "Namaste Narasimhaya" (JALEBI Music)
http://ethnocloud.com/JALEBI_Music/?y_video=533&b=627

SONG......"Namaste Narasimhaya" (JALEBI Music):
http://ethnocloud.com/JALEBI_Music/?song=828&b=627

What is the power of worshipping Lord Narasimha?

Lord Narasimha destroys sins, grants virtues, grants moral religious merits, grants objects of human pursuit - Puruśhartha. The lord grants ultimate peace, knowledge, and joy. He fulfills wishes for the seekers of the worldly desires.

CLICK HERE TO READ MORE SRI NARASIMHA DEV!!
http://srichintanam.weebly.com/3/post/2013/05/sri-narasimha-jayanthi-is-may-23-2013.html




***JALEBI Music band members:

-Shirley Marie Bradby aka MiraBai Devi Dasi (lead singer, vocals and lyrics)

-Ramananda Roy Das (bass guitar and other instruments)

-Yasoda Nandana Das (guitar, musical composition, and various instruments)

 

 
 

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DaniElle DeLaite: An Australian Dream

Recently introduced to the Australian dream known as DaniElle DeLaite, we bring a little something different to the table in Ethnocloud today. Hailed as an EDM superstar, she releases her new video for "Shooting Stars," an eclectic piece that brings not only a flavor of dance, but rock and pop influences as well. 

"Shooting Stars" Video" https://www.youtube.com/watch?v=BieGWEgvG88

DeLaite who has been a global phenom for quite some time, creates an intriguing first look to U.S. fans, who may not be aware of her accolades before now. A superstar in the dance world and stage. "In addition to studying dance, performing and working on her album DeLaite also acts. She has appeared on stage performing in the plays Godspell, Joseph and the Amazing Technicolor Dreamcoat, Oliver and Annie.She also loves jazz and especially likes to perform the songs of Cole Porter"; an impressive resume.

DeLaite says of her musical endevors "

“Essentially, though, I am a storyteller of the experiences of others, myself and imagined experiences. Music and lyric can touch the emotional core as the listener recognizes an emotion, and/or experience that has been longed for or regretted. Just as valuable is the mood created by the song or the energy stirred with upbeat songs that put people in a fun mood and may even lead to dancing!”

No matter what the mood, DeLaite an certainly lighten it!

 

 

 

 

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Got My Steel Pans-Musical Recycling, Is The Pan Electrified Yet???

My name is Gregory Boyd. I Rock The SteelPans. I blend the sound of The Musical Instrument known as Caribbean SteelPan with a Blues/Soul vocal to make something special for the Listener. I come from Northern and Southern USA Traditions and am related to Blues Legend Muddy Waters. As a child I spent my time in Detroit, Milwaukee and Colorado. I joined the US Navy eventually becoming a member of The US Navy Steel Drum Band. I was stationed New Orleans at age 19 where I spent my time performing with the US Navy Band learning Steel Pans and by chance meeting the Neville Brothers performing with members of this acclaimed New Orleans first family of funk. I owe part of my sound to living in the Midwest for a time as a child. “In my neighborhood as a child growing up in the Midwest it was almost unheard of to listen to anything but Rock Music. I listened to Hendrix. To me he was not rock but an innovator of music itself and I love the sound of innovation, rock music was all that was on the radio and I truly fell in love with the sound of raw guitars and screaming riffs” My first thought after learning Steelpans was that one day I will put that Rock music and New Orleans funk on my Steelpans and Electrify my Pans. My first professional session was in New Orleans with the Basin Brothers Cajun band which started a long affair with a broad plethora of music styles from Indian to Classical music, Funk and Jazz, Rock and Blues. “My goal is to move people and innovate simultaneously it always has been and until I feel that I have reached that goal I will not stop”.

I will be performing in

May 14, Los Angeles California, USA VENUE- The Whiskey A Go-Go- 08:45pm 

March 10, Hamburg, Germany Laeiszhalle Yearly Concert Hall Performance

September 4-6th Bingley Music Live United Kingdom

 

 

more dates to be announced

 

 

 

 

"I love this guy! Okay, where do I begin? He's playing steel drum and singing-how many times do you see that? It is very innovative. His improvisation is really great! I love what he is doing! Singing with his instrument-I've never seen anyone do that. It's a whole new twist!"

Cassandra Wilson- Grammy Award Winning Vocalist  Composer 
 

"soulful," "uplifting" and "melodically clever." 

Music Connection Los Angeles

 
“...with genious and aloofness of Monk, blended with the soulfulness of Al Green, coupled with the musical presence of Jimi Hendrix, Boyd can Jazz, Funk and Ring in the Blues....... 
 
"Gregory's playing during his time in New Orleans in the '90s really opened up my ears to what is possible on the steel pans." Nicholas Payton
Nicholas Payton Grammy Award Winning Musician 
 

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Falling in Love with Daiana Segovia

Daiana Solange Segovia is a woman of many hats. She's a recording artist, composer, lyricist, writer and Psychologist originally from Argentina who is based in New York City. Her stunning and unique musical style draws from several different genres, blending soul, pop and R&B with elements of electropop, classic jazz and Latin music. Her musical influences range from Aretha Franklin and Donny Hathaway to Ivan Lins and Argentinian vocalist Mercedes Sosa. She moved to NYC when she got an Scholarship to study music at The American Musical and Dramatic Academy, and now is ready to take over the world, one song at a time. 

Daiana is currently recording her first album in collaboration with American and Latin American producers.She has toured all over the world performing at prestigious venues in Asia, Europe, South America and the US singing as a Lead for the Royal Families of Thailand and Malaysia and being the only Latin Singer at Nelson Mandela's Memorial in NYC. Recently I had the chance to speak with Daiana, in a personal interview, that takes us inside her musical musings.

 

Tell us about the making of "Fall in Love" and the concept behind it?

"Fall in Love" speaks about loving someone even if you are going through a very rough time. It’s about believing that the power of love can guide you through and trusting it. It’s also about sensuality and being vulnerable. I was born in Argentina, so I grew up listening to Tango music and I have a very deep connection with its romanticism, sensuality and passion. When I write, the Argentine fire just comes through me and takes over. I can’t help it! I definitely think that defines me as an artist and human being.

“Fall In Love” is also the first song I wrote when I moved to the USA The melody and lyrics flew so spontaneously and fast that I underestimated the song for a long time. It wasn’t until I incorporated it on my shows and people started saying that was their favorite song that I actually decided to record it. I feel very lucky because I had the chance to work with one of my favorite arrangers and instrumentalists in the world: Dave Eggar.

Dave is very familiar with Argentine Tango and Folk and he immediately captured my essence and made a beautiful strings arrangement for it. I recorded it at Lynn Verlayne Studios in Brooklyn. I also co-writed the song with her.


What elements influence your songwriting?


Relationships. I think they can change your life and they are like a mirror to look at yourself. Relationships are like a powerful instrument to understand the world and yourself better. They bring deep and rich material to write about and I work out my own understanding through writing. I also get inspired by nature, travelling, writing and reading poetry, dreams, languages, conversations, strangers I meet on the train, improvising jazz, listening to a bunch of music from all genres, books, dancing, taking long walks…I truly feel that being passionate about life itself and wanting to share my enthusiasm with the world keeps me open to writing new ideas and music on a daily basis.

I also have a Masters in Psychology and I have done a few internships where I got the chance to speak and connect with –what the world calls- “the different ones” or “the suffering ones” and then I discovered the healing power of music. If my lyrics or my melodies can ever touch hearts and change lives, that will give me a sense of accomplishment that it will hard to put into words.

It will be just amazing. Magical.


If you could play any venue in the world, which venue would you choose and why?

Madison Square Garden in New York and Maracana in Rio de Janeiro. Those venue are so powerful!! I actually just saw David Gilmour’s concert at MSG and it was one of the best concerts I have experienced in my entire life.


In this creative process, would you say you enjoy being in the studio, or performing live on stage more?

I love them both but performing live brings an indescribable feeling. I love to genuinely connect with the audience and watch them smile or even cry –sometimes- with my songs. It’s almost like a therapeutic experience! Music has the power of releasing emotions and pain for both (the artist and audience) and it gives us a sense of hope about the future.

I enjoy the studio very much as well. Usually when I am working on a new song I take the first take home and I listen to it over and over. I usually find very spontaneous and fresh material that I keep for the final recording. I love improvising at the studio and singing my own background vocals as well.


What do you enjoy most about creating music in general?


That I can be myself and there’s no judgement. I can create my own world and play with it as much as I want. It’s a like parallel universe where anything is possible. My soul flies through my lyrics and my voice when I sing it. It’s like running naked in a huge field of endless possibilities. Pure freedom.


What songwriters and musicians do you look to for inspiration?

My top ten are Prince, Michael Jackson, Pink Floyd, Ivan Lins, Joni Mitchell, Stevie Wonder, Cuchi Leguizamon, Piazzolla, Freddy Mercury and Joe Zawinul. I play their music when I want to feel uplifted and get inspired… just listening to them takes me to another world where my mind and heart are set free.

Some of the albums and songs I play are; “The division bell” (Pink Floyd), “Innervisions” by Stevie Wonder, “Parade” by Prince, “Obivlion” by Piazzolla and “Lo cortez no quita lo cabral” by Facundo Cabral and Alberto Cortez.


What is the overall inspiration behind your songs; lyrically and musically?

I have had the chance to travel the world playing music. I have lived in India, South America, the Middle East, Europe and the USA and I learnt that music is one of the most powerful things in life. Life connects us with love, hope, grief and the most powerful things on earth and this happens beyond language, religion or cultural background.

That’s why I do music, because I love life and I love sharing my passion with everyone.

"Fall in Love" 

 

 

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Aleks
Aleks (05/05/16 15:50)
Beautiful song, Daiana!
Irka Mateo heats up Joe\'s Pub with Sizzling Performance

Last Tuesday evening (July 14th) Dominican singer, composer and arranger Irka Mateo captivated a diverse and enthusiastic capacity crowd at the legendary New York City venue Joe’s Pub as she and her band debuted her new compositions and arrangements featuring Latin American accordion styles.  Irka, as she is known to her fans, quickly proved her prowess as a top Latin world music composer and performer to both new and established fans as she and her band ignited the energetic set with a rollicking cumbia with hints of Haitian kompa “Pecao Aciguatao”.  The audience was next treated to a fresh arrangement of the tune “Liborio” in the comarca style from the southwest of the Dominican Republic, revealing Irka’s clever insertion into her compositions of her work from ten years spent researching rural Dominican folkloric music styles.

Irka and her band moved seamlessly from one song to the next, serving up innovative fusions at each turn.  Every song explored the roots and the boundaries of Dominican and Latin American music.  The first single from Irka’s upcoming release “Vamo a Gozá” established a bachata groove rhythmically, but the accordion exuded a melancholic tango melody.  “Taínos” lyrically documents a wealth of taíno vocabulary as a basis for Dominican Spanish set over the rhythm of the congos, an afro-descended rhythm which has been preserved for 500 years by the Afro-Dominican community in the town of Villa Mella.  Irka’s new arrangement of “Taínos”, a familiar song from her set list at her NYC concerts from 2010 to 2012, displayed a modern Mandingo accordion over the congos, a rhythm that has survived only in the African diaspora.  By the time the fiery accordion riffs of “Coje y Deja” revealed a Colombian puya over the Afro-Dominican sarandunga rhythm, Irka had the audience mesmerized with her vibrant patchwork of musical fusions.

Aiding Irka in keeping the flame on high throughout the set were some highly-talented musicians she has collaborated with on past projects as well as new talent brought on board for this venture.  An emerging jazz composer and performer, guitarist Yasser Tejeda, a frequent collaborator of Irka's, presided as producer and co-arranger of her new project and musical director of the show, displaying his skill and range with a simmering intensity.  Irka's most veteran collaborator, Joel Guzman, moved effortlessly between congas, guiro and other percussion instruments, adding at intervals unique flairs of showmanship.  Mary Spencer Knapp commanded on the accordion, the unmistakable backbone of the evening’s musical journey.   Kyle Myles and Otoniel Vargas also gave solid performances on bass and drum set, respectively, adding to the high quality of the band. Myles not only kept the rhythm tight, but he also demonstrated his skills melodically.  Vargas proved himself as a key new representative of Dominican drummers who translate folkloric rhythms to the drum set.

When it seemed Irka had exhausted all the tricks from her magician’s hat, she sang at ease in Portuguese as her band blazed through the Brazilian rhythms of “Magia”.  Then another unexpected twist:  Percussionist Joel Guzman picked up a chekere and suddenly, Irka and her band had the Joe’s Pub crowd seduced with the funky, full force Afrobeat “Corazon” in which the stunning singer further expanded her range as she delivered most of the lyrics as a rap.  A familiar song to Irka’s veteran fans, but with a vibrant new arrangement, “Temprano” concluded Irka and her band’s extraordinary set, followed by an extended standing ovation.  This high-octane concert whetted concertgoers’ appetite for other opportunities to catch Irka and her band live and has created high expectations for her upcoming CD, currently slated for release at the end of 2015.

Follow this link to read the review of Irka's concert in Spanish: http://www.diariohispaniola.com/noticia/14189/entretenimiento-y-cultura/irka-enciende-el-legendario-joes-pub-de-new-york.html

For more information about Irka, her website is the following: www.irkamateo.com

 

 

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Ghanaian Musical Instruments

Ghanaian Musical Instruments can be said to emanate from the various tribal groupings in Ghana.

Every tribe in Ghana from North to South, East to West can boast of a peculiar instrument to their name.

Today, i will begin with the various popular drums emanting from the Ewe tribe of Ghana.

The Ewe tribe are from South East Ghana. (Volta Region). The different families of drums are named after their dances.
The dances are divided into two, the Southern Ewe: Agbadza, Gahu, Kinka, Atsiagbekor;
Southern Ewe drums: Atsimevu, Sogo, Gbogba, Kidi, Kroboto and Kagan.


And the Northern Ewe: Gbolo and Boborbor.
Northern Ewe plays the rhythms: Gbolo and Boborbor with the drums: Vuga, Vuvi and Assivui.

The joy on achieving Independence in Ghana was expressed in various ways by the entire populace of the coountry. This "new life" envisaged, resulted in the emergence of several new musical types. These new creations relating to the "freedom" to be enjoyed through the independence have roots in the popular Ghanaian Highlife.

Boborbor is one of such musical creations of the period 1947-1957. Also known as Abeyeye or Akpese; Boborbor originated from Kpando in the Volta Region of Ghana through the ingenuity of the late Francis Cudjoe Nuatro popularly called F.C. Boborbor is presently the most popular social music and dance of the Central and Northern Ewes of Ghana and Togo. Itis generally performed at funerals and other social ocassions.

Boborbor music and dance ceremony is syncretic in character and it is performed principally in a circular formation.

Ewe Boborbor Set:

Lead Drums, 3x Vuga, Vuvi and Assivui Support Drums, 2x Kretsiwa(Pod Bells), 2x Kaye(Straw Rattle).

Just in case you need further information about purchasing any indigenous Ghanaian musical instrument, you can reach us on 


Email: integratedmusic@yahoo.com;
Tel: +233 244 833734;

Integrated Music Co. Ltd.
Box 7041,
Accra-North.
Ghana.

 

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Up close with ALEKO

aleko

Aleko is a budding new talent that hails from New Jersey. His gorgeous knack for writing enchanting and heartfelt music, brings an eclectic brand of folk to the world. Aleko's debut album, "Amity," is the perfect introduction to the singer-songwriter, who proves that his music is timeless, right from the very beginning. Today we speak with Aleko on the making of his debut, and songwriting. Read below!

Aleko via Bandcamp: http://aleko.bandcamp.com/


Tell us about the making of "Amity" and the concept behind it? 

 
I started this project about six months ago and the moment I had gone in to record “Let You Down” marked the first step towards “Amity’s” creation. Every song I’d written in those initial six months had either been devoted to my debut E.P, or for more work towards a full album. The concept of “Amity” and what drove me to create it was simply to let everything go that’s been on my mind for the past six months, and even as far back as the past three years for me. Although it’s only a five song EP, I wanted each song to individually display itself and carry the emotion and meaning behind them with clarity. I wanted to ensure anyone listening to “Hold on Me” or “Why am I”, for example, could relate in more ways than just simply talking can. 
 
What elements influence your songwriting? 
 
A lot of my lyrics are written in the heat of the moment, pouring my heart out based off of whatever subject matter comes to mind. Instrumentally, where most of my writing is on the guitar, I use a lot of finger-picking and percussive techniques to groove it all together. I love to put a lot of soul into my work, and just as much of it into my live performance. So, when it comes down to creating both the lyrics and the overall composition, I want my audience to feel every bit of it whether it’s from their speakers or from the stage.
 
If you could play any venue in the world, which venue would you choose and why? 
 
Even though it’s a colossal dream, the number one venue I would love to play in after having the right arrangements and setup for it would be Madison Square Garden. Growing up, and learning how to both play and write music, I’d always watched videos of artists performing there. Watching singer songwriters transform their acts into full-scale instrumental arrangements, that sound seamless, really inspired me the most. It’s dreaming of a lot, but I don’t see any point in wanting something if it’s not the very pinnacle of what I can achieve.
 
In this creative process, would you say you enjoy being in the studio, or performing live on stage more? 
 
Explain your reason. I love both, but as a whole I definitely prefer performing live on stage more than anything. The songs I write are meant to be performed, and performing is just the culmination of it all after having written enough songs to complete a full set. One huge benefit of performing is being able to see the true reactions people have towards your music, to your performance, and towards your entire being. How complete strangers will address you, praise you, and connect with you after a great performance. It just brings the intimacy of it all together, and really shows that all your work has a direction. What I love about being in the studio, to keep it short, is the ability to just create material and go crazy with ideas; plus, I love working with producers and keeping an open mind to learn new methods and ideas. 
 
What do you enjoy most about creating music in general? 
 
Good music is one of the very few things, at least that I’m aware of from experience, which has the power to give someone chills and overwhelm them at the very same time. I’ve been practicing, learning, and honing in on my abilities as an artist with one of many goals being to create music that makes people feel that way. It’s humbling to hear someone tell you that they felt something when they listened to your song, and it’s gratifying to know that it wasn’t something negative. I create my music for the performance, for an audience, and for the sake of bringing every bit of my thoughts and feelings out as soulful and powerfully as possible.


