A new mixtape with some tracks from recent reissues compiled with some classic afro oriental tunes. Here´s one hour with bellydances, RAI, afro-bresilian beats, highlife & afro disco mixed with some rare indian and tansanian dance tunes until dr. victor olaiya and johnny & the attractions calm you down with two slow tunes in the end of the mix.
Probs to awesome tapes from africa for posting jasmin musical club and releasing ata kak again.
w./ omar khorshid / jasmin musical club / meta meta ft. tony allen / tunde williams plays with africa 70 / unknown indian tune / houri benchenet / ata kak / dr.victor olaiya / stanislas tohon / johnny & the attractions
the little dog laughed radio # 13 – playlist
19.2 2015 2230 – 24 pm @ piradio
All is written – Matana Roberts (Coin Coin # 3 – river runs thee)
The cload of unknowing – Aine O´Dyver (Music for Church cleaners pt. II)
Fleuve – O Paon (Fleuve)
Stuck here – Minipops Junior (Koma)
The Grail and The Lotus – Robbie Basho (the Art of the Acoustic Steel String Guitar 6 & 12)
Carnival – Jackson C. Frank (s/t)
no title – Olli Aarni (FET press line studies 7” series)
Sur le ventre – Faust (Just us)
titremek ve terlemek – Anadolu Bayramamlari (Science fiction Park Bundesrepublik – German home tape recordings of the 80ies)
Alakoro – Thiago Franca ft. Tony Allen aka Meta Meta (7”)
Sokota – Selamenesh Zemene (Bati EP)
Silva Lenheira – Wilson Simonal – (Mr. Bongo 7”) Tim Maia – e neccessario (Mr. Bongo 7“
Mama Wa Kambo – Jasmin musical club (Pendo Kazi Yetu tape)
O kou – Stanislas Tohon (Dans le tchinck systeme)
mr. bigmouth – Tunde Williams (play with Africa 70, 12”)
Coming on the scene – Johnny and the attractions (call of the drums 7″)
Matana Roberts
“always say your name” / “nema nema nema”
from ‘Coin Coin Chapter Three: river run thee’
Matana Roberts continues telling the story of black conciousness in her outstanding coin – coin series. This time, more than ever before, with epic spoken word passages, some rare free jazz saxophone sounds, then noises appear, changing with field recordings, it´s a 46 minutes constant flow which should be listened on LP to have just one short break when flipping the vinyl – these can hardly be called songs, this is more of the way she performed her live sets like year at the concerts in leipzig, germany when I saw her at the constellation festival.
“this recording represents a 25 day soujourn, i took through parts of the / my american south by am, greydog, thumb, through pecan trees, farm fields, rivers, running me, dark allies, cemeteries people no longer visit – curious places below the mason dixon line: she whispers a history that moves me, she whispers a history that technically made me…herein lies a fever dream of sound for your esteemed consideration”
Matana Roberts is one of the most acclaimed, socio-politically conscious and aesthetically intrepid composers, band leaders, horn players and experimental sound practitioners of the past decade. Her multi-chapter Coin Coin work, which Constellation began documenting in 2011 with Gens de couleur libres, has placed her at the forefront of stylistic innovation and radicalization, while confirming the deep substance and soul that guides her compositional agenda. Following the critical accolades that the first two Coin Coin chapters have thus far received, the past year has been marked by further career-defining recognition for her body of iconoclastic work: Roberts was a recipient of both the Herb Alpert Award in the Arts and the Doris Duke Impact Award in 2014.
Roberts has long employed the phrase “panoramic sound quilting” to describe the process surrounding her Coin Coin work. The third chapter in her Coin Coin series finds Roberts implementing this metaphor most explicitly, constructing a sound art tapestry from field recordings, loop and effects pedals, and spoken word recitations, alongside her saxophone and singing voices. Coin Coin Chapter Three: river run thee could arguably be considered first and foremost a vocal work, and notwithstanding its experimental and esoteric structure, a deeply narrative work as well. Not unlike 2013’s Coin Coin Chapter Two: Mississippi Moonchile, the new chapter unfolds as an uninterrupted album-length flow, this time in what Roberts calls “a fever dream” of sonic material, woven in surrealist fashion. Fragments of traditional song act as the main touchstones on the album, with Roberts’ singing voice riding atop waves of radiophonic texture, layered spoken word and an often dislocated, wandering horn.
