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  <title>New from Glitterbeat</title>
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      <title>Alison Cotton : The Gods Laugh - CD Album</title>
      <link>https://glitterbeat.greedbag.com/buy/the-gods-laugh</link>      <description>
                Alison Cotton’s fifth solo album is a mesmerizing weave of haunted atmospherics and avant-folk songcraft. Built around her viola, harmonium, and transportive vocals, the album moves between stark drone passages and more layered arrangements with piano, percussion, and synths.

The Gods Laugh is a work of quiet, sublime intensity, cementing Cotton’s unique space in the contemporary English music scene — a space where richly textured sonics meet tradition, and deeply personal compositions evoke       </description>
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      <content:encoded><![CDATA[Alison Cotton’s fifth solo album is a mesmerizing weave of haunted atmospherics and avant-folk songcraft. Built around her viola, harmonium, and transportive vocals, the album moves between stark drone passages and more layered arrangements with piano, percussion, and synths.

The Gods Laugh is a work of quiet, sublime intensity, cementing Cotton’s unique space in the contemporary English music scene — a space where richly textured sonics meet tradition, and deeply personal compositions evoke the experimental spirit of artists like Nico, John Cale, and Dorothy Carter.

------------------------------------------------

“Raging elements and the heaviest heart,
But I’m travelling south to be with you once more”

Glitterbeat Records have confirmed the signing of north-east England born, London-based artist Alison Cotton, and announced the release of her remarkable new album The Gods Laugh. Alison has previously released her music on a fine selection of UK indie labels – Bloxham Tapes, Rocket Recordings, Cardinal Fuzz, Clay Pipe Music – but Glitterbeat's tak:til imprint, which includes artists such as Brìghde Chaimbeul, Širom and Cerys Hafana, feels like the perfect home for her meditative, drone-based take on folk music. The Gods Laugh is a powerful restatement of all the things that make her music so transporting and immersive, but with a deeper emotional resonance resulting from a period of personal loss and upheaval.

Alison has been recording for almost 30 years – in bands like Saloon, The Eighteenth Day of May and The Left Outsides – and her solo career, which started with a cassette release a decade ago, came about almost by accident. But in the ensuing years, Alison has developed a singular and affecting style according to parameters she set herself: “to work predominantly with the instruments I play and own… these parameters have grown as my music has evolved but mainly because I've bought new instruments. As for the sound, I really just play what comes naturally to me and it comes out in a folky way. The drone element started almost as a necessity, as I often use it as a base to play other parts over when I'm improvising. My first album was mainly just viola and vocals and, it worked well playing and singing over a viola or omnichord drone.”

For The Gods Laugh, Alison played viola, harmonium, piano, hammer dulcimer, treble recorder, melodica, bowed cymbal and percussion, while her partner / producer Mark Nicholas played drums, bass and synths (their first use on a Cotton album). As usual, the songs are mostly improvised and recorded in one take, layering instruments over a drone base. The exception is The Night it Darkens All Around Me, which was semi-improvised and with lyrics captured in an almost stream of consciousness style. “I had no melody worked out, I just sang them over the drone, the melody came to me and we kept the first take to keep it raw and natural, just a kind of ghost story and my thoughts in that moment”. The album also includes more piano, notably on Sprigs of Heather, an epistolary continuation of a tale begun on earlier releases.

Alison’s father passed away in 2024 and as well as gifting her the album’s title and having encouraged her to take up the viola in the first place, his presence is felt throughout the album. “Many of the ideas somehow just came to me in the brief period of time when he was dying“, Alison explains. “I think I was thinking more creatively than usual throughout that period as being creative has always helped me with pain and loss.“ The brief, melancholy tune The Final Harvest is about Alison’s dad’s final visit to his beloved allotment. “He just wasn't well enough to work there anymore, which, of course was devastating. He brought me vegetables that day for the very last time and I took them home and cooked with them and froze as many of these meals as I could as I wanted to preserve them for as long as possible… so, The Final Harvest is, I guess, about wanting to hold onto these memories after the death of a loved one.”

The only song written before this period of loss was Alison’s setting of Victorian rural poet John Clare’s I Am! Alison had been playing this live for some time but felt it “moulded perfectly with the feel of the rest of the album.” Alison felt driven to record the poem because “I felt there was something very song-like about the structure. There was such a haunting, melodic, almost hymn-like feel … the song begins with a minimal drone accompaniment to accentuate the feeling of isolation in the words and crescendos into staccato and harmonic viola, drums and the cawing of crows. It's the first song I recorded for this album.”

Alison Cotton occupies a unique place in the current English music scene, the way that often quite experimental drones of her work meshes with the more traditional elements seeing her included with artists like Nico, John Cale and Dorothy Carter. After remarkable releases like The Portrait You Painted of Me and Engelchen, The Gods Laugh feels like the fulfilment of incredible promise. ]]></content:encoded>

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      <title>Alison Cotton : The Gods Laugh - 12&quot; Vinyl Album</title>
      <link>https://glitterbeat.greedbag.com/buy/the-gods-laugh</link>      <description>
                Alison Cotton’s fifth solo album is a mesmerizing weave of haunted atmospherics and avant-folk songcraft. Built around her viola, harmonium, and transportive vocals, the album moves between stark drone passages and more layered arrangements with piano, percussion, and synths.

The Gods Laugh is a work of quiet, sublime intensity, cementing Cotton’s unique space in the contemporary English music scene — a space where richly textured sonics meet tradition, and deeply personal compositions evoke       </description>
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      <content:encoded><![CDATA[Alison Cotton’s fifth solo album is a mesmerizing weave of haunted atmospherics and avant-folk songcraft. Built around her viola, harmonium, and transportive vocals, the album moves between stark drone passages and more layered arrangements with piano, percussion, and synths.

The Gods Laugh is a work of quiet, sublime intensity, cementing Cotton’s unique space in the contemporary English music scene — a space where richly textured sonics meet tradition, and deeply personal compositions evoke the experimental spirit of artists like Nico, John Cale, and Dorothy Carter.

------------------------------------------------

“Raging elements and the heaviest heart,
But I’m travelling south to be with you once more”

Glitterbeat Records have confirmed the signing of north-east England born, London-based artist Alison Cotton, and announced the release of her remarkable new album The Gods Laugh. Alison has previously released her music on a fine selection of UK indie labels – Bloxham Tapes, Rocket Recordings, Cardinal Fuzz, Clay Pipe Music – but Glitterbeat's tak:til imprint, which includes artists such as Brìghde Chaimbeul, Širom and Cerys Hafana, feels like the perfect home for her meditative, drone-based take on folk music. The Gods Laugh is a powerful restatement of all the things that make her music so transporting and immersive, but with a deeper emotional resonance resulting from a period of personal loss and upheaval.

Alison has been recording for almost 30 years – in bands like Saloon, The Eighteenth Day of May and The Left Outsides – and her solo career, which started with a cassette release a decade ago, came about almost by accident. But in the ensuing years, Alison has developed a singular and affecting style according to parameters she set herself: “to work predominantly with the instruments I play and own… these parameters have grown as my music has evolved but mainly because I've bought new instruments. As for the sound, I really just play what comes naturally to me and it comes out in a folky way. The drone element started almost as a necessity, as I often use it as a base to play other parts over when I'm improvising. My first album was mainly just viola and vocals and, it worked well playing and singing over a viola or omnichord drone.”

For The Gods Laugh, Alison played viola, harmonium, piano, hammer dulcimer, treble recorder, melodica, bowed cymbal and percussion, while her partner / producer Mark Nicholas played drums, bass and synths (their first use on a Cotton album). As usual, the songs are mostly improvised and recorded in one take, layering instruments over a drone base. The exception is The Night it Darkens All Around Me, which was semi-improvised and with lyrics captured in an almost stream of consciousness style. “I had no melody worked out, I just sang them over the drone, the melody came to me and we kept the first take to keep it raw and natural, just a kind of ghost story and my thoughts in that moment”. The album also includes more piano, notably on Sprigs of Heather, an epistolary continuation of a tale begun on earlier releases.

Alison’s father passed away in 2024 and as well as gifting her the album’s title and having encouraged her to take up the viola in the first place, his presence is felt throughout the album. “Many of the ideas somehow just came to me in the brief period of time when he was dying“, Alison explains. “I think I was thinking more creatively than usual throughout that period as being creative has always helped me with pain and loss.“ The brief, melancholy tune The Final Harvest is about Alison’s dad’s final visit to his beloved allotment. “He just wasn't well enough to work there anymore, which, of course was devastating. He brought me vegetables that day for the very last time and I took them home and cooked with them and froze as many of these meals as I could as I wanted to preserve them for as long as possible… so, The Final Harvest is, I guess, about wanting to hold onto these memories after the death of a loved one.”

The only song written before this period of loss was Alison’s setting of Victorian rural poet John Clare’s I Am! Alison had been playing this live for some time but felt it “moulded perfectly with the feel of the rest of the album.” Alison felt driven to record the poem because “I felt there was something very song-like about the structure. There was such a haunting, melodic, almost hymn-like feel … the song begins with a minimal drone accompaniment to accentuate the feeling of isolation in the words and crescendos into staccato and harmonic viola, drums and the cawing of crows. It's the first song I recorded for this album.”

Alison Cotton occupies a unique place in the current English music scene, the way that often quite experimental drones of her work meshes with the more traditional elements seeing her included with artists like Nico, John Cale and Dorothy Carter. After remarkable releases like The Portrait You Painted of Me and Engelchen, The Gods Laugh feels like the fulfilment of incredible promise. ]]></content:encoded>

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    <item>

      <title>Tamikrest : Assikel - CD Album</title>
      <link>https://glitterbeat.greedbag.com/buy/assikel</link>      <description>
                The iconic Saharan rock band’s sixth album, Assikel, is by turns intimate, raw and deeply atmospheric. Recorded on analogue tape, with the band playing live and direct, the album fully captures their instinctive interplay and hypnotic presence.

Songs of resistance, community and longing. Music for this moment.
Featuring: Ibrahim Ag Alhabib (Tinariwen)

--------------------------------------------------

For two decades, Tamikrest’s music has illuminated the sound, culture and conscience       </description>
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      <content:encoded><![CDATA[The iconic Saharan rock band’s sixth album, Assikel, is by turns intimate, raw and deeply atmospheric. Recorded on analogue tape, with the band playing live and direct, the album fully captures their instinctive interplay and hypnotic presence.

Songs of resistance, community and longing. Music for this moment.
Featuring: Ibrahim Ag Alhabib (Tinariwen)

--------------------------------------------------

For two decades, Tamikrest’s music has illuminated the sound, culture and conscience of the Kel Tamasheq (Touareg) people of the Sahara. Tamikrest means ‘connection’ or ‘union’ in Tamasheq, and the band have become one of the Kel Tamasheq's most vital voices, raising awareness of their plight while channelling experiences of exile, loss and resistance. Their sixth studio album, Assikel, which means ‘voyage’ or ‘journey’, shows just how far the band have come.

Formed in 2006 by Ousmane Ag Mossa and Cheikh Ag Tiglia, both originally from Tinzawaten near the Mali-Algerian border, Tamikrest emerged under the influence of Tinariwen, those legendary pioneers of Ishumar guitar music. A serendipitous encounter with Glitterbeat’s co-founder Chris Eckman and his group Dirtmusic at the 2008 Festival in the Desert in Mali marked the beginning of a long-standing partnership with the label – one that has since helped bring the band to international attention. They are now an established four-piece with guitarist Paul Salvagnac, who joined in 2012, and percussionist Cédric ‘Momo’ Maurel, who joined a year later.

Assikel marks a deliberate tonal shift. Drawing on years of touring and improvisation, the band chose to record live to analogue tape. The idea was inspired, in part, by their love of the sound created by Altın Gün’s engineer/mixer Jasper Geluk, someone Momo affectionately describes as ‘an old-school engineer, musician, sound poet and dreamer. He always has a screwdriver in his hand.’

Recording took place over ten days in October 2025 at Jasper’s Tone Boutique studio in Haarlem (NL), using a late-1960s 16-track tape machine. As Jasper says: ‘It has a wonderful character in sound, although it can be challenging at times and a bit like driving a vintage 4x4, demanding full attention. But it’s always a thrill.’

This live-to-tape process required total commitment from the band: ‘We knew we couldn’t redo it ten times over,’ says Paul. The result captures the rawness and spontaneity of the recording process, with this desire to go back to basics also extending to the album cover visuals, which were shot on film to give the artwork a grainy, timeless aesthetic.

Thematically, Assikel continues Tamikrest’s exploration of exile, displacement and assouf – that untranslatable Tamasheq word encompassing nostalgia, longing and homesickness. ‘The subject of the songs hasn’t changed much because the situation at home hasn’t improved – on the contrary, it’s got worse,’ says Ousmane. The current situation in Mali is indeed dire: a junta in place since 2021, political opposition banned and media suppressed, the departure of a UN peacekeeping mission in 2023, the presence of the Kremlin-controlled Africa Corps, and violence visited daily on an exhausted populace by jihadists, Malian forces and Russian paramilitaries alike.

It is no surprise, then, that Assikel’s eight tracks are packed with urgency and defiance, although there are plenty of the quieter, more reflective moments that have always characterised the band. The instrumentation weaves electric and acoustic guitars, floating lap steel, thick dubby bass, hand percussion, calabash and a full drum kit, while the songs themselves morph from Ishumar rock and roll, to hypnotic folk meditations, with Ousmane’s voice and storytelling always front and centre. This is, in short, music that only Tamikrest can make.

‘Adagh Oyanted’, the pulsing, slide guitar-inflected opener, refers to Mali’s mountainous northern region, with words that warn against the exploitation of ancestral lands, while ‘Aiytma’, co-written with poet Mahmoud Ag Ahmouden, is a deceptively gentle ballad that acts as a call to resistance (Cheikh likens it to a song you would sing in the trenches ‘to motivate your comrades’). ‘Imanin’ opens with an eerie synth line by guest Belgian musician Wouter Van Asselbergh, before an onslaught of distorted guitars and relentless percussion transform it into the most raw and electric-sounding track on the album.

A moment of calm arrives with ‘Eillal’ (Mirage), which features the softly spoken words of Tinariwen’s Ibrahim Ag Alhabib, his first recorded collaboration with the band, and album closer ‘Adounia’ is a tribute to the late Mohammed Ag Itlale (aka Japonais) of Tinariwen, one of Ousmane’s early mentors. A slow meditation on the ephemerality of life, it blends melancholic vocals with organ textures, and ends with a scratchy home recording of Japonais reciting his poem – an intimate and fitting conclusion.

Twenty years on, Tamikrest’s musical and cultural role feels more vital than ever. Assikel’s stripped-back, deeply atmospheric sound accentuates the conviction and spiritual strength of Ousmane's writing and the band’s wonderfully melodic arrangements, and reaffirms their position as one of the foremost voices of the Kel Tamasheq.

The last word goes to Ousmane, and perhaps acts as a counterpoint to those who might be tempted to see Tamikrest as spokespeople first and musicians second. There is, to be sure, no escaping politics and oppression, but as he points out with his usual gentleness and clarity: ‘What motivates us today is the same that motivated us at the beginning: the love of music.’ Tamikrest are back, after too long away, and they sound more resonant and vital than ever. 
]]></content:encoded>

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      <title>Tamikrest : Assikel - 12&quot; Vinyl Album</title>
      <link>https://glitterbeat.greedbag.com/buy/assikel</link>      <description>
                The iconic Saharan rock band’s sixth album, Assikel, is by turns intimate, raw and deeply atmospheric. Recorded on analogue tape, with the band playing live and direct, the album fully captures their instinctive interplay and hypnotic presence.

Songs of resistance, community and longing. Music for this moment.
Featuring: Ibrahim Ag Alhabib (Tinariwen)

--------------------------------------------------

For two decades, Tamikrest’s music has illuminated the sound, culture and conscience       </description>
      <guid isPermaLink="false">117585145250142</guid>
      <category>Music</category>

      <content:encoded><![CDATA[The iconic Saharan rock band’s sixth album, Assikel, is by turns intimate, raw and deeply atmospheric. Recorded on analogue tape, with the band playing live and direct, the album fully captures their instinctive interplay and hypnotic presence.

Songs of resistance, community and longing. Music for this moment.
Featuring: Ibrahim Ag Alhabib (Tinariwen)

--------------------------------------------------

For two decades, Tamikrest’s music has illuminated the sound, culture and conscience of the Kel Tamasheq (Touareg) people of the Sahara. Tamikrest means ‘connection’ or ‘union’ in Tamasheq, and the band have become one of the Kel Tamasheq's most vital voices, raising awareness of their plight while channelling experiences of exile, loss and resistance. Their sixth studio album, Assikel, which means ‘voyage’ or ‘journey’, shows just how far the band have come.

Formed in 2006 by Ousmane Ag Mossa and Cheikh Ag Tiglia, both originally from Tinzawaten near the Mali-Algerian border, Tamikrest emerged under the influence of Tinariwen, those legendary pioneers of Ishumar guitar music. A serendipitous encounter with Glitterbeat’s co-founder Chris Eckman and his group Dirtmusic at the 2008 Festival in the Desert in Mali marked the beginning of a long-standing partnership with the label – one that has since helped bring the band to international attention. They are now an established four-piece with guitarist Paul Salvagnac, who joined in 2012, and percussionist Cédric ‘Momo’ Maurel, who joined a year later.

Assikel marks a deliberate tonal shift. Drawing on years of touring and improvisation, the band chose to record live to analogue tape. The idea was inspired, in part, by their love of the sound created by Altın Gün’s engineer/mixer Jasper Geluk, someone Momo affectionately describes as ‘an old-school engineer, musician, sound poet and dreamer. He always has a screwdriver in his hand.’

Recording took place over ten days in October 2025 at Jasper’s Tone Boutique studio in Haarlem (NL), using a late-1960s 16-track tape machine. As Jasper says: ‘It has a wonderful character in sound, although it can be challenging at times and a bit like driving a vintage 4x4, demanding full attention. But it’s always a thrill.’

This live-to-tape process required total commitment from the band: ‘We knew we couldn’t redo it ten times over,’ says Paul. The result captures the rawness and spontaneity of the recording process, with this desire to go back to basics also extending to the album cover visuals, which were shot on film to give the artwork a grainy, timeless aesthetic.

Thematically, Assikel continues Tamikrest’s exploration of exile, displacement and assouf – that untranslatable Tamasheq word encompassing nostalgia, longing and homesickness. ‘The subject of the songs hasn’t changed much because the situation at home hasn’t improved – on the contrary, it’s got worse,’ says Ousmane. The current situation in Mali is indeed dire: a junta in place since 2021, political opposition banned and media suppressed, the departure of a UN peacekeeping mission in 2023, the presence of the Kremlin-controlled Africa Corps, and violence visited daily on an exhausted populace by jihadists, Malian forces and Russian paramilitaries alike.

It is no surprise, then, that Assikel’s eight tracks are packed with urgency and defiance, although there are plenty of the quieter, more reflective moments that have always characterised the band. The instrumentation weaves electric and acoustic guitars, floating lap steel, thick dubby bass, hand percussion, calabash and a full drum kit, while the songs themselves morph from Ishumar rock and roll, to hypnotic folk meditations, with Ousmane’s voice and storytelling always front and centre. This is, in short, music that only Tamikrest can make.