** Tell us about the making of "Amity" and the concept behind it? I started this project about six months ago and the moment I had gone in to record “Let You Down” marked the first step towards “Amity’s” creation. Every song I’d written in those initial six months had either been devoted to my debut E.P, or for more work towards a full album. The concept of “Amity” and what drove me to create it was simply to let everything go that’s been on my mind for the past six months, and even as far back as the past three years for me. Although it’s only a five song EP, I wanted each song to individually display itself and carry the emotion and meaning behind them with clarity. I wanted to ensure anyone listening to “Hold on Me” or “Why am I”, for example, could relate in more ways than just simply talking can. ** What elements influence your songwriting? A lot of my lyrics are written in the heat of the moment, pouring my heart out based off of whatever subject matter comes to mind. Instrumentally, where most of my writing is on the guitar, I use a lot of fingerpicking and percussive techniques to groove it all together. I love to put a lot of soul into my work, and just as much of it into my live performance. So, when it comes down to creating both the lyrics and the overall composition, I want my audience to feel every bit of it whether it’s from their speakers or from the stage. ** If you could play any venue in the world, which venue would you choose and why? Even though it’s a colossal dream, the number one venue I would love to play in after having the right arrangements and setup for it would be Madison Square Garden. Growing up, and learning how to both play and write music, I’d always watched videos of artists performing there. Watching singer songwriters transform their acts into full-scale instrumental arrangements, that sound seamless, really inspired me the most. It’s dreaming of a lot, but I don’t see any point in wanting something if it’s not the very pinnacle of what I can achieve. ** In this creative process, would you say you enjoy being in the studio, or performing live on stage more? Explain your reason. I love both, but as a whole I definitely prefer performing live on stage more than anything. The songs I write are meant to be performed, and performing is just the culmination of it all after having written enough songs to complete a full set. One huge benefit of performing is being able to see the true reactions people have towards your music, to your performance, and towards your entire being. How complete strangers will address you, praise you, and connect with you after a great performance. It just brings the intimacy of it all together, and really shows that all your work has a direction. What I love about being in the studio, to keep it short, is the ability to just create material and go crazy with ideas; plus, I love working with producers and keeping an open mind to learn new methods and ideas. ** What do you enjoy most about creating music in general? Good music is one of the very few things, at least that I’m aware of from experience, which has the power to give someone chills and overwhelm them at the very same time. I’ve been practicing, learning, and honing in on my abilities as an artist with one of many goals being to create music that makes people feel that way. It’s humbling to hear someone tell you that they felt something when they listened to your song, and it’s gratifying to know that it wasn’t something negative. I create my music for the performance, for an audience, and for the sake of bringing every bit of my thoughts and feelings out as soulful and powerfully as possible.

 

 

 

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58th Grammy thank you FYC!

Africa album made it to 1st round of Grammy ballots for Best World Music Album category and ''Mázui (voices)'' Best Arrangement, Instruments and Vocal. Thank you For Your Consideration!

 

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Interview Piece: Mooji Reveals his Alter Musical Ego

Mooji is a brilliant talent that we had featured a little while back, regarding his new single "Medley," off of his new record "Double Agent." Based in Spain, Mooji started his roots out as Kramnik, a real respected and highly sought after DJ. Deciding to bring a musical twist to the table, his new music is a complete 360. I had the chance to speak with Mooji regarding his flavorful sound of acid-jazz, dub, funk, down-temp and blues, that is ready to take over the world.

Welcome, Mooji.

Tell us about the making of "Double Agent" and the concept behind it? 

For the most part, 'Double Agent' came to life in Berlin, but also during my travels to Morocco, Vietnam, Cambodia, and Thailand. I moved to Berlin after releasing 'Dark Matters' (under the Kramnik name), because I wanted to approach this album with a different mindset. The idea was to try a completely different style of music, more chilled, and definitely more organic. I knew I didn't want to make another electronic album because I had just finished one (with a lot of effort...). I was just looking for a different type of challenge this time, but had no idea where I was going. I did want some improvisation, though, so for this album I hired some studio musicians to play the guitar, trumpet solos, harmonicas, etc. I also play the drums on most of the tracks in the album.

What elements influence your songwriting?

At the time I was listening to a lot of acid-jazz and downtempo, so I think that was a big influence. But you also have some dubby stuff in there (Medley), a soundtrack (Psilo Symphony), something electro (Dont), and even a blues remix. I came across a 1935 song by Leadbelly during my time in Cambodia, and I thought it would be a good candidate for a remix (called How Long in the album). In this album I also introduce spoken voices, by people like John Lee Hooker, Lee 'Scrath' Perry, or Muddy Waters. Just spoken voices, though, not signing. I like the effect it has on the music.
 
If you could play any venue in the world, which venue would you choose and why?
 
Probably Albert Hall because it means you pretty much made it. And also because it's a venue that represents quality music. But this album is very chilled and has no band behind it, so I still have to figure out how to perform it...
 
What is the meaning behind “Medley”? How did you create the track? What was it’s inspiration?
 
I wrote Medley in Berlin, and it's my first attempt at something dubby (or anywhere near that genre, really!). The name comes from some bagpipes I warped for the track, which is actually two songs joined together. I thought featuring Lee Perry would add a nice Jamaican touch, so he talks about the responsibility of leading other musicians during his college years. I hope to come back to this genre in the future, which in the studio we jokingly called HumStep, ​ because I 'hum' towards the end​ of the track (LOL...).
 
In this creative process, would you say you enjoy being in the studio, or performing live on stage more? Explain your reason. 
 
'Double Agent' hasn't been performed yet, because of the challenge in going live with such a chilled album, so for now I'll go for the studio. That's where all the magic takes place, and where you create a special bond with the music. For me it's a very scientific approach of trial and error, where sometimes the errors have the best results
 
What do you enjoy most about creating music in general?
 
For me making music is like a pilgrimage. It's more about the process than the finished song. And when it's finished, I normally don't like to hear it again because I want to change everything... So making music is like breaking a relationship. You develop a very strong bond with the song, and then it's very hard to let go. 
 
What made you decide to switch from a producer and DJ background to one focused on jazz, blues and funk?
 
Growing up I had the dream of making an album-mix, but I think this was a bit too challenging for a debut album... Making 'Dark Matters' with no production skills was not very easy, to say the least (which I released as Kramnik). I just had to learn as I went along, even though some of the early songs ended up later in the tracklist. But because 'Dark Matters' was designed as a mix, the tracks were made for DJs (as opposed to the general public). Plus it was very dark and experimental. So this time, instead of another electronic album, I wanted to make something beyond the dancefloor, something that could be shared with friends. The result is a more chilled, listening album, but touching on different genres. So chilled, in fact, that I've had to release it under a brand new name (Mooji). I was looking for shorter, more organic songs, but also with live instruments (including me on drums). I also introduce human voices in this album, which was lacking in 'Dark Matters'.
 

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Doinique Hourani and Paris Hilton in BulgariaLebanese singer  Dominique Hourani  globetrotted her way to Europe for a lil’ mix of work and play. She inaugurated her country hopping tour with the 'Formula One' race in Italy. After watching the world’s hottest (in all meanings of the term) racers rush to the finish line, she continued on her journey to Cannes to change things up from cars to boats and yachts at an exhibition.

Dominique also got Papal with a visit to the Vatican, and took a living history lesson by touring the Roman ruins.

While she might be one of the most intriguing divas from the Middle East, Dominique made sure she met up with her American counterpart.

According to Laha Magazine, Dominique's trip also included a visit to Bulgaria where she met up with Paris Hilton. The two celebs made sure to have picture proof of their time together abroad.

Throwing a little work in to the pot, Dominique made time to hit up recording studios in Milan and looked over a number of new songs to throw into her next album.

The only downside to her VIP European adventure was getting robbed during her stay in Cannes. Her handbag and all her legal documents was stolen at one of the stores. Yikes!

Original article: http://www.albawaba.com/entertainment/dominique-hourani-paris-hilton-522080

Dominique's Profile on EthnoCloud: http://ethnocloud.com/Dominique_Hourani

 

 

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Up Close and Personal with Bluesy Rockers, YEAR OF OCTOBER
Year of October have been breaking new ground in Nashville with the latest record, "Golden Days." They're a little bit country...and a little bit of rock n' roll, mixed in with a whole lot of the blues. Started by husband-wife duo Phlecia (vocals) and Josh Sullivan (guitar / bass), the group take on the world with the help of drummer Greg Diamanti. Straight from the heart, the group provide a soulful and powerful sound that surely makes Nashville proud. Josh Sullivan speaks with us today about Year of October, which is an interesting read you will find below.
 
 
What is the meaning behind the name Year of October?
 
It was just me and Phlecia playing acoustic when we started.  We were writing folk songs and it felt like the kind of stuff you would play around a campfire.  October is a great month to have a campfire, and Phlecia came up with the idea that it was like our music kind of took that feeling and made it year round. We had come up with so many different names and none of them seemed to fit until Year of October. We don’t have that same sound we had at the beginning, but the name had already stuck.  
 
Tell us about the making of "Golden Days" the concept behind it?
 
We wrote the songs over a two year period after the release of our first record "Stories" in 2012.  The actual recording of "Golden Days" started in December of 2013 and finished in May of 2014. Some of the songs weren't fully developed when we started recording but they really took shape during the recording process.  It was a different record to make for us because we had Greg playing drums full-time and it was great to have his input on songs.  We were able to really take our time and feel out certain sections of the music and also get the takes that we wanted. 
 
We really wanted to make something that we would want to listen to.  Each song is unique but we wanted them to have a unified feel. I think we achieved that and the record tells a lot of different stories. These stories pull the listener in many directions and there is quite a bit to chew on lyrically.  One of my favorite stories on the record is with a song that we often close with, "You Were Mine."  It's a western about a woman who wakes up to find that her husband never came home the night before.  She knows where he is and who's he's with and the story continues with her getting her gun and riding into town to confront him.  I won't spoil the ending but I will say that it's explosive. We really worked hard on that song to get the music to fit with the tone of the lyrics. 
 
You seemingly crossover genres within the new record. Blues, rock, a little soul. How did this come about?
 
When we write songs we really don't think about what genre we are writing in.  We just write what we feel and blending all these different styles is what comes out. We all like different kinds of music and listen to a lot of different stuff and that really comes out in what we play.  I think it's important to listen to all kinds of music and expose yourself to things that you wouldn't normally check out.  We are also influenced by other mediums than music as we are influenced by books and films. 
 
 
If you could play any venue in the world, which venue would you choose?
 
I would have to say that Red Rocks in Colorado, would be a great place to play.  I've been there a few years back but just got to take a tour of it. It would be incredible to get to play there. 
 
In this creative process, would you say you enjoy being in the studio, or performing live on stage more? 
 
That is a very tough question because I really enjoy doing both. I would say that I probably prefer the studio. It's more frustrating for sure and can definitely be a grind, but when things go right in the studio it's the best feeling.  I love the endless possibilities in and every song is a new adventure.  Sometimes that adventure doesn't go where you originally intended but that's part of the magic of it.  "Golden Days" was originally going to be 10 songs but we worked up our single "Gone" in the studio last minute.  It's exciting when things like that come about.  
 
What do you enjoy most about creating music in general?
 
I love the process of creating songs.  It's one of most frustrating, and yet at the same time, glorious experiences.  You can spend days hammering out parts on guitar trying to figure out a chorus, or a new part of to a song, when all of sudden the right part hits you. It's a wonderful feeling and I really enjoy the trudge and grind of working on a new song.  Some songs take just minutes to write, while other ones take days, weeks, or even months.  It's funny, our shortest and most simple song on the record, "Spell On Me," took the longest to write.  It took us about 6 months to figure out what was "right" for that song.  We figured out it needed to just stay simple, and I think that it works best for that song.  One of our more complicated songs, "Winter," only took about an hour.  Writing music is a very humbling and gratifying experience and I love it.  
 

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Ancient Future Times

April 2015 Issue:

The Ancient Future
•When Matt Met Mindy

Ancient Future Reunion Concert
•First Performance by the Original Line-Up This Century!

Enhanced 'Visions of a Peaceful Planet' 
•2015 Reunion Concert Edition With Long-Lost 1978 Video

Ancient Future Pacific Northwest Tour
•Featuring World Guitar Pioneer Matthew Montfort and Tabla Virtuoso Vishal Nagar with Special Guest Seven-String Fretless Bassist Jason Everett

Acoustic Guitar Summit
•Featuring Teja Gerken, Tim Sparks, and Matthew Montfort


THE ANCIENT FUTURE
When Matt Met Mindy

By Mindia Devi Klein

Picture of First Ancient Future Line Up

Ancient Future Circa 1979. Shown: Benjy Wertheimer, Phil Fong, Mindia Devi Klein, Matthew Montfort

When Matt, a serious guitarist, met Mindy, a jazz flutist, it was a very windy sunny day. Both had come to Muir Beach, a famous (back-in-the-day) Marin County nude beach, to meet up with a mutual friend (a friend whose father coincidentally happened to be Sam Keen, an icon of the very influential human potential movement of the times). Of course this was before the Ancient Future (and) before Mindy had become Mindia. Read the full story.

Mindia Devi Klein

Mindia Devi Klein is a musician-composer-educator and writer who, like Matthew Montfort, often prefers to refer to herself in the third person when writing about the music she creates.


Ancient Future Reunion Concert
First Performance by the Original Line-Up This Century!

Ancient Future Circa 1981 with Mindia Devi Klein, Benjy Wertheimer, and Matthew Montfort

Ancient Future Circa 1981. Shown: Mindia Devi Klein, Benjy Wertheimer, Matthew Montfort

Sunday, April 19, 7:30 PM
Throckmorton Theatre

142 Throckmorton Avenue
Mill Valley, CA 94941
Doors open at 7 PM
Tix: $20 adv, $25 at door, $35 reserved seating. Advance tix at http://tinyurl.com/ou8aeez
Info: 415-383-9600
Facebook Event (please invite your friends!)
Press Release
Poster


Enhanced 'Visions of a Peaceful Planet'
2015 Reunion Concert Edition with Long-Lost 1978 Video

Visions of a Peaceful Planet LP Cover Art

Visions of a Peaceful Planet by Ancient Future (Ancient-Future.Com AF 2004) Audio/Video E-CD-R: $19.98 list. StreamBuy E-CD Now.

Marin IJ Press Play: Ancient Future's 'Peaceful Planet' reissue contains a long-lost video

"This reissue of Ancient Future's 1979 debut album, "Visions of a Peaceful Planet," contains a recently unearthed gem from Marin's musical history — a long-lost first video of the pioneering world fusion music band shot in late 1978 at College of Marin.

"The multi-camera shoot features then young Ali Akbar College students Matthew Montfort, guitar; Mindia Devi Klein, flutes; Benjy Wertheimer, tabla; Phil Fong, sarod; Yusef Ali, rebab, harp, percussion; and Kathak dancer Shoshona Frisch, a student of Chitresh Das, performing a couple of original compositions.

"Snippets of this buried treasure have been shown occasionally on Marin community television. But no one had been able to find the master. That is until Jonah Nickolds and Mariposa de Los Angeles of Marin Artists International heard that members of the original Ancient Future will be reuniting for a 7:30 p.m. concert on April 19 at the 142 Throckmorton Theatre in Mill Valley. That inspired them to dig deeper into the hard drives at the Community Media Center of Marin.

"Their archeological effort paid off with the discovery of this rare footage. Of surprising quality, it provides a fascinating look back at the early influence the late Ali Akbar Khan of San Rafael had on young musicians, teaching them the intricacies of North Indian classical music.

"In this video, shot months before Ancient Future's 1979 debut concert at the original Sleeping Lady Cafe in Fairfax, you can see how Khan's Marin County disciples took his training and exotic music and created something new and fresh of their own from it. Today, Ancient Future bills itself as the first and longest running band dedicated exclusively to world fusion." - Paul Liberatore, Press Play, MARIN INDEPENDENT JOURNAL, 4/10/15

Short Clip from Recently Unearthed Gem

Original Ancient Future Video on Facebook

Please share this short video teaser of Ancient Future Circa 1978. Shown: Matthew Montfort, Yusef Ali, Mindia Devi Klein, Phil Fong, Benjy Wertheimer


Ancient Future Pacific Northwest Concert Tour
Featuring World Guitar Pioneer Matthew Montfort and Tabla Virtuoso Vishal Nagar
With Special Guest Seven-String Fretless Bassist Jason Everett

Photo of Matthew Montfort and Vishal Nagar

Tour Press Release
Tour Poster

Tuesday, April 28, 2015, 7:30 PM
The Royal Room

5000 Rainier Ave S
Seattle, WA 98118
Tix: $15 adv/$18 door. Advance tix at strangertickets.com/events/23464505
Info: Call 206-906-9920, email tristan@theroyalroomseattle.com, or visit theroyalroomseattle.com
Facebook Event (please invite your friends!)

Wednesday, April 29, 2015, 8 PM
Vashon Theatre
17723 Vashon Highway SW
Vashon, WA 98070
Tix: $15 adv/$18 door. Advance tix at ancientfuturevashon.brownpapertickets.com
Info: Call 206-229-8491 or email jason@misterEmachine.com
Facebook Event (please invite your friends!)

Thursday, April 30, 2015, 7:30 PM
The Conway Muse
18444 Spruce St.
Conway, WA 98238
Sponsored by the Rick Epting Foundation for the Arts
Tix: $15 adv/$18 door. Advance tix at brownpapertickets.com/event/1311376 
Info: Call 360-445-3000, email elfa@conwaymuse.com or visit conwaymuse.com
Facebook Event (please invite your friends!)

Saturday, May 2, 2015, 5:30 - 7:00 PM
Moscow Renaissance Fair
Main Stage
East City Park, Third and Monroe Streets
Moscow, ID 83843
Tix: Free admission.
Info: Visit moscowrenfair.org
Facebook

Tour Announcement Video

Video of Yearning for the Wind by Ancient Future

Please share this video about Ancient Future's Pacific Northwest Tour. Shown: Matthew Montfort, Vishal Nagar, Jason Everett


Acoustic Guitar Summit
Featuring Teja Gerken, Tim Sparks, and Matthew Montfort

Thursday, May 7, 8 PM
Throckmorton Theatre
142 Throckmorton Avenue
Mill Valley, CA 94941
Tix: $18 advance/$22 door/$30 reserved seating. Advance tix at http://tinyurl.com/mxzywve
Info: 415-383-9600
Facebook Event (please invite your friends!)

With styles ranging from world fusion to folk, jazz, and classical, Teja Gerken's Acoustic Guitar Summit is certain to be a joyous tour de force of solo and ensemble performances and a Bay Area guitar concert highlight of the year.


 

 

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Mezmerizing Chill Lounge Track Distorted Time Feat. EMILIA LOPEZ-YANEZ from SAN DIEGO Mind Blowing Chill Lounge Track Distorted Time Feat. EMILIA LOPEZ-YANEZ from SAN DIEGO
 
Mind Blowing Chill Lounge Track Distorted Time Feat. EMILIA LOPEZ-YANEZ from SAN DIEGO

PRE ORDER NOW $1.29 for 4 MAXI SINGLE TRACKS!

We live in a world where humans strive to accomplish more and more tasks in a shorter amount of time.  Sometimes it just feels like time is “flying by.” Albert Einstein explored this, and theorized that the world around us is actually speeding up gradually. Side effects of this stretching and bending of time cause many of the issues we face in our day-to-day lives.  Distorted Time is a musical reflection of this process. 