Working once again with engineer Radwan Ghazi Moumneh, and returning again to Montreal’s Hotel2Tango studio (the location for her Chapter One recording in 2010), Roberts ran the river run thee tape back multiple times, adding new layers in real time, from start to finish (as opposed to calculated, isolated overdubs). The result is a visceral audio document that combines structure and improvisation in the fullest sense: not just in the playing and performing, but in the very marrow of the work’s compositional DNA. It is also, for the first time in the Coin Coin cycle, a solo work, emerging from a lengthy solitary road trip Roberts took through the American South in early 2014, amassing historical and documentary information through interviews, site visits and field recordings.
Coin Coin Chapter Three: river run thee signals yet another highly adventurous and socially engaged definition of what Jazz can mean in this day and age, and a fascinating extension of the Coin Coin cycle, where rather than surfacing and reactivating through the group dynamics of a musical ensemble, history is inhaled and exhaled through a solitary practice seeking to evoke and echo its tangled thicket of febrile strands. ”
Good winter news from “The Unknown”, Anacortes, Washington. Both, Ô Paon and Mount Eerie have new releases. Geneviéve Castrée´s new full lenght LP “Fleuve” is digitally out 27th. January 2015 as Tau 005, while Mt Eerie´s new LP “Sauna”was released yesterday via P.W. Elverum & sun. At first listen, especially the two tracks “Fille Tannée” and “Grand Sec/Alusinnage” of Fleuve are amazing, while I´d like to listen to the full physical LP and to all of the tracks by Mount Eerie before writing more about it.
“There is a type of nostalgia where the yearning is for a certain place at a certain time, something which no longer exists, something you’ll never be able to re-live. “Fleuve”, the new record by Ô PAON, is partially inspired by this very nostalgia: the cold winters when there would be a lot of snow, the times spent alone at home pondering while lying on your bed, or the long walks in the suburbs of Montréal in a time when you had to use a payphone to contact your people.
The “fleuve” (river) we are talking about here is obviously the Saint-Lawrence River.
This sort of concept album starts off in adolescence, along the way we encounter young runaways, the story ends with the Québec homecoming of a narrator who is nervous about feeling so different that she is completely alienated by it, she doesn’t know what role to play in the society which raised her.
On this record, Ô PAON (Geneviève), shows her influences more intentionally than ever. The guitars are electrified and distorted, we recognize the textures of the pre-internet era mentioned above. Just like on previous Ô PAON records, the lyrics are the result of a mix of anger and frustration. Geneviève addresses directly her feelings of powerlessness when faced with the politics of Canada’s and Québec’s respective governments. She is now living in the United-States, she has lost her right to vote and doesn’t know when she’ll come back to live in her home country.
“Fleuve” is a love letter written to someone who annoys you.”
“The sauna that this album was inspired by is not a sauna that actually exists anywhere. It is about the idea of a small man-made wooden room crushed beneath a universe’s worth of bad weather; a concentration of extreme heat within a vast tough world. Inside this deliberate space a transformation occurs. The exaggerated atmosphere of flames, steam, smoke and dim light obliterate the usual sensations and new kinds of perception are exposed. Then the shocking plunge under cold water and the razor sword through sky.
This is the same transformative potential of music, at least the kind of music that Mount Eerie has been attempting for the past few years. Carefully built worlds of sound and sensation, large weights and clear ideas, depth shown through simple moments. The singer is standing on the street in the rain, considering whether she hears a tractor idling or maybe an ancient memory of a mammoth tearing through brush. The view through the big windows at the airport in 2014.
Sauna is described as an “ultimate” Mount Eerie album, and something about it does feel final, or perhaps the beginning of something new and big. The songs narrow these ideas to tight moments, a honed thesis.
The compositions are complicated and grown-up, the instrumentation is gnarly and big, the pictures are painted bright. Recorded fully analog on 24 tracks at the Unknown (the reclaimed old wood church in Anacortes, Washington), this is certainly the most “hi-fi” Mount Eerie album ever made, while still sounding as raw as low tide in November. Phil Elverum is joined by singers Allyson Foster and Ashley Eriksson, cutting through the jet noise roar of the music with clear harmonic counterpoints.