‘Adagh Oyanted’, the pulsing, slide guitar-inflected opener, refers to Mali’s mountainous northern region, with words that warn against the exploitation of ancestral lands, while ‘Aiytma’, co-written with poet Mahmoud Ag Ahmouden, is a deceptively gentle ballad that acts as a call to resistance (Cheikh likens it to a song you would sing in the trenches ‘to motivate your comrades’). ‘Imanin’ opens with an eerie synth line by guest Belgian musician Wouter Van Asselbergh, before an onslaught of distorted guitars and relentless percussion transform it into the most raw and electric-sounding track on the album.

A moment of calm arrives with ‘Eillal’ (Mirage), which features the softly spoken words of Tinariwen’s Ibrahim Ag Alhabib, his first recorded collaboration with the band, and album closer ‘Adounia’ is a tribute to the late Mohammed Ag Itlale (aka Japonais) of Tinariwen, one of Ousmane’s early mentors. A slow meditation on the ephemerality of life, it blends melancholic vocals with organ textures, and ends with a scratchy home recording of Japonais reciting his poem – an intimate and fitting conclusion.

Twenty years on, Tamikrest’s musical and cultural role feels more vital than ever. Assikel’s stripped-back, deeply atmospheric sound accentuates the conviction and spiritual strength of Ousmane's writing and the band’s wonderfully melodic arrangements, and reaffirms their position as one of the foremost voices of the Kel Tamasheq.

The last word goes to Ousmane, and perhaps acts as a counterpoint to those who might be tempted to see Tamikrest as spokespeople first and musicians second. There is, to be sure, no escaping politics and oppression, but as he points out with his usual gentleness and clarity: ‘What motivates us today is the same that motivated us at the beginning: the love of music.’ Tamikrest are back, after too long away, and they sound more resonant and vital than ever. 
]]></content:encoded>

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      <title>Fauna : Taiga Trans - CD Album</title>
      <link>https://glitterbeat.greedbag.com/buy/taiga-trans</link>      <description>
                Taiga Trans, the debut album from Fauna, is a hypnotic collision of krautrock propulsion, psychedelic ritual, and subterranean rave energy.

The eight-piece Swedish outernational collective channels a multicultural, multidimensional sound that feels both deeply rooted and otherworldly. Think Goat’s feral mysticism, Can’s motorik drive, and a dancefloor at its most transcendental.
-----------
Electronic textures whoosh like solar winds. Quiet percussion sighs and chatters. A jaw harp sets up       </description>
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      <content:encoded><![CDATA[Taiga Trans, the debut album from Fauna, is a hypnotic collision of krautrock propulsion, psychedelic ritual, and subterranean rave energy.

The eight-piece Swedish outernational collective channels a multicultural, multidimensional sound that feels both deeply rooted and otherworldly. Think Goat’s feral mysticism, Can’s motorik drive, and a dancefloor at its most transcendental.
-----------
Electronic textures whoosh like solar winds. Quiet percussion sighs and chatters. A jaw harp sets up a twanging bounce. An ancient saz introduces a taut riff. Suddenly a high-strung electric guitar scorches and a deep, booming bass groove drops with a four-to-the-floor kick drum thud.

Welcome to the mysterious world of Fauna.

Since forming around three years ago, the Gothenburg-based group have forged a singular sound, proposing an imaginary world somehow outside of history. It’s a sound of cultures and philosophies entwining, creating a liminal space where traditional acoustic instrumentation meets electronic innovation. A place where new worlds are born.

The group’s origins go back to informal, intimate jam sessions held by guitarist Tommie Ek and bassist Ibrahim Shabo – two experienced musicians who had been playing together in the local rock scene for over a decade.

“We had played in a lot of constellations where we were pretty boxed in,” Shabo recalls. “So, we started experimenting. We recorded a bunch of hand drums and weird electric guitars and tried to find something.”

During the recording of these demos – and three subsequent singles – the core duo attracted a cohort of likeminded sonic adventurers, leading to the current live line-up as a nine-piece ensemble with Ek and Shabo joined by core members Caroline Kabat (drums), Cuneyd Kocalp (percussion), Jennie Magnusson (guitar), Ibrahim’s sister, Alexandra Shahbo (vocals) and French flautist Fauna Buvat.

In these days of manufactured sensations, Fauna offers an authentic alternative. “It’s more like an organic collective than the usual bands,” says Shabo. “Finding a nice, safe, awesome group to hang out with, that’s the main thing.”

In the last few years, they’ve built a reputation as an electrifying live act, performing long, semi-improvised, deeply psychedelic rituals. “We try to tell a story when we do our live sets,” says Shabo. “Try to stay in the vibe as much as possible.”

Now, their debut album, Taiga Trans, offers eight concise snapshots of that transporting experience, harnessing the band’s primordial live energy while making the most of 21st century studio technology.

Shabo explains: “We feel like a great album is something that you can put on and listen to for many years. To do that, it has to have certain elements of production. But we also wanted to keep the live part of it as well. The album is like the duality.”

Whether live or in the studio, a commitment to the consciousness-altering properties of the trance state sits at the centre of Fauna’s sound.

Listen to Taiga Trans and you’ll hear echoes of heroic 1960s/70s Swedish psychedelic bands like Träd, Gras & Stenar in the hypnotic, repetitive grooves of tracks like album opener “Bland Stenar.” You’ll hear the mind-melting squelch of vintage Acid House in tracks like “Bland Traden.” And you’ll hear the out-of-body euphoria of Techno in pieces like “Du Ska Fa Se.”

Running through all this is the added sensual twist of non-western instruments such as the darbuka (an ancient hand-drum played across North Africa and the Middle East) as well as the saz (the long-necked lute used in Turkish and Middle Eastern folk), featured on the album's opening track.

“A lot of things from our childhoods have leaked into our creativity,” explains Shabo – who comes from Syrian ancestry. “For example, my parents used to listen to a lot of stuff from the Middle East when I was growing up. A lot of that stuff comes up pretty naturally.”

“In the band, we have backgrounds from France, Finland, Poland, Syria, Sweden and Turkey. It’s a melting pot and the music reflects that.”

Another layer of this pan-global agenda can be found in Shabo’s lyrics – written in broken Arabic, Swedish and French and delivered with startling clarity by Alexandra, flautist Fauna and himself. But rather than trying to convey any pointed meaning, Shabo views his songwriting as, first and foremost, a way of thickening Fauna’s intoxicating sonic stew.

“The main thing for me is just to try and have a little fun with it,” he says. “The vibe is the most important thing about it. The sound and the rhythms. There are certain things that are hard to recreate with other instruments that the voice does really well.”

If the human voice can be seen as the original and oldest musical instrument, it’s followed closely by the drum and the flute, as played with sly and alluring delicacy by Fauna Buvat. And it’s these ancient sounds – slotted into the buzz of Fauna’s hypermodern rituals that make their music so overpoweringly seductive.

As Shabo says: “We want to be an experience that you can just dive into, let go and drift away.”]]></content:encoded>

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      <title>Fauna : Taiga Trans - 12&quot; Vinyl Album</title>
      <link>https://glitterbeat.greedbag.com/buy/taiga-trans</link>      <description>
                Taiga Trans, the debut album from Fauna, is a hypnotic collision of krautrock propulsion, psychedelic ritual, and subterranean rave energy.

The eight-piece Swedish outernational collective channels a multicultural, multidimensional sound that feels both deeply rooted and otherworldly. Think Goat’s feral mysticism, Can’s motorik drive, and a dancefloor at its most transcendental.
-----------
Electronic textures whoosh like solar winds. Quiet percussion sighs and chatters. A jaw harp sets up       </description>
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      <content:encoded><![CDATA[Taiga Trans, the debut album from Fauna, is a hypnotic collision of krautrock propulsion, psychedelic ritual, and subterranean rave energy.

The eight-piece Swedish outernational collective channels a multicultural, multidimensional sound that feels both deeply rooted and otherworldly. Think Goat’s feral mysticism, Can’s motorik drive, and a dancefloor at its most transcendental.
-----------
Electronic textures whoosh like solar winds. Quiet percussion sighs and chatters. A jaw harp sets up a twanging bounce. An ancient saz introduces a taut riff. Suddenly a high-strung electric guitar scorches and a deep, booming bass groove drops with a four-to-the-floor kick drum thud.

Welcome to the mysterious world of Fauna.

Since forming around three years ago, the Gothenburg-based group have forged a singular sound, proposing an imaginary world somehow outside of history. It’s a sound of cultures and philosophies entwining, creating a liminal space where traditional acoustic instrumentation meets electronic innovation. A place where new worlds are born.

The group’s origins go back to informal, intimate jam sessions held by guitarist Tommie Ek and bassist Ibrahim Shabo – two experienced musicians who had been playing together in the local rock scene for over a decade.

“We had played in a lot of constellations where we were pretty boxed in,” Shabo recalls. “So, we started experimenting. We recorded a bunch of hand drums and weird electric guitars and tried to find something.”

During the recording of these demos – and three subsequent singles – the core duo attracted a cohort of likeminded sonic adventurers, leading to the current live line-up as a nine-piece ensemble with Ek and Shabo joined by core members Caroline Kabat (drums), Cuneyd Kocalp (percussion), Jennie Magnusson (guitar), Ibrahim’s sister, Alexandra Shahbo (vocals) and French flautist Fauna Buvat.

In these days of manufactured sensations, Fauna offers an authentic alternative. “It’s more like an organic collective than the usual bands,” says Shabo. “Finding a nice, safe, awesome group to hang out with, that’s the main thing.”

In the last few years, they’ve built a reputation as an electrifying live act, performing long, semi-improvised, deeply psychedelic rituals. “We try to tell a story when we do our live sets,” says Shabo. “Try to stay in the vibe as much as possible.”

Now, their debut album, Taiga Trans, offers eight concise snapshots of that transporting experience, harnessing the band’s primordial live energy while making the most of 21st century studio technology.

Shabo explains: “We feel like a great album is something that you can put on and listen to for many years. To do that, it has to have certain elements of production. But we also wanted to keep the live part of it as well. The album is like the duality.”

Whether live or in the studio, a commitment to the consciousness-altering properties of the trance state sits at the centre of Fauna’s sound.

Listen to Taiga Trans and you’ll hear echoes of heroic 1960s/70s Swedish psychedelic bands like Träd, Gras & Stenar in the hypnotic, repetitive grooves of tracks like album opener “Bland Stenar.” You’ll hear the mind-melting squelch of vintage Acid House in tracks like “Bland Traden.” And you’ll hear the out-of-body euphoria of Techno in pieces like “Du Ska Fa Se.”

Running through all this is the added sensual twist of non-western instruments such as the darbuka (an ancient hand-drum played across North Africa and the Middle East) as well as the saz (the long-necked lute used in Turkish and Middle Eastern folk), featured on the album's opening track.

“A lot of things from our childhoods have leaked into our creativity,” explains Shabo – who comes from Syrian ancestry. “For example, my parents used to listen to a lot of stuff from the Middle East when I was growing up. A lot of that stuff comes up pretty naturally.”

“In the band, we have backgrounds from France, Finland, Poland, Syria, Sweden and Turkey. It’s a melting pot and the music reflects that.”

Another layer of this pan-global agenda can be found in Shabo’s lyrics – written in broken Arabic, Swedish and French and delivered with startling clarity by Alexandra, flautist Fauna and himself. But rather than trying to convey any pointed meaning, Shabo views his songwriting as, first and foremost, a way of thickening Fauna’s intoxicating sonic stew.

“The main thing for me is just to try and have a little fun with it,” he says. “The vibe is the most important thing about it. The sound and the rhythms. There are certain things that are hard to recreate with other instruments that the voice does really well.”

If the human voice can be seen as the original and oldest musical instrument, it’s followed closely by the drum and the flute, as played with sly and alluring delicacy by Fauna Buvat. And it’s these ancient sounds – slotted into the buzz of Fauna’s hypermodern rituals that make their music so overpoweringly seductive.

As Shabo says: “We want to be an experience that you can just dive into, let go and drift away.”]]></content:encoded>

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      <title>Altın Gün : Garip - CD Album</title>
      <link>https://glitterbeat.greedbag.com/buy/garip</link>      <description>
                Altın Gün, the Grammy-nominated Turkish psych-groove quintet from Amsterdam, return with their sixth studio album Garip — their most ambitious and diverse release to date, and a heartfelt tribute to the legendary Turkish folk bard Neşet Ertaş.

Neşet Ertaş (1938–2012) was a beloved icon of Anatolian music; a gifted singer, lyricist, and bağlama virtuoso who carried the spirit of the ashik folk tradition into the modern era. Garip (&quot;Strange&quot; in English) features ten of his compositions, each re      </description>
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      <content:encoded><![CDATA[Altın Gün, the Grammy-nominated Turkish psych-groove quintet from Amsterdam, return with their sixth studio album Garip — their most ambitious and diverse release to date, and a heartfelt tribute to the legendary Turkish folk bard Neşet Ertaş.

Neşet Ertaş (1938–2012) was a beloved icon of Anatolian music; a gifted singer, lyricist, and bağlama virtuoso who carried the spirit of the ashik folk tradition into the modern era. Garip ("Strange" in English) features ten of his compositions, each reimagined and richly expanded through Altın Gün’s distinctive lens.

An electrifying live band with an ever-growing global following, Altın Gün push their sonic boundaries even further on Garip — weaving in lush Arabesque string arrangements, bursts of saxophone, glimmering synth balladry, and a fresh surge of tightly wound rock ’n’ roll.
]]></content:encoded>

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    <item>

      <title>Altın Gün : Garip (Black vinyl) - 12&quot; Vinyl Album (Black vinyl)</title>
      <link>https://glitterbeat.greedbag.com/buy/garip</link>      <description>
                Altın Gün, the Grammy-nominated Turkish psych-groove quintet from Amsterdam, return with their sixth studio album Garip — their most ambitious and diverse release to date, and a heartfelt tribute to the legendary Turkish folk bard Neşet Ertaş.

Neşet Ertaş (1938–2012) was a beloved icon of Anatolian music; a gifted singer, lyricist, and bağlama virtuoso who carried the spirit of the ashik folk tradition into the modern era. Garip (&quot;Strange&quot; in English) features ten of his compositions, each re      </description>
      <guid isPermaLink="false">117495438100142</guid>
      <category>Music</category>

      <content:encoded><![CDATA[Altın Gün, the Grammy-nominated Turkish psych-groove quintet from Amsterdam, return with their sixth studio album Garip — their most ambitious and diverse release to date, and a heartfelt tribute to the legendary Turkish folk bard Neşet Ertaş.

Neşet Ertaş (1938–2012) was a beloved icon of Anatolian music; a gifted singer, lyricist, and bağlama virtuoso who carried the spirit of the ashik folk tradition into the modern era. Garip ("Strange" in English) features ten of his compositions, each reimagined and richly expanded through Altın Gün’s distinctive lens.

An electrifying live band with an ever-growing global following, Altın Gün push their sonic boundaries even further on Garip — weaving in lush Arabesque string arrangements, bursts of saxophone, glimmering synth balladry, and a fresh surge of tightly wound rock ’n’ roll.
]]></content:encoded>

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      <g:price>22.00 GBP</g:price>
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      <g:gtin>4030433618219</g:gtin>
      <g:mpn>GBLP 182</g:mpn>
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    <item>

      <title>YĪN YĪN : Yatta! (Black vinyl) - 12&quot; Vinyl Album (Black vinyl)</title>
      <link>https://glitterbeat.greedbag.com/buy/yatta-2</link>      <description>
                On their fourth album Yatta!, the celebrated Dutch quartet YĪN YĪN extends, bends, and ignites a joyous mix of disco, funk, surf, psychedelia, and Southeast Asian motifs. UNCUT magazine previously dubbed their highly addictive sound “cosmic disco”—a fitting starting point—but as Yatta! proves, the band&apos;s sonic footprint is an ever-evolving kaleidoscope of sounds, textures, and beats.

As with their breakthrough album Mount Matsu (2024), their devotion to getting the dance floor moving remains       </description>
      <guid isPermaLink="false">117507132820142</guid>
      <category>Music</category>

      <content:encoded><![CDATA[On their fourth album Yatta!, the celebrated Dutch quartet YĪN YĪN extends, bends, and ignites a joyous mix of disco, funk, surf, psychedelia, and Southeast Asian motifs. UNCUT magazine previously dubbed their highly addictive sound “cosmic disco”—a fitting starting point—but as Yatta! proves, the band's sonic footprint is an ever-evolving kaleidoscope of sounds, textures, and beats.

As with their breakthrough album Mount Matsu (2024), their devotion to getting the dance floor moving remains front and center. That impulse, already strong, has intensified — Yatta! lifting it to an ecstatic next level.

The result? An album that reveals a band whose groove just keeps getting deeper.]]></content:encoded>

      <g:id>117507132820142</g:id>
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    <item>

      <title>YĪN YĪN : Yatta! - CD Album</title>
      <link>https://glitterbeat.greedbag.com/buy/yatta-2</link>      <description>
                On their fourth album Yatta!, the celebrated Dutch quartet YĪN YĪN extends, bends, and ignites a joyous mix of disco, funk, surf, psychedelia, and Southeast Asian motifs. UNCUT magazine previously dubbed their highly addictive sound “cosmic disco”—a fitting starting point—but as Yatta! proves, the band&apos;s sonic footprint is an ever-evolving kaleidoscope of sounds, textures, and beats.

As with their breakthrough album Mount Matsu (2024), their devotion to getting the dance floor moving remains       </description>
      <guid isPermaLink="false">117557404580142</guid>
      <category>Music</category>

      <content:encoded><![CDATA[On their fourth album Yatta!, the celebrated Dutch quartet YĪN YĪN extends, bends, and ignites a joyous mix of disco, funk, surf, psychedelia, and Southeast Asian motifs. UNCUT magazine previously dubbed their highly addictive sound “cosmic disco”—a fitting starting point—but as Yatta! proves, the band's sonic footprint is an ever-evolving kaleidoscope of sounds, textures, and beats.

As with their breakthrough album Mount Matsu (2024), their devotion to getting the dance floor moving remains front and center. That impulse, already strong, has intensified — Yatta! lifting it to an ecstatic next level.

The result? An album that reveals a band whose groove just keeps getting deeper.]]></content:encoded>

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      <g:price>14.00 GBP</g:price>
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      <g:gtin>4030433618127</g:gtin>
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    <item>

      <title>Nusantara Beat : Nusantara Beat - CD Album</title>
      <link>https://glitterbeat.greedbag.com/buy/nusantara-beat</link>      <description>
                The highly anticipated debut album from Amsterdam-based Indonesian psych-folk ensemble Nusantara Beat, has finally arrived. Having built a rapidly rising reputation through captivating live performances and a string of acclaimed 7&quot; singles (Bongo Joe Records), this self-titled album powerfully extends an already potent musical vision.

A mesmerizing collection of eleven original tracks, Nusantara Beat delves deep into the group’s Indonesian ancestral roots, and thrillingly weaves together hypn      </description>
      <guid isPermaLink="false">117557407000142</guid>
      <category>Music</category>

      <content:encoded><![CDATA[The highly anticipated debut album from Amsterdam-based Indonesian psych-folk ensemble Nusantara Beat, has finally arrived. Having built a rapidly rising reputation through captivating live performances and a string of acclaimed 7" singles (Bongo Joe Records), this self-titled album powerfully extends an already potent musical vision.

A mesmerizing collection of eleven original tracks, Nusantara Beat delves deep into the group’s Indonesian ancestral roots, and thrillingly weaves together hypnotic folk melodies, vintage Indo-pop, pulsating psychedelic grooves and contemporary sonic textures.