The song infuses world instruments from Turkey, Persia, and India and combines standard, jazz, pentatonic, and non-standard semi-tone scales.  Our hope is that this 3- minute track will bring you back to your roots, cause you to pause and take a deep breath, and help you to shine your light on all that is real and true within yourself. We hope you enjoy this track and thank you for supporting our project!

Expected release: February 11, 2017

Art Tawanghar’s latest musical gem grew out of his collaboration with composer Ruth Weber.  The two wanted to create a never-been-done before duet for the Oboe and Duduk.  Tawanghar “distorted “ the original four-four meter of Weber’s beautiful classical melody and melded in elements of jazz and middle-eastern music to create this wonderful hybrid.  The warm romantic tones played by oboist Emilia Lopez-Yañez are sure to weave their way into your heart. Art's Official Soundcloud Page

EMILIA LOPEZ-YANEZ

She is an up-and-coming artist already sharing her music on the international stage.  After graduating with a degree in Oboe and Voice from Chapman University, she performs on both instruments at concerts and festivals while completing her Masters degree in music at USC.  Emilia's Official Website

RUTH WEBER

Received her Bachelor of Music degree from San Diego State University and her Masters of Music degree from California State University Northridge. She has performed internationally as a pianist/accompanist, as well as with the Los Angeles Philharmonic Institute, Opera Aguascalientes, The San Fernando Valley Men’s Choir and as a recording artist on the Music-Minus- One CD’s put out by the Marantz Piano-Corder company. Ruth’s songs have won many prestigious competitions including the New York Pro/Am Songwriting Festival, The Music City Music Festival, The John Lennon Songwriting Competition, The Shalshelet Music Festival, The Global Music Awards, and The Akademia Music Awards, to name a few. Ms. Weber is the director of the award-winning San Diego Jewish Men’s Choir, and is on the music faculty of Palomar and Miramar Community Colleges in San Diego, CA.
Ruth's Official Website

PRE ORDER NOW $1.29 for 4 MAXI SINGLE TRACKS!

Listen for FREE on SOUNDCLOUD

Genres:
Chill, Lounge, New Age, Classical Crossover,  Jazz Fusion 
Sub Genre's: 
Contemporary Instrumental, Indie 
Instrumentation: 
Oboe, Duduk, Vocals, Soprano, Drums, Loops, Strings, Synths, Cello 
Rhythm and Tempo
90BPM
Additional Descriptors: 
Laid Back, Dark, Middle Eastern, Romantic, Relaxing, Mysterious, Easy, Flavorful, Cool, Hip, lounge, Sensual.
Oboe, Romantic Music, Jazz oboe, Duduk, Jazz Fusion, Classical Fusion, Valentine's Day music, Soaring Vocals, Angelic Vocals, 
Oboe and Duduk Duet, chill, lounge, middle-eastern,  middle-eastern fusion, instrumental, instrumental music, Emilia Lopez-Yañez, Ruth Weber, Ruth Hertz Weber, Emilia, easy listening, jazz alternative, Art Tawanghar

Copyright ® 2016 Majorhitrecords.com • Email:  contact@majorhitrecords.com • Phone: 858.717.0799
Po Box 27803 • San Diego • CA 92191

 

 

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Getting to Know San Francisco\'s Sit Kitty Sit
Sit Kitty Sit crosses rock and pop, with piano laden elements, creating a vibrancy and burst of light in the San Francisco scene. The duo of Kat Downs Gaudette and Mike Thompson provide a strong and powerful sound that is energetic and endearing. Their latest record, "Everlasting Fire," has been a steady favorite of mine. With Kat's gorgeous and in-your-face vocals and piano skills, she works in perfect unison with Mike's heavy-hitting yet intricate drumming. Kat and Mike speak with us today about Sit Kitty Sit, which is an interesting read you will find below.

 

What is the meaning behind the name Sit Kitty Sit?

 
Kat- The name is actually making fun of me.  The way I bounce around in my chair when I play, legs and hair flying everywhere.  My friend saw me and said “Sit, Kitty! Sit!  Good Kitty!”  And the name was born.
 
Tell us about the making of "Everlasting Fire" the concept behind it?
 
Kat- Everlasting Fire tells the story of Dante’s Inferno.  The songs follow Dante through each level of hell and depict what he experienced there.  This was an incredibly fun project to work on. I wrote full scores for a few of the songs, and incorporated instrumentation away from the standard piano and drums.  We got to do a lot of research and stretch way outside the normal boundaries of a rock album.  For instance, the song "The Abyss” only uses found household type items for all of the percussion.  No actual drums were used.
 
You seemingly crossover genres within the new record. How did this come about?
 
Kat-  Instead of forcing the story to fit inside of a specific genre we decided the story should choose what best represents it.  So, Lust is a tango, Anger is a blues tune  and Greed is an “organ” that is actually composed of four flutes and four voices.   The subject matter really let my imagination go wild when it came to the compositions and lyrics.  
 
Mike-  Right.  We tried to write in different styles to match the different circles of hell, so you'll hear everything from jazz, blues, pop, ethereal & even metal. 
 
If you could play any venue in the world, which venue would you choose?
 
Kat-  The Greek Theatre on the UC Berkeley campus.  
 
Mike-  Hmm, that's a good one.  The Greek is amazing.  Madison Square Garden comes to mind pretty quickly.
 
In this creative process, would you say you enjoy being in the studio, or performing live on stage more? Explain your reason.
 
Kat-  I always prefer performing live on stage over recording.  To me songs are never more alive than they are on stage.   All you have is that present moment, one shot, and there’s something about that energy that breathes extra life into that song at that moment.  And I’m not playing the song, the song is playing me.  It’s like nothing else on earth.  Studio recording is a balance between playing perfectly and capturing the energy that correctly represents the song.   And that means you might need to play that song 5 times in a row to catch it.  Live versus studio are two completely different creatures.  
 
Mike-  Couldn't have said it better myself ;)
 
What do you enjoy most about creating music in general?
 
Kat-  Music encompasses many different art forms to me, which is why I love it so much. Music tells stories, paints pictures in my head, forms shapes and has personality.  I love that sound can make me hyper or calm or make me cry or laugh. Getting on stage and feeling Mike’s kick drum in my chest and the vibration of the piano up through my hands is just about the happiest place on earth for me.  I have a big grin on my face just thinking about it. 
 
Mike-  Agreed.  I feel making music is really our way of contributing something positive to the world.  When I see people getting as high as we do off of what we create it's just about the best feeling on the planet. 
 

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“Tidak Hanya Hyena, Bayawak Pun Kami Punya!”

Bagi band ini, kreatifitas adalah tujuan sekaligus perjalanan, ujungnya entah ada di mana.

Kota Bandung melahirkan sebuah unit pedestrian music dengan komposisi instrumen unik: guitalele dan gitar elektrik memainkan pola kotekan Bali, biola dan bangsingSunda memerankan skala nada gamelan, upright-bass dan cajon memberi nuansa akustik-folk yang kental, sedangkan vokalnya bernuansa musik Indonesia akhir era 90-an. Kombinasi bebunyian itupun mereka namai ‘sounds of Parahyena’. Band akustik ini juga seringkali menyelipkan sesi tatarucingan dan humor jahil di setiap panggungnya. Bahkan tidak jarang sang vokalis tiba-tiba mengajak penonton ‘berdoa’ bersama, untuk kemudian ‘dibohongi’ dengan berkata bahwa minggu depan sang penabuh cajon akan menikah. Cucuran canda tawa pun seakan menjadi ciri khas area panggung Parahyena.

Siapakah Parahyena? Line-up mereka berisi Sendy Novian (main vocal, guitalele), Radi Tajul Arifin (lead guitar, backing vocal), Saipul Anwar (upright-bass), Cep Iman (violin), Fajar Aditya (cajon), dan Fariz Alwan (bangsing). Mereka semua berasal dari kampus Institut Seni Budaya Indonesia (ISBI) Bandung. Berdiri sejak 11 Juli 2014 silam, Parahyena mengantongi sebuah petuah berbunyi “seni berpetualang, berpetualang seni” – meminjam jargon milik UKM pecinta alam Arga Wilis, yang menjadi basecamp mereka. “Yang bisa naik gunung belum tentu bisa naik panggung, yang bisa naik panggung belum tentu bisa naik gunung. Beruntungnya, Parahyena sudah bisa menunaikan keduanya,” canda Sendy memulai celoteh sore itu.

Karya dari beberapa band seperti AulagaFolk dan The Cake adalah inspirasi musik mereka, di samping minat terhadap karya musisi/band Indonesia seperti Sweaty Family, Netral, Bing Slamet, R. Azmi, Gamelan, dan Mr. Sonjaya. Sejak setahun berdiri, sudah ada 2 single yang Parahyenabagi kepada kita semua, "Penari" dan "Ayakan", yang tersedia di situs www.parahyena.jimdo.com. Dan masih ada 11 lagu baru yang sudah mereka siapkan untuk full-album perdana untuk rilis akhir 2015.

Dahulu band ini sempat bernama Cucu And The Tangkal Nangka, sebelum akhirnya nama Parahyena dipilih karena dianggap cocok mewakili warna-warni selera musik masing-masing personilnya. Filosofi nama ini diadopsi dari karakter hewan hyena yangpunya kebiasaan memakan bangkai bekas santapan sekelompok singa di sebuah savannah. Kemauan untuk memberdayakan hal-hal yang dianggap sudah ‘basi’ inilah, yang menjadi salah satu kekuatan Parahyena untuk terus hidup.

“Dalam musik dan kesenian, ada sisi-sisi yang menurut trend modern sudah basi, namun bagi Parahyena hal-hal itu justru menjadi aset tersendiri untuk inspirasi berkarya,” beber gitaris Radi Tajul seraya bercerita tentang lagu ‘Ayakan’. Lirik pada single kedua ini berisi sisindiran dan paparikan, sebuah seni sastra Sunda, yang berkolaborasi dengan Dimas Wijaksana, vokalis band Mr. Sonjaya.

Single pertama mereka, “Penari”, bercerita tentang daya tarik visual seniman tari yang menyuguhkan alunan gerak, kerlingan mata, dan lentik jemari. Pada lagu lain Parahyena, pattern musik tradisi sengaja mereka transpose sedemikian rupa ke dalam pola instrumen modern. “Sehingga bagi Parahyena, keberadaan seni musik tradisi justru menambah fleksibilitas naskah musikalitas kami, walau musik Parahyena tidak pure berwarna tradisional,” Radi menambahkan.

Bagi Fajar Aditya, mengadopsi unsur musik tradisi ke dalam konsep modern sama sekali tidak mengurangi kenyamanan dari bermusik itu sendiri. “Rasa nyaman dalam bermain musik tidak akan berbeda karena musik yang dimainkan itu modern atau tradisi. Justru nilai plusnya adalah adanya rasa bangga. Untuk saya pribadi, musik Parahyena tidak hanya untuk dimainkan dan dinikmati, tapi menjadi sarana menambah pengetahuan baru,” ujar alumnus Jurusan Film & Televisi satu ini.

Uniknya, Parahyena membuktikan bahwa terlibatnya unsur musik tradisi, tidak lantas membuat musik terdengar ribet, dan tetap jadi komposisi lagu sederhana. “Bagi banyak kalangan, konsep kolaborasi musik etnik dan modern biasanya harus dilakoni lewat big-band. Maka, kami mencoba dengan format band yang skalanya lebih sederhana. Dan ternyata sejauh ini kami bisa. Karena yang terpenting adalah menjaga konsep harmonisasi lagu, agar musiknya tidak terdengar ‘reunceum atau ‘giung’,” ujar Sendy perihal tantangan inovatif yang Parahyena tengah hadapi.

Sambil menyelesaikan proses garapan album perdana, Parahyena juga sedang menjalankan sebuah program unik, yaitu "Tur Pedesaan" di Kecamatan Rancakendal, Rancaekek, Kabupaten Bandung. Rencananya akan dilaksanakan pada 25 Agustus hingga September 2015. “Kami punya impian besar untuk mampu tur provinsi atau bahkan tur nasional. Sebelum ke arah sana, alangkah baiknya kami mencoba dulu dari hal kecil yang sederhana seperti ini. Karena kami juga bertujuan memperkenalkan musik Parahyena ke lingkup masyarakat pedalaman yang masih perlu banyak edukasi,” beber Radi.

Sendy juga menambahkan bahwa Parahyena punya plan untuk "Canteen to Canteen Tour" di kampus-kampus se-Kota Bandung. “Konsepnya adalah latihan ngampar yang dikemas ala pengamen pedestrian. Sepertinya hal ini masih sangat jarang ada di Bandung,” tutur vokalis kribo satu ini.

Kreatifitas, produktifitas, dan eksistensi yang diiringi kesederhanaan juga sikap humble, menyebabkan pendengar Parahyena merasa punya kedekatan tersendiri. Di usia 1 tahun, Parahyena sudah punya fans-club bernama Parahyedirin. Didirkan oleh anak-anak jurusan film, untuk merespon dan memberitakan aktivitas Parahyena via media sosial. Walaupun masih berjumlahnya puluhan orang, excitement Parahyedirin ternyata sukses ‘membelah diri’ dengan melahirkan kubu fans club kedua, yakni Parabayawak: sebuah band parodi yang manggung membawakan lagu-lagu Parahyena. Para personil Parabayawak sengaja berdandan dan beraksi meniru personil asli Parahyena.

Sesi akhir wawancara berisi sebuah pertanyaan penutup: di hari tua nanti, nama Parahyena akan mereka abadikan sebagai nama apa? Fajar pun menjawab akan mengabadikan nama Parahyena sebagai nama 4 buah gang di daerah rumahnya. Sendy ingin mendirikan Rumah Makan Parahyena, sedangkan Radi malah bernazar bahwa suatu saat akan menjadikan Parahyena sebagai brand badan usaha yang bergerak di bidang katering, paket hewan ternak, dan sewa sound-system. “Supaya kalau nanti ada event, mulai dari sound, konsumsi, sampai guest-star, semuanya dari PT. Parahyena”, celetuk Radi sambil diiringi gelak tawa semua personil.

 

Written By : BOBBIE RENDRA

 

 

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Taking Over the World with RESH

RESH is the brainchild of the multi-talented Marco Palou. Upon first hearing RESH, most notably his new video and single of "Boys Cry More," you will be mesmorized. His brilliant musicianship that is mixed alongside his unique singing voice and intricate dance moves, puts RESH on the map for one to watch out for in 2016. Not only is he an accomplished musician and dancer, but RESH is also an acclaimed actor, artist and producer. The noteworthy new artist sat down with Ethnocloud for an exclusive interview, which is a great read, below:

 

What was it like growing up in Argentina?

Well… I grew up in a tiny city in the very north of Argentina. It was very alienating really. I never felt like I was a part of anything that was going on there, I was never able to connect not even with most of my family. Go I guess I was always longing for the perfect place to live in.
 
Growing up I didn’t have very happy surroundings, but somehow I managed to be a happy child. I think that sort of came within me if that makes sense. 
 
 
How did you discover your musical roots? What artists helped shape your sound and style?
 
I don’t know when, but some time in my early days I became very addicted to doing things. I didn’t like being at home at all, so I found every activity I could think of. Sports, chess, painting, acting, singing, dancing, english, german, french… just to name a few. I had an obsession with being the best and was very competitive. Music was always there since I can remember… I started with dancing. My grandma says that I used to look like some sort of an electrified worm moving around with no joints or bones whatsoever. That image stayed in my head.
 
Growing up I mainly listened to classical music. POP music also became very strong early on in my life. I loved Janis Joplin, Elvis, Kurt Cobain, Freddy… 
 
 
Tell us about the making of "Boys Cry More" video and the concept behind it?
 
Sure. I've had this idea running around in my head for a very long time. I never bought into the whole man-woman role-play bullshit. That division was never right for me, but at the same time it’s all I knew, you know… a man is supposed to keep his emotions in, support the family and so on and a woman is supposed to do this and behave like that. It never made sense to me. I wrote a bunch of poetry about all this and then one day walking from the train station to my piano lesson in Brooklyn, the chorus just came to me and I recorded it with my iPhone. Then, that same night I just sat on my keyboard and wrote the song. After that, I tried producing it with a few different people until I met Brian Forbes and we finished it. 
I wrote the treatment and met with Erica Rose who was the first director I had in mind for the video. We started talking about it for a while and adding things to it. Then my Choreographer Debbie Roshe came on board and she brought a hell lot of greatness into the table. It took us a while to create the choreography because we really wanted to understand each other’s styles and have just the right moves for the music. It was a combination between things that she had brought in and some moves that I found by improvising in the studio. After that, we auditioned the dancers and kept on bringing people into the team. 
 
I am a huge fan of “Chameleon” and Debbie knew Chloe Lowery who happened to be in town and wanted to do it, so that was it! She was just what I had in mind for the part and she was in. We shot for two days in Brooklyn. I was lucky to have such an amazing team. 
 
 
What elements influence your songwriting?
 
Whatever inspires me at the moment. Everything that happens in my life. Usually things that I feel that need to be brought up. I consider myself also an activist, so I gravitate towards songs with a very strong message. 
 
What is the overall inspiration behind your debut album?
 
I wrote these songs thinking of a different person for each one of them. These people were my pillars last year. These songs in particular also share the same subtext which I prefer to leave to everyone’s interpretation. 
 
 
If you could play any venue in the world, which venue would you choose and why?
 
I don’t know. It could be me on the piano at a small venue in Paris or a full out show at MetLife. 
  
In this creative process, would you say you enjoy being in the studio, or performing live on stage more? Explain your reason.
 
Today, in the studio because I am working on many new songs that I’m very excited about, but usually I prefer the stage. Definitely the stage. I want to feel people’s energy and I want to give them mine. I love being on stage. 
 
 
What do you enjoy most about creating music in general?
 
The message I’m passing along. The people I meet and create with. I love meeting new people and making new friends. 
 
With talent in many other areas of the arts, including acting, art, dance, and even in the fashion world, which part do you enjoy the most about being an all around performer?
 
I think it’s the freedom of channeling whatever is right for each message, emotion or situation I want to materialize. I mean, it can be a painting, a song, a movie, a book, a character I’m playing, a dance piece… whatever. I hope I never limit myself. I don't think I could express well enough with just one outlet of creativity. 

 

 

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Ajay Mathur\'s Nothing Really Matters is Vulnerable and Inviting

Born in India and now residing in Switzerland, Ajay Mathur gives us something classic as well as unexpected. The traditional Indian elements tucked into a psychedelic/alt-rock package create a unique and inviting sound.  This blend is the perfect complement to his emotive vocals. 

The track Nothing Really Matters from his 2015 release 9 to 3 is a masterpiece of elegant darkness.  It has been nominated for a 2017 Grammy for Best Rock Song.  Accompanying the song is a beautiful video that is the result of a collaboration between Mathur and photographer Raffaella Bachmann. 

The black and white imagery of the video is a perfect match for Mathur’s aching vocals.  Mathur is reflecting on a long-term relationship that has fallen apart.  The heartbreak and confusion morph slowly into a numbness and a questioning of the point of existence if things cannot be as they once were.  This is a very personal catharsis but it is one many can relate to. 