Gongs flange, distorted bass arches its back, organs blanket the room, the piano is half-swallowed. Are those drums or lumber? Flutes or laughter? Actual audible steam hangs in the branches.”
Listen two 2 tracks of Sauna:
& to the ambient titletrack “sauna” via the bandcamp site:
Here´s a selection of the tracks, I played at the “saddest music in the world contest”@ roter salon as “the little dog cried” before the live acts played & after the concerts.
I haven´t recorded all of the songs of that night, just a selection of old blues, gospel, tangos combined with some recent ambient tracks, loner folk of the 60ies, gospel – all of them deadly sad until rodriguez´ends with: “i`m gonna laugh instead of crying – I am gonna live until I die” – cover photo by jlt (shot in stuttgart)
Just a short reminder for tomorrow´s saddest music in the world contest tomorrow. I will play some music, I normally keep closed in the safe bettween the acts as “the little dog cried” .
Einlass: 20:00, Beginn: 21:00
12 erschütternd nostalgische Performances, eine dramatische Moderation, ein herzzerreißender Schallplattenunterhalter und die Jury:
Das traurigste Publikum der Stadt.
In Zeiten, in denen wir alles sein können an der Spitze des Habens, schleicht sich doch sentimental und sehnsuchtsvoll ein Gefühl in unser Herz in dieser eigenartig zerrütteten Welt. An dunklen Wintertagen sehnen wir uns nach traurigen Melodien, die uns sanft wiegen und trösten. In dieser Nacht wird diese Sehnsucht zelebriert und gestillt.
Inspiriert durch Guy Maddins Film „The Saddest Music in the World” (2003), finden sich in dieser Nacht die vielfältigsten Musiker Berlins zusammen, um ihren traurigsten Song zu spielen. Glamourös, absurd, wunderschön und sehr, sehr traurig.
Die Kandidaten / Live acts:
Oriel Quartett Tonia Reeh Lukas Lonski Alex Stolze Ann & Bones Miko Doo F.S. Blumm Ofrin Marc Marcovic Oana Catalina Chitu Sicker Man & Kiki Bohemia Jim Avignon
Tonträgerunterhaltung: The little dog cried Präsentation: Joanna Gemma Auguri
Tickets 11,- Euro.
Hosted by Miss Auguri
flyer:
so here´s as an introduction some of mine top 10 of my darkest loner folk mixtapes:
playlist: The little dog laughed radio #12 „horizons“
Herman Düne vs. Stanley Brinks
“Stanley Brinks” – Stanley Brinks (7”)
Herman Düne – On the knick (mash concretly metal mushroom)
Noir desir vs. Détroit
Noir desir – Comme elle vient (666667 club)
Détroit – Horizons (Horizons)
Red House Painters vs. Sun kil Moon .vs Mark Kozelek
Sun kil Moon: tomorrow is already here (third and seneca 10”)
Red house Painters: Wop a din din (old ramon)
Mark Kozelek: Leo and Luna (nights lp)
Songs: Ohia vs. Magnolia Electric Co. (Jason Molina r.i.p.)
Songs: Ohia : Ring the bell (depression nr 42, demo – Didn´t it rain LP deluxe)
Magnolia Electric Co : Riding with the Ghost (Magnolia Electric Co.)
Microphones vs. Mt. Eerie
Microphones : Headless Horsemann (the Glow pt.2)
Microphones : Solar system (Mount Eerie LP)
Mount Eerie : Stop singing (Black wooden ceiling opening 10”)
Thanksgiving vs. Adrian Orange
Adrian Orange: While you live (Bitches is Lord)
Thanksgiving: I threw it all away (post production / twilight, bandcamp)
Aidan John Moffat vs. Arab strab
Aidan John Moffat: Number on my hand (Sad songs for dirty lovers 7”)
Arab Strab: Speed date (7”)
Talk Talk vs. Mark Hollis
Talk Talk: Renee (it´s my life)
Mark Hollis: Watershed (Mark Hollis)
The riot squat (David Bowie): little girl blue (Toy Soldier EP 7”)
joe le taxi