That word Nusantara is important. As the group’s vocalist, Megan de Klerk, explains:

“Nusantara means all the islands that make up Indonesia. It’s an old word from when the kings wanted to unite the whole archipelago. Today, it still means unity, many cultures coming together as one. So, when we say Nusantara Beat, we mean the rhythm and music from the Indonesian archipelago, mixed into one sound.”

The group is uniquely equipped to explore this fascinating idea.

Bassist Michael Joshua was born in the Indonesian province of West Java, settling permanently in the Netherlands at the age of 15. All of the group’s other members – Megan, guitarist Jordy Sanger, guitarist/keyboardist Rouzy Portier, drummer Sonny Groeneveld and percussionist Gino Groeneveld – were all born and raised in the Netherlands but hail from Indonesian heritage.

Nusantara Beat grew out of Amsterdam’s vibrant music scene, with several of its members previously playing in Dutch groups including EUT, Jungle by Night and the Turkish psych ensemble Altin Gün.

But it was the allure of exploring Indonesian sounds that cemented their alliance. “The band came together via our shared Indonesian roots and curiosity to discover these roots further through music,” says Gino.

“Sonny and Jordy had been playing with the idea for years about someday starting a [traditional Indonesian] krontjong band and for fun playing for elderly,” he continues. “Rouzy and Michael, who were studying together at the time, were also fantasizing about starting an Indonesian band for a while. Eventually, in 2021, these two worlds combined when Rouzy and Jordy were hanging out a lot and discussing these ideas.”

Sonny recruited his younger brother, Gino, who had just left Altin Gün, to add extra percussion. All that was needed was a singer. First choice was Megan, then working with EUT. Once she was persuaded to join – and to take the bold step of singing in Indonesian for the first time – the magic was undeniable.

“From the first rehearsal with Megan, we knew the band was complete,” Gino remembers.

Nusantara Beat played their first gig in Amsterdam in summer 2022, and a trio of acclaimed singles on Bongo Joe records followed soon after, each reinterpreting a well-known 20th century Indonesian tune.

Released in 2023, “Djanger” is a beloved song describing the movements of a Balinese dancer. “Kota Bandung,” also released in 2023, is a 1970s classic describing the capital city of West Java. And 2024’s “Mang Becak” is another 70s pop track based around a conversation between a woman and a becak [bicycle rickshaw] driver, delivered in Sundanese, the local language of West Java.

Across these three singles, Nusantara Beat paid heartfelt tribute to the tradition of Sunda Pop – the Indonesian pop sensation that, from the 1960s onwards, blended traditional Sundanese music with contemporary pop sounds such as psychedelia, surf music and funk.

“Bands and artists from that time were heavily influenced by the western pop music scene,” explains Rouzy. “They wanted to sound like their heroes and bought equipment similar to them like guitars and effects. These styles and blends still sound awesome to us as a band.”

Nusantara Beat have staked out a daring place in modern music, paying homage to the tradition of Sunda Pop, while reinvigorating it for the 21st century with pristine production techniques, modern synthesizers and deep grooves.

Now, with their self-titled debut album, Nusantara Beat have gone one step further, writing, recording and producing eleven scintillating original songs that have their roots deep in tradition while stretching out into bold new worlds.

“For this album, we still mainly focus on the Sundanese musical tradition,” says Michael, “and the gamelan scale pelog.” The ethereal mood of the traditional Javanese and Balinese gamelan percussion ensemble can be heard to striking effect on tunes like “Ke Masa Lalu,” underpinning the heavy twang of a surf guitar and whooshing synth sirens. And, throughout the album, samples of Balinese gamelan instruments add extra depth, along with the sounds of traditional instruments such as the kecapi zither, the kendang drum and Balinese gongs.

But there’s a gleaming – almost futuristic – sheen to many tracks too. “Bakar” is a propulsive electro groove, delirious with luxuriant synth textures and a sense of nocturnal adventure. And “Di Pantai” is a soporific funk-soul groove with lush, sunshiney keyboards and a vibe of sweet longing accentuated by a subliminal gamelan tinkle.

Most of the lyrics – written in English by Megan and translated into Indonesian by Michael – deal with the complexities of modern love, with a bittersweet pop sensibility perfectly suited to Megan’s gorgeously delicate vocal style.

The exception is “Kalankang.” With lyrics written by Michael, and translated into Sundanese by Rouzy, it’s a creepy tale of a person haunted by a ghostly figure only they can see, and the album’s only example of, according to Michael, “lyrics that tap into Sundanese language and Indonesian myths. It’s a reference to how supernatural sightings were normalised when I lived there for 15 years.”

This tantalising slice of folklore is presented through a mysterious musical theme reminiscent of a quirky 60s TV show and leaning heavily on the guitar’s whammy bar. Atmospheric, mesmerising and timeless, it’s a perfect example of the magic Nusantara Beat weave.

Nusantara Beat is the sound of an utterly unique musical collective, forging new ground with a breathtaking freshness and a seductive sense of folk history that echoes through the decades. 
]]></content:encoded>

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      <title>Nusantara Beat : Nusantara Beat (Black vinyl) - 12&quot; Vinyl Album (Black vinyl)</title>
      <link>https://glitterbeat.greedbag.com/buy/nusantara-beat</link>      <description>
                The highly anticipated debut album from Amsterdam-based Indonesian psych-folk ensemble Nusantara Beat, has finally arrived. Having built a rapidly rising reputation through captivating live performances and a string of acclaimed 7&quot; singles (Bongo Joe Records), this self-titled album powerfully extends an already potent musical vision.

A mesmerizing collection of eleven original tracks, Nusantara Beat delves deep into the group’s Indonesian ancestral roots, and thrillingly weaves together hypn      </description>
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      <content:encoded><![CDATA[The highly anticipated debut album from Amsterdam-based Indonesian psych-folk ensemble Nusantara Beat, has finally arrived. Having built a rapidly rising reputation through captivating live performances and a string of acclaimed 7" singles (Bongo Joe Records), this self-titled album powerfully extends an already potent musical vision.

A mesmerizing collection of eleven original tracks, Nusantara Beat delves deep into the group’s Indonesian ancestral roots, and thrillingly weaves together hypnotic folk melodies, vintage Indo-pop, pulsating psychedelic grooves and contemporary sonic textures.

That word Nusantara is important. As the group’s vocalist, Megan de Klerk, explains:

“Nusantara means all the islands that make up Indonesia. It’s an old word from when the kings wanted to unite the whole archipelago. Today, it still means unity, many cultures coming together as one. So, when we say Nusantara Beat, we mean the rhythm and music from the Indonesian archipelago, mixed into one sound.”

The group is uniquely equipped to explore this fascinating idea.

Bassist Michael Joshua was born in the Indonesian province of West Java, settling permanently in the Netherlands at the age of 15. All of the group’s other members – Megan, guitarist Jordy Sanger, guitarist/keyboardist Rouzy Portier, drummer Sonny Groeneveld and percussionist Gino Groeneveld – were all born and raised in the Netherlands but hail from Indonesian heritage.

Nusantara Beat grew out of Amsterdam’s vibrant music scene, with several of its members previously playing in Dutch groups including EUT, Jungle by Night and the Turkish psych ensemble Altin Gün.

But it was the allure of exploring Indonesian sounds that cemented their alliance. “The band came together via our shared Indonesian roots and curiosity to discover these roots further through music,” says Gino.

“Sonny and Jordy had been playing with the idea for years about someday starting a [traditional Indonesian] krontjong band and for fun playing for elderly,” he continues. “Rouzy and Michael, who were studying together at the time, were also fantasizing about starting an Indonesian band for a while. Eventually, in 2021, these two worlds combined when Rouzy and Jordy were hanging out a lot and discussing these ideas.”

Sonny recruited his younger brother, Gino, who had just left Altin Gün, to add extra percussion. All that was needed was a singer. First choice was Megan, then working with EUT. Once she was persuaded to join – and to take the bold step of singing in Indonesian for the first time – the magic was undeniable.

“From the first rehearsal with Megan, we knew the band was complete,” Gino remembers.

Nusantara Beat played their first gig in Amsterdam in summer 2022, and a trio of acclaimed singles on Bongo Joe records followed soon after, each reinterpreting a well-known 20th century Indonesian tune.

Released in 2023, “Djanger” is a beloved song describing the movements of a Balinese dancer. “Kota Bandung,” also released in 2023, is a 1970s classic describing the capital city of West Java. And 2024’s “Mang Becak” is another 70s pop track based around a conversation between a woman and a becak [bicycle rickshaw] driver, delivered in Sundanese, the local language of West Java.

Across these three singles, Nusantara Beat paid heartfelt tribute to the tradition of Sunda Pop – the Indonesian pop sensation that, from the 1960s onwards, blended traditional Sundanese music with contemporary pop sounds such as psychedelia, surf music and funk.

“Bands and artists from that time were heavily influenced by the western pop music scene,” explains Rouzy. “They wanted to sound like their heroes and bought equipment similar to them like guitars and effects. These styles and blends still sound awesome to us as a band.”

Nusantara Beat have staked out a daring place in modern music, paying homage to the tradition of Sunda Pop, while reinvigorating it for the 21st century with pristine production techniques, modern synthesizers and deep grooves.

Now, with their self-titled debut album, Nusantara Beat have gone one step further, writing, recording and producing eleven scintillating original songs that have their roots deep in tradition while stretching out into bold new worlds.

“For this album, we still mainly focus on the Sundanese musical tradition,” says Michael, “and the gamelan scale pelog.” The ethereal mood of the traditional Javanese and Balinese gamelan percussion ensemble can be heard to striking effect on tunes like “Ke Masa Lalu,” underpinning the heavy twang of a surf guitar and whooshing synth sirens. And, throughout the album, samples of Balinese gamelan instruments add extra depth, along with the sounds of traditional instruments such as the kecapi zither, the kendang drum and Balinese gongs.

But there’s a gleaming – almost futuristic – sheen to many tracks too. “Bakar” is a propulsive electro groove, delirious with luxuriant synth textures and a sense of nocturnal adventure. And “Di Pantai” is a soporific funk-soul groove with lush, sunshiney keyboards and a vibe of sweet longing accentuated by a subliminal gamelan tinkle.

Most of the lyrics – written in English by Megan and translated into Indonesian by Michael – deal with the complexities of modern love, with a bittersweet pop sensibility perfectly suited to Megan’s gorgeously delicate vocal style.

The exception is “Kalankang.” With lyrics written by Michael, and translated into Sundanese by Rouzy, it’s a creepy tale of a person haunted by a ghostly figure only they can see, and the album’s only example of, according to Michael, “lyrics that tap into Sundanese language and Indonesian myths. It’s a reference to how supernatural sightings were normalised when I lived there for 15 years.”

This tantalising slice of folklore is presented through a mysterious musical theme reminiscent of a quirky 60s TV show and leaning heavily on the guitar’s whammy bar. Atmospheric, mesmerising and timeless, it’s a perfect example of the magic Nusantara Beat weave.

Nusantara Beat is the sound of an utterly unique musical collective, forging new ground with a breathtaking freshness and a seductive sense of folk history that echoes through the decades. 
]]></content:encoded>

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      <title>Noura Mint Seymali : Yenbett (Black vinyl) - 12&quot; Vinyl Album (Black vinyl)</title>
      <link>https://glitterbeat.greedbag.com/buy/yenbett</link>      <description>
                Noura Mint Seymali&apos;s 3rd album Yenbett (her first since 2016) is a stunning explosion of contemporary Mauritanian griot music, and once again confirms her status as one of the world&apos;s most potent voices.

Co-produced by Matthew Tinari (Noura&apos;s drummer) and Mikey Coltun (Mdou Moctar) the new album&apos;s approach is both raw and experimental; capturing the band&apos;s powerful in situ performances with taught clarity and adventuresome sonics.

Reflecting her influence, and the acclaim that she&apos;s accumu      </description>
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      <content:encoded><![CDATA[Noura Mint Seymali's 3rd album Yenbett (her first since 2016) is a stunning explosion of contemporary Mauritanian griot music, and once again confirms her status as one of the world's most potent voices.

Co-produced by Matthew Tinari (Noura's drummer) and Mikey Coltun (Mdou Moctar) the new album's approach is both raw and experimental; capturing the band's powerful in situ performances with taught clarity and adventuresome sonics.

Reflecting her influence, and the acclaim that she's accumulated throughout her career, Seymali was recently honoured with the 2025
WOMEX Artist of the Year Award.

A voice, timeless as the desert, swirls up like the sirocco, drenched in cavernous reverberation, accompanied by the solitary, meditative swells of the ardine, an acoustic harp that dials in the fundamental frequency of Noura Mint Seymali’s music. A brief pause, and the same refrain returns, this time picked out on a heavily flanged electric guitar, grounded by thunderous drums and growling electric bass. And there’s that voice again – direct and urgent, careening off into wild ululations and refracted echo.

That’s the opening two tracks on Yenbett, the brand-new album by Mauritanian force of nature, Noura Mint Seymali. In just under four and a half minutes, these two versions of the song “Lehjibb” set the tone for what’s to come – a trance-inducing and ferociously evocative blend of ancient Northwest African musical tradition and searing, electrified Saharan future rock.

Noura Mint Seymali is a living embodiment of musical tradition. She hails from a family of musical visionaries: her father, Seymali Ould Ahmed Vall, was a renowned composer and scholar and her stepmother, Dimi Mint Abba, was a cherished singer and performer.

Seymali is a practising griot – equal parts poet, singer, musician, historian and cultural custodian – and a living embodiment of Mauritania’s tradition of Moorish griot music.

“The griot are highly respected lineages in our culture and are a source of social cohesion and social history that endures,” Seymali explains. “We are still a kind of mirror for society, reflecting back the social bonds and history to the people. It's still the griot who are the artist celebrants of traditional weddings and ceremonies. And it's still griot representing the culture as artist ambassadors.”

In this role, Seymali performs as a powerful vocalist with both a deep connection to the griot’s timeless repertoire, and an urge to create fresh, contemporary messages.

“I have songs about a wide range of topics: love songs, praise songs, songs for dancing, narrative songs. In our tradition, poetry from different sources can be stitched together in a performance. I start with a core of my own, there are lines that I write, others I quote or reference in the way a jazz musician might riff on another song in the tradition, but the composite is always a new creation and the cleverness with which a singer can synthesize poetry in a kind of musical mosaic is indeed a part of the artform.”

At the same time, she is also a virtuoso player of the ardine – a harp-like instrument, similar to the kora, that is found only in Mauritania.

“It’s unique to our culture and has a special place in my heart. It is played only by women. My grandmother, Mounina, first taught me to play. She was known for her singing and ardine playing and at one time was even pictured on the Mauritanian currency playing the ardine. I started playing as a child, taking lessons from her whenever I could. The sound and melodies it produces for me are so evocative of the desert and my homeland.”

Not content with mastering these traditional artforms, Seymali has also built a reputation as a fearless innovator, pushing the Moorish musical tradition into bold new areas.

On albums like 2014’s Tzenni and 2016’s Arbina, Seymali pioneered a modern, electrified version of the music with a rock sensibility. Now, with Yenbett, that sound is nailed down tighter than ever.

At the heart of it is the sinuous electric guitar playing of Seymali’s husband, Mauritanian axe-hero Jeich Ould Chighaly.

“My husband Jeich is the true rocker of the house,” laughs Seymali. “Sure, we heard Western rock music growing up to some extent and were exposed to it then and now. But also it's important to note that Mauritanian guitar just rocks, entirely in its own right. It's intrinsically connected.”

Rounding out the band are bassist Ousmane Touré, and on drums Matthew Tinari – an American who has resided in Senegal for many years. Tinari also co-produced the album, together with Mikey Coltun, best known as bassist with Tuareg rock pioneers Mdou Moctar.

It’s no surprise, then, that Yenbett smoulders with a languid fire comparable to the desert blues played by West African groups such as Mdou Moctar. Certainly, Seymali can see a connection between the blues and West African music. “It’s sewn from the same cloth,” she says.

Yenbett just might be the most vital and seductive articulation of desert psych so far.

Inspired by Seymali’s raw ardine and mesmerising vocals, Jeich’s spindly improvisations wander into far corners of the imagination, while the muscular rhythm section ranges from stumbling, Magic Band weirdness to heavy funk adventurism. Add in ecstatic vocal exhortations, timeless call and response choruses and rousing percussive handclaps and you’ve got an album that beguiles with a singular combination of the otherworldly and the thrillingly present. As each track on the record is woven together with experimental, associative one-minute interludes, a cohesive whole comes into focus, a desert mirage made manifest by Noura Mint Seymali’s singular sound.

It's music with deep history, pointing towards the future. It's an eternal African sound, made for now. ]]></content:encoded>

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      <title>Noura Mint Seymali : Yenbett - CD Album</title>
      <link>https://glitterbeat.greedbag.com/buy/yenbett</link>      <description>
                Noura Mint Seymali&apos;s 3rd album Yenbett (her first since 2016) is a stunning explosion of contemporary Mauritanian griot music, and once again confirms her status as one of the world&apos;s most potent voices.

Co-produced by Matthew Tinari (Noura&apos;s drummer) and Mikey Coltun (Mdou Moctar) the new album&apos;s approach is both raw and experimental; capturing the band&apos;s powerful in situ performances with taught clarity and adventuresome sonics.

Reflecting her influence, and the acclaim that she&apos;s accumu      </description>
      <guid isPermaLink="false">117662313490142</guid>
      <category>Music</category>

      <content:encoded><![CDATA[Noura Mint Seymali's 3rd album Yenbett (her first since 2016) is a stunning explosion of contemporary Mauritanian griot music, and once again confirms her status as one of the world's most potent voices.

Co-produced by Matthew Tinari (Noura's drummer) and Mikey Coltun (Mdou Moctar) the new album's approach is both raw and experimental; capturing the band's powerful in situ performances with taught clarity and adventuresome sonics.

Reflecting her influence, and the acclaim that she's accumulated throughout her career, Seymali was recently honoured with the 2025
WOMEX Artist of the Year Award.

A voice, timeless as the desert, swirls up like the sirocco, drenched in cavernous reverberation, accompanied by the solitary, meditative swells of the ardine, an acoustic harp that dials in the fundamental frequency of Noura Mint Seymali’s music. A brief pause, and the same refrain returns, this time picked out on a heavily flanged electric guitar, grounded by thunderous drums and growling electric bass. And there’s that voice again – direct and urgent, careening off into wild ululations and refracted echo.

That’s the opening two tracks on Yenbett, the brand-new album by Mauritanian force of nature, Noura Mint Seymali. In just under four and a half minutes, these two versions of the song “Lehjibb” set the tone for what’s to come – a trance-inducing and ferociously evocative blend of ancient Northwest African musical tradition and searing, electrified Saharan future rock.

Noura Mint Seymali is a living embodiment of musical tradition. She hails from a family of musical visionaries: her father, Seymali Ould Ahmed Vall, was a renowned composer and scholar and her stepmother, Dimi Mint Abba, was a cherished singer and performer.

Seymali is a practising griot – equal parts poet, singer, musician, historian and cultural custodian – and a living embodiment of Mauritania’s tradition of Moorish griot music.

“The griot are highly respected lineages in our culture and are a source of social cohesion and social history that endures,” Seymali explains. “We are still a kind of mirror for society, reflecting back the social bonds and history to the people. It's still the griot who are the artist celebrants of traditional weddings and ceremonies. And it's still griot representing the culture as artist ambassadors.”

In this role, Seymali performs as a powerful vocalist with both a deep connection to the griot’s timeless repertoire, and an urge to create fresh, contemporary messages.