 

Watch the video for Nothing Really Matters here:  https://www.youtube.com/watch?v=vAMkQNsZ8hQ

Stream the full album here:  https://soundcloud.com/9to3/sets/9to3

 

Image by Paul Pacitti (https://paulpacitti.com/)

 

 

 

 

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THE FLUDES Prove to be Enchanting in Exclusive Interview

Meet The Fludes; an enchanting group that is based mainly in the United Kingdom.  The creativity behind the band is something that is unusual and immediately enchanting. Their music is as haunting as it is gorgeous, with elements of storytelling that weave throughout. I was drawn to The Fludes quite quickly, as they have quite a tale behind their music. I had the opportunity to speak with the group about all of their musical endeavours, and what elements bring to life The Fludes.  

 

** What is the meaning behind the name The Fludes?

 

“The Fludes” are a family, husband, wife & son. All professional entertainers but this is our first project together. Flude is the family surname that we can trace directly back over 500 years and has been first identified in 12th century England. As the three immortals in our medieval stories we can relate back to this period in our Kingdom of Haddon.  “Haddon being a family christen name.

 

** Tell us about the making of the new single, "Rolling Fields;" the concept behind it?

 

Rolling Fields is from our first album “Ancient Tales”. This set of songs & narration chronicles the life of Dawn from a Knights Lady to Immortality in the Kingdom of Haddon.

As the story unfolds, her Knight leaves Haddon for war & to fight for the Warrior Queen and wage epic battle. Meanwhile, Magic, especially black magic should never be toiled with. A terrible curse had been placed upon the land, the witches spell true to her words, had taken grip. The Haddonites looked to the skies in horror, as their moon rose the colour of bloodfire.

Each of our lovers gazed upon this dreadful sight, the smell of death began to fill the air around them & now more than ever, they wished to be together once again.

So they perform a duet, although far away, “Take me back to the Rolling Fields where the grass is greener & the world is real”

Little do they know that what is to follow will force them to make momentous decisions:

Does our Knight desert his Queen & be branded a traitor after news that his family are dying? Does Lady Dawn loses Faith when the cursed plague comes to take her children?” “Oh God, your Choir is dying”(Rats & Ravens)

Rolling Fields will take you on a journey to the centre of your heart. “The stars above fell from the sky & the woods gave birth to fireflies”.

The story of “The Fludes” Lady Dawn, The Enchanter & Father, can be found with maps & ancient scrolls in the Kingdom of Haddon at www.thefludes.co.uk

 

** You seemingly quite an intricate storyline within your musical process and recordings. How did this come about?

Lady Dawn & Father began writing original material together 2 years ago, songs that told stories combining Dawn's beautiful voice with Fathers background in baroque orchestration. The Enchanter began producing the final mix and then tried adding electric guitar. The effect was stunning and medieval orchestral rock was born, folk music for the 21st. Century.  All this was created long distance as the band was split between England & Australia. So in 2014 it was decided to set aside 8 months to sit down, write & record “Ancient” Tales” The story of Lady Dawn.  This being the first in a trilogy of albums set in the Kingdom of Haddon.

 

** If you could play any venue in the world, which venue would you choose?

No doubt on this, The Royal Albert Hall, London, because of its huge musical heritage. However we always envisaged the live show as a total musical experience, much more than just a concert. It has been described as “Medieval Broadway” so that it is where it is destined. Our fans in North America have been so supportive many of them now feel like family. We look forward to meeting some of them during our promotional visit to Florida in August/September.

 

** In this creative process, would you say you enjoy being in the studio, or performing live on stage more? Explain your reason.,

Lady Dawn – My ultimate pleasure is putting over a great song with a story and inviting audiences to share the passion.  This music enables me to move from the unaccompanied intro to “Touch Me”, Kneeling over the body of her knight she sings “will you touch me for a moment,  hold me gently, kiss me, slowly” to full on rock as the Warrior Queen taking revenge on her enemies by rewarding her triumphant soldiers “In victory you may have your fill of wine & women of those you kill”

Father Flude  - Composing melody & score is totally absorbing and weaving this behind the storyline to support and enhance the singers is very rewarding.

The Enchanter – Composition, engineering & producing these complex pieces is tough work but hearing my original concept and scripts come together with a “wow” factor, knowing that you have created something new makes it all worthwhile. My first love is the guitar so the time spent creating those parts and working around the harmonic structures of the music is the fun part. I've worked in many rock and funk bands but medieval orchestral rock really takes your playing to a new place.

 

 ** What do you enjoy most about creating music in general?

For all three immortals the most enjoyment comes from audience response and interaction. We are all basically entertainers. The ambition and dream is to present “ANCIENT TALES” in the stage setting it deserves and take audiences to a different place “The Kingdom of Haddon awaits”

www.thefludes.co.uk

 

 

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Well-Known Strangers Bring a Surprise from the Mid-West

Well-Known Strangers are a delightful band I have recently discovered who bring the Mid-West to life. Originating from the creation of musician Joe Adamek (guitar/lead-songwriter), he is joined by additional songwriters  Betsy Ade (vocals/songwriting), Roger Gower (drums), Sacia Jerome (cello), Ted Koth (lead guitar, and John Kulas (bass guitar).

 

Adamek, the creative spark behind the band, gudes the band's artistic direction into the new musical world. Ade brings her creative songwriting into the light, with rich lyrics that brings the songs to life. Ade's vocals are a ray of sunshine that fits each song like a glove. Well-Known Strangers newest release "Found" has become an instant classic in my collection. The hardwork of the band has definitely paid off, as the band has played over 250 shows on North American turf.  The group mines a sophisticated but accessible sound that recalls Goo Goo Dolls, 10,000 Maniacs, Annie Lennox, and Matchbox 20. Distinguishing Well-Known Strangers from those bands are the one-two punch of Betsy’s vocal power, sass, and swagger, and Sacia’s classically trained cello playing.

Well-Known Strangers - "Another Sun"

 

 

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The Krickets Share \

My love for Americana is wide, so my ears definitely perked up when I first heard The Krickets' new single, "Cool Cool Water." The group has of recent, released their new record, Spanish Moss Sirens, which hears the group performing blissfully as one. Their vocals are harmonious and heavenly, and the overall instrumentation is an absolute delight.

 The Krickets "Cool Cool Water":
https://soundcloud.com/thekrickets/cool-cool-water?in=thekrickets/sets/spanish-moss-sirens


Garnering attention in the Folk music world, as they have also recently been nominated for an IMA award, the group have been on the radar of all those who listen. Give a listen to "Cool Cool Water," from the critically acclaimed record, Spanish Moss Siren, out now.

 

 

 

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The Krickets
The Krickets (11/20/16 10:28)
Thank you for the review, Jeremy!
The Soulful Sounds of Serengety

Serengety enlightens with her latest track “Go,” off the new EP, “Metallic Clouds.” Serengety is an empowering woman, who has a strong soulful voice that does not hold back its emotions. Producing and writing the record herself, Serengety leaves an impressive taste on the musical palette. Each song on the record provides to be as genuine as the next, as it takes you away to a magical place.

“The title refers to being under dark clouds that drench you with something heavier than rain,” she explains. “The message of the album is about overcoming and self-improvement. Writing this was like therapy for me," says Serengety.

Serengety has been writing songs since she was a young child, first starting with poetry. Over the years she has crafted her songs into beautiful, well-written pieces that will appeal to listeners throughout the world. Her resonating vocals are carefully written which makes sure each song tell a story; one that will have you taken away on the musical landscape and into her tales. Serengety proves to be a prominent name to watch for in the soul world, proving that her talent is going to go a long way.

Video: Serengety "Go"

https://www.youtube.com/watch?v=bl8N3Gkuts0

 

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Ancient Future Times: Archeological Discovery of First Video of Ancient Future, Reunion Concerts, and Pacific Northwest Tour

Ancient Future Times

March 2015 Issue:

Archeological Discovery 
•First Video Recording of Ancient Future Rescued from Archival Oblivion

Original Ancient Future Reunion Concert
•Featuring Mindia Devi Klein (flutes), Benjy Wertheimer (tabla), and Matthew Montfort (guitars) plus Special Guests

Air Craft Reunion Concerts
•Featuring Doug McKeehan (keys) and Bruce Bowers (violin)

Ancient Future Pacific Northwest Tour
•Featuring World Guitar Pioneer Matthew Montfort and Tabla Virtuoso Vishal Nagar with Special Guest Seven-String Fretless Bassist Jason Everett

Acoustic Guitar Summit
•Featuring Teja Gerken, Tim Sparks, and Matthew Montfort

A.F.A.R. So Far
•Two New Tracks Ready for the The Archive of Future Ancient Recordings


Archeological Discovery

First Video Recording of Ancient Future Rescued from Archival Oblivion

Original Ancient Future Video on Facebook

Please share this video of Ancient Future Circa 1978. Shown: Matthew Montfort, Yusef Ali, Mindia Devi Klein, Phil Fong, Benjy Wertheimer

This video is an amazing archeological find: the very first video of Ancient Future, recorded in late 1978, months before Ancient Future's first concert! Thanks to Jonah and Mariposa at Marin Artists International who discovered and rescued parts of Ancient Future's first video recording session from archival oblivion. This short teaser from 'Eternal Embrace' by Phil Fong from Visions of a Peaceful Planet is the first release from this archeological expedition. Performances of two complete pieces have been recovered, and will be released after some audio restoration work is completed.


Original Ancient Future Reunion Concert

Featuring Mindia Devi Klein (flutes), Benjy Wertheimer (tabla), and Matthew Montfort (guitars) plus Special Guests

Ancient Future Circa 1981 with Mindia Devi Klein, Benjy Wertheimer, and Matthew Montfort

Ancient Future Circa 1981. Shown: Mindia Devi Klein, Benjy Wertheimer, Matthew Montfort

Sunday, April 19, 7:30 PM
Throckmorton Theatre

142 Throckmorton Avenue
Mill Valley, CA 94941
Doors open at 7 PM
Tix: $20 adv, $25 at door, $35 reserved seating. Advance tix at http://tinyurl.com/ou8aeez
Info: 415-383-9600
Facebook Event

Concert Poster
Poster (920k .pdf) 

On Sunday, April 19, the original line-up of the pioneering world fusion music group Ancient Future will perform together for the first time this century. Ancient Future was formed in 1978 by students at the Ali Akbar College of Music in San Rafael, California, including Mindia Devi Klein (who went by Mindy in those days), Matthew Montfort, Benjy Wertheimer, and Phil Fong. Ancient Future's first concert took place to a packed house on February 11, 1979, at the original Sleeping Lady Cafe in Fairfax, California, then a vegetarian cafe and music club co-op that was the center of a vibrant local music scene. This line-up of Ancient Future made two recordings that are now considered world fusion classics: Visions of a Peaceful Planet and Natural Rhythms.


Air Craft Reunion Concerts

Featuring Doug McKeehan (keys) and Bruce Bowers (violin)

Cover of So Near So Far by Air Craft

Friday, March 27, 8 pm
Piedmont Piano Company
1728 San Pablo Ave
Oakland, California 94612
Tix: $20 reserved/door. Info: 510-547-8188
Facebook Event

Saturday, March 28, 8 pm
MACLA Black Box Theate
r
510 South First Street
San Jose, CA 95113
Tix: $20 reserved/door. Info: 408-998-2783 x28 
Facebook Event

When Matthew Montfort was looking for musicians to reform Ancient Future after the band signed with Narada Records, he tapped two principals of the band Air Craft, Doug McKeehan and Bruce Bowers. They performed together on Ancient Future's Quiet Fire and Dreamchaser releases. But with Ancient Future touring and recording, this effectively put their contemporary instrumental band on hold. But now, decades later, Air Craft celebrates the upcoming CD re-issue of their 1985 vinyl LP, So Near, So Far, on Ancient-Future.Com Records. These concerts bring together the original band performing both their classic and new material. Joining Doug and Bruce will be Santana alumnus Myron Dove on bass and veteran journeyman Jack Dorsey on drums.


Ancient Future Pacific Northwest Concert Tour

Featuring World Guitar Pioneer Matthew Montfort and Tabla Virtuoso Vishal Nagar
With Special Guest Seven-String Fretless Bassist Jason Everett

Photo of Matthew Montfort and Vishal Nagar

Tuesday, April 28, 2015, 7:30 PM
The Royal Room

5000 Rainier Ave S
Seattle, WA 98118
Tix: $15 adv/$18 door. Advance tix at strangertickets.com/events/23464505
Info: Call 206-906-9920, email tristan@theroyalroomseattle.com, or visit theroyalroomseattle.com
Facebook Event

Wednesday, April 29, 2015, 8 PM
Vashon Theatre
17723 Vashon Highway SW
Vashon, WA 98070
Tix: $15 adv/$18 door. Advance tix at ancientfuturevashon.brownpapertickets.com
Info: Call 206-229-8491 or email jason@misterEmachine.com
Facebook Event

Thursday, April 30, 2015, 7:30 PM
The Conway Muse
18444 Spruce St.
Conway, WA 98238
Sponsored by the Rick Epting Foundation for the Arts
Tix: $15 adv/$18 door. Advance tix at brownpapertickets.com/event/1311376 
Info: Call 360-445-3000, email elfa@conwaymuse.com or visit conwaymuse.com
Facebook Event

Saturday, May 2, 2015, 5:30 - 7:00 PM
Moscow Renaissance Fair
Main Stage
East City Park, Third and Monroe Streets
Moscow, ID 83843
Tix: Free admission.
Info: Visit moscowrenfair.org
Facebook

Concert Poster
Tour Poster (145k .pdf)

This is the first Ancient Future tour of the Pacific Northwest in a decade. Strains of passionate flamenco and ethereal Indian raga emanate from this program featuring world guitar pioneer Matthew Montfort and renowned Indian tabla virtuoso Vishal Nagar. For a portion of the show, special guest and Seattle area fav Jason Everett (aka Mister E) will accompany them on seven-string fretless bass. The program will feature music from the ground breaking world music recordings of Ancient Future, including the first audio/video release in Ancient Future history, 2014's Yearning for the Wind.

"Matthew Montfort subtly coaxes remarkably flowing lines from his scalloped fretboard guitar. And Indian tabla virtuoso Vishal Nagar intuitively places incredibly intricate rhythmic patterns into the piece. Ancient Future has been making wonderful world fusion music for three decades. The possibilities remain infinite." — Paul Freeman, PALO ALTO DAILY NEWS

Tour Announcement Video

Video of Yearning for the Wind by Ancient Future

Please share this video about Ancient Future's Pacific Northwest Tour. Shown: Matthew Montfort, Vishal Nagar, Jason Everett


Acoustic Guitar Summit

Featuring Teja Gerken, Tim Sparks, and Matthew Montfort

Thursday, May 7, 8 PM
Throckmorton Theatre
142 Throckmorton Avenue
Mill Valley, CA 94941
Tix: $18 advance/$22 door/$30 reserved seating. Advance tix at http://tinyurl.com/mxzywve
Info: 415-383-9600
Facebook Event

With styles ranging from world fusion to folk, jazz, and classical, Teja Gerken's Acoustic Guitar Summit is certain to be a joyous tour de force of solo and ensemble performances and a Bay Area guitar concert highlight of the year.


A.F.A.R. So Far

Two New Tracks Ready for the The Archive of Future Ancient Recordings

30th Anniversary CD Mystery Cover

The Archive of Future Ancient Recordings, Ancient Future's fan funded recording project, has 10 tracks and 70 minutes of music in it so far, and supporters of the archive can now purchase a limited edition CD of all of these tracks, appropriately titled A.F.A.R. So Far.

We are proud to announce that another eleven and a half minutes of music have been recorded, mixed, and mastered for the archive! We just need to raise another few hundred to pay an initial licensing fee for Ancient Future's first ever and very unique cover of a popular song and to register this version of the archive with the US Copyright Office. So, sign up to become a supporter and help add these two new recordings to the archive. Plus, you'll get all 70 minutes of music that are in the archive right now immediately!

Please become a supporter at one of the levels below, starting at just $15. Once you become a supporter at any level, you you will be eligible to buy a CD-R. Only a very few copies of each edition of A.F.A.R. So Far are made, as new tracks are added as money is raised.

Recording Newsletter. $15 (receive 128 kbps downloads): Subscribe @ $15Download Supporter. $25 (320 kbps downloads): Subscribe @ $25Limited Edition CD Sponsor. $50 (all previous plus CD quality audio): Subscribe @ $50Honorary A & R Representative. $75 (all previous plus video and 24 bit audio): Subscribe @ $75Donor VIP. Make Additional Donation. A.F.A.R. So Far CD-R. $20 Additional. Buy CD-R Now.

 

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Ancient Future
Ancient Future (03/24/15 19:30)
Thank you, Aleks! We are having a rehearsal tonight for the reunion show, going over our early music that hasn't been played in decades as well as some new pieces.
Aleks
Aleks (03/24/15 17:52)
Congratulations guys for this amazing discovery! I wish you success!
Songstress Myriam Phiro Channels Edith Piaf & Talks About \
Myriam Phiro is a stunning songstress that sings remarkable standard-style songs, with the voice of an angel. Her newest record "Voyages," is available now online. The album includes pieces that somehow outdo themselves within every listen. This weekend, Phiro brings a treat to New York City as she performs a stunning tribute to Edith Piaf. Titled "Edith Piaf at 100," she will take to the stage with a cast of perfomers, with a mid-day celebration at The Metropolitan Room in Manhattan. I had the chance to speak with Myriam regarding her music as well as the eccentric show which will take place this weekend, which you can read below.
 
Show Details and Tickets can be found here: http://metropolitanroom.com/event.cfm?id=199705
 
What inspired you to come up with the tribute to Edith Piaf on her 100th Birthday? 
 
I've been singing her songs for so long that it just made sense to make this big celebration around her Centennial. Being an actress, I find it so important to convey the message and stories of the songs and artists that inspire me to the audience. The show is an assortment of various stories about her personal life & career, 14 songs and a few variety acts to re-create some aspects of her fascinating universe.
 
How has Piaf inspired your music and career? 
 
Edith Piaf is my greatest inspiration in becoming a performer. I've been singing her songs since I'm a child, as my mom used to play them on the radio and I would just sing along, not really knowing the depths of the lyrics and/or sometimes the tragedy in the meaning. I later took interest in her life and career and I became fascinated. A bit like most artists, but probably more intensely, performing was a question of life or death for her. The songs she performed were actual excerpts of her life and it makes everything so much more truthful. When she sang about poverty and hardship, she truly experienced that. The same thing about "love", which was the most important thing in her life, after music. She was just a very authentic and powerful artist, and that to me, is very inspiring. 
 
How did you come up with the story, as well as the entertainment for the celebration? 
 
She was partly raised in a brothel and her dad was a circus street performer (most people don't know that). I wanted to re-create some important aspects of her upbringing, the which made her who she was. We all know the songs, the tragedy, but what interested me most in writing the show was the "how"; what made her so special, so unique. So I came up with this concept, held auditions and gathered a cast of amazing musicians and performers and have been performing the show in the city since June.
 
Do you channel Edith's music at all when creating your own? 
 
I'm mostly an interpreter. I do write some translations some times, and I do write texts but I've yet to experience the "creation" aspect of things before I can comment on this. To be followed... ;)
 
Your latest album "Voyages" is a gorgeous piece of musicianship. What was the inspiration behind creating the songs on the record? 
 
Thank you. However, the songs are all Jazz-standards, written for the most part between 1930 and 1950. Helped by Vinny Raniolo, the musical director on the album, I re-arranged them and gave them a personal and more modern twist; they became "à la Myriam Phiro" if I may say. I also very carefully selected the musicians, which makes a huge difference as well.
 
Your vocal work throughout the record is beautiful. Were you classically trained? 
 
Yes, it is indeed a big part of my training. Although I rarely sing classically in public, I think this is the most natural way to train the voice, as well as the strongest technique. It's like ballet for dancers. It just gives you [almost] all the tools you need. However, my training also involves Jazz stylings and musical theatre components.
 
What is up next for Myriam Phiro in 2016? 
 
Following the release of "Nature Boy" (the first music video attached to "Voyages"), I'll release the music video to "It Had to Be You" and work on a third and fourth ones. I've also been selected to compete as a vocalist in the American Traditions Competition, which will be held in February in Savannah (that's really exciting!) I am also planning to write a new cabaret show and will continue performing in and out of town, at festivals and Jazz Clubs for "Voyages". Towards the end of the year, I will start planning for a new album, which I will be recording in early 2017. Lots of exciting projects coming up!! 
 

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SXSW Tour Diaries: Part 1 (Sit Kitty Sit, Citabria, ruido/mm)

This year SXSW was no less than spectacular. As usual, hundreds of bands flooded Austin, Texas, bringing to the table their unique and prominent sounds. A select few certainly caught my attention this year, carrying a musical flag of their own. With no further ado, here is the first installment of the bands that perked my eardrums during SXSW, as they share with us their experiences at the legendary festival...

 

Kat Downs of Sit Kitty Sit shares the band's SXSW experience with us in the form of a video. Get to know the brilliant duo, and see their tour antics in real time!: https://www.youtube.com/watch?v=czrqab0rKmE&feature=youtu.be

 

Citabria "takes our hearts" at the festival this year and share their SXSW adventure. Here is their SXSW Tour Diary written by drummer Kevin Azevedo:


Walking out of the air-conditioned Austin International Airport, and into the gorgeous but extremely humid 94° heat, intensified the excitement brewing in my blood. The whole voyage from the Bay Area to Texas, I debated with myself. "Did I bounce out the right samples into the SPDX? Did I bring any shorts? Maybe Edgar brought an extra pair. How far am I going to have walk with this heavy ass gear? Should’ve packed lighter, this case is like 137 lbs. Fuck it.  I’m strong."

Since it was Citabria’s first time at SXSW, our manager Barb Rocks was giving us the run down on the regimen, as she drove the rental van into downtown. Our first show was on the rooftop of Handlebar. Off the bat we realized we needed dollies to roll our gear. Then I realized I can do without my electronic sampler because it just takes longer to setup and most stages won’t have the extra space. Then the amp Leo (vocals/guitar) was using blows, which forced him to connect direct into the PA (that’s always shitty).

My mind was racing again. "Am I playing too loud? Shit!! Did I count the song in right? Why does Nate look like he’s about faint?" I had to remind myself, these people will most likely never see us again, so might as well rock the f--- out and walk off the stage knowing that I gave them all I could. We performed good and the crowd definitely dug what we brought.

As I was watching the rest of the bands and talking to Nate (guitar), I had another realization. As good as these bands sound, I don’t know what their name is. Nor do they mention their name clearly or enough times for me to remember.
Let’s make a big poster tomorrow with our name on it.  And so we did after we bought dollies at Home Depot.

We sounded progressively better after every show, but there was one show in particular that was revelational. Edgar (bass/synths) is allergic to cats and couldn’t be at the Blue Cat Cafe where our buddy Lucas Gordon was performing his first show.  Therefore, Edgar discovered this lot that had some great bands performing that was giving out free beer thanks to Green Flash Brewery. We all joined him after Lucas’ performance and had a blast watching Andy Frasco and his freaks turn the crowd into a crazy dance floor. Andy mentioned something about doing whip-its at 7am so it kinda made sense. We ate pulled pork sandwiches and walked through a mucky thunderstorm to Cheers on 6th St. It was on the rooftop of that bar that I played my favorite show. The drum kit I had to use was a piece of shit. The hi hat stand wouldn’t go higher than my snare. The carpet was so small, it barely fit the bass drum on top of it.

As I played, the whole drum kit kept sliding away from me, and I was having to grab the drums before they’d get too far to hit. During the intro for our song "Hey Now" I look up at the crowd and everyone is engaged. As I start playing the pre-chorus, I look up at the night sky and smiled. I didn’t care anymore if the toms were hurtling away from me. I didn’t care about anything that could go wrong. I was on the rooftop in the middle of a bunch of high rises with my brothers playing the fuck out of this small stage for these awesome humans that chose to stick around for us. That was true joy.

ruido/mm hails from South America to bring an inspiring new look into the festival. Here they share their first SXSW experience! 

1- Is this real life?: We were having a blast after our dubut gig in the us, in the backyard of one of the most bizarre venues we've had ever laid feet on. As we lost ourselves among bad beer and weird conversations D.O.G ( dildo of god) was starting to play inside the the large ( and empty ) room of the weird hyppie place Super Happy Fun Land in Houston, just like we did.That was our first encounter with D.O.G members whom we would latter meet in my best sxsw experience (#3) . Right then seeing DOG performing so freely i remembered that you've got to have fun in the stage , don't matter for whom or how many people youre playing for, and thats what you want to do.
* Big thank you for Ultraviolent Ray for the good music and for the bass amp. <3

2 - The Hideout Experience-Our official gig in south by was at the small theather Hideout, just in the back of a nice coffehouse. There is something special about playing in theathers, for instance you know everyone thats in the audience really wants to be there FOR the music. And ,to our susprise,  we had a good audience and, lucky we could play for some "good ears" we were expecting to.
** Big thank you to Tom Laird for the support and the pictures.

3- Hotel Vegas Keeping it Real: We did have a ball before entering Hotel Vegas , Rafael and I,for our final night at south by. The place is kind of away from the "networking and playing cool" vibe you can find in convention center near bys, and finally i could say i had a sense of belonging & sharring  something a bit more truefull a bit more essential. There were people crowdsurfing, crazy fans shaking their heads and just a real nice mood sorrouding the air.
And the soundtrack for all that was two great concerts one with Dressy Bessy post punk act and another with the young, cute and noisy Cosmonauts.
Just the perfect end to swsx for me and Rafa aswell. The next day we headed to Houston to our last concert at the beautifull Cactus Store where i can honestly say we rocked.In the end all i can say is : dear south by , we are comming back for ya.

 

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TradInEtno festival 2015

TradInEtno is world music festival with dance and music workshops, lectures and free concerts situated in Pazin (croatia) in medieval castle above the Pazinska jama/Pazin abyss.

Pazin is a town of long and rich tradition. It is situated in the very centre of Istrian peninsula, only 30 km away from well-known tourist centres. More about Pazin you can find here: http://www.tzpazin.hr/index_eng.php?stranica=32

Artist and performers who is on tour from 17th to 25th of july contact us via e mail: tradinetno@gmail.com and for more informations visit our official webpage www.tradinetno.com

 

WORKSHOP

The workshop is international, and that means that you, as a participant, will be able to share experience and learn a lot about different cultures. It is important to say that there will be some extra activities during the workshop, but we will keep it as a surprise for you.

Participation fee is 100$ Accommodation and food is covered by the organizer of the festival!

The number of participants for this workshop is limited so it is important for you to apply as soon as possible.

 

More info soon...

 

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album review

SARATUSPERSEN -

The Sound of Orang Kampung (the villagers)

Presenting a Sunda Indonesian Ethno-Parade

 

ALBUM REVIEW - Gigsplay

 

RATING :

 

ORIGINALITY       : A

MUSICAL QUALITY: A +

PERFORMANCE     :  B

TOTAL SCORE      :  A

 

OVERVIEW :

 

GENRE                 :   World Music

CITY                   :   Bandung - Indonesia

LENGTH               :   40 minutes

RELEASE DATE      :   2012

PRODUCER          :   David Karto

 

TRACK LISTING    :         1.         Do Not Move (3:33)

                                    2.         Latinamina     (4:05)

                                    3.         Brastagi          (4:31)

                                    4.         The Earth        (4:42)

                                    5.         The Gone of Nyi Roro Kidul (5:20)

                                    6.         Labyrinth        (5:01)

                                    7.         Doger Monyet (4:20)

                                    8.         Ubud             (4:52)

                                    9.         Walkman       (3:54)

 

RECORDED AT:        Orange Music Room, Kana Studio, Studio Karawitan STSI Bandung

LABEL:                      Demajors Records

 

 

OUR REVIEW:

 

For a work to be 'artistically rich' in today's world, it usually needs to move flexibly enough to break the stiff sides of current trends. It can give birth to collaborative meeting points between creative elements which may at first seem to be at polar opposites. Ironically, this can serve to increase its appeal.  If it's driven with appropriate balance, and if its energy is symbiotic with the current times, it can inspire a dynamic response.

 

Talking about something being 'artistically rich' in the broad atmosphere of Indonesian art means considering the cultural wealth of the nation and its traditional wisdom. The cultural identity of Indonesia is working overtime to survive the onslaught of various modern cultures from outside the archipelago, which are invited into the native culture by popular demand. Indonesian culture and outside cultures have seemed to be at odds on the native soil for many decades. They often do not want to relate to each other, much less meet with one another.

 

Many Indonesians already consider outside cultures to be the 'winners' in this 'battle'.  There seems to be a stigma that causes many young Indonesians to view traditional Indonesian culture as old-fashioned, rigid, tacky and unable to inspire. In Indonesia, the term kampungan (referring to people from rural areas who are not “hip” with modern society) has successfully become one of the most dreaded epithets among young people, as if any individual who has this term pinned on his or her identity becomes an automatic social outcast. However, the opposite term ngota (referring to urban life) does not necessarily have a better connotation; it's simply a term based on the reality of what has happened to life in Indonesia, including what has happened in the scope of art and music.

 

Despite the stigma that is placed upon people from the rural villages (orang kampung), the sources of artistic wealth in the Indonesian archipelago have for centuries been largely situated in the rural areas. So, to make a long story short, I was intrigued when I read “The Sound of Orang Kampung (the villagers)on the cover of Saratuspersen's 2013 CD.  It seemed to be an invitation to take a peek at the hidden energies of the villages that are currently being ignored.

 

This is the 2nd album from Saratuspersen, the11-piece band which recently held a concert to celebrate its 13th anniversary.  The band gained a name in the early 2000's in the city of Bandung, West Java, as a group influenced by the musical traditions of the archipelago. The positive local response to their driving stage-act gave birth to their first disc, Sundanese in Bali.  Their 2nd album, unlike their debut recording, has been creating a professional brand image for the band. Whether that will be beneficial for their continued longevity remains to be seen.  In the sense that Saratuspersen has already been through the process of in-depth exploration into world music and is no longer floating along with the principles of raw experimentation, it's probably a positive thing. 

 

Stirring traditional Indonesian sounds into a pot of multiple global ethnic genres does make the ear do a double-take at times.  On one hand, the music is bound to appeal to most western fans of world music.  On the other hand, the homages to the Sundanese (the main ethnic group of West Java) and Indonesian styles feel almost as egocentric as they do ethnocentric to native Indonesians such as myself, as we witness Indonesian 'village music' asserting itself with world music juggernauts like reggae and samba.  The brashness of it is a bit embarrassing and worrisome, scary and exciting.

 

The good news about the 'professional world music band' image that Saratuspersen seems to have earned with this album is that they are signaling out of the 'industry professional' lane and moving over to the  'musical professional' lane (the 'right lane' in my opinion). "The Sound of Orang Kampung" was first conceived when the Perseners (the Saratuspersen fan club members in Indonesia) created a local buzz with news that the band had been gigging abroad.  Nearly all of the band members were in their teens then, and fans were highlighting the need for them to master their instruments and repertoire and make Indonesia proud.  The maturity and musicality of the band was in question, and I myself voiced some doubts at the time.  Those doubts were erased the first time I listened through this new CD, but new questions emerged to take their place.   One question was, "Your main goal is to present Indonesia's musical art traditions to the western world, isn't it? So now what's this?".  Another question was, "What happened to the voice of 'the villagers' here?”.

 

This album contains about 40 minutes of instrumentals divided into 9 pieces, each of which seem to have its own narrative, illustrated with the atmospheric nuances that often characterize Indonesian music. It could be heard as an 'emotional journey' navigating through the sea routes of the Indonesian islands.  Continuing the “nautical” metaphor, the album sails furiously through the treacherous channels of listener attention in order to keep the wind fully in the sails, i.e. maintain a multidimensional approach throughout the album and keep the listener engaged.  A fixed major scale acts as a sturdy ship mast, making the music approachable to the western ear instead of wandering off in a strange tonality as some might expect by looking at the instruments themselves.

 

The 'ethno-parade' mentioned in the subtitle first finds its expression in the opening track, "Do Not Move". Dance-style beats create a groove with the Balinese gamelan, which is inserted at its traditionally feverish high-speeds.  The title "Do Not Move " is of course is an invocation to move, to break away from what is demanded and start dancing.   This declaration is mostly clearly heard at  00:67; the arrangement loses itself in an a violin “hoe-down” in the traditional Sunda and Betawi scales (the native ethnicities of West Java and Jakarta). The music steadily returns to a carnival theme before jumping back into a Javanese melodic allusion, then resolving in recapitulation of the song's opening.

 

Moving into th 2nd song, it sounds as if the instruments are fighting a battle between Latin music and Sundanese Daminatila. A percussive solo session starts the bickering between Iwenk Darwiansyah and Ganjar Purnama, Saratuspersen's staple drummers.  The Daminatila pentatonic scale is used in the melodic sessions, while the Latin beats lay the rhythmic foundation. Thus is born "Latinamina", the name of track 2 and a new name for a creative and unusual sub-genre.  This Latin-Sunda battle is mediated by repetitive inter-ethnic bass and violin patterns as the brass cheers on the brawl.  The contestants are broken up and sent back to their corners during an interlude session overseen by percussionist Iman Muhammad.  The pause then gives way again to rising dynamics. The song demonstrates one of the overarching themes of the album, that music from around the world shares universal rhythmic similarities which when brought together can make the gaps for harmonization and improvisation even more versatile.

 

Saratuspersen gives us a look at one of their most endearing quirks in the the song "Labyrinth". The song is reminiscent of ska bands like Reel Big Fish, as are many of the bands early songs. However, this is Reel Big Fish in a trance, performing in Bali as the spirits are conjured in the kecak or barong rituals. The song was conceptualized as a comfortable groove to be danced to, although in terms of musicality the arrangement and variable tu-ti beat makes it quite unusual. The composition tells the story of a boundless dimension of space, and it is arguably the most complex piece on this album.

 

The song "Doger Monyet" is a form of social criticism from the perspective of an artist on the status traditional art.  The title refers to the street buskers in Indonesia who entertain with a monkey on a leash. The monkey is often given props like an umbrella or stilts, and he works through various tricks on the side of the road.  The monkey performs to a rudimentary style of gamelan music called doger, which is played on a small xylophone by his trainer. The monkey is constantly moving and going through his repertoire of tricks so that he can be fed.   In “Doger Monyet”, the music is tragically cheerful and percussive, illustrating the obvious analogy to life as a traditional artist. 

 

A consistent image that Saratuspersen seems to portray in this album is that of a conflicted rural village. There is a spirit of tranquility co-existing with a restless type of energy.  This feel comes through in track 3, “Brastagih”, which is unique in its experimental tonality.  The traditional scales of North Sumatra are played on Balinese instruments, demonstrating gutsy experimentation which is a highlight of the album.  The multi-ethnic cross-over is performed by the band's signature gamelan quartet of David Setiadi, Satya Purnama, Ade Sopiana, and Sendy Novian.  The natural feel of the Sumatran village jumps out at 2:30, when Rivan's somber violin meets up with folk rhythms and Asep 'Tatoz' Lukman's thumping minimalistic bass-lines. The song could make immigrants from Sumatra settled in Java (or vice-versa, immigrants from Java settled in Sumatra) long for their hometowns. Whether in Sumatra, Java, or anywhere else, wanting to return home is a universal longing, and the feelings of an immigrant are matters of both geography and imagination. 

 

No Saratuspersen album would be complete without diving into the theme of traversing the country. The song “Ubud” remains true to this theme, asserting that life in the village is nothing to be ashamed of.  The actual village of Ubud in Bali is internationally famous among foreign tourists, alive with the type of artistic and explorative energy that is present in the song. Here Saratuspersen marries Balinese gamelan with Sundanese melodies under an atmospheric umbrella of varied tempos and volatile dynamics.  Like Ubud village, the song sprinkles modernization into the sacred rites of Bali, with exotic natural charm floating within spaces of western musical patterns.

 

The album diverts to a more relaxing atmosphere in "The Gone of Nyi Roro Kidul". This track offers an antiquated glimpse into the coastal areas of southern Java. The slow tempo Javanese gamelan accompanied by jazzy bossa-style guitar strumming would be quite fitting for a seaside lounge act. It is also a bit reminiscent of southern Java during the kingdom period several centuries ago, when the famous legend of the Queen of the South Seas began, and the region became revered for its mystical aura.

 

Finally, the song "Walkman" illustrates an afternoon of trekking through the village and seeing how its character has been influenced by modern life. A harmonized brass-section led by Mochammad Febri's trombone creates this understated yet energized impression. This song also features the revival of the traditional Betawi (ethnic Jakarta) song "Kicir-Kicir", inserted into the middle of the arrangement.

 

Perhaps the most impressive thing about “The Sound of Orang Kampung" is that Saratuspersen  embraces a variety of genres besides just jazz to weave into the cultural fusion.  This is a refreshing break from the clichés that have long existed in the modern era of Indonesia's music scene, where Indonesian ethnic music is constantly thrown into jazzy types of musical collaboration. The song titled "The Earth" is a decent “world map” that shows how to bypass the wearied Indo-jazz roads. The gamelan plays slowly with emotional accents, as if alluding to the lush charm of the Indonesian rainforest. Meanwhile, the tones of the bass and flute communicate anxiety and ambiguity. Here we have both a collaborative paradigm and a commentary on modern Indonesia, which is always somewhere between beauty and brokenness.  Maybe that's the secret to Saratuspersen's longevity as a band; their ability to not only depict Indonesia's broken beauty, but its beautiful brokenness as well.