“I have songs about a wide range of topics: love songs, praise songs, songs for dancing, narrative songs. In our tradition, poetry from different sources can be stitched together in a performance. I start with a core of my own, there are lines that I write, others I quote or reference in the way a jazz musician might riff on another song in the tradition, but the composite is always a new creation and the cleverness with which a singer can synthesize poetry in a kind of musical mosaic is indeed a part of the artform.”

At the same time, she is also a virtuoso player of the ardine – a harp-like instrument, similar to the kora, that is found only in Mauritania.

“It’s unique to our culture and has a special place in my heart. It is played only by women. My grandmother, Mounina, first taught me to play. She was known for her singing and ardine playing and at one time was even pictured on the Mauritanian currency playing the ardine. I started playing as a child, taking lessons from her whenever I could. The sound and melodies it produces for me are so evocative of the desert and my homeland.”

Not content with mastering these traditional artforms, Seymali has also built a reputation as a fearless innovator, pushing the Moorish musical tradition into bold new areas.

On albums like 2014’s Tzenni and 2016’s Arbina, Seymali pioneered a modern, electrified version of the music with a rock sensibility. Now, with Yenbett, that sound is nailed down tighter than ever.

At the heart of it is the sinuous electric guitar playing of Seymali’s husband, Mauritanian axe-hero Jeich Ould Chighaly.

“My husband Jeich is the true rocker of the house,” laughs Seymali. “Sure, we heard Western rock music growing up to some extent and were exposed to it then and now. But also it's important to note that Mauritanian guitar just rocks, entirely in its own right. It's intrinsically connected.”

Rounding out the band are bassist Ousmane Touré, and on drums Matthew Tinari – an American who has resided in Senegal for many years. Tinari also co-produced the album, together with Mikey Coltun, best known as bassist with Tuareg rock pioneers Mdou Moctar.

It’s no surprise, then, that Yenbett smoulders with a languid fire comparable to the desert blues played by West African groups such as Mdou Moctar. Certainly, Seymali can see a connection between the blues and West African music. “It’s sewn from the same cloth,” she says.

Yenbett just might be the most vital and seductive articulation of desert psych so far.

Inspired by Seymali’s raw ardine and mesmerising vocals, Jeich’s spindly improvisations wander into far corners of the imagination, while the muscular rhythm section ranges from stumbling, Magic Band weirdness to heavy funk adventurism. Add in ecstatic vocal exhortations, timeless call and response choruses and rousing percussive handclaps and you’ve got an album that beguiles with a singular combination of the otherworldly and the thrillingly present. As each track on the record is woven together with experimental, associative one-minute interludes, a cohesive whole comes into focus, a desert mirage made manifest by Noura Mint Seymali’s singular sound.

It's music with deep history, pointing towards the future. It's an eternal African sound, made for now. ]]></content:encoded>

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      <title>Saagara : 3 (The Shackleton Versions) (Yellow vinyl in black die-cut sleeve) - 12&quot; Vinyl Album (Yellow vinyl in black die-cut sleeve)</title>
      <link>https://glitterbeat.greedbag.com/buy/3-the-shackleton-versions-1</link>      <description>
                British producer Shackleton meets the transnational collective Saagara for a shapeshifting, top to bottom remix of the group&apos;s celebrated 2024 album 3.

Saagara’s album 3 made itself right at home in the tak:til universe as soon as it was released to considerable acclaim last October, quickly becoming as much of a touchstone for the label’s Fourth World aesthetic as Jon Hassell, 75 Dollar Bill and Širom. A mind-twisting conference of jazz clarinet and sax, Carnatic percussion from South India       </description>
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      <category>Music</category>

      <content:encoded><![CDATA[British producer Shackleton meets the transnational collective Saagara for a shapeshifting, top to bottom remix of the group's celebrated 2024 album 3.

Saagara’s album 3 made itself right at home in the tak:til universe as soon as it was released to considerable acclaim last October, quickly becoming as much of a touchstone for the label’s Fourth World aesthetic as Jon Hassell, 75 Dollar Bill and Širom. A mind-twisting conference of jazz clarinet and sax, Carnatic percussion from South India and the kind of minutely textured electronic music that doesn’t mind if you sit down (but would definitely prefer you to dance), the band’s first album for seven years was well worth waiting for.

What had Wacław Zimpel been up to in the meantime? Those seven years appear to have been extremely well-spent, having given him the space in which to him to move on from being a decisive if restless presence on the mighty Polish jazz scene to becoming one of Europe’s most intriguing electronic musicians and producers. What’s been picked up on the way? For one, the conviction that the studio is as much of an instrument as the clarinet, the sax and indeed the percussion and violin that Saagara’s elite line-up of Giridhar Udupa, Aggu Baba, K Raja and Mysore N. Karthik have spent their whole lives mastering. (That said, catch them live and more or less acoustic at every opportunity – they are glorious.) And it’s to the studio that 3 has been led once again, a year on from release, in the form of this brilliant set by a British experimental electronicist celebrated for his groundbreaking dubstep productions and, latterly, for his more ambient and minimalist work and a series of high-profile collaborations (Pinch, Six Organs of Admittance, Holy Tongue and, indeed, Wacław Zimpel).

Wacław originally asked Shackleton to come up with a remix of one track of his choice; what he actually delivered was a shadow album of versions rather than remixes that hits very hard from the off. At every point as beautifully coiled and weighted as 3, it matches the original for drama, trades blows with it, squints at it, smiles at it, waves at it and just as often picks its pocket. There’s a little more darkness in these versions, Lancashire rain rather more than the heat and dust of Southern India, perhaps; but it’s recognisably an exchange of love and respect that will get owners of both records scuttling backwards and forwards between the two. The standout tracks of 3 become Shackleton’s too: ‘Northern Wind Brings Redemption’ and ‘Where Is That Blossom’, tremendous on their own, approaching genius when the one follows the other.

Wacław’s lovely description of 3 as ‘interstellar folk’ places that record firmly within one of music’s more fascinating recent currents: the meeting of electronics and global roots, often anchored by drone, a fascination with minimalism and the kind of progressive retrofuturism that always seems to emerge at times of crisis. It’s a current that Shackleton navigates also, with 3 The Shackleton Versions emerging as a deep-dive conversation between two of the brightest talents in contemporary experimental electronic music. 
]]></content:encoded>

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                  <g:adult>no</g:adult>
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    <item>

      <title>Širom : In the Wind of Night, Hard-Fallen Incantations Whisper - CD Album</title>
      <link>https://glitterbeat.greedbag.com/buy/in-the-wind-of-night-hard-fallen-1</link>      <description>
                The Slovenian avant-folk trio Širom are back with a sonically and thematically expansive 5th album; a thrilling follow-up to their widely praised 2022 release The Liquified Throne of Simplicity. Navigating almost two dozen instruments (some of which they&apos;ve handcrafted), and hypnotic compositions that often exceed ten minutes in length, Ana Kravanja, Iztok Koren and Samo Kutin court patient, deep-dive listeners via intricately woven atmospheres, rhythms and sonics.

In the Wind of Night, Hard-      </description>
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      <content:encoded><![CDATA[The Slovenian avant-folk trio Širom are back with a sonically and thematically expansive 5th album; a thrilling follow-up to their widely praised 2022 release The Liquified Throne of Simplicity. Navigating almost two dozen instruments (some of which they've handcrafted), and hypnotic compositions that often exceed ten minutes in length, Ana Kravanja, Iztok Koren and Samo Kutin court patient, deep-dive listeners via intricately woven atmospheres, rhythms and sonics.

In the Wind of Night, Hard-Fallen Incantations Whisper is arguably the sharpest evocation yet of the group's highly collective music process, enveloping rustic melodic folklore, outernational textures, non-linear song structures and dissonance, and a buzzing ambiance that can at times feel like an ecstatic ritual.

Few experimental ensembles from the last decade have created an ouevre as singular and unmistakable as that of this far-sighted trio from the disparate landscapes of Slovenia. Širom truly sound like no one else.]]></content:encoded>

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      <title>Širom : In the Wind of Night, Hard-Fallen Incantations Whisper (Black vinyl) - 12&quot; Vinyl Double Album (Black vinyl)</title>
      <link>https://glitterbeat.greedbag.com/buy/in-the-wind-of-night-hard-fallen-1</link>      <description>
                The Slovenian avant-folk trio Širom are back with a sonically and thematically expansive 5th album; a thrilling follow-up to their widely praised 2022 release The Liquified Throne of Simplicity. Navigating almost two dozen instruments (some of which they&apos;ve handcrafted), and hypnotic compositions that often exceed ten minutes in length, Ana Kravanja, Iztok Koren and Samo Kutin court patient, deep-dive listeners via intricately woven atmospheres, rhythms and sonics.

In the Wind of Night, Hard-      </description>
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      <category>Music</category>

      <content:encoded><![CDATA[The Slovenian avant-folk trio Širom are back with a sonically and thematically expansive 5th album; a thrilling follow-up to their widely praised 2022 release The Liquified Throne of Simplicity. Navigating almost two dozen instruments (some of which they've handcrafted), and hypnotic compositions that often exceed ten minutes in length, Ana Kravanja, Iztok Koren and Samo Kutin court patient, deep-dive listeners via intricately woven atmospheres, rhythms and sonics.

In the Wind of Night, Hard-Fallen Incantations Whisper is arguably the sharpest evocation yet of the group's highly collective music process, enveloping rustic melodic folklore, outernational textures, non-linear song structures and dissonance, and a buzzing ambiance that can at times feel like an ecstatic ritual.

Few experimental ensembles from the last decade have created an ouevre as singular and unmistakable as that of this far-sighted trio from the disparate landscapes of Slovenia. Širom truly sound like no one else.]]></content:encoded>

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                  <g:adult>no</g:adult>
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    <item>

      <title>Cerys Hafana : Angel (Black vinyl) - 12&quot; Vinyl Album (Black vinyl)</title>
      <link>https://glitterbeat.greedbag.com/buy/angel-325</link>      <description>
                Acclaimed Welsh composer, singer and multi-instrumentalist Cerys Hafana&apos;s third album Angel, is a deep exploration of minimalism, traditional and avant-folk music and Hafana&apos;s primary instrument the Welsh triple harp. The album alternates between vocal songs (all sung in the Welsh language) and instrumentals, often buoyed by a deft trio of sympathetic and exploratory musicians (drums, double bass, alto sax).

The uncommon breadth and innovation of Angel soundly confirms Hafana as one of the UK      </description>
      <guid isPermaLink="false">117662371650142</guid>
      <category>Music</category>

      <content:encoded><![CDATA[Acclaimed Welsh composer, singer and multi-instrumentalist Cerys Hafana's third album Angel, is a deep exploration of minimalism, traditional and avant-folk music and Hafana's primary instrument the Welsh triple harp. The album alternates between vocal songs (all sung in the Welsh language) and instrumentals, often buoyed by a deft trio of sympathetic and exploratory musicians (drums, double bass, alto sax).

The uncommon breadth and innovation of Angel soundly confirms Hafana as one of the UK's most exciting young contemporary folk artists. Their spellbinding music is rich with atmosphere and heart and stubbornly resistant to genre boxes and easy classification.

‘An old man who goes for a walk in the forest and hears an angel singing so beautifully it makes him fall asleep for three hundred and fifty years’
.
This is the simple, magical starting point for a remarkable new album from Welsh composer, singer and multi-instrumentalist Cerys Hafana, who is set to release their third album Angel on tak:til / Glitterbeat, their first for the label. Hafana has been self-releasing their music for a few years, with 2022’s Edyf making the Guardian newspaper’s Top Ten Folk Album Of The Year list. They also recently had an album of piano pieces called Difrisg released on Instant Karma Classics. There have been awards, including a shortlisting for the Welsh Music Prize in 2023, and Hafana has also appeared at major festivals across Europe, including Green Man, Trans Musicales, Reeperbahn, End of The Road and WOMAD.

Although Hafana is an accomplished multi-instrumentalist and considers the piano to be their "main instrument, technically," it’s for their work using the Welsh triple harp that they’ve gained a reputation as an innovative, exploratory, singularly powerful musician. Hafana’s harp has a distinct sound, in part because they had the idea of damping the harp’s strings using blu-tac to produce a woody, muted sound, after hearing about other harpists threading strips of paper and other material to create a ‘buzzy’ effect. It’s this kind of experimentation that sees them both reach back to artists in the Welsh triple harp tradition like Llio Rhydderch and forward to fellow contemporary artists and sonic adventurers like Rhodri Davies. Indeed, Hafana feels that “Davies’ work with the telyn rawn (harp strung with horse hair) and the bray / witches harp is such an important antidote to the people who want to be boring and prescriptive about the history and tradition of harp playing in Wales.” They sum up their kindred spirits thus: “basically anyone who comes from a folky background, or plays a very traditional instrument, but is willing to get a bit weird with it.”

Hafana’s music manages to be immersed in and informed by Welsh harp traditions but also embraces minimalism, jazz, the avant-garde and, particularly on the track "Angel," contemporary Breton folk styles. Hafana tells us that "on this album I wanted to try to push the musical limits more than I have previously, and to swing between the extremes of dynamics and texture as much as is possible on the instruments at my disposal. Lots of the writing also draws from contemporary Breton folk music with its driving and repetitive dance rhythms, more sparse, contemporary styles of composing and improvising, and some brief moments of very Welsh and traditional harp playing and unaccompanied singing."

The album captures a remarkable collection of songs with incredible intimacy and immediacy, with Hafana crediting producer Owain Fleetwood Jenkins for the ‘in the room’ quality of the sound. Recorded in Jenkins’ Pembrokeshire studio, the sessions were captured live and rather quickly (just four days) with just a few takes, with the musicians Ursula Harrison on double bass, Amie Huckstep on alto saxophone and Lisa Martin on drums. Hafana hadn’t worked with any of the trio before but had very specific ideas about who and what was needed to capture the sound they wanted. They were also keen to capture as broad a dynamic range as possible and a very intimate feel, and Angel does both brilliantly, at times sounding remarkably close-quarters and vivid.

The heart of the album is the title track, based on the aforementioned folk tale about an old man lulled into a centuries-long sleep by an angel’s song. Hafana found the song through a database of ballads in the Welsh National Library’s online archive, which they consider an amazing resource.

Hafana explains “I liked that it felt very layered, in a distinctly Welsh way; it reads like a folk tale (a man goes walking in the woods, hears a bird singing, and accidentally disappears for 350 years) that has had a Methodist angle stamped onto it - it wasn't a bird singing, it was an angel - and ends with a verse that basically says ‘none of this really happened, I just read the story and have turned it into a song’. I had also specifically been looking for Welsh folk songs about supernatural experiences that weren't overwhelmingly and undeniably Christian, and this was the closest I got… I was thinking quite a lot about the emotional arc of the "Angel" song, which goes from a gentle stroll through the forest to the horror of returning to your home and finding it changed beyond recognition.”

Hafana explains that the way the voice and saxophone interplay is an approximation of the Breton ‘kan ha diskan’ singing style, where the singers alternate lines to maintain a steady melody and rhythm to aid dancing, and admits that the Breton folk style “has wormed its way into my brain (and heart)”.

All of this – the innovative harp playing, the incorporation of influences from Welsh legends to Breton folk styles, the keen interest in the evocative power of dynamics and acoustics, the desire to “to get a bit weird with it” – feeds into Angel and makes it a genuinely innovative, beautiful album. One for the ages. 
]]></content:encoded>

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      <title>Cerys Hafana : Angel - CD Album</title>
      <link>https://glitterbeat.greedbag.com/buy/angel-325</link>      <description>
                Acclaimed Welsh composer, singer and multi-instrumentalist Cerys Hafana&apos;s third album Angel, is a deep exploration of minimalism, traditional and avant-folk music and Hafana&apos;s primary instrument the Welsh triple harp. The album alternates between vocal songs (all sung in the Welsh language) and instrumentals, often buoyed by a deft trio of sympathetic and exploratory musicians (drums, double bass, alto sax).

The uncommon breadth and innovation of Angel soundly confirms Hafana as one of the UK      </description>
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      <category>Music</category>

      <content:encoded><![CDATA[Acclaimed Welsh composer, singer and multi-instrumentalist Cerys Hafana's third album Angel, is a deep exploration of minimalism, traditional and avant-folk music and Hafana's primary instrument the Welsh triple harp. The album alternates between vocal songs (all sung in the Welsh language) and instrumentals, often buoyed by a deft trio of sympathetic and exploratory musicians (drums, double bass, alto sax).

The uncommon breadth and innovation of Angel soundly confirms Hafana as one of the UK's most exciting young contemporary folk artists. Their spellbinding music is rich with atmosphere and heart and stubbornly resistant to genre boxes and easy classification.

‘An old man who goes for a walk in the forest and hears an angel singing so beautifully it makes him fall asleep for three hundred and fifty years’
.
This is the simple, magical starting point for a remarkable new album from Welsh composer, singer and multi-instrumentalist Cerys Hafana, who is set to release their third album Angel on tak:til / Glitterbeat, their first for the label. Hafana has been self-releasing their music for a few years, with 2022’s Edyf making the Guardian newspaper’s Top Ten Folk Album Of The Year list. They also recently had an album of piano pieces called Difrisg released on Instant Karma Classics. There have been awards, including a shortlisting for the Welsh Music Prize in 2023, and Hafana has also appeared at major festivals across Europe, including Green Man, Trans Musicales, Reeperbahn, End of The Road and WOMAD.

Although Hafana is an accomplished multi-instrumentalist and considers the piano to be their "main instrument, technically," it’s for their work using the Welsh triple harp that they’ve gained a reputation as an innovative, exploratory, singularly powerful musician. Hafana’s harp has a distinct sound, in part because they had the idea of damping the harp’s strings using blu-tac to produce a woody, muted sound, after hearing about other harpists threading strips of paper and other material to create a ‘buzzy’ effect. It’s this kind of experimentation that sees them both reach back to artists in the Welsh triple harp tradition like Llio Rhydderch and forward to fellow contemporary artists and sonic adventurers like Rhodri Davies. Indeed, Hafana feels that “Davies’ work with the telyn rawn (harp strung with horse hair) and the bray / witches harp is such an important antidote to the people who want to be boring and prescriptive about the history and tradition of harp playing in Wales.” They sum up their kindred spirits thus: “basically anyone who comes from a folky background, or plays a very traditional instrument, but is willing to get a bit weird with it.”

Hafana’s music manages to be immersed in and informed by Welsh harp traditions but also embraces minimalism, jazz, the avant-garde and, particularly on the track "Angel," contemporary Breton folk styles. Hafana tells us that "on this album I wanted to try to push the musical limits more than I have previously, and to swing between the extremes of dynamics and texture as much as is possible on the instruments at my disposal. Lots of the writing also draws from contemporary Breton folk music with its driving and repetitive dance rhythms, more sparse, contemporary styles of composing and improvising, and some brief moments of very Welsh and traditional harp playing and unaccompanied singing."

The album captures a remarkable collection of songs with incredible intimacy and immediacy, with Hafana crediting producer Owain Fleetwood Jenkins for the ‘in the room’ quality of the sound. Recorded in Jenkins’ Pembrokeshire studio, the sessions were captured live and rather quickly (just four days) with just a few takes, with the musicians Ursula Harrison on double bass, Amie Huckstep on alto saxophone and Lisa Martin on drums. Hafana hadn’t worked with any of the trio before but had very specific ideas about who and what was needed to capture the sound they wanted. They were also keen to capture as broad a dynamic range as possible and a very intimate feel, and Angel does both brilliantly, at times sounding remarkably close-quarters and vivid.