 

| BOBBIE RENDRA | @ BobbieRendra | berbbanrodie@gmail.com

| Interpreted by @HowAreYouMrDan |

 

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Thanks to all fans and listeners on the net and in the world!

First Place for Migala with track "Pizzingara" in World Music Charts by Ethnocloud - February: East European

http://ethnocloud.com/world-music/charts/influence=East%2BEuropean

Starting with a classic citation ( the opening of the Zigeunerweisen De Sarasate ) the first part is steeped in the music of Eastern Europe, especially the gypsy tradition. The second part is a “pizzica”, sung this time not in the dialect of “Salento”- as usual - but in the dialect of “Andria”. In the final part there are changes of structure of musical rhythm: a transition in reggae sound, a bit of folk- prog and “pizzica”, to end up again with the Balkan music.

Lyrics

Ioië veleivë chess menne tutt chioinë dë chëliur
ma, u cille iè tutt grigge, i me veinë l’appëchendròië
preparoimë r’ valigë, scappòimë nande a chessa mortë
stattë sëchiurë ca nisciunë t’aprë r’ portë

I na portë ca nan si aprë, iè cumà nu cunfinë
pe furzarlë me servë na mòinë, ma nzimme a mà nge stè nisciunë
i rèite nu pizzë stè nu vecchiariddë assettoitë
i deceivë me canesceivë, i tenèivë na chioivë ‘n cann

“Uè chembèire moië, chessa chiovë a crò t servë?”
I u’ vecchj me respennòië “T’aprë la chèip, i t’apre u coure!”
“Dimmë u frèite mje cumà te la retroivë?”
“Pe na vita tribuoitë, ioië la sò aspettoitë!”

I’d like a world full of color,
but the sky is all gray and melancholic.
We prepare our bags to run away from this desolation,
but, don’t think that someone could help me to open the “doors”!

A door that doesn’t open is like a border line,
i need to open it, but with me there is no one to help me.
Around the corner there is an old man sat,
says he knows me and holds a key to the neck.

I asked him: “What do you do with this key?”
He replied: “This key will open your mind and your heart!”
“And tell me... how did you find it?”
“Thanks to a life of labor and sacrifice!”

Listen "Pizzingara": http://ethnocloud.com/migala/?song=3492&b=2517

 

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Godfather of Bahamian music release Greatest Hits CD!

Music pioneer and icon Ronnie Butler, has penned, performed, and recorded many widely popular songs that have come to define indigenous Bahamian music. 

As a part of our The Bahamas' 40th Independence celebrations, the Greatest Hits CD was release released today. The digital album is available for purchase on iTunes, CDBaby, Google Play and Amazon mp3 for just $9.99. 

For the first time ever, fans living abroad will be able to purchase a complete Ronnie Butler album online. The digital release features 13 of the legend's greatest hits including "Burma Road", "Age Ain't Nuttin But a Number", and "Bahama Rock" plus two bonus tracks - the popular "Look What You Do" and an early recording of traditional calypso tune “Big Bamboo”. 

Ronnie's greatest work, spanning over 15 records, is finally available on one must-have album! For 10 years, starting in 1973, he played  Ronnie's Rebel Room at Anchorage Hotel. Many of the same hit songs featured on the digital album were performed in front of audiences from around the world. Some have also been featured in films including Tyler Perry’s Why Did I Get Married Too. Distribution for Ronnie's music, known for its goombay, calypso, latin, soul and junkanoo fusion, has evolved alongside music technology, making the shift from physical CD units to electronic albums. 

This special collection, a celebration of music evolution and appreciation, is a timely gift to the Bahamian people at the time of our 40th Independence celebration. Greatest Hits is the ultimate collector's item, Bahamian music album, and Independence soundtrack. The digital album booklet can be downloaded at any time from getmusicpro.com/new_releases

 

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GetMusic Productions
GetMusic Productions (07/01/13 14:23)
Thanks Aleks!
Aleks
Aleks (07/01/13 14:16)
Congratulations, Ronnie!

Aleks
Happy Birthday Vivalda Dula

Happy Birthday Vivalda Dula. We wish you all the best!

 

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Following some discussions on Facebook over the last few days about ‘mbira and authenticity’, I went online seeking what others think about issues of authenticity in other types of music. I came across this article that I found rather interesting because it asks questions that are very relevant to mbira and have been asked before in mbira circles. I hope you find it interesting so that we can continue having conversations on mbira and authenticity. Happy reading!

Mbira, mbira lessons, mbira uk, mbira london

 

Published 2010 by Kirk Ward : Worship in the City

 

What is authentic music?

 

How do we determine what makes a song or a performance or worship experience authentic instead of commercial, fake, entertainment, showy, etc? This seems to be a very important question especially to the marketing-savvy PoMos out there who are looking to “emergent” styles of worship. We want to be involved in real worship experiences that are not contrived from an attempt to force a worshipy moment to occur. This issue was the driving motivation behind the “Contemporvant” video that made the rounds a few months ago. Are we just faking it every Sunday? What is the culture looking for in our definition of “authentic” in worship?

 

 

 

Who defines authenticity?

 

This is the first question that we need to ask ourselves. Is folk music authentic? Does unplugging make things more authentic? What if you are playing Contemporary Gospel music? Is is more authentic to unplug then? Does informal attire, a lack of worship order, or popular style music define authentic? Does ancient prayers, iconography, candles and incense create authenticity? My questions should be leading you to see that the problem lies in the fact that “authenticity” is culturally determined. It’s not as easy to talk about what’s authentic when you are bringing many different cultures into a room. In the end, it’s always going to feel “faked” when a white dude like me attempts to lead a traditional black gospel tune. I’m not the “real thing”. Authentic gets determined by the culture in which the expression is coming from.

 

What about commercialism?

 

So another problem that comes up is the power of the almighty dollar. So much music is created just like any other commercially distributed product, with the bottom line as the primary motivation. If I write a song that sounds like Chris Tomlin, I will sell a lot of records because people want to buy more of what they already like. So, what might have been created (maybe by Chris Tomlin) as an authentic expression of an artist goes out into the world and becomes cloned by the business into a thousand versions of “How Great Is Our God”. This effect happens in every market on the planet. There is no musical genre or tradition that is immune to the power of the dollar to create clones. For every “The Beatles” there’s “The Monkeys”. This effect is even seen in the genres that people run to in order to get away from commercialism: folk, country, bluegrass, classical, hymns, jazz, blues, jam bands, punk, indy, metal, thrash all have bands or artists that are sell-outs and poseurs. What do we do to escape it? Do we reject any form of art that has any kind of market drive or value? How does a Christian artist both make money as a craftsman and at the same time preserve artistic integrity? How do we as worshipers choose music to use in our liturgies without just becoming the equivalent of a Top 40 radio station for our particular cultural predispositions?

 

Where does skill enter in to worship?

 

Here’s the place where skill starts to get tossed into the mix. Music that is performed with skill is by it’s nature commercially valuable in the same way that a well built chair or car will have value in a market where chairs and cars are in demand. A well written song or a skilled performer will be a commercial commodity. We all hate to see bad musicians become successful because they look pretty, and yet when a skilled musician plays in church, that can sometimes come off as too “showy” or “commercial” because they are playing at a level equivalent to that which we hear coming from the mass media. We might all agree that skill is good in God’s eyes, but in the practical execution, there seems to be an implied expectation in a lot of churches that a display of skill takes away from the glory of God some how. Many musicians adopt an “indy” or “hipster” aesthetic in order to reject what they deem to be commercial. They play songs without skill (simplistic harmony, minimal instrumentation, limited vocal range, intentionally bland vocal style, casual style presentation). I find it comical that there appears to be a hipster backlash that is sweeping the web and I supposed the culture in general. People are starting to see this as just another culture with the same rules of assimilation, popularity, and commercialization that go in to the formation of a tribal identity. But that’s a tangent…skill as it relates to authenticity is determined by the culture. There’s ebb and flow within the culture as well as generational and class differences are taken into account.

 

Authentic vs. Accessible

 

In “Gather Into One”, C. Michael Hawn presents the problems of authenticity in relation to cross-cultural ministry. If I want an authentic experience of my worship music, I need to go to my tribal church. When I attend the church of a different tribe and they attempt my music, they will fail. Have you ever heard a traditional organist play a modern worship song? It always sounds lame (meaning lacking authenticity)and that’s not even a ethnic difference. So, when we blend tribes into one congregation, how do we create an authentic experience? The sending culture (let’s say Black, Pentecostal) has to adapt a song in order to make it accessible to the receiving culture (White Presbyterian). So what do we change and what do we keep? In the end, each culture has to sacrifice the right to authentic worship music in order to have something better: authentic relationships.

 

I rambled a lot and didn’t answer most of my questions. Can you help me to process this? Did this create any questions in your mind?

 

What is authentic music? | Worship In The City.

 

I hope you found the questions raised in the article applicable to the mbira scene. Of course we need to ask more questions that are very specific to the mbira scene and continue to discuss, enrich and grow the mbira community.  Later

 

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Julian Markov
Julian Markov (12/07/14 04:48)
Very cool.
Sit Kitty Sit is on The Road Again

San Franciso's Sit Kitty Sit are back on the road this Winter, with a handful of dates; making their way around the West Coast. An early 2015 treat, the duo of Kat Downs and Mike Thompson will bring their heavy-hitting brand of rock from the albums to the stage. Quite familiar with their newest release, 2014's "Everlasting Fire," filled with inspiration from "Dante's Inferno," Downs and Thompson captivate audiences with the help of pianos, drums, and alluring vocals. Their chemistry on their albums and onstage is impeccable, with their music being described as Dresden Dolls mixed with King Crimson, & Fiona Apple; their live energy an explosion of sound. Are you sold yet?  Below you will find their latest tour dates. Be sure to catch them on the road while you can!

Sit Kitty Sit's sound proves to be an unstoppable force. One note at a time. 

 

Watch: Sit Kitty Sit “Birmingham” Video

https://www.youtube.com/watch?v=7w6dyDsQZPE

 

Tour Dates:

March 7, 2015 (Saturday)
Bossanova Ballroom – Portland, OR

March 8, 2015 (Sunday)

Admiral Way – Seattle, WA 

March 9, 2015 (Monday)
Checkerboard Bar – Spokane, WA

March 10, 2015 (Tuesday)
One World Café – Moscow, ID

March 12, 2015 (Thursday)
The Sidewinder – Denver, CO

March 14, 2015 (Saturday)
Sister – Albuquerque, NM

March 24, 2015 (Tuesday)
Hardhat Lounge – Las Vegas, NV

March 27, 2015 (Friday)
Milk Bar – San Francisco, CA

 

 

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The Manimals Unleash the Prominent \

Game of Thrones fans unite! The Manimals are here from Brooklyn for an enchanting new take on the hit series by R.R. Martin. Late last month we saw the band releasing their album SEVEN which is a take on the show's brilliant Season 6. Led by Brooklynite Haley Bowery, the band brings the album to fruition with each song on the record acting as it's own chapter. SEVEN has the feel of a well-written novel, where every word is carefully planned.

Bowery, which appears to be one of the driving forces behind the storyline, brings each track together with her stunning, and catchy vocals. The Manimals as a whole deliver a record that is a must listen for 2016, as they dive deep into the characters that bring Game of Thrones alive. The focus single, "Talk," is the first being shared, as it springs to life with the character, Tirone. With a sassy video accompanying the song, we get the full view of The Manimals, in their Game of Thrones inspired world, and their Glam Rock glory.

It is safe to say I've found my favorite new band for 2016.

"We don't get to choose whom we love."

 "Talk" by The Manimals: https://www.youtube.com/watch?v=ydPyXc8Ah5s

 

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Endangered Frogs, Endangered Ways of Life, Endangered Art

In 1980, Ancient Future founding members Matthew Montfort and Mindia Devi Klein went to Bali to study gamelan. They saw paintings of frogs performing gamelan music, and were inspired to go out into the rice paddies at night and jam with the frogs, which resulted in this cross-cultural and interspecies piece that was released on Ancient Future's second LP, Natural Rhythms:

Frog Orient Chance (Play on Ethnocloud)

Bali was a magical experience for them. They lived in a village without electricity and walked through the rice paddies to their morning lessons with their gamelan teacher, I Madé Gerindem. It was an almost ideal peasant society: the people owned their ancestral land plots and were able to make a living by farming rice. This took a few hours a day, and the rest of their time was spent on family, art, music, and ceremony. At that time, those who were part of the tourism economy had modern conveniences like electricity and motorcycles. They were increasing their material wealth, but had no time for art or music. It was obvious that modern technology, which was supposed to save time, was actually having the opposite effect.

Today, Bali is experiencing a real estate boom that is enticing people to sell their land for development. Once they trade their land for money, do they have more time for art and music? Is the future more secure for their children? Meanwhile, the remaining rice paddies are suffering pollution due to monoculture crops that require pesticides and chemical fertilizers, which does not bode well for the people or the rice paddy frogs.

This is a good lesson for us all. The promise of modern technology is to free up time for other pursuits. But, what actually happens with every advance is that a few people benefit financially, while the rest are forced to work longer and harder. The technology itself has a way of sucking up time (how much time do you spend on social media?), and even those benefiting financially are very busy managing their assets. And all the while, we are destroying the environment. Clearly, we aren't going to be giving up on technology, but we need to find a way to use it in a way that sustains life and culture, rather than disrupts it, to use the current buzz term of those profiting in the tech boom.

Rather than disrupt creativity, culture, and the environment for quick profits, we need to value the actual cultures and ecosystems that sustain life. We need organizations such as Sawah Bali, which is working to conserve Bali's rice paddies, return to sustainable farming, and create new markets for farmers, which will certainly have a beneficial effect on rice paddy frogs as well as Balinese culture. In the digital economy, we need organizations like the Content Creators Coalition, which is working to increase the value of art so that creators can sustain themselves.

 Ancient Future Circa 1981

Photo of Ancient Future in 1981

Pictured: Mindia Devi Klein (silver flute, bansuri, Balinese gangsa), Benjy Wertheimer (tabla, esraj), Matthew Montfort (scalloped fretboard guitar, sitar, Balinese gangsa)

 

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Getting Cozy with Musical Goddess Elaine Romanelli

Elaine Romanelli offers a graceful take at intertwined folk and rock inspired music. Her latest release, “The Hour Before,” has been making waves in the online music world, and in the specialty radio realm as well. Her unique sound and consistently lovely vocals provide a charming soundtrack to even the gloomiest of days. I have had the honor to speak with Elaine about her songwriting mindset and inspiration, in an informative and welcoming interview you will find below. 


Tell us about the making of "The Hour Before" and the concept behind it? 


The Hour Before started from a desire to create a cohesive collection, rather than a series of songs that may or may not seem connected to one another. IMHO, stories of the death of the album are greatly exaggerated. Listeners like me who get into an artist's sound will absolutely still put on an album, digital or physical or streaming, and play the whole thing. Maybe several times over! I do that all the time. So I wanted to make available one of my favorite musical experiences for people who also enjoy that.

 
What elements influence your songwriting?

Zirconium, Rhenium… (sorry, couldn't resist.) There's a lot of great mood music out there, and sometimes I listen to music that's more ambient if I'm doing a task of some sort, but for the most part as a listener I'm taken with a good story, so that tends to be how my songwriting comes out – story-focused. It's less about a feel or scene or mood, and more about a dramatic arc.

Lyrically, I'd say both realism and hopefulness are also elements. Life is messy and painful, yes, but also, to borrow from Woolf, 'starred with poetry'.

 
If you could play any venue in the world, which venue would you choose and why?

Oh lordy. Well, it would be amazing to perform in one of the ancient amphitheaters. I sang half a song in Epidaurus in Greece when I was there as a tourist. The acoustics are just astounding. To be able to communicate intimate songs unamplified with so many people would be an unforgettable experience.

 
In this creative process, would you say you enjoy being in the studio, or performing live on stage more? Explain your reason. 

Gah! So many hard questions! If I must choose, I'd say performing live on stage. I like the social, co-creative aspect of it. These days I'm often the sole performer, but in a live setting, I'm not at all alone - it's all of us together in the room feeling something and reacting, making that moment. Audiences bring a LOT to the show! It really is true that every live performance comes about because of who is there, and can't ever happen exactly the same way again. That's magical. 

What do you enjoy most about creating music in general?

It's deeply nourishing. Music expresses the inexpressible. With or without lyrics, something about music goes to the core of what it is to be human, to feel fully alive, and to struggle together on this planet. I appreciate how it can trigger a very personal meaning or feeling for each of us, and yet also simultaneously unite us in a common experience.
 
The Hour Before was released earlier this month and is available everywhere people buy and stream music, including iTunes. Get a signed copy direct from Elaine via her website, elaineromanelli.com. Free song when you join Elaine's mailing list: elaineromanelli.fanbridge.com.

 

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Future sound of the Underground vol4 out now featuring Celt Islam,Cheb Semnil and many more FUTURE SOUND OF THE UNDERGROUND VOL4 [TRANSNATIONAL BASS]

by DJ UMB / Generation Bass


Another tremendous Transnational Bass compilation from Celt Islam’s label Earth City Records.

Starts off in killer fashion with an Arabian Dub number by an artist called EQuBE, quickly followed by a chilled out dub number by the main man himself, Celt IslamCheb Semnil comes in next, another artist from Manchester and it’s a track that has a Beatlesque and Prince’s “Around the world in a day” era psychedelic vibe with dollops of Sufi Dub.

 

Haelu is up next with some deep, dark and experimental cinematic dub. Celt’s band Analogue Fakir come into the fray with an Electro-Dub number following the deep and dark mood of the previous track.

 

Another artist I’ve never heard of before, MayaXperience make their entrance with a Sci Fi PsyDub number.AreaWolf and Ionika brighten the mood up with some Luvstep vybz. RaJaz’s numba has a funky dub vibe to it with lounge atmospherics. Croydon’s SAOV have been involved in this scene for absolute years and they don’t disappoint with their Arabic flute lead breakbeat and in parts breakcore track.

 

Trans Irie Nation follow with a very celtic sounding number that pays homage to Tibet. Zetan Spore up next with more travels into PsyDub territory. Johnny Guiterrez invokes Hindu spirituality with his “Krishna Puto” number. Spiky double dubs the dub with more heavy dub, spliff number.

Back to Celt again and another one of his alter ego’s with his band Nine InvisiblesTeiwari Dub round things off with the deeply spiritual “Ancient Inscriptions”.

 

All in all, tremendous compilation that is highly recommended to anyone interested in exploring the real Transnational Bass Underground.

 

Album link : http://earthcityrecordz1.bandcamp.com/album/future-sound-of-the-underground-vol4

 

 

source :  http://www.generationbass.com/2014/06/13/future-sound-of-the-underground-vol4-transnational-bass/

 

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Going Pop with Maya Azucena

Maya Azucena is a stunning pop vocalist with a knack for writing a captivating tune. Azucena has been on my musical radar for quite some time now, as she has spent a good amount of time garnering accolades in the realm of World Music. Her intriguing new tune, “Dance Revolution,” turns everything around though, as Azucena enters the world of Pop music, with her heart and soul in tow.

Maya Azucena: "Dance Revolution" 
https://soundcloud.com/mayaazucena/dance-revolution-dj-spinna-mix/s-yATSX

Like her prior releases, despite the genre change, Azucena produces honest music with a heartfelt message. I was surprised to hear that she has altered her sound for her latest single, but it most definitely works in her favor. The new piece is a real stunner, that has me very intrigued for what she will be producing next. She has a new album that is due out sometime this year, which I can assume will follow in the same musical vein as “Dance Revolution.” It is very exciting to hear her take on the genre, as she takes the elements of Pop music and really makes them her own; adding her own special flare and touch.

 

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DISTRICT SIX PRESENTS COLONISED BY EARDRUM

RELEASE DATE: MAY 2015

LINKS
https://soundcloud.com/district-six-records/sets/district007_eardrum_colonised

http://vimeo.com/119100139

Hailing from London, Eardrum create sounds that reflect their harsh urban
surroundings while dreaming of African suns and open skies. Formed in the early
1990s when London based Richard Olatunde Baker met Chicago native Lou Ciccotelli,
the two percussionists found they shared a love of Sun Ra, West African tribal
drumming and dub reggae. Drawing on a pool of like minded seasoned musicians  
Eardrum forge an electric, elastic, experimental sound rooted in Nigerian and
Ghanaian trance music, King Tubby’s exotic dub tapestries and free jazz.

District Six records are proud to be releasing Eardrums' fourth album, 'Colonised',
a testament to the methods of both improvisation – afrobeat, free jazz, musique
concrète and carnival street music – and the insularity of studio manipulation.

Initially recorded as a live band one-take session, Colonised is a powerhouse
rhythm machine with great cosmic flair and deep interstellar improvisations
coloured with Eritrean, Nigerian and Egyption vocal tradition amidst the dark
sonic cityscapes of London life.

Colonised is the link between the ambient rhythmscape of Eardrums’ debut album Last
Light (Leaf Label) and the dynamic, unpredictable energy of Eardrums’ live
performances, whilst remaining a reflection of the city they hail from - diverse
beautiful, confusing, moving to wild rhythms and talking in strange tongues.

 

THE BAND MEMBERS
RICHARD OLATUNDE BAKER (talking drum/percussion)
Original founder and the band’s producer/studio engineer, he is also one of
the best talking drummers born outside of Nigeria. Having toured with Tony
Allen as part of the “Lagos No Shaking’ tour as well as Mulatu Astatke’s latest
band, he has since established himself as a prominent UK Future-Afro visionary

LOU CICCOTELLI (drumkit)
Co-founder, previously of noise merchants God and Spleen, with a wide spectrum
of Avant-Rock, Jazz and West African drumming musical capabilities, he is
currently also playing with Yaabafunk

JASON YARDE (saxophones/percussion)
One of the most prolific and recognised UK jazz musicians of the last 15
years. Apart from his own BBC compositions, his endless credits include Jazz
Warriors, Roy Ayers, Hugh Masekela, Andrew Hill, Jazz Jamaica, Terri Walker

PAT THOMAS (keyboards/FX)
Avid Oxford improvisor and Jazz composer, with a magical sonic range akin to
the enigmatic Sun Ra, his credits include Tony Corbett, Lol Coxhill, Black Top
and the Enlightenment Ensemble who just performed John Coltraine's Love Supreme
album at Union Chapel in London.

AYOKUNLE ODIA (saxophone)
Songwriter and poet with an impressive Afro-jazz background, including
performing at the Lagos shrine with Fela Kuti

HARVIR SINGH SAHOTA (tabla)
A fiery up and coming tabla player and genius “rythmatician”. He is able to
blend a traditional/religious style with the new and experimental

AGE NORTHOVER (saxophones)
Exuding a well travelled palette, from Balkan to classical Indian styles, he
brings a huge array of colours and emotions to the pot

TREVOR EDWARDS (trombone)
A well known name on the Jazz/Reggae/Latin circuit his credits range from
Aswad, to Ska Cubano, to Soothsayers

AYANDELEDAYO ORIGADE (omele bata)
Bearing the ancestoral name of a traditional Yoruba drummer, his rhythmic
patterns are at the heart of the EARDRUM framework. His credits also include
Ayinde Wasiu, Sikiru Barrister, as well co-producing Musilu, son of the
legendary Haruna Isola.

NICK WALTERS (trumpet)
Another up and coming prolific player with a broad stylistic palette and flair
for exuberant solos

FEATURED VOCALISTS

Helen Isibor
Nigerian born singer-songwriter, composer and performance artist harnessing
influences from avant-garde, psychedelic, tribal and meditative arts and drawing
inspiration from 70’s musical pioneers such as Fela Kuti and Can.

Saba Tewelde
Born in Eritrea and influenced by Jazz, R&B, Hip Hop and tradiotional music,
Saba is part of German world music nominee group InjerSoul

Empress *1
Of African and Arabian heritage, prolific and passionate about her art, she has
chosen to express herself through metaphor, meter and rhyme.



 

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The Toby Tobias Ensemble
The Toby Tobias Ensemble (03/23/15 11:47)
Good stuff!
New Video Series Combines Modern Urban Western Beats With Traditional Middle Eastern Melodies and Percussion
Stereognosis is a transglobal music project which combines modern urban western beats with traditional middle eastern melodies and percussion (http://stereognosticmusic.com).  Long distances were travelled to record an album involving 16 different musicians from 8 different countries over 4 years—-this album was released in 2010 and was entitled The Hybrid (http://www.cdbaby.com/cd/Stereognosis).  This album laid the foundation for a LIVE PERFORMANCE on 08/29/13, EIGHT HIGH-DEF VIDEOS of which were RECENTLY RELEASED ON YOUTUBE (https://www.youtube.com/playlist?list=PLtAQs848E0dQf-2tmmfZBZrBWLW1_36Yy).  
 
These videos included performance footage of Belgian Beatbox champ FATTY K (https://www.youtube.com/watch?v=ZTLoiiki98k), American beatbox champ BEAT RHINO (https://www.youtube.com/watch?v=qkXJtEWCeLQ), upright bass sensation MILES JAY (https://www.youtube.com/watch?v=j-y2IV-O2zA), Turkish string virtuoso SINAN AYYILDIZ (https://www.youtube.com/watch?v=sh7q41H1ODQ), and Uzbek percussion master ABBOS KOSIMOV (https://www.youtube.com/watch?v=Yp3SUZgWhwQ).  
 
We would like to invite enthusiasts of world fusion and conniseurs of master musicianship in general to please check out the new video series (particularly the trailer at https://www.youtube.com/watch?v=yQiTp1ojPu8 and this track featuring the entire ensemble at https://www.youtube.com/watch?v=qMCjMy2dit0).  
 
For those members of Ethnocloud who like what you hear, we encourage you to please feel free to visit us on Soundcloud (https://soundcloud.com/stereognostic), Facebook (https://www.facebook.com/stereognosticmusic), Twitter (https://twitter.com/stereognosis), and Instagram (http://instagram.com/stereognosis).   
 
For questions, please contact the project’s producer, Patrick Archie, at stereognostic@gmail.com.
 
Happy listening…
 

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\

With all the turmoil that has hit Mali since singing guitar master Habib Koité's last recording, it is no wonder that his February 25, 2014 release, titled Soô (which translates to Home in English), was recorded in his own home. But the civil strife in Mali was not what drove the musician to do his first home recording. The real reason simply was-just like many other established musicians-because he could. What started as a logistical decision paved the way for the album's theme.

For a musician, on the road for long stretches, home becomes a dream, a vision. A place to treasure. But this home is much more than four walls. It's a chance to draw together all the strands of his life - his music, his friends, his countrymen. A chance to breathe, to reflect, and to make some changes.

"On this album most of the songs are played by new musicians," Koité explains. "I had the same band for 22 years, they played on all my albums and tours everywhere in the world. All my albums, I did with them." It was time for fresh blood; only bassist Abdul Berthe remains from the old lineup. Even the engineers were new - one of them Koité's twenty-year-old son.

Habib Koité's Soô has had a complete makeover. Not only personnel, but songwriting and instrumentation. The drum kit has gone, replaced with a percussionist on calabash and djembe. And with this album, Koité has brought the banjo home to Africa. After playing with American bluesman Eric Bibb on 2012's Brothers in Bamako and on tour, Koité adopted Bibb's six-string instrument belonging to Eric Bibb.

"It gives another effect to my sound, something new," says Koité. "Issa, my other guitarist, said 'Wow, I've never played this instrument.'"Neither had Koité, but he knew he wanted to hear the banjo in his new music along with the brand-new guitar which was a gift from a fan in England. It has a wide neck, like his familiar nylon-stringed instrument, but this uses metal strings. "The sound is so great. I fell in love with it and decided to record all the songs with this guitar." But he made a few changes, switching to heavy strings for a cleaner sound. "You can hear it on 'Drapeau,'" he observes, a song which features just Koité and the guitar. "I muted the bottom strings. You can hear the bass lines and the treble separately that way."

Singing in Malinke, Bambara, and Dogon, and incorporating styles and rhythms from all over the country, Koité brings together the diversity of ethnicities of Mali on Soô. But that's a perfectly natural feeling to him. Growing up in Kayes, he was surrounded by a Babel of tongues, and that continued when he moved to the the capital, Bamako. A student of classical guitar, he also learned jazz on his way to becoming a master of the instrument, "the African Clapton" as he's been called. And from the start he's relished mixing things up in his own music. On his 1995 song "Fatma,"Koité crossed cultural borders playing a sonrai style from the North, creating a hit in Mali. Ten years later the great singer Afel Boucoum told Koité that he was shaken by this song. "he thought it was familiar, but somehow very different."

That mix of Malian musical cultures is very much in evidence on Soô. It's an album that looks squarely at his native land, a country torn apart by violence over the last two years - a time when a real feeling of home couldn't be more vital. On "Diarabi Niani," for instance, Koité takes a traditional rhythm then gives it a twist by adding a bridge which wouldn't normally exist. And with "Bolo Mala" he sings in Malinke, but over a Kassonké rhythm from his own Kayes, before adding a few words in Spanish.

Koité addresses many of the issues facing Mali at the moment. Under the beautiful lilt of "Dêmê" is the serious issue of people helping each other and living together peacefully. But there are other problems to be addressed: the forced marriages highlighted in "Need You," where the iron fist is hidden beneath the velvet glove of a gorgeous melody, or "Khafolé," the traditional story of a mother loses her young child to a circumcision gone wrong. This song was first performed over a hundred years ago when a group of women were protesting to the chief of the Blacksmiths, the group traditionally in charge of circumcision.

"In the big cities, it's going down in popularity," Koité notes. "But it still continues in small villages."

And sometimes he makes his point without words. "Diadjiri" is completely solo, a reminder of Koité's virtuosity on the fretboard. But it's also a song made famous by Fanta Damba, one of the first Malian singers to find fame in Europe, a song about war and its horrors. It's a piece that will have been resonating in the minds of all Malians in recent times, and when Koité lets his fingers do the talking, the melody more eloquent than any voice.

But Soô is a place of joy, too. "Balon Tan" celebrates soccer, a vital part of life in Mali.

"Every afternoon after school you can see boys of different ages playing soccer in the dust," Koité explains. "Parents come to watch and talk. It's an important point of meeting where you learn to live together. And everybody goes home at the end of the day."

Home. Always home. Even in "Tekila=L.A.," a memory of times with friends in Los Angeles, he compares the city to the place closest to his heart - Mali - while the banjo connects people on both sides of the Atlantic. And "Terere," featuring the legendary Toumani Diabaté on kora and the n'goni of the masterful Bassekou Kouyate, is a celebration of the strings that power Malian music.

Home. The place that brings everything together, as he sings on the title track, "Soô."

"The word soô is a symbol of the heart," Koité reflects. "It's the center of your life, the heart of life. It's a place with your family, the place where you have old friends. A place where you know the climate. It is all of those. That's what soô means. Your sweet home. It's where your life makes sense."

 

 

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Julian Markov
Julian Markov (12/07/14 05:45)
Very nice.
Review: Musical Troubadour Craig Greenberg Set to Release \

 

 Modern day musical troubadour Craig Greenberg stuns with his upcoming album, “The Grand Loss & Legacy” due out May 15th. Greenberg first enticed me into his new record with the piano-pop laden single “That Girl is Wrong for You.” For those who are avid fans of the genre, Craig Greenberg proves to be one to seek out.

 “The Grand Loss & Legacy,” is equally as vibrant as it is heartbreaking at times. His knack and perfection for writing an outstanding song, both lyrically and musically, showcases his artistry as a musician and a songwriter.

 A true musician at heart, Greenberg takes center stage in the new release, showcasing his skills on a variety of instruments ranging from traditional piano, keyboard (organ, Rhodes, farfisa and synthesizers to boot), guitars, as well as percussion, and of course vocals. Calling New York home, but having extensive time performing abroad in Chile and Spain, his musicianship is unique and one to take note of.

 Lyrically he showcases an array of themes throughout the album. These heartfelt emotions break through and add a whole new dimension to the tracks. Upon the subjects he covers are love, obsession, the creative process, freedom, sex, religious beliefs, parent-child relationships, and more. This shows his wide range of musical genius and getting to the heart of his subjects.

 Key songs on the record include the vibrant and love struck, “That Girl is Wrong for You,” which is a jaunty piano tune that evokes the feel of classic Ben Folds; one who which Greenberg is often compared to. In my opinion though, Greenberg’s magnitude of songwriting outshines Folds by a mile. And that is saying a lot. One of the most heartfelt pieces on the record is “I Hope You Understand,” which is a song Greenberg wrote about his slightly strained relationship with his father. Further into the spectrum is “All the Pretty Things,” which is stunning in its own right. This showcases his inner psyche of songwriting and the dark places of the mind it can navigate to.

 “The Grand Loss & Legacy,” also proves to be a tribute to Greenberg’s late Mother, who was sort of an inspiration or the record. Carrying on his Mother’s ‘legacy,’ it made Greenberg reflect on his own life, and career.

The songs within the record offer a raw and up-front live sound, which has a live feeling throughout the course of the record. This makes it feel like more of a polished live performance, and an up-close and personal one as well. Recorded in the heart of Williamsburg, Brooklyn at Galuminum Studios with the help of producer and engineers, Chris Cubeta, “The Grand Loss & Legacy” was born.

Craig Greenberg will be playing an album release show for "The Grand Loss & Legacy" at Rockwood Music Hall, on Saturday, May 16th. Pre-order the album via www.craiggreenbergmusic.com 

Currently Streaming:
Craig Greenberg “That Girl is Wrong for You”
https://soundcloud.com/craiggreenberg/02-that-girl-is-wrong-for-you

 

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Pandemonium Gitano Compilation Release

It took a while, but now it’s here: Rock Gitano is bringing out his very first compilation. Some may know the guy from Zurich and his wild side from his early days, others from the crazy Zurich night life. But no one knows the man behind the mask. The one driven out, the restless one, the one first shunned by society then adopted, only to run away again. One of the last true punks, bearing a thousand tons of attitude.

Rock began his career as a DJ more than 20 years ago. First as an electro DJ at all sorts of parties, later in the legendary Zurich club “Dachkantine”. But eventually, he went back to the music of his roots. To the music of the travellers that had accompanied him his whole life long, to the music of his soul, he being a traveller himself. Ever since, he calls himself simply Rock Gitano.

Rock Gitano has played in all the trendy clubs and venues in Zurich as well as throughout Switzerland; he can also look back on a number of regular gigs abroad, including Berlin, Munich and London.

Following on the heels of diverse collaborations and lengthy friendships with various touring bands and boozy club nights, Rock Gitano is now venturing a step further into pandemonium with the first compilation he has ever put together. Pandemonium Gitano is a perfect mix of Balkan folk songs, coupled with electronic beats and modern influences from the West. And when Rock issues the invitation to dance, then of course, they are all there: his buddies from Palko Muski, Gypsy punk legend Eugene Hütz with his cohorts from Gogol Bordello, the splendid Amsterdam Klezmer Band and other heroes from the global dancefloor. At times playfully electronic (Äl Jawala, Gypsy Sound System), at others organic with a groove (Terno feat. Mahala Rai Banda, Jaro Milko & the Cubalkanics), and always with just the right portion of punk (Russkaja, The Dreadnoughts). Fresh, lively music that makes you happy or as Rock himself says about his DJ sets, “It’s about love! It’s about peace! It’s about craziness!”

The CD is published on Swiss indie label, Jasha!Records, which was just launched in 2016 with the mission of bringing Gypsy/Roma music closer to those who want to hear it.

Rock Gitano’s "Pandemonium Gitano" is available as a CD and digital download.

 

Tracklist

 

1. Palko Muski – This Way (Switzerland)

2. Terno feat. Mahala Rai Banda - Romani Gili (Poland/Romania) (Exclusive)

3. Boom Pam - Ars Meduplam (Israel)

4. Round Table Knights feat. Reverend Beat-Man – Cut to the Top (Switzerland)

5. Äl Jawala - Heart Overload (Pelletronica&Sumakari RMX) (Germany) (Exclusive Version)

6. Gogol Bordello – Pala Tute (USA)

7. Amsterdam Klezmer Band – A Sheine Velt (Radio Zwarte Cross Version) (Netherlands) (Exclusive Version)

8. Russkaja – Energia (Austria)

9. Offchestra – Bajram (Kosovo)

10. Gypsy Sound System - Press the Balls (Switzerland)

11. Gypsy Hill - Balkan Beast (UK)

12. Jaro Milko & the Cubalkanics (Switzerland) (Exclusive)

13. Jaakko Laitinen & Väärä Raha - Murhamiesten Markkinoilla (Finnland) (Exclusive)

14. Haris Pilton & Gypsy Sound System – Gitanos (Switzerland)

15. Kumpania Algazarra – Pudim (Portugal)

16. The Dreadnoughts - Polka Never Dies (Canada)

 

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My name is Toby Tobias, a South African born singer-songwriter living in Northport, LI. 


I have started a new grassroots World Music venue here in Northport Long Island, NY called The Sweet Spot @ Cucina ‘D’. Currently we are scheduling musical performances on a weekly basis. 

Our inaugural show was on March 19, 2014 and London-born, New York-based songwriter, Rupert Wates, performed for a very enthusiastic crowd. 

On April 19, 2014, my band, The Toby Tobias Ensemble, opened for the Bakithi Kumalo Trio .

Our next event was Saturday night June 7, 2014. We had the Celtic band, The Prodigals performing alongside Eliana Marcia & Bando Azul, an Afro/Samba band from Sao Paolo.

Unfortunately we needed to move the location of the venue and I have found the perfect spot in Northport L.I. We have renamed our venue, known now as ‘The Sweet Spot @ Cucina ‘D’, a beautiful and quaint restaurant where we will provide
“A Fusion of Live World Music & Inspired Culinary ‘D-lights”.