The heart of the album is the title track, based on the aforementioned folk tale about an old man lulled into a centuries-long sleep by an angel’s song. Hafana found the song through a database of ballads in the Welsh National Library’s online archive, which they consider an amazing resource.

Hafana explains “I liked that it felt very layered, in a distinctly Welsh way; it reads like a folk tale (a man goes walking in the woods, hears a bird singing, and accidentally disappears for 350 years) that has had a Methodist angle stamped onto it - it wasn't a bird singing, it was an angel - and ends with a verse that basically says ‘none of this really happened, I just read the story and have turned it into a song’. I had also specifically been looking for Welsh folk songs about supernatural experiences that weren't overwhelmingly and undeniably Christian, and this was the closest I got… I was thinking quite a lot about the emotional arc of the "Angel" song, which goes from a gentle stroll through the forest to the horror of returning to your home and finding it changed beyond recognition.”

Hafana explains that the way the voice and saxophone interplay is an approximation of the Breton ‘kan ha diskan’ singing style, where the singers alternate lines to maintain a steady melody and rhythm to aid dancing, and admits that the Breton folk style “has wormed its way into my brain (and heart)”.

All of this – the innovative harp playing, the incorporation of influences from Welsh legends to Breton folk styles, the keen interest in the evocative power of dynamics and acoustics, the desire to “to get a bit weird with it” – feeds into Angel and makes it a genuinely innovative, beautiful album. One for the ages. 
]]></content:encoded>

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    </item>

    <item>

      <title>The Good Ones : Rwanda Sings With Strings (Black vinyl) - 12&quot; Vinyl Album (Black vinyl)</title>
      <link>https://glitterbeat.greedbag.com/buy/rwanda-sings-with-strings</link>      <description>
                The celebrated Rwandan folk duo returns with a resonant fifth album, Rwanda Sings with Strings. The record combines their signature earthy vocals and acoustic instrumentation (guitar and hand percussion) with atmospheric cello and violin arrangements, creating a soundscape that vividly brings to life their powerful stories of resilience, memory, and longing.

Recorded 100% live without overdubs in a hotel room by Grammy-winning producer Ian Brennan (Tinariwen, Ramblin&apos; Jack Elliott, Parchman P      </description>
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      <category>Music</category>

      <content:encoded><![CDATA[The celebrated Rwandan folk duo returns with a resonant fifth album, Rwanda Sings with Strings. The record combines their signature earthy vocals and acoustic instrumentation (guitar and hand percussion) with atmospheric cello and violin arrangements, creating a soundscape that vividly brings to life their powerful stories of resilience, memory, and longing.

Recorded 100% live without overdubs in a hotel room by Grammy-winning producer Ian Brennan (Tinariwen, Ramblin' Jack Elliott, Parchman Prison Project), the album delivers an unusually intimate listening experience. Reflective, unfiltered and deeply human.
]]></content:encoded>

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      <g:item_group_id>GBLP 173</g:item_group_id>
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                  <g:adult>no</g:adult>
    </item>

    <item>

      <title>The Good Ones : Rwanda Sings With Strings - CD Album</title>
      <link>https://glitterbeat.greedbag.com/buy/rwanda-sings-with-strings</link>      <description>
                The celebrated Rwandan folk duo returns with a resonant fifth album, Rwanda Sings with Strings. The record combines their signature earthy vocals and acoustic instrumentation (guitar and hand percussion) with atmospheric cello and violin arrangements, creating a soundscape that vividly brings to life their powerful stories of resilience, memory, and longing.

Recorded 100% live without overdubs in a hotel room by Grammy-winning producer Ian Brennan (Tinariwen, Ramblin&apos; Jack Elliott, Parchman P      </description>
      <guid isPermaLink="false">117662352310142</guid>
      <category>Music</category>

      <content:encoded><![CDATA[The celebrated Rwandan folk duo returns with a resonant fifth album, Rwanda Sings with Strings. The record combines their signature earthy vocals and acoustic instrumentation (guitar and hand percussion) with atmospheric cello and violin arrangements, creating a soundscape that vividly brings to life their powerful stories of resilience, memory, and longing.

Recorded 100% live without overdubs in a hotel room by Grammy-winning producer Ian Brennan (Tinariwen, Ramblin' Jack Elliott, Parchman Prison Project), the album delivers an unusually intimate listening experience. Reflective, unfiltered and deeply human.
]]></content:encoded>

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      <g:price>13.00 GBP</g:price>
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      <g:gtin>4030433617328</g:gtin>
      <g:mpn>GBCD 173</g:mpn>
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      <g:item_group_id>GBCD 173</g:item_group_id>
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                  <g:adult>no</g:adult>
    </item>

    <item>

      <title>Brighde Chaimbeul : Sunwise - CD Album</title>
      <link>https://glitterbeat.greedbag.com/buy/sunwise-0</link>      <description>
                After the remarkable success and acclaim that greeted her second album Carry Them With Us (tak:til / Glitterbeat, 2023), Scottish composer and small pipes player Brìghde Chaimbeul returns with a magic(k)al third album, Sunwise, which sees her push forward experimentally but also immerse her music more deeply in tradition, folklore and mystery.

Chaimbeul has travelled in a short time from her roots as a teenage piping contest winner into a fearless, widescreen artistry. She appeared on avant-p      </description>
      <guid isPermaLink="false">117662384120142</guid>
      <category>Music</category>

      <content:encoded><![CDATA[After the remarkable success and acclaim that greeted her second album Carry Them With Us (tak:til / Glitterbeat, 2023), Scottish composer and small pipes player Brìghde Chaimbeul returns with a magic(k)al third album, Sunwise, which sees her push forward experimentally but also immerse her music more deeply in tradition, folklore and mystery.

Chaimbeul has travelled in a short time from her roots as a teenage piping contest winner into a fearless, widescreen artistry. She appeared on avant-pop paragon Caroline Polachek's last album, has collaborated with Canadian composer/saxophonist Colin Stetson on her previous album (and this one also) and in the last couple of years has graced the stages of premier experimental festivals such as Big Ears (US), Le Guess Who? (NL) and Supersonic (UK). Sunwise is a revelatory album, steeped in landscape, ritual, minimalism and the eternal presence of the drone.

This record follows the embrace of winter time; the closing in of darkness, the cold, the pull to turn inward. But also, the customs of the season, and gathering for the ceilidh: songs and stories told round the fire; where the boundaries between reality and imagination blur.’

Thus, Brìghde Chaimbeul introduces her third album, a release which comes after two years of incredible acclaim for its predecessor Carry Them With Us, which won awards from such diverse places as The Guardian (Best Folk Album Of 2023 #7) and The Quietus (Best Albums of 2023 #13). Since that album, she has played stages from Tennessee to Denmark, often far outside the traditional / folk circuit where she first made her name, and often playing for audiences who’d never seen someone play small pipes before. To appear alone on the main stage at last year’s Supersonic Festival in Birmingham and reduce a hungover festival crowd to rapt silence probably isn’t what Chaimbeul expected, and nor would she have expected to be hailed as leading a revival of interest in an instrument that was arguably fading into obscurity.

Sunwise is more a solo record than Carry Them With Us, which saw her collaborate with acclaimed artist and peripatetic collaborator Colin Stetson. Chaimbeul explains that she’d spent the last two years playing live solo, “so that's where I was naturally going at the time of recording, most of the collaborators came on after I had recorded my parts”, the exception being Sguabag/The Sweeper where she recorded live with the three other pipers. She explains that she's learned a great deal about how to record her instrument, where "a lot of it is about tone, and the depth and richness of that tone, paying attention to detail - what mics you’re using, and how to get the best sound possible.” However, Stetson returns on the rousing, whirling A Chailleach, which also features Chaimbeul’s lovely, sparingly used voice.

A Chailleach and its preceding Dùsgadh / Waking, Chaimbeul explains, suggest “the beginning of winter, the darkness creeping in and the cold and the long nights, and also tying in with this Celtic folkloric character, the Cailleach Bheurr, who was known to bring in the winter or was associated with the bad weather and the winter time and the sort of uncomfortable parts of winter… this is kind of her waking up, roaming the moors with her walking stick, making sure she was getting rid of any greenery that was growing through and keeping that sharp frost in the air.”

There’s a spoken word contribution from her father Aonghas Phàdraig Chaimbeul on Duan, which is a rhyme related to New Year’s Night / Hogmanay folkore, with druidical origins, and was used to accompany the oidhche challain, “a disorderly procession that went three times sunwise according to the course of the sun round each house in the village, preceded in many cases by a piper and reciting, on coming to your door, this rhyme”, Chaimbeul explains. “Although the Hogmanay caisean (charm) isn't followed exactly like that anymore, my dad remembers it from his childhood, and remembers that rhyme. He grew up in South Uist in the 50s.”

These three tracks were composed by Chaimbeul (although A Chailleach features a traditional waulking song). The rest are traditional, arranged by Chaimbeul and taken from a variety of sources, but primarily field recordings from the School of Scottish Studies in Edinburgh.

Chaimbeul’s brother Eòsaph also appears, his voice joining hers on the closing The Rain is Wine & The Stones Are Cheese, a short but bracing song to mark the longest and therefore darkest night of the year, delivered in the style of canntaireachd (a traditional means of vocalising bagpipe music).
Sunwise is a remarkable album, a record steeped in folklore and tradition but also embracing minimalism, experimentation and the eternal presence of the drone. Her love for this music, these traditions and shared stories, shines through everything she does.

“It's a music and language that has survived so much and for so long - it's the music of people. It's music of the land. And I think it's extremely relevant to hold on to that and learn from that in current times.” 
]]></content:encoded>

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      <title>Brighde Chaimbeul : Sunwise (Black vinyl) - 12&quot; Vinyl Album (Black vinyl)</title>
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                After the remarkable success and acclaim that greeted her second album Carry Them With Us (tak:til / Glitterbeat, 2023), Scottish composer and small pipes player Brìghde Chaimbeul returns with a magic(k)al third album, Sunwise, which sees her push forward experimentally but also immerse her music more deeply in tradition, folklore and mystery.

Chaimbeul has travelled in a short time from her roots as a teenage piping contest winner into a fearless, widescreen artistry. She appeared on avant-p      </description>
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      <content:encoded><![CDATA[After the remarkable success and acclaim that greeted her second album Carry Them With Us (tak:til / Glitterbeat, 2023), Scottish composer and small pipes player Brìghde Chaimbeul returns with a magic(k)al third album, Sunwise, which sees her push forward experimentally but also immerse her music more deeply in tradition, folklore and mystery.

Chaimbeul has travelled in a short time from her roots as a teenage piping contest winner into a fearless, widescreen artistry. She appeared on avant-pop paragon Caroline Polachek's last album, has collaborated with Canadian composer/saxophonist Colin Stetson on her previous album (and this one also) and in the last couple of years has graced the stages of premier experimental festivals such as Big Ears (US), Le Guess Who? (NL) and Supersonic (UK). Sunwise is a revelatory album, steeped in landscape, ritual, minimalism and the eternal presence of the drone.

This record follows the embrace of winter time; the closing in of darkness, the cold, the pull to turn inward. But also, the customs of the season, and gathering for the ceilidh: songs and stories told round the fire; where the boundaries between reality and imagination blur.’

Thus, Brìghde Chaimbeul introduces her third album, a release which comes after two years of incredible acclaim for its predecessor Carry Them With Us, which won awards from such diverse places as The Guardian (Best Folk Album Of 2023 #7) and The Quietus (Best Albums of 2023 #13). Since that album, she has played stages from Tennessee to Denmark, often far outside the traditional / folk circuit where she first made her name, and often playing for audiences who’d never seen someone play small pipes before. To appear alone on the main stage at last year’s Supersonic Festival in Birmingham and reduce a hungover festival crowd to rapt silence probably isn’t what Chaimbeul expected, and nor would she have expected to be hailed as leading a revival of interest in an instrument that was arguably fading into obscurity.

Sunwise is more a solo record than Carry Them With Us, which saw her collaborate with acclaimed artist and peripatetic collaborator Colin Stetson. Chaimbeul explains that she’d spent the last two years playing live solo, “so that's where I was naturally going at the time of recording, most of the collaborators came on after I had recorded my parts”, the exception being Sguabag/The Sweeper where she recorded live with the three other pipers. She explains that she's learned a great deal about how to record her instrument, where "a lot of it is about tone, and the depth and richness of that tone, paying attention to detail - what mics you’re using, and how to get the best sound possible.” However, Stetson returns on the rousing, whirling A Chailleach, which also features Chaimbeul’s lovely, sparingly used voice.

A Chailleach and its preceding Dùsgadh / Waking, Chaimbeul explains, suggest “the beginning of winter, the darkness creeping in and the cold and the long nights, and also tying in with this Celtic folkloric character, the Cailleach Bheurr, who was known to bring in the winter or was associated with the bad weather and the winter time and the sort of uncomfortable parts of winter… this is kind of her waking up, roaming the moors with her walking stick, making sure she was getting rid of any greenery that was growing through and keeping that sharp frost in the air.”

There’s a spoken word contribution from her father Aonghas Phàdraig Chaimbeul on Duan, which is a rhyme related to New Year’s Night / Hogmanay folkore, with druidical origins, and was used to accompany the oidhche challain, “a disorderly procession that went three times sunwise according to the course of the sun round each house in the village, preceded in many cases by a piper and reciting, on coming to your door, this rhyme”, Chaimbeul explains. “Although the Hogmanay caisean (charm) isn't followed exactly like that anymore, my dad remembers it from his childhood, and remembers that rhyme. He grew up in South Uist in the 50s.”

These three tracks were composed by Chaimbeul (although A Chailleach features a traditional waulking song). The rest are traditional, arranged by Chaimbeul and taken from a variety of sources, but primarily field recordings from the School of Scottish Studies in Edinburgh.

Chaimbeul’s brother Eòsaph also appears, his voice joining hers on the closing The Rain is Wine & The Stones Are Cheese, a short but bracing song to mark the longest and therefore darkest night of the year, delivered in the style of canntaireachd (a traditional means of vocalising bagpipe music).
Sunwise is a remarkable album, a record steeped in folklore and tradition but also embracing minimalism, experimentation and the eternal presence of the drone. Her love for this music, these traditions and shared stories, shines through everything she does.

“It's a music and language that has survived so much and for so long - it's the music of people. It's music of the land. And I think it's extremely relevant to hold on to that and learn from that in current times.” 
]]></content:encoded>

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      <title>Ammar 808 : Club Tounsi - CD Album</title>
      <link>https://glitterbeat.greedbag.com/buy/club-tounsi</link>      <description>
                Since the release of AMMAR 808&apos;s debut »Maghreb United«(2018) – a rumbling pan-North African electronic classic – the Tunisian producer has been in the vanguard of artists navigating the intersection of traditional and contemporary sonics.

His deep-rooted, room-shaking 3rd album »Club Tounsi« isn’t just a powerful statement of his Tunisian identity. It’s also a joyous celebration of the dancefloor, blending Mezoued rhythms and instrumentation with an impossibly infectious blast of bass-heavy       </description>
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      <content:encoded><![CDATA[Since the release of AMMAR 808's debut »Maghreb United«(2018) – a rumbling pan-North African electronic classic – the Tunisian producer has been in the vanguard of artists navigating the intersection of traditional and contemporary sonics.

His deep-rooted, room-shaking 3rd album »Club Tounsi« isn’t just a powerful statement of his Tunisian identity. It’s also a joyous celebration of the dancefloor, blending Mezoued rhythms and instrumentation with an impossibly infectious blast of bass-heavy futurism.

MEZOUED REBORN . DANCE-FLOOR MADE IN TUNISIA . DARBOUKA RELOADED . EVERYTHING HAPPENS AFTER MIDNIGHT . BASS REVOLUTION .

-----------------------------------------------------------------------------------------------

Denmark-based Tunisian producer Sofyann Ben Youssef has already created whole new worlds of sound. His startling debut as AMMAR 808 – 2018’s Maghreb United – fused thumping TR-808 drum machine rhythms and bone-rattling bass with traditional North African folk instrumentalists and vocalists from Tunisia, Algeria and Morocco, suggesting a pan-Maghreb science-fiction mash-up worthy of William Burroughs’ most fevered dreams.

For his follow-up – 2020’s Global Control / Invisible Invasion – he turned his attention to South Indian, collaborating with esteemed musicians and vocalists and imbuing the Carnatic and other south indian musical traditions with 21st century energy as he investigated the ancient tales of the Mahabharata.

Now, for his latest album – Club Tounsi – he sets his sights on home, with an album that investigates and explores the vibrant folk tradition of his native Tunisia. “It’s a particular genre of folk,” AMMAR 808 explains. “It’s called Mezoued.” Named after the ancient mezoued goatskin bagpipes that provide the music’s sinuous melodies, it’s traditionally accompanying popular singers also backed by clattering hand drums.

Originating in the 1950s, when a surge of rural migrants flocked to the capital Tunis in search of work, it’s the music of the downtrodden and the underdog, long frowned upon by polite Tunisian society. “It originated with the immigrants and the working class,” says AMMAR 808. “These people were coming from all around Tunisia due to their economical situation. They were considered people from the ghettoes, and they were discriminated against. This music was even banished from Tunisian TV for a long time.”

Yet, as AMMAR 808 explains, the music persisted. “It evolved out of that stigmatisation and became something that actually speaks to all Tunisians, because it takes its roots from all available music in Tunisia.” In Mezoued, you’ll find Sufi devotional hymns, malouf melodies, Arabic scales and ancient folksong all part of one repertoire. Although it´s lyrics are preoccupied with hardship and the pain of love, Mezoued music wants to party hard. And rhythm is the key.

“On the album,” says AMMAR 808, “there is a rhythm that keeps coming back. It's called fezzani and it's without contest the Tunisian rhythm par excellence. It exists only in Tunisia. As soon as we start the fezzani medley in wedding parties everybody's hands are in the air. It comes down to the dance floor. It’s for the last part of the night when everybody's super-hot and getting all sweaty!”

On Club Tounsi, AMMAR 808 takes this “festive” tradition and reimagines it for the 21st century with pulsating basslines, shimmering synths, crunching distortion and mechanistic drum machine rhythms.

“I want to grab energies from the past, from the root of the music and then project them to the future,” he says. “It’s like a bridging between places and times.”

To bring this vision to life, AMMAR 808 returned to Tunisia in summer 2023, to record contributions from some of the country’s top musicians playing hand drums, bagpipes and also the buzzing ney reed instrument. These are melded with his electronic textures, creating a sound both progressive and nostalgic, beaming out of an ever-renewing eternal now.

“On a lot of these songs, I was looking into the repetitiveness of the drum looping and the percussion. Sometimes I loop the percussion just to have the feeling of electronic music that is always repetitive – and, on top, I put solo percussion that is completely free, to create really extreme contrast. I love that contrast between this machine-like feeling, but it still grooves with real percussion played by a real percussionist.”

AMMAR 808 also enlisted the voices of three amazing Tunisian vocalists from disparate disciplines. Mariem Bettouhami is a lyrical singer who, like AMMAR 808, has studied at the Institute of Music in Tunis. Mahmoud Lahbib is a veteran of the pure Mezoued tradition. And Brahim Riahi, another alumnus of the Institute of Music, has a background in Sufi singing.

“It was a magical process,” says AMMAR 808. “I heard this music all the time when I was growing up. It’s like coming home.”

When it came to choosing the repertoire for the recording sessions, AMMAR 808 was determined to echo that sense of continuity by focussing on some of the very best known Mezoued tunes. “I didn’t want to be original in the choice of tracks, but rather in the emotional proposition” he explains. “ It was about choosing the tracks that have the most impact and represent perfectly this tradition. There's a reason why they stood the test of time.”

But, at the same time, he’s devoted to taking these favourites and completely rewiring them for the future.

Listen to “Aman Aman,” for instance. It’s an ancient folk song, filled with lovelorn longing, traditionally played to an insistent beat. In AMMAR 808’s hands, it’s transformed into an eerie lament, with an extended introduction of spooky synth arpeggios and Mariem Bettouhami’s auto-tuned vocals. “The lyrics are pretty sad,” says AMMAR 808, “but I wanted to enhance that sadness in an extreme way. So, I made this cinematographic and very slow movement. That song has never been interpreted in that way before.”

“It's rediscovering a very popular track in a completely new context – and for a new generation. I have talked to many young Tunisian people, and many of them don't know these tracks. So, it's about making the bridge to this young generation who go clubbing, and for them to be able to hear something made in Tunisia, by Tunisia, for Tunisia and the world.”

That’s Club Tounsi. A space where the past meets the future. Where the dancefloor is hot and the rhythms are heavy. Come on in. It’s about to get serious. ]]></content:encoded>

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      <title>Ammar 808 : Club Tounsi - 12&quot; Vinyl Album</title>
      <link>https://glitterbeat.greedbag.com/buy/club-tounsi</link>      <description>
                Since the release of AMMAR 808&apos;s debut »Maghreb United«(2018) – a rumbling pan-North African electronic classic – the Tunisian producer has been in the vanguard of artists navigating the intersection of traditional and contemporary sonics.

His deep-rooted, room-shaking 3rd album »Club Tounsi« isn’t just a powerful statement of his Tunisian identity. It’s also a joyous celebration of the dancefloor, blending Mezoued rhythms and instrumentation with an impossibly infectious blast of bass-heavy       </description>
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      <content:encoded><![CDATA[Since the release of AMMAR 808's debut »Maghreb United«(2018) – a rumbling pan-North African electronic classic – the Tunisian producer has been in the vanguard of artists navigating the intersection of traditional and contemporary sonics.

His deep-rooted, room-shaking 3rd album »Club Tounsi« isn’t just a powerful statement of his Tunisian identity. It’s also a joyous celebration of the dancefloor, blending Mezoued rhythms and instrumentation with an impossibly infectious blast of bass-heavy futurism.

MEZOUED REBORN . DANCE-FLOOR MADE IN TUNISIA . DARBOUKA RELOADED . EVERYTHING HAPPENS AFTER MIDNIGHT . BASS REVOLUTION .

-----------------------------------------------------------------------------------------------

Denmark-based Tunisian producer Sofyann Ben Youssef has already created whole new worlds of sound. His startling debut as AMMAR 808 – 2018’s Maghreb United – fused thumping TR-808 drum machine rhythms and bone-rattling bass with traditional North African folk instrumentalists and vocalists from Tunisia, Algeria and Morocco, suggesting a pan-Maghreb science-fiction mash-up worthy of William Burroughs’ most fevered dreams.

For his follow-up – 2020’s Global Control / Invisible Invasion – he turned his attention to South Indian, collaborating with esteemed musicians and vocalists and imbuing the Carnatic and other south indian musical traditions with 21st century energy as he investigated the ancient tales of the Mahabharata.

Now, for his latest album – Club Tounsi – he sets his sights on home, with an album that investigates and explores the vibrant folk tradition of his native Tunisia. “It’s a particular genre of folk,” AMMAR 808 explains. “It’s called Mezoued.” Named after the ancient mezoued goatskin bagpipes that provide the music’s sinuous melodies, it’s traditionally accompanying popular singers also backed by clattering hand drums.

Originating in the 1950s, when a surge of rural migrants flocked to the capital Tunis in search of work, it’s the music of the downtrodden and the underdog, long frowned upon by polite Tunisian society. “It originated with the immigrants and the working class,” says AMMAR 808. “These people were coming from all around Tunisia due to their economical situation. They were considered people from the ghettoes, and they were discriminated against. This music was even banished from Tunisian TV for a long time.”

Yet, as AMMAR 808 explains, the music persisted. “It evolved out of that stigmatisation and became something that actually speaks to all Tunisians, because it takes its roots from all available music in Tunisia.” In Mezoued, you’ll find Sufi devotional hymns, malouf melodies, Arabic scales and ancient folksong all part of one repertoire. Although it´s lyrics are preoccupied with hardship and the pain of love, Mezoued music wants to party hard. And rhythm is the key.

“On the album,” says AMMAR 808, “there is a rhythm that keeps coming back. It's called fezzani and it's without contest the Tunisian rhythm par excellence. It exists only in Tunisia. As soon as we start the fezzani medley in wedding parties everybody's hands are in the air. It comes down to the dance floor. It’s for the last part of the night when everybody's super-hot and getting all sweaty!”

On Club Tounsi, AMMAR 808 takes this “festive” tradition and reimagines it for the 21st century with pulsating basslines, shimmering synths, crunching distortion and mechanistic drum machine rhythms.

“I want to grab energies from the past, from the root of the music and then project them to the future,” he says. “It’s like a bridging between places and times.”

To bring this vision to life, AMMAR 808 returned to Tunisia in summer 2023, to record contributions from some of the country’s top musicians playing hand drums, bagpipes and also the buzzing ney reed instrument. These are melded with his electronic textures, creating a sound both progressive and nostalgic, beaming out of an ever-renewing eternal now.

“On a lot of these songs, I was looking into the repetitiveness of the drum looping and the percussion. Sometimes I loop the percussion just to have the feeling of electronic music that is always repetitive – and, on top, I put solo percussion that is completely free, to create really extreme contrast. I love that contrast between this machine-like feeling, but it still grooves with real percussion played by a real percussionist.”

AMMAR 808 also enlisted the voices of three amazing Tunisian vocalists from disparate disciplines. Mariem Bettouhami is a lyrical singer who, like AMMAR 808, has studied at the Institute of Music in Tunis. Mahmoud Lahbib is a veteran of the pure Mezoued tradition. And Brahim Riahi, another alumnus of the Institute of Music, has a background in Sufi singing.

“It was a magical process,” says AMMAR 808. “I heard this music all the time when I was growing up. It’s like coming home.”

When it came to choosing the repertoire for the recording sessions, AMMAR 808 was determined to echo that sense of continuity by focussing on some of the very best known Mezoued tunes. “I didn’t want to be original in the choice of tracks, but rather in the emotional proposition” he explains. “ It was about choosing the tracks that have the most impact and represent perfectly this tradition. There's a reason why they stood the test of time.”

But, at the same time, he’s devoted to taking these favourites and completely rewiring them for the future.

Listen to “Aman Aman,” for instance. It’s an ancient folk song, filled with lovelorn longing, traditionally played to an insistent beat. In AMMAR 808’s hands, it’s transformed into an eerie lament, with an extended introduction of spooky synth arpeggios and Mariem Bettouhami’s auto-tuned vocals. “The lyrics are pretty sad,” says AMMAR 808, “but I wanted to enhance that sadness in an extreme way. So, I made this cinematographic and very slow movement. That song has never been interpreted in that way before.”

“It's rediscovering a very popular track in a completely new context – and for a new generation. I have talked to many young Tunisian people, and many of them don't know these tracks. So, it's about making the bridge to this young generation who go clubbing, and for them to be able to hear something made in Tunisia, by Tunisia, for Tunisia and the world.”

That’s Club Tounsi. A space where the past meets the future. Where the dancefloor is hot and the rhythms are heavy. Come on in. It’s about to get serious. ]]></content:encoded>

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      <title>Los Pirañas : Una Oportunidad más de triunfar en la vida - CD Album</title>
      <link>https://glitterbeat.greedbag.com/buy/una-oportunidad-ms-de-triunfar-e</link>      <description>
                A veritable supergroup consisting of Eblis Alvarez (Meridian Brothers), Mario Galeano (Frente Cumbiero) and Pedro Ojeda (Romperayo), Los Pirañas, the Colombian Avant-Latin experimentalists, return with their most formidable and forward-looking album yet.

Improvised live in the studio, with each member contributing ideas and interpretive strategies, the result is a masterclass in spontaneous, collective composition.

Daring, imaginative, eclectic and always deeply groovy, Una Oportunidad más      </description>
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      <content:encoded><![CDATA[A veritable supergroup consisting of Eblis Alvarez (Meridian Brothers), Mario Galeano (Frente Cumbiero) and Pedro Ojeda (Romperayo), Los Pirañas, the Colombian Avant-Latin experimentalists, return with their most formidable and forward-looking album yet.

Improvised live in the studio, with each member contributing ideas and interpretive strategies, the result is a masterclass in spontaneous, collective composition.

Daring, imaginative, eclectic and always deeply groovy, Una Oportunidad más de triunfar en la vida is an infectious trip into the dark, pulsating heart of Bogota’s thrilling underground music scene.

The album title translates as One more chance to succeed in life. Not that they need it. The trio of guitarist Eblis Alvarez, bassist Mario Galeano and drummer Pedro Ojeda has been successfully carving out a wildly idiosyncratic musical world since the release of their debut album in 2010, pushing the boundaries of instrumental Latin tropical music with bold infusions of psychedelia, dub, minimalism and more.

But their journey started a long time before that. All three attended the same high school and have been playing together for three decades, since they were around 15 years old. “We started with punk and heavy metal,” Ojeda recalls. “Then we were very interested in Colombian tropical music and traditional music from Colombia and Latin America, and that led us to focus on African music. It’s been a long road.”

Along the way, the unfettered, spontaneous improvisation of jazz has been a crucial touchstone. “When we started playing in an improvised setting, we were very influenced by free jazz from the ‘60s,” says Ojeda. “But now we are more into making music for the dance floor and music that has a beat and a strong feeling to dance to – especially in this latest album.”

The music on Una Oportunidad… stems from the venerable tradition of the groove-based jam session. “All of the tunes 100% come from improvisation sessions,” says Galeano. “With this album,” Ojeda elaborates, “we went to the studio in the morning every day for a week. Each of us would bring one or two ideas and we would start jamming, experimenting with those ideas. By lunchtime, we had one or two pieces based on those ideas and then, after lunch, we would record them. By the end of the week, we had the eight tracks that are on the record.”

Recording for the first time in the relaxed surroundings of Galeano’s studio, with Alvarez once again mixing and producing, Una Oportunidad… luxuriates in a relaxed intimacy. And, more than any other album they’ve released so far, it captures the immediacy of a live performance, with no overdubs or studio magic, just raw, in-the-moment invention. “Everything is happening live,” says Alvarez. “There are no tricks in there.”

That’s no mean feat given Los Pirañas’ unusual modus operandi. While Galeano and Ojeda lay down tight grooves informed by Colombian cumbia, Latin American rhythms, and West African highlife, Alvarez feeds his electric guitar through a laptop, layering circular loops in real time to build dense, complex arrangements. “All the loops are synchronised, and we try to fit over them. That was the challenge of this record,” says Alvarez. “Also, we are not recording to a click track,” Ojeda adds. “The loops are always moving because the tempo is always moving depending on the spirit of the moment. We have to make it groove, to make the loops groove with the band.”

It’s a method that adds a certain unpredictability to Los Pirañas’ jams. On tracks like “El nuevo Promoteo” you can hear these unmoored, living loops phasing in and out of sync like a Steve Reich minimalist composition. “El aguazo de Javier Felipe” slots together like a jerky Captain Beefheart tune. “Despectiva caridad” is laid back tropical dub. “Educados por Condorito (Y Don Ramón)” could almost be Donna Summer’s “I Feel Love” fed through a punk rock filter. “Con mi burrito sabanero voy directo al matadero” is buoyant, party-starting highlife. “Los pendencieros del Latin” slithers and slides in trippy backwards guitar effects.

No matter what they’re doing, the three members of Los Pirañas do it from a place of freedom and joy. Each is well known for playing in popular Colombian bands outside of the trio – Alvarez with Meridian Brothers and Chúpame el dedo, Galeano with Frente Cumbiero and Ondatropica, Ojeda with Chúpame el dedo and Romperayo. “We are the main composers in each of those other bands,” says Galeano. “Los Pirañas is a place where we can just let go of this other way of doing music. We just start playing and then say ‘yeah, let’s go this way!’”

With their avant-garde twist on Latin tradition, Los Pirañas have built a strong fanbase among more adventurous and discerning listeners in the clubs of Bogota and on the stages of international festivals. “To the people who are into the traditional way of listening to tropical sounds, to salsa, to cumbia, this is super alien,” says Galeano. “Then for the people who are into rock, they hear these Latin sounds we play and it’s alien to them too.” But make no mistake, Los Pirañas are right at the vanguard of new possibilities in Latin music. “I think the times are changing,” says Alvarez. “Latin music is evolving. It’s going towards noise and electronics. The Latin community is growing, the generations have changed.”

Los Pirañas’ new album isn’t just One more chance to succeed in life. It’s a chance to hear the sound of tomorrow’s Latin music, today, in all its wild, joyful splendour. 
credits
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      <title>Los Pirañas : Una Oportunidad más de triunfar en la vida - 12&quot; Vinyl Album</title>
      <link>https://glitterbeat.greedbag.com/buy/una-oportunidad-ms-de-triunfar-e</link>      <description>
                A veritable supergroup consisting of Eblis Alvarez (Meridian Brothers), Mario Galeano (Frente Cumbiero) and Pedro Ojeda (Romperayo), Los Pirañas, the Colombian Avant-Latin experimentalists, return with their most formidable and forward-looking album yet.

Improvised live in the studio, with each member contributing ideas and interpretive strategies, the result is a masterclass in spontaneous, collective composition.

Daring, imaginative, eclectic and always deeply groovy, Una Oportunidad más      </description>
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      <content:encoded><![CDATA[A veritable supergroup consisting of Eblis Alvarez (Meridian Brothers), Mario Galeano (Frente Cumbiero) and Pedro Ojeda (Romperayo), Los Pirañas, the Colombian Avant-Latin experimentalists, return with their most formidable and forward-looking album yet.

Improvised live in the studio, with each member contributing ideas and interpretive strategies, the result is a masterclass in spontaneous, collective composition.

Daring, imaginative, eclectic and always deeply groovy, Una Oportunidad más de triunfar en la vida is an infectious trip into the dark, pulsating heart of Bogota’s thrilling underground music scene.

The album title translates as One more chance to succeed in life. Not that they need it. The trio of guitarist Eblis Alvarez, bassist Mario Galeano and drummer Pedro Ojeda has been successfully carving out a wildly idiosyncratic musical world since the release of their debut album in 2010, pushing the boundaries of instrumental Latin tropical music with bold infusions of psychedelia, dub, minimalism and more.

But their journey started a long time before that. All three attended the same high school and have been playing together for three decades, since they were around 15 years old. “We started with punk and heavy metal,” Ojeda recalls. “Then we were very interested in Colombian tropical music and traditional music from Colombia and Latin America, and that led us to focus on African music. It’s been a long road.”

Along the way, the unfettered, spontaneous improvisation of jazz has been a crucial touchstone. “When we started playing in an improvised setting, we were very influenced by free jazz from the ‘60s,” says Ojeda. “But now we are more into making music for the dance floor and music that has a beat and a strong feeling to dance to – especially in this latest album.”

The music on Una Oportunidad… stems from the venerable tradition of the groove-based jam session. “All of the tunes 100% come from improvisation sessions,” says Galeano. “With this album,” Ojeda elaborates, “we went to the studio in the morning every day for a week. Each of us would bring one or two ideas and we would start jamming, experimenting with those ideas. By lunchtime, we had one or two pieces based on those ideas and then, after lunch, we would record them. By the end of the week, we had the eight tracks that are on the record.”

Recording for the first time in the relaxed surroundings of Galeano’s studio, with Alvarez once again mixing and producing, Una Oportunidad… luxuriates in a relaxed intimacy. And, more than any other album they’ve released so far, it captures the immediacy of a live performance, with no overdubs or studio magic, just raw, in-the-moment invention. “Everything is happening live,” says Alvarez. “There are no tricks in there.”

That’s no mean feat given Los Pirañas’ unusual modus operandi. While Galeano and Ojeda lay down tight grooves informed by Colombian cumbia, Latin American rhythms, and West African highlife, Alvarez feeds his electric guitar through a laptop, layering circular loops in real time to build dense, complex arrangements. “All the loops are synchronised, and we try to fit over them. That was the challenge of this record,” says Alvarez. “Also, we are not recording to a click track,” Ojeda adds. “The loops are always moving because the tempo is always moving depending on the spirit of the moment. We have to make it groove, to make the loops groove with the band.”

It’s a method that adds a certain unpredictability to Los Pirañas’ jams. On tracks like “El nuevo Promoteo” you can hear these unmoored, living loops phasing in and out of sync like a Steve Reich minimalist composition. “El aguazo de Javier Felipe” slots together like a jerky Captain Beefheart tune. “Despectiva caridad” is laid back tropical dub. “Educados por Condorito (Y Don Ramón)” could almost be Donna Summer’s “I Feel Love” fed through a punk rock filter. “Con mi burrito sabanero voy directo al matadero” is buoyant, party-starting highlife. “Los pendencieros del Latin” slithers and slides in trippy backwards guitar effects.

No matter what they’re doing, the three members of Los Pirañas do it from a place of freedom and joy. Each is well known for playing in popular Colombian bands outside of the trio – Alvarez with Meridian Brothers and Chúpame el dedo, Galeano with Frente Cumbiero and Ondatropica, Ojeda with Chúpame el dedo and Romperayo. “We are the main composers in each of those other bands,” says Galeano. “Los Pirañas is a place where we can just let go of this other way of doing music. We just start playing and then say ‘yeah, let’s go this way!’”

With their avant-garde twist on Latin tradition, Los Pirañas have built a strong fanbase among more adventurous and discerning listeners in the clubs of Bogota and on the stages of international festivals. “To the people who are into the traditional way of listening to tropical sounds, to salsa, to cumbia, this is super alien,” says Galeano. “Then for the people who are into rock, they hear these Latin sounds we play and it’s alien to them too.” But make no mistake, Los Pirañas are right at the vanguard of new possibilities in Latin music. “I think the times are changing,” says Alvarez. “Latin music is evolving. It’s going towards noise and electronics. The Latin community is growing, the generations have changed.”

Los Pirañas’ new album isn’t just One more chance to succeed in life. It’s a chance to hear the sound of tomorrow’s Latin music, today, in all its wild, joyful splendour. 
credits
]]></content:encoded>

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      <title>Park Jiha : All Living Things - CD Album</title>
      <link>https://glitterbeat.greedbag.com/buy/all-living-things</link>      <description>
                Park Jiha, the acclaimed Korean composer/multi-instrumentalist, makes patient, immersive music; music that illuminates the essence and texture of the natural, living world.

On her fourth album, All Living Things, her mastery of Korean traditional instruments is intricately woven with deeply personal compositions and a deft use of contemporary sonics. Terms like post-classical, ambient or even cinematic are useful, entry-level tags, but they only scratch the surface of this album’s shimmering,      </description>
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      <content:encoded><![CDATA[Park Jiha, the acclaimed Korean composer/multi-instrumentalist, makes patient, immersive music; music that illuminates the essence and texture of the natural, living world.

On her fourth album, All Living Things, her mastery of Korean traditional instruments is intricately woven with deeply personal compositions and a deft use of contemporary sonics. Terms like post-classical, ambient or even cinematic are useful, entry-level tags, but they only scratch the surface of this album’s shimmering, contemplative soundworlds.

All Living Things is a tender and profound meditation on the miracle of life. It is suffused with reverence and gratitude for the chance to simply be a living being on this planet at this time. To be a part of the natural cycles of life. To belong in the universe. It’s an intimate sound portrait of what she calls “a hardly explainable sentiment of feeling alive.” Jiha writes: “Take a deep breath and step forward, consciously, into an ordinary morning. Feel the ground beneath your feet and the life in your body, through the movement of your limbs. All Living Things begins with this: a singular connection to the earth that with awareness becomes a connection to all things; the cycles and continuities of life that help to process feelings of uncertainty with hope.”

Park Jiha explores this vision through idiosyncratic and deeply personal methods. Like its critically acclaimed predecessors, Philos (2018) and The Gleam (2022), All Living Things features her playing every instrument, meticulously overdubbed and layered in the studio to create sumptuous sound worlds. She employs an array of Korean instruments – piri, yanggeum and the saenghwang – alongside flute, glockenspiel, bells, her voice and, most crucially, electronics. “On my previous album, I used various techniques to produce unusual but still natural sounds from these instruments,” she says. “With this new album, I kept a natural sound and worked with various electronic elements to make the compositions sound fuller and more immersive.” On All Living Things, her music has undertaken a decided turn towards sonic experimentation and contemporary sound design.

The opening track, “First Buds,” is the perfect example of this approach. As the title suggests, it feels like a gentle opening up, delicate and full of promise, the acoustic instruments intertwining with more elusive and otherworldly textures. The track that follows is “Grounding,” a hypnotic composition that evolves in luminous cycles and reveals Park Jiha’s stylistic debt to minimalism. “Growth Ring,” is a dialogic game between the saenghwang and piri, both instruments bringing a distinctive atmosphere to a composition that represents maturity; a concept that expands as the album continues. The first single, “Blown Leaves,” features a seductive saenghwang melody that is doubled by shimmering and escalating electronics. The record’s final track, “Water Moon” with its softly struck glockenspiel, creates a childhood, music box innocence that hints at new beginnings and a sense of having come full circle.

The album as a whole manifests Park’s deeply personal take on the lifecycle, evolving from birth to growth, maturity to decline and finally death. This conceptual structure deliberately encourages listeners to engage with the album from start to finish. As she puts it, the album itself is “a cycle expressing the hope and beautiful uncertainty that I tried to bring into the music.”

It's this tantalising uncertainty that makes Park Jiha’s music so indefinable. Sure, there are hints of minimalism in the delicate, repeating patterns and percussive cycles. But here, too, you’ll find the dreamy waft of ambient soundtrack music, a searching spiritual sincerity, the formal precision of contemporary classical, and the spontaneity of experimental jazz. It all combines in one of the most distinctive contemporary musical voices, one that is fully engaged with the process of living and finding the wonder in sheer existence. “Life, as a beautiful voyage, is what always brings me to compose at some point,” says Park Jiha

As for the listener, it remains up to them to find their own joy and meaning in the glistening possibilities presented on All Living Things. “Just as diverse as we are,” says Park Jiha, “we all have the ability to feel things and emotionally interpret them for ourselves. This is such a beautiful thing for me. I wish my music could be part of people’s lives and bring them hope.” 
]]></content:encoded>

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      <title>Park Jiha : All Living Things - 12&quot; Vinyl Album</title>
      <link>https://glitterbeat.greedbag.com/buy/all-living-things</link>      <description>
                Park Jiha, the acclaimed Korean composer/multi-instrumentalist, makes patient, immersive music; music that illuminates the essence and texture of the natural, living world.

On her fourth album, All Living Things, her mastery of Korean traditional instruments is intricately woven with deeply personal compositions and a deft use of contemporary sonics. Terms like post-classical, ambient or even cinematic are useful, entry-level tags, but they only scratch the surface of this album’s shimmering,      </description>
      <guid isPermaLink="false">117682236370142</guid>
      <category>Music</category>

      <content:encoded><![CDATA[Park Jiha, the acclaimed Korean composer/multi-instrumentalist, makes patient, immersive music; music that illuminates the essence and texture of the natural, living world.

On her fourth album, All Living Things, her mastery of Korean traditional instruments is intricately woven with deeply personal compositions and a deft use of contemporary sonics. Terms like post-classical, ambient or even cinematic are useful, entry-level tags, but they only scratch the surface of this album’s shimmering, contemplative soundworlds.

All Living Things is a tender and profound meditation on the miracle of life. It is suffused with reverence and gratitude for the chance to simply be a living being on this planet at this time. To be a part of the natural cycles of life. To belong in the universe. It’s an intimate sound portrait of what she calls “a hardly explainable sentiment of feeling alive.” Jiha writes: “Take a deep breath and step forward, consciously, into an ordinary morning. Feel the ground beneath your feet and the life in your body, through the movement of your limbs. All Living Things begins with this: a singular connection to the earth that with awareness becomes a connection to all things; the cycles and continuities of life that help to process feelings of uncertainty with hope.”

Park Jiha explores this vision through idiosyncratic and deeply personal methods. Like its critically acclaimed predecessors, Philos (2018) and The Gleam (2022), All Living Things features her playing every instrument, meticulously overdubbed and layered in the studio to create sumptuous sound worlds. She employs an array of Korean instruments – piri, yanggeum and the saenghwang – alongside flute, glockenspiel, bells, her voice and, most crucially, electronics. “On my previous album, I used various techniques to produce unusual but still natural sounds from these instruments,” she says. “With this new album, I kept a natural sound and worked with various electronic elements to make the compositions sound fuller and more immersive.” On All Living Things, her music has undertaken a decided turn towards sonic experimentation and contemporary sound design.

The opening track, “First Buds,” is the perfect example of this approach. As the title suggests, it feels like a gentle opening up, delicate and full of promise, the acoustic instruments intertwining with more elusive and otherworldly textures. The track that follows is “Grounding,” a hypnotic composition that evolves in luminous cycles and reveals Park Jiha’s stylistic debt to minimalism. “Growth Ring,” is a dialogic game between the saenghwang and piri, both instruments bringing a distinctive atmosphere to a composition that represents maturity; a concept that expands as the album continues. The first single, “Blown Leaves,” features a seductive saenghwang melody that is doubled by shimmering and escalating electronics. The record’s final track, “Water Moon” with its softly struck glockenspiel, creates a childhood, music box innocence that hints at new beginnings and a sense of having come full circle.

The album as a whole manifests Park’s deeply personal take on the lifecycle, evolving from birth to growth, maturity to decline and finally death. This conceptual structure deliberately encourages listeners to engage with the album from start to finish. As she puts it, the album itself is “a cycle expressing the hope and beautiful uncertainty that I tried to bring into the music.”

It's this tantalising uncertainty that makes Park Jiha’s music so indefinable. Sure, there are hints of minimalism in the delicate, repeating patterns and percussive cycles. But here, too, you’ll find the dreamy waft of ambient soundtrack music, a searching spiritual sincerity, the formal precision of contemporary classical, and the spontaneity of experimental jazz. It all combines in one of the most distinctive contemporary musical voices, one that is fully engaged with the process of living and finding the wonder in sheer existence. “Life, as a beautiful voyage, is what always brings me to compose at some point,” says Park Jiha

As for the listener, it remains up to them to find their own joy and meaning in the glistening possibilities presented on All Living Things. “Just as diverse as we are,” says Park Jiha, “we all have the ability to feel things and emotionally interpret them for ourselves. This is such a beautiful thing for me. I wish my music could be part of people’s lives and bring them hope.” 
]]></content:encoded>

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      <title>Parchman Prison Prayer : Another Mississippi Sunday Morning - CD Album</title>
      <link>https://glitterbeat.greedbag.com/buy/another-mississippi-sunday-morni</link>      <description>
                Another Mississippi Sunday Morning is the poignant sequel to Some Mississippi Sunday Morning (2023), the prison-recorded gospel album that was met with unexpected global acclaim by the likes of the New York Times, The Guardian, the New Yorker, and BBC (just to name a few).

In early 2024 Grammy-winning producer Ian Brennan (Tinariwen, Ustad Saami, Ramblin’ Jack Elliott, The Good Ones [Rwanda]) returned to the Parchman Farm maximum security facility in the Mississippi to record a second collect      </description>
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      <category>Music</category>

      <content:encoded><![CDATA[Another Mississippi Sunday Morning is the poignant sequel to Some Mississippi Sunday Morning (2023), the prison-recorded gospel album that was met with unexpected global acclaim by the likes of the New York Times, The Guardian, the New Yorker, and BBC (just to name a few).

In early 2024 Grammy-winning producer Ian Brennan (Tinariwen, Ustad Saami, Ramblin’ Jack Elliott, The Good Ones [Rwanda]) returned to the Parchman Farm maximum security facility in the Mississippi to record a second collection of raw and haunting performances from the prison's Sunday gospel service. The results are once again captivating and unforgettable.

Twelve men participated in the new recording session, ranging in age from 23 to 74. Three are serving life sentences and six of them were newer arrivals or not on the debut album. There were no guards or chaplains present this time.

Like the first album, all songs were first takes, recorded 100% live and without overdubs. The session took four hours, twice the length of time Brennan was alotted for Some Mississippi Sunday Morning. This time the singers knew what to expect and some came to the session with pre-prepared material.  

“Certain people who were involved the first time became very prominent this time,” Brennan says. “They were also more motivated to write their own songs, so a lot of them had done that in advance. A couple of those from before were really eager to do song after song. Everybody sang at least one song.”

Though all of the music is intimate and stripped back, each song and performance, whether it is based on traditional gospel or Hip Hop or the deep blues, has an individual and powerful story to tell.

The track “Open the Floodgates of Heaven (Let It Rain)” was recorded as a storm suddenly splattered and thundered. Singer J. Hemphill’s interpretation of the source material is so singular that it is unrecognizable as a cover. Now sixty-seven years old, Hemphill has been serving a life sentence since his early-twenties. The tenderness in his voice stands in hard contrast to the realities of his daily life.

The curiously titled “MC Hammer,” is the second single to be released from the album. Through his rap, J. Robinson (thirty-four years old), weaves a tale that uses Mr. Hammer as the punchline of his incantation of spiritual and personal imagery: “The Holy Spirit dancing like MC Hammer.” 

Accompanied only by improvised beatbox from L. Stevenson (thirty-one years old), the pair manage to strip Hip Hop back to the barest of roots— groove and grime. Incarcerated since age eighteen, Mr. Stevenson is currently facing life imprisonment.

The album’s first single “Parchman Prison Blues,” was the last song recorded that day. Six of the men huddled together and improvised a sublime, wordless expression of their pain and longing. It is a gripping opener to an album marked by resonant emotion and fragile hope.  

 “These recordings help make corporeal the nuance of trauma,” Brennan states. “Every person on every side of a violence action is diminished by it, including - albeit to a lesser degree - the perpetrator.”

As with the first album, any and all artist proceeds benefit Parchman’s chaplain services program.

*Ian Brennan’s quotes are from: ‘Another Sunday Morning’ at Parchman Prison, Mixonline, November 7th, 2024 
]]></content:encoded>

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      <title>Julián Mayorga : Chak Chak Chak Chak - CD Album</title>
      <link>https://glitterbeat.greedbag.com/buy/chak-chak-chak-chak</link>      <description>
                Avant-garde Colombian singer-songwriter Julián Mayorga returns with his ninth album, a clattering, absurdist slice of post-cumbia psychedelia. Chak Chak Chak Chak is a feverish mix of angular electric guitars, circuit-bent beats, found percussion and rapid-fire incantations, with influences that include Tom Zé, Tom Waits and Captain Beefheart.
Frenetic energy meets satirical wit. Surrealist fables entwined with defiant sonics.

--------------------------------

Part technicolour fever dre      </description>
      <guid isPermaLink="false">117682226450142</guid>
      <category>Music</category>

      <content:encoded><![CDATA[Avant-garde Colombian singer-songwriter Julián Mayorga returns with his ninth album, a clattering, absurdist slice of post-cumbia psychedelia. Chak Chak Chak Chak is a feverish mix of angular electric guitars, circuit-bent beats, found percussion and rapid-fire incantations, with influences that include Tom Zé, Tom Waits and Captain Beefheart.
Frenetic energy meets satirical wit. Surrealist fables entwined with defiant sonics.

--------------------------------

Part technicolour fever dream, part polyrhythmic Dadaist frolic, Chak Chak Chak Chak is the latest full-length from avant-garde Colombian singer-songwriter Julián Mayorga, an album that brilliantly brings to life his absurdist post-cumbia infused psychedelia.

Broadcasting from the fertile cauldron of his current headquarters in Madrid, where he has lived for the past ten years, Mayorga has created the next compelling phase of his self-proclaimed “timbre rebellion.” Inspired by the sounds of unconventional musical instruments – frying pans, mortar and pestle, knives and plates – his debut release on Glitterbeat (his ninth in all) curdles with an uncanny energy and satirical wit.

Mayorga’s songs are layered, multi-dimensional constructs. They evoke the illusory edge-lands that emerge where urban and rural meet, and echo memories originating in the working-class neighbourhoods of his Tolima birthplace – places abundant with greasepaint and grime, vitality and colour.

As heard on the spry chucho shake-up of the track ‘El día que Tolima se hundió hasta el fondo del mar (The day Tolima sank to the bottom of the sea)’ and the screwball cowboy screed of ‘Arda la ciudad cuando arrecie el monte (Let the city burn when the mountain rages),’ the vistas of Chak Chak Chak Chak are at times earmarked with a decidedly anti-capitalist agrarian model of Andean futurism. “When I return to Colombia, I always spend several days in the countryside,” Mayorga explains, “It always seems to me that people there are living in the future, in an almost anarchic community existing beyond the intermediation of the police or state.”

Uh, all my neighbours descend from the hills,
and in a parade sing,
a clandestine ancient and anti-civilisation song.
-- Arda la ciudad cuando arrecie el monte (Let the city burn when the mountain rages)

Finding further inspiration for his sonic fables in the magical writings of Latin American authors such as Juan Rulfo, María Luisa Bombal, Jorge Eduardo Eielson, Reinaldo Arenas and the British poet Brian Catling, Mayorga’s music transmutes the debris of deformity, despair and disgust into chimeric, frenetic song forms, teeming with rat gods, undead dogs, ghost towns and greenback basilisks. With a surrealist’s zeal he refashions the grotesque and gruesome.

I dream of snakes covered in salt
I'm collecting coins adding crumbs
They sprout from the stones I can't avoid them
Caution is not enough
They stab me in the back at the end of the month.
-- Sueño con culebras (I dream of snakes)

Chak Chak Chak Chak vividly highlights Mayorga’s radicalised guitar work, a fecund approach referencing the angular stylings of cult axe heroes such as Kiko Dinucci (Meta Meta), Marc Ribot and, particularly, Arto Lindsay. Riding upon this inventive fretwork, he injects the album with vocal performances marked by rapid-fire incantations, animalistic whoops and hollers and gibbering psychobabble, and a rhythmic scattershot of beats generated by circuit-bent electronics, traditional percussive instruments (tambora and guacharaca) and repurposed objects (giant oil drums and sundry junkyard scrap).

It is indeed not at all surprising that Mayorga counts daring, idiom-defying musical oddballs like Tom Zé, Tom Waits, Renaldo and the Loaf, Captain Beefheart and The Residents (whose classic 1978 cut ‘Semolina’ is reconfigured here in an intoxicating locomotive rush) as kindred influences.

“We have prayed to a giant, ferocious opossum, to come down from the sky to avenge us,” Mayorga writes in the album’s liner notes. “Eat the rich, we implore him, and he answers us with a thick music, a mixture of whistling and clattering, the bones of the richest: Chak-Chak-Chak-Chak.”

The album’s offbeat allegories and anti-capitalist broadsides ooze tropical mischief, dystopian noise and a love for folkloric bestiaries. They are a gloriously bewildering assault on the totems of hegemony and tyranny – cultural, personal, political and musical. An unrelenting sonic cyborg engine – part-machine, part-human – with spluttering gears, gnashing teeth and stuttering cogwheels grinding up against the shrapnel alluded to in the album’s onomatopoeic title.

Chak Chak Chak Chak is Julian Mayorga divining gold amid the ordure. “We need to give birth to beauty, the world needs… people need to be moved. Our manifest destiny is to delve into the beauty of the universe,” he states, before wryly adding, “It just happens that I love the idea of beauty in decay, in ugliness, and even in death.” 
]]></content:encoded>

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      <title>Julián Mayorga : Chak Chak Chak Chak - 12&quot; Vinyl Album</title>
      <link>https://glitterbeat.greedbag.com/buy/chak-chak-chak-chak</link>      <description>
                Avant-garde Colombian singer-songwriter Julián Mayorga returns with his ninth album, a clattering, absurdist slice of post-cumbia psychedelia. Chak Chak Chak Chak is a feverish mix of angular electric guitars, circuit-bent beats, found percussion and rapid-fire incantations, with influences that include Tom Zé, Tom Waits and Captain Beefheart.
Frenetic energy meets satirical wit. Surrealist fables entwined with defiant sonics.

--------------------------------

Part technicolour fever dre      </description>
      <guid isPermaLink="false">117682236350142</guid>
      <category>Music</category>

      <content:encoded><![CDATA[Avant-garde Colombian singer-songwriter Julián Mayorga returns with his ninth album, a clattering, absurdist slice of post-cumbia psychedelia. Chak Chak Chak Chak is a feverish mix of angular electric guitars, circuit-bent beats, found percussion and rapid-fire incantations, with influences that include Tom Zé, Tom Waits and Captain Beefheart.
Frenetic energy meets satirical wit. Surrealist fables entwined with defiant sonics.

--------------------------------

Part technicolour fever dream, part polyrhythmic Dadaist frolic, Chak Chak Chak Chak is the latest full-length from avant-garde Colombian singer-songwriter Julián Mayorga, an album that brilliantly brings to life his absurdist post-cumbia infused psychedelia.

Broadcasting from the fertile cauldron of his current headquarters in Madrid, where he has lived for the past ten years, Mayorga has created the next compelling phase of his self-proclaimed “timbre rebellion.” Inspired by the sounds of unconventional musical instruments – frying pans, mortar and pestle, knives and plates – his debut release on Glitterbeat (his ninth in all) curdles with an uncanny energy and satirical wit.

Mayorga’s songs are layered, multi-dimensional constructs. They evoke the illusory edge-lands that emerge where urban and rural meet, and echo memories originating in the working-class neighbourhoods of his Tolima birthplace – places abundant with greasepaint and grime, vitality and colour.

As heard on the spry chucho shake-up of the track ‘El día que Tolima se hundió hasta el fondo del mar (The day Tolima sank to the bottom of the sea)’ and the screwball cowboy screed of ‘Arda la ciudad cuando arrecie el monte (Let the city burn when the mountain rages),’ the vistas of Chak Chak Chak Chak are at times earmarked with a decidedly anti-capitalist agrarian model of Andean futurism. “When I return to Colombia, I always spend several days in the countryside,” Mayorga explains, “It always seems to me that people there are living in the future, in an almost anarchic community existing beyond the intermediation of the police or state.”

Uh, all my neighbours descend from the hills,
and in a parade sing,
a clandestine ancient and anti-civilisation song.
-- Arda la ciudad cuando arrecie el monte (Let the city burn when the mountain rages)

Finding further inspiration for his sonic fables in the magical writings of Latin American authors such as Juan Rulfo, María Luisa Bombal, Jorge Eduardo Eielson, Reinaldo Arenas and the British poet Brian Catling, Mayorga’s music transmutes the debris of deformity, despair and disgust into chimeric, frenetic song forms, teeming with rat gods, undead dogs, ghost towns and greenback basilisks. With a surrealist’s zeal he refashions the grotesque and gruesome.

I dream of snakes covered in salt
I'm collecting coins adding crumbs
They sprout from the stones I can't avoid them
Caution is not enough
They stab me in the back at the end of the month.
-- Sueño con culebras (I dream of snakes)

Chak Chak Chak Chak vividly highlights Mayorga’s radicalised guitar work, a fecund approach referencing the angular stylings of cult axe heroes such as Kiko Dinucci (Meta Meta), Marc Ribot and, particularly, Arto Lindsay. Riding upon this inventive fretwork, he injects the album with vocal performances marked by rapid-fire incantations, animalistic whoops and hollers and gibbering psychobabble, and a rhythmic scattershot of beats generated by circuit-bent electronics, traditional percussive instruments (tambora and guacharaca) and repurposed objects (giant oil drums and sundry junkyard scrap).

It is indeed not at all surprising that Mayorga counts daring, idiom-defying musical oddballs like Tom Zé, Tom Waits, Renaldo and the Loaf, Captain Beefheart and The Residents (whose classic 1978 cut ‘Semolina’ is reconfigured here in an intoxicating locomotive rush) as kindred influences.

“We have prayed to a giant, ferocious opossum, to come down from the sky to avenge us,” Mayorga writes in the album’s liner notes. “Eat the rich, we implore him, and he answers us with a thick music, a mixture of whistling and clattering, the bones of the richest: Chak-Chak-Chak-Chak.”

The album’s offbeat allegories and anti-capitalist broadsides ooze tropical mischief, dystopian noise and a love for folkloric bestiaries. They are a gloriously bewildering assault on the totems of hegemony and tyranny – cultural, personal, political and musical. An unrelenting sonic cyborg engine – part-machine, part-human – with spluttering gears, gnashing teeth and stuttering cogwheels grinding up against the shrapnel alluded to in the album’s onomatopoeic title.

Chak Chak Chak Chak is Julian Mayorga divining gold amid the ordure. “We need to give birth to beauty, the world needs… people need to be moved. Our manifest destiny is to delve into the beauty of the universe,” he states, before wryly adding, “It just happens that I love the idea of beauty in decay, in ugliness, and even in death.” 
]]></content:encoded>

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      <title>Baba Zula : İstanbul Sokakları - CD Album</title>
      <link>https://glitterbeat.greedbag.com/buy/stanbul-sokaklar-0</link>      <description>
                This legendary Istanbul band remains the most experimental exponent of the hotly-tipped contemporary Turkish psych-rock scene. BaBa ZuLa are revered sonic trailblazers who have built a cult following in all corners of the globe and have counted members of Einstürzende Neubauten, Can and Nick Cave the Bad Seeds as their fans.

Pulsing, hypnotic tracks powered by Turkish percussion, glitched electronics, deep bass, electric saz and dual male/female vocals. İstanbul Sokakları (Streets of Istanbul      </description>
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      <content:encoded><![CDATA[This legendary Istanbul band remains the most experimental exponent of the hotly-tipped contemporary Turkish psych-rock scene. BaBa ZuLa are revered sonic trailblazers who have built a cult following in all corners of the globe and have counted members of Einstürzende Neubauten, Can and Nick Cave the Bad Seeds as their fans.

Pulsing, hypnotic tracks powered by Turkish percussion, glitched electronics, deep bass, electric saz and dual male/female vocals. İstanbul Sokakları (Streets of Istanbul) is a vivid sonic and political statement from a band that continues to show us the future.

-----------------------------------------------

“We are embracing the past, and Turkish tradition,” says BaBa ZuLa co-founder and saz player, Murat Ertel. “But it’s not enough. We are living in the 21st century and we have all the world.”

It could stand as the group’s mission statement. Since first coming together in Istanbul in 1996, BaBa ZuLa have specialised in transporting, psychedelic jams that incorporate electronic sounds, deep beats and supremely heavy dub vibrations, while sitting firmly within a distinctly Turkish sound. Percussion instruments such as the clopping darbuka drum and clattering kaşıklar spoons summon traditional folk-dance rhythms, while Ertel’s electrified saz conjures profound Anatolian moods with a modern, amplified twist.

It’s a modus operandi that has marked them out as true iconoclasts. “Lots of Turkish musicians are fundamentalists,” says co-founder and multi-instrumentalist Levent Akman. “They want it acoustic, and they hate Murat because he plays electric. We are trying to break these kinds of borders.”

Their latest album İstanbul Sokakları (Streets of Istanbul) contains no shortage of the hypnotic jams that have become their calling card. Across three extended pieces – the six-minute “Arsız Saksağan (Cheeky Magpie)”, the eight-minute “Yaprakların Arasından (In Between the Leaves)” and the eleven-minute “Yok Haddi Yok Hesabı (No Limits No Calculation)” – they delve deep into group meditations that surge and swell with relentless percussion, dark atmospherics constantly pushed into ecstatic peaks by the biting electric saz, and vocals by turns seductive and exhorting by Murat Ertel and female vocalist (and spouse), Esma Ertel.

On the album we also find characteristically strong fusions of modern vibes with traditional Turkish flavours. The catchy “Pisi Pisi Halayı” features an acid house squelch ornamented with Esma’s powerful vocals sung in the zilgit style – a type of ecstatic ululation found in Turkey (Türkiye) and throughout southwestern Asia.

On İstanbul Sokakları, BaBa ZuLa further pursue their quest to modernise Turkish musical tradition by examining a key element of Turkish classical music known as the taksim. Closely related to the alaap, which usually begins an Indian raga, the taksim was traditionally an improvised introduction in which the mood of a particular scale is established with melodic variations played over a root-note drone. “At the beginning of the 20th century, taksims were very popular in Turkish culture, but then this tradition slowly died,” Ertel states. “I was excited with the idea and really wanted to use it on the album.”

True to form, BaBa ZuLa present a whole new approach to the taksim – as Ertel explains: “My taksims are more experimental. In tradition, the root tone is played by one or two acoustic instruments. For the album, Levent and I looked for how to make this root note come out of a synthesizer. It’s a new way of playing taksims. Maybe some traditional guys will be angry with me, but I think this is the way taksims should go.”

İstanbul Sokakları presents four short but exquisitely detailed taksims built on lush, ambient drones, providing a showcase for some of Ertel’s most sensitive and delicate saz playing to date. And it's within these 21st century taksims that İstanbul Sokakları establishes another innovation, and the album’s unifying concept. Nestled among their meditative moods are a collection of field recordings which, together, sketch out a love letter to BaBa ZuLa’s home, the teeming and ancient metropolis of Istanbul.

Here, Ertel draws on his own long-standing interest in recording everyday sounds, stretching back to childhood experiments with his father’s reel-to-reel tape recorder. He’s also profoundly influenced by the work of Korkmaz Çakar, a famed producer of Turkish radio plays. “He was a master of doing atmospheric sounds for these plays,” says Ertel. “I used to listen to them and, many years later, I befriended him. For the album, I use a mix of my own recordings and some of his recordings he did around Istanbul, starting in the 50s and up to today.”

So, in “İstanbul Express Divan Taksim,” we hear a vintage recording of a railway announcer calling out the departure of a train leaving Istanbul for Munich. “Çarşı Pazar Bağlama Taksimi” conjures the sound of merchants in a street bazaar hawking their wares. “Bosphorus Cura Taksim,” with its boat horns and keening gulls, is redolent of that great waterway that cuts through Istanbul. And “Güzel Bahçe Taksimi (Beautiful Garden Taksim)” captures the sound of birds sweetly singing in the Ertels’ own private garden.

With its focus on challenging the conservative status quo, İstanbul Sokakları explicitly addresses issues faced by progressive thinkers in today’s Turkey (Türkiye). It is, in every way, a deeply political statement. Most powerfully, “Arsız Saksağan” is an openly anti-government song fuelled by a sense of rage about the injustices of global capitalism. Ertel explains: “The wild lust of sucking every cell out of all living things by the powerful ruling class minorities and thus getting richer faster is everywhere around the world and it’s rising and rising. The prices of food and the evil ways of governments and corporations are on the rise.” Lyrically, Ertel intones a litany of disgrace, “To the media that dazzles, to the journalists who are silenced, to the people imprisoned just for defending.”

But it’s not all about despair. On “Yok Haddi Yok Hesabı,” while Ertel bemoans hyper-inflation and the increasingly fast pace of the world, Esma counters by calling us to remember the true meaning of life and what really matters: “The day does not turn there, the moment is remembered… money is not valid there, glory walks in the sky of the brave.” As Ertel states: “We see and feel the injustice strongly but even under heavier pressure the resistance exists, which is so vital and gives us the courage to continue living a meaningful life.”

Moreover, with the rise of the far-right across Europe, Akman is convinced it’s time for BaBa ZuLa’s message to be heard. “This album is not only for Türkiye, but for the world,” he says. “We need this kind of political album more. We’ll fight fascists and neo-Nazis with our music. All together, we must fight. And we will beat them.” 
]]></content:encoded>

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      <title>Baba Zula : İstanbul Sokakları - 12&quot; Vinyl Album</title>
      <link>https://glitterbeat.greedbag.com/buy/stanbul-sokaklar-0</link>      <description>
                This legendary Istanbul band remains the most experimental exponent of the hotly-tipped contemporary Turkish psych-rock scene. BaBa ZuLa are revered sonic trailblazers who have built a cult following in all corners of the globe and have counted members of Einstürzende Neubauten, Can and Nick Cave the Bad Seeds as their fans.

Pulsing, hypnotic tracks powered by Turkish percussion, glitched electronics, deep bass, electric saz and dual male/female vocals. İstanbul Sokakları (Streets of Istanbul      </description>
      <guid isPermaLink="false">117682683350142</guid>
      <category>Music</category>

      <content:encoded><![CDATA[This legendary Istanbul band remains the most experimental exponent of the hotly-tipped contemporary Turkish psych-rock scene. BaBa ZuLa are revered sonic trailblazers who have built a cult following in all corners of the globe and have counted members of Einstürzende Neubauten, Can and Nick Cave the Bad Seeds as their fans.

Pulsing, hypnotic tracks powered by Turkish percussion, glitched electronics, deep bass, electric saz and dual male/female vocals. İstanbul Sokakları (Streets of Istanbul) is a vivid sonic and political statement from a band that continues to show us the future.

-----------------------------------------------

“We are embracing the past, and Turkish tradition,” says BaBa ZuLa co-founder and saz player, Murat Ertel. “But it’s not enough. We are living in the 21st century and we have all the world.”

It could stand as the group’s mission statement. Since first coming together in Istanbul in 1996, BaBa ZuLa have specialised in transporting, psychedelic jams that incorporate electronic sounds, deep beats and supremely heavy dub vibrations, while sitting firmly within a distinctly Turkish sound. Percussion instruments such as the clopping darbuka drum and clattering kaşıklar spoons summon traditional folk-dance rhythms, while Ertel’s electrified saz conjures profound Anatolian moods with a modern, amplified twist.

It’s a modus operandi that has marked them out as true iconoclasts. “Lots of Turkish musicians are fundamentalists,” says co-founder and multi-instrumentalist Levent Akman. “They want it acoustic, and they hate Murat because he plays electric. We are trying to break these kinds of borders.”

Their latest album İstanbul Sokakları (Streets of Istanbul) contains no shortage of the hypnotic jams that have become their calling card. Across three extended pieces – the six-minute “Arsız Saksağan (Cheeky Magpie)”, the eight-minute “Yaprakların Arasından (In Between the Leaves)” and the eleven-minute “Yok Haddi Yok Hesabı (No Limits No Calculation)” – they delve deep into group meditations that surge and swell with relentless percussion, dark atmospherics constantly pushed into ecstatic peaks by the biting electric saz, and vocals by turns seductive and exhorting by Murat Ertel and female vocalist (and spouse), Esma Ertel.

On the album we also find characteristically strong fusions of modern vibes with traditional Turkish flavours. The catchy “Pisi Pisi Halayı” features an acid house squelch ornamented with Esma’s powerful vocals sung in the zilgit style – a type of ecstatic ululation found in Turkey (Türkiye) and throughout southwestern Asia.

On İstanbul Sokakları, BaBa ZuLa further pursue their quest to modernise Turkish musical tradition by examining a key element of Turkish classical music known as the taksim. Closely related to the alaap, which usually begins an Indian raga, the taksim was traditionally an improvised introduction in which the mood of a particular scale is established with melodic variations played over a root-note drone. “At the beginning of the 20th century, taksims were very popular in Turkish culture, but then this tradition slowly died,” Ertel states. “I was excited with the idea and really wanted to use it on the album.”

True to form, BaBa ZuLa present a whole new approach to the taksim – as Ertel explains: “My taksims are more experimental. In tradition, the root tone is played by one or two acoustic instruments. For the album, Levent and I looked for how to make this root note come out of a synthesizer. It’s a new way of playing taksims. Maybe some traditional guys will be angry with me, but I think this is the way taksims should go.”

İstanbul Sokakları presents four short but exquisitely detailed taksims built on lush, ambient drones, providing a showcase for some of Ertel’s most sensitive and delicate saz playing to date. And it's within these 21st century taksims that İstanbul Sokakları establishes another innovation, and the album’s unifying concept. Nestled among their meditative moods are a collection of field recordings which, together, sketch out a love letter to BaBa ZuLa’s home, the teeming and ancient metropolis of Istanbul.

Here, Ertel draws on his own long-standing interest in recording everyday sounds, stretching back to childhood experiments with his father’s reel-to-reel tape recorder. He’s also profoundly influenced by the work of Korkmaz Çakar, a famed producer of Turkish radio plays. “He was a master of doing atmospheric sounds for these plays,” says Ertel. “I used to listen to them and, many years later, I befriended him. For the album, I use a mix of my own recordings and some of his recordings he did around Istanbul, starting in the 50s and up to today.”

So, in “İstanbul Express Divan Taksim,” we hear a vintage recording of a railway announcer calling out the departure of a train leaving Istanbul for Munich. “Çarşı Pazar Bağlama Taksimi” conjures the sound of merchants in a street bazaar hawking their wares. “Bosphorus Cura Taksim,” with its boat horns and keening gulls, is redolent of that great waterway that cuts through Istanbul. And “Güzel Bahçe Taksimi (Beautiful Garden Taksim)” captures the sound of birds sweetly singing in the Ertels’ own private garden.

With its focus on challenging the conservative status quo, İstanbul Sokakları explicitly addresses issues faced by progressive thinkers in today’s Turkey (Türkiye). It is, in every way, a deeply political statement. Most powerfully, “Arsız Saksağan” is an openly anti-government song fuelled by a sense of rage about the injustices of global capitalism. Ertel explains: “The wild lust of sucking every cell out of all living things by the powerful ruling class minorities and thus getting richer faster is everywhere around the world and it’s rising and rising. The prices of food and the evil ways of governments and corporations are on the rise.” Lyrically, Ertel intones a litany of disgrace, “To the media that dazzles, to the journalists who are silenced, to the people imprisoned just for defending.”

But it’s not all about despair. On “Yok Haddi Yok Hesabı,” while Ertel bemoans hyper-inflation and the increasingly fast pace of the world, Esma counters by calling us to remember the true meaning of life and what really matters: “The day does not turn there, the moment is remembered… money is not valid there, glory walks in the sky of the brave.” As Ertel states: “We see and feel the injustice strongly but even under heavier pressure the resistance exists, which is so vital and gives us the courage to continue living a meaningful life.”

Moreover, with the rise of the far-right across Europe, Akman is convinced it’s time for BaBa ZuLa’s message to be heard. “This album is not only for Türkiye, but for the world,” he says. “We need this kind of political album more. We’ll fight fascists and neo-Nazis with our music. All together, we must fight. And we will beat them.” 
]]></content:encoded>

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      <title>Saagara : 3 (Black vinyl) - 12&quot; Vinyl Album (Black vinyl)</title>
      <link>https://glitterbeat.greedbag.com/buy/gnxwzy</link>      <description>
                Saagara’s new album 3, is the third installment of this acclaimed collaboration between Polish producer/multi-instrumentalist Wacław Zimpel and four virtuosic musicians from the Carnatic musical tradition of southern India: percussionists Giridhar Udupa (ghatam), Aggu Baba (khanjira) and K Raja (thavil) and violinist Mysore N. Karthik.

It’s a buzzing juxtaposition of dense Indian rhythms and pulsating electronic patterns. An album of deeply transformative compositions that navigate tradition       </description>
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      <content:encoded><![CDATA[Saagara’s new album 3, is the third installment of this acclaimed collaboration between Polish producer/multi-instrumentalist Wacław Zimpel and four virtuosic musicians from the Carnatic musical tradition of southern India: percussionists Giridhar Udupa (ghatam), Aggu Baba (khanjira) and K Raja (thavil) and violinist Mysore N. Karthik.

It’s a buzzing juxtaposition of dense Indian rhythms and pulsating electronic patterns. An album of deeply transformative compositions that navigate tradition and experimentation as they move towards the universal.
]]></content:encoded>

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      <title>Saagara : 3 - CD Album</title>
      <link>https://glitterbeat.greedbag.com/buy/gnxwzy</link>      <description>
                Saagara’s new album 3, is the third installment of this acclaimed collaboration between Polish producer/multi-instrumentalist Wacław Zimpel and four virtuosic musicians from the Carnatic musical tradition of southern India: percussionists Giridhar Udupa (ghatam), Aggu Baba (khanjira) and K Raja (thavil) and violinist Mysore N. Karthik.

It’s a buzzing juxtaposition of dense Indian rhythms and pulsating electronic patterns. An album of deeply transformative compositions that navigate tradition       </description>
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      <content:encoded><![CDATA[Saagara’s new album 3, is the third installment of this acclaimed collaboration between Polish producer/multi-instrumentalist Wacław Zimpel and four virtuosic musicians from the Carnatic musical tradition of southern India: percussionists Giridhar Udupa (ghatam), Aggu Baba (khanjira) and K Raja (thavil) and violinist Mysore N. Karthik.

It’s a buzzing juxtaposition of dense Indian rhythms and pulsating electronic patterns. An album of deeply transformative compositions that navigate tradition and experimentation as they move towards the universal.
]]></content:encoded>

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      <title>Dal:um : Coexistence - CD Album</title>
      <link>https://glitterbeat.greedbag.com/buy/coexistence-5</link>      <description>
                Dal:um - alongside peers Park Jiha, Jambinai and Leenalchi - are at the forefront of a new Korean music. The duo of Ha Suyean and Hwang Hyeyoung are virtuosos on two different types of traditional zithers, the gayageum and geomungo, and their music deftly navigates a plethora of contemporary influences: minimalism, experimental folk and abstract jazz.

The sound of 21st century Seoul, where the boundaries of tradition
are stretched and occasionally broken.

Coexistence is released on tak:ti      </description>
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      <category>Music</category>

      <content:encoded><![CDATA[Dal:um - alongside peers Park Jiha, Jambinai and Leenalchi - are at the forefront of a new Korean music. The duo of Ha Suyean and Hwang Hyeyoung are virtuosos on two different types of traditional zithers, the gayageum and geomungo, and their music deftly navigates a plethora of contemporary influences: minimalism, experimental folk and abstract jazz.

The sound of 21st century Seoul, where the boundaries of tradition
are stretched and occasionally