Our new series started on February 21, 2015 and we have had sold-out shows for the following artists:

February 21:                       Gregory Grene (Celtic)
February 28:                       Garrin Benfield (North American)
March 7:                              Paul Shapiro (Klez-Funk)
March 14:                            Lesedi Ntsane (South Africa)     
March 21:                            Ivan Milev / Entcho Todorov Duo (Bulgarian/Balkan)     

The remainder of this series includes the following musicians:

March 28:                            Rag Yaman Trio with Premik Russell Tubbs (Indian)
April 7:                                 The Makane Kouyate Trio (Mali)
April 25:                               The Toby Tobias Trio (South Africa)

Due to popular demand, we are  continuing the series and scheduling performers starting in May and Saturday nights thereafter. I would like to invite all world musicians the chance to perform at our venue. Space permitting, I am looking for duos, trios and perhaps quartets.

I am looking for quality world musicians to bring their music to our venue here on Long Island. Please let me know if you are able to help me in my search for these types of musicians.  

Website:
www.sweetspotvenue.com

Facebook page to The Sweet Spot:
https://www.facebook.com/thesweetspotvenue

Thanks for your interest and I look forward to hearing from you. Please contact me at toby@tobytoby.com and provide information on where I can listen to clips, see video and take a look at your web presence. 

With kind regards,

Toby Tobias

 

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Mthakathi
Mthakathi (03/23/15 21:45)
Tony, I just joined up on Ethnocloud but I'm a long time American/Mzansi muso. I'm sure we know a lot of the same people (Bakithi played on my last album!)Would LOVE to come do the venue. I'll reach out privately. Sharp! Mthakathi Ema
From Kazakhstan, Zaza Carries an Eclectic Pop Sound

Zaza is a wildly creative musician that is a native of Kazakhstan. In a world where urban pop music was non-existant, not until later on in life when Zaza traveled from London, and then to Los Angeles, did the sugary sounds hit her ears. Brought up among mostly traditional music, the world of pop was not in the reach for Zaza at a young age; but once she heard it she fell in love. She has crafted a sound that is vibrant, captivating and eye opening. Having the chance to speak to Zaza, she shares her worldly endevors, which you will find below.

Zaza on Soundcloud: https://soundcloud.com/zazaofficial

Growing up in Kazakhstan, how did you discover urban pop music?

I didn’t, Kazakhstan didn’t really have an urban pop scene at that time, so I traveled to London and then to LA, somewhere in between London and LA I discovered urban pop music in me :)

At what age did you fall in love with music, and realize it was a career path you wanted to pursue?

I fell in love with music once I first saw a piano and my cousin playing it, that’s when I said “Mom, I want to play piano” and from that year I attended music school. Later in 5-th grade or so I decided that I wanted to become a better singer and learn improvisation and everything that could help me develop myself as a musician. In couple of years I started taking dance classes to become a better performer, I guess I just new that I wanted to become a great performer , singer, songwriter and musician.


You bring together hip hop, with an upscale version of pop music. How did you decide to combine these elements to create your signature sound?

Going through almost all styles possible I new I wanted to rap and I knew I wanted to sing and I knew that I wanted my music to respond to people and people to respond to my music, basically I am finding my own way to talk to people and let them go through my experience with me.


What strong differences have you experienced musically between the Kazakhstan and Los Angeles music scenes?

Well the difference is huge, it’s hard to explain, I guess the most significant difference is that Kazakhstan’s music industry is such an unstable industry you never know what’s going to happen tomorrow as it is still developing and growing. Music itself is more dance related but in a different way than America, I’d say that European hits would be given priority before American hits if we were talking about party scene and radios in Kazakhstan Los Angeles has this music business mechanism that works 24/7 and there are specifics here that you should know in order to enter the business America has many popular singers and bands that people from Kazakhstan wouldn’t know. And yeah, Los Angeles, for me it’s that hip-hop and RnB scene that I never payed so much attention to before I moved to Los Angeles.


What can you tell us about the Rock N’ Roll Downtown photo shoot?

It’s something that was in me for so long I just never had a chance to express it. That side of a rebel and a rock star in me. I do what I want, I live how I want to live and I love who I love.


“Fashion Girl,” “Love Me More,” and “Cobra,” are all incredible songs that you have released to international audiences. What is the musical message you’d like to convey with them?

Cobra will be coming out in January. With all three songs I express my love to fashion, fun and life. These songs are so different, just like me, I’m different all the time, changing my hairstyle, the way I dress and the way I live.


When can we expect your debut release in North America?

I will be releasing a new single in January. And it will definitely be available in the US.

 

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Flamenco fans young and old descended on the Barbican last week for an exquisite early Christmas present in the shape of a tribute concert to Paco de Lucía - the undisputed father of modern Flamenco.

Thanks to Paco de Lucía’s collaborations, from jazz to classical, his songs not only gave new leases of life to other genres but rejuvenated Andalusian-born music, spawning nuevo flamenco. Introducing the Peruvian cajón, the saxophone and fretless electric bass, would anyone else have been to absorb such an eclectic mix into flamenco without it representing more confusion than fusion? Paco managed to stay absolutely true to flamenco’s passionate soul whilst bringing it to new horizons – a sentiment reflected in his tribute concert this week.

image

Niño Josele and Chano Dominguez kicked off ‘Beyond the memory’ with a collection of pieces from their new album, Chano y Josele, and songs crafted by the master himself. The duo proved to be exemplars of the abiding influence of Paco de Lucía. Both growing up steeped in flamenco blood and surrounded by the countryside of its coursing, their magisterial piano and guitar fingerwork transfixed eyes from the outset.

Achingly beautiful covers of Lennon and McCartney’s ‘Because’ and de Lucía’s ‘Cancion de Amor’ blurred the lines perfectly between homage to the father of modern flamenco and a lover’s dance in the streets of Seville. It encapsulated Paco’s and flamenco’s ability to create an immediate, visceral impact even though the means to it are full of complexity.

With the audience still clinging to each resonating note with ecstasy and melancholia as the interval ended, the second half delivered a collective of key members of the Paco de Lucía ensembles. After guitarist Jose Maria Bandera, bassist Carles Benavent and percussionist Pirana warmed up the feet as well as the hearts of the audience, all nine musicians came together and the murmurings of Hispanic hysteria started.

The soulful sounds of Jorge Pardo’s flute tangoed with the bluesy twang of Antonio Serrano’s harmonica, whilst the wailing of flamenco cantaor Duquende pierced through the booming tones of Pirana’s and Rubem Dantas’ cajónes. The musicians’ semi-circle, rejoicing in the music of de Lucía, combined an intimate feeling of them playing in a living room as cries of ‘Vamos’ from the crowd echoed throughout what might have been the Bernabeu.

The lightning-footed Farru provided the night’s el baile flamenco, revelling equally in the night’s music and the audience’s ovation, whilst covers of ‘Entre dos aguas’ and ‘Zyryab’ were interspersed with clips of the forthcoming documentary on de Lucía entitled ‘Beyond the memory’. Written and directed by his son and daughter, the snippets delivered far more footage of the master than previously expected.

image

However a highlight of the evening came in a brief chat and taranta performed by the intensely talented Jorge Pardo. Taught the taranta by Camarón de la Isla and Paco, Jorge described its origin as a deep blues from the mines of Cartagena and Almería. His performance of ‘El Barranco del Tesoro’ echoed magically and sorrowfully.

The title of the night, ‘Beyond the memory’, proved correct. It pointed to how de Lucía was the renaissance man of flamenco music. It pointed not only to how the night was a tribute to the songs, the skills and to the man himself, but pointed to the beauty that will be created throughout Spain and beyond thanks to his inspiration. The night demonstrated how the master has left mastery through others; how he forged a legacy through the musicians he encouraged and the genre he redefined.

 

JTM

 

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American World Music Group Atlas Maior Announces Istanbul, Turkey Tour

Austin, TX
August 13, 2013

Austin, Texas-based world music group Atlas Maior to perform and study traditional and contemporary Turkish music. Group launches Indiegogo campaign to support their Istanbul, Turkey tour

The world music fusion group Atlas Maior will travel to Istanbul, Turkey September 9-22nd, 2013 to perform and study traditional and contemporary Turkish music. In addition to performing at a variety of venues in the city, Atlas Maior will be learning performance practices from Istanbul musicians, and analyzing applications of Turkish makam music theory. Atlas Maior is taking their project to Indiegogo to seek support for costs of the tour: http://igg.me/at/atlasmaior

Atlas Maior maps diverse musical traditions by placing Middle Eastern, American Jazz, and Latin American musical idioms in dialogue with one another. Diverse in sonic textures and musical styles, this emergent Austin world fusion group highlights a variety of musical traditions while balancing intimate moments of sincerity with powerful cinematic melodies and incendiary rhythmic grooves. The group is an integral piece of the emerging and vibrant world, traditional and international live music scene in Austin, TX, and is actively performing in Central Texas, San Antonio, and Houston. Atlas Maior’s music is a medley of both soulful and driving melodies played by Charlie Lockwood on the ‘ud (Middle Eastern lute), Joshua Thomson on alto saxophone, and joined by drummer and percussionist Theodore Camat. This sound has brought the band recognition on KUTX 98.9FM’s “Austin Music Minute”, World Beat Online (WOBEON), The Austin Chronicle and Qué Pasó Paisano! Magazine. The group’s 2012 Four Shades album has received radio play on Austin’s KUTX 98.9FM, KVRX 91.7FM, KRTU 91.7FM San Antonio, KCSZ Santa Cruz, CA, and WEMU 89.1FM Ypsilanti, MI.

According to Atlas Maior’s Charlie Lockwood, “This tour provides an opportunity to promote intercultural musical education, dialogue, exchange, and further develop music industry relations between the U.S. and Turkey. Austin, Texas and Istanbul are centers of artistic creation and musical activity, and we’d like to help highlight this commonality. We would be honored to serve as cultural ambassadors on this trip”. The group is finalizing performance dates with a variety of music venues in Istanbul, including Kaset Bistro, Babylon, The Jazz Café, and Arka Oda, is receiving housing from the American Research Institute in Istanbul Hostel, and has confirmed music lessons with musicians from the Istanbul Technical University Turkish Music State Conservatory, 'ud master Necati Çelik, multi-instrumentalist Sinan Erdemsel, violinist Husnu Tuzsuz, clarinetist Ramazan Sesler, and ney player Eymen Gurtun. Atlas Maior will be working with these well-respected musicians to establish collaborative performance opportunities while in Istanbul.

The group invites further assistance with booking performances in Istanbul, providing cultural and educational opportunities, and communicating with Turkish music ensembles, music venues, and research centers. Current sponsors of this tour include: The American Research Institute in Turkey, Texas Folklife, Turkish Raindrop House of Austin, MetaHara Productions, La Mancha Graphics, TexStyles Designer Fabric Showroom, and Blue Moon Apparel Manufacturing Services.

Atlas Maior’s Indiegogo campaign aims to reach a fundraising goal of $2,500. To follow their project, find them on Twitter (@atlasmaior) and Facebook and spread the word to your social media networks. Consider donating as little as $10 to help make their tour a success. If you decide to donate, you will be among those receiving some special Indiegogo perks from the group’s journey to Istanbul.

For more information, promo requests, or set up an interview, please contact: 
Joshua Thomson, Silver Phantom Booking 
(313)258-0378 
booking.atlasmaior(at)gmail(dot)com

Indiegogo Campaign: http://igg.me/at/atlasmaior 
http://www.facebook.com/atlasmaior 
http://atlasmaior.wordpress.com

Charlie Lockwood studied Ethnomusicology (M.A.) at the University of California, Santa Barbara, where he played the ‘ud (Arab short-necked fretless lute) in the UCSB Middle East Ensemble, directed by Dr. Scott Marcus, one of the foremost scholars of the Arab maqamat system. In July 2010, Charlie traveled to Cairo, Egypt with the UCSB Middle East Ensemble to play a series of concerts at the Cairo Opera House. He currently serves as Development & Program Associate for Texas Folklife, the National Endowment for the Arts designated Folk & Traditional Arts organization for the state of Texas, and teaches ‘ud at the University of Texas at Austin. Joshua Thomson. a native of Detroit, Michigan, has performed, and studied music in The U.S., Canada, Dominican Republic, and Spain. Studying sociology (B.A.) at the University of Michigan, Thomson conducted field research in the Domincan Republic in 2005. While in Detroit, Thomson co-lead jazz fusion groups Aashram and Timecube. Thomson founded the jazz group Silver Phantom Quartet and co-founded Atlas Maior in Austin, TX in 2009. Thomson has collaborated with a variety of national and international musicians, including Boubacar Diebate (Senegal), Guillermo Anderson (Honduras), Marco Minnemann (Germany), Victor Murillo (Ecuador), and Joe Deninzon (New York). Theodore “Hollywood” Camat, brings his extensive experience in classical, jazz, funk and Afro-Brazilian percussion to the group and adapts traditional Middle Eastern rhythms to drumset. Camat is a full-time drum instructor at Capital Music Center and The Oak Hill Drum Studio, and student of the “Samba do Malandro” dance style. He emphasizes a vibe that is engaging, danceable, and thus, widely accessible to both new and experienced listeners of Eastern and Western culture.

The group’s international performance experience, emphasis on education and intercultural musical collaboration leaves them uniquely positioned to serve as cultural ambassadors in Istanbul, Turkey.

am istanbul fb wall

 

am istanbul avatar

am band photo

Atlas Maior Band Photo 

Charlie Lockwood - 'ud
Joshua Thomson - alto saxophone
Theodore Camat - percussion
 
am fb banner
 

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Getting to Know SAIN
Sain is a rising new star in the world music scene. Bring an electic and noteworthy sound of Urban with a flare of Pop, he takes to the music world with full force. This year has already had quite a start for Sain. He has recently shared with us the single, "They Don't Know," which has already spawned an ear-cathing remix and eye-catching video. We had the chance to speak with the upcoming artist, about his inspirations and musical influences; a delightful first look into his musical mindset.
 
Meet SAIN.....
 
When you are writing music, what comes first, the music or the lyrics?
 
Well it all depends on what I get inspired by first, Sometimes I hear something and want to write to it
according to the tempo of the instrumental, Sometimes I just sit down and write by using my imagination.
 
Is your upcoming record, The Chapters, are the songs a continuation of the "They Don't Know," single and feel?
 
Yes "They Don't Know" is part of The Chapters which is an 8 track EP It was the first record that I recorded back in December 2013  for the project. I do have a remix for "They Don't Know" ready and it sounds great. Can't wait to share it with the world.
 
What is the meaning behind the title of The Chapters?
 
The Chapters meaning 'Chapters of Life', since I was restarting my career I decided to dedicate my first piece of music to
the story of everyones life. Each track sounds different and have different emotions behind them. It's basically a story that's based on our lives that I put down according to the way I see it through my eyes.
 
 
With slick lyrics, that read like poetry, how do you write the lyrics? What is the ultimate inspiration?
 
Anything can inspire me, Its all based on different experiences that I face in a daily basis. If I go to a new environment that I've never been to I write about something based on that because its the first experience I ever had there, So if you ask me what my ultimate inspiration is I'd have to say its life because that's what I put in my music lots of life.
 
Do you produce and record your own records, or do you head into the studio? How did you record The Chapters?
 
I usually record at a studio that my cousin Sal that runs his studio he has produced a record in the upcoming EP too, I might have co-produced a few records but I usually relay on producers to create the sound to what I have written or will write for a song. The Chapters was recorded in Sals studio and he was one of the main people that guided me 
into making it a great sounding EP.
 
The new video is gorgeously crafted. How did you come up with the story line (and/or treatment) for the piece?
 
Well me and a very close friend of mine were looking for people to shoot our video and we just couldn't find a person that could be legit behind the camera. They were either charging an impossible amount or they were just not ready to dedicate themselves fully to the video, Some just never got back to us after doing half the work even though we had the money to pay them.  So one night we talked and decided that we were going to do it all ourselves. He held the camera and directed the video while I took the footage and edited the video. We had abit of help  from a few other members that teamed up with us later on but most of the creativity came from me and him.  
 
What are your key musical goals for 2016? (It seems like you are off to a great start!)
 
Well the EP is on the way, Got some better video's on the way and I'm taking things up a notch. Its time to raise the bar because I believe that I have some great additions to the team. We now have a very talented video person that has all the equipment we need or a high quality video. I now have 2 videos on the way for The Chapters and we now have more producers and I have already started working on the next project that due for late 2016/2017. My goal is to lock down an international tour which is what we are currently working on doing for this year, I'd like to leave the rest as a surprise for the public.
 
Give a listen to the incredible, "They Don't Know" RemixL
 

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Five Funny Things People Say About Mbira

Well folks, we are back from a great weekend at the Zimbabwe in Devon Mbira Camp.

We  had a great laugh about the things that people who are not familiar to mbira say about the music and instrument. These ranged from the funny to the downright annoying!  We’ve complied a top five list from some of the things that people shared with us. Here we go…

1. Is It Made Out of Spoons?

mbira keys, zvembira

Probably the most common question that a lot of mbira players have been asked! It seems this one has ruffled many feathers.  Verdict: Annoying but sweet!

2. Did you make it yourself? 

People have also been asked many times if they made the instruments themselves. Have you had similar experiences? We were just wondering whether this question is asked because the instrument usually looks definitely handmade hence the assumption that everyone can knock one up for themselves. Verdict: Flattering but annoying

3. Can you play “normal” songs on it? 

This we found extremely funny (and a bit annoying)!  People want to know if you can play a pop song on the mbira. It is a very interesting question in that someone is essentially asking about the versatility of the instrument. What we found annoying about this question is the use of the word “normal”.   Anyway maybe this is what they were asking about…

http://www.youtube.com/watch?v=KaDA4qHGvKc

Verdict: Annoying but understandable

4. I can hear a strange buzzing. I think one of your strings is a bit loose. 

Believe it or not, someone had the courage to say this! Buzzing seems to be something that always troubles people when they listen to mbira.  People at the camp spoke a lot about how people always say “It would sound really lovely without those rattling bottle tops” or “it will sound really lovely when you fix the loose bits”. It seems some people are inclined to a ‘clean’ sound. Is it that there is too much buzzing or what? We’ll never know!  We’ve written about buzzing here before.

Verdict: People are entitled to their preferences

5. I’ve got one of those but it’s smaller. My mum brought it back from Africa. 

Well, don’t they all just look the same? We had a laugh about it because we imagined someone from “Africa”   with a violin saying to someone in Europe who has a cello, “oh, I’ve got one of those but it’s smaller. My mum brought it back from Europe”. Check out the blog on ‘Mbira Identity’ here .

Verdict: Very innocent silly thing to say!

Have you heard any funny things out there? We would like to hear from you!

http://zvembira.com/2013/07/01/five-things/

 

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Aleks
Aleks (07/02/13 10:59)
Bravo!! :-)

Aleks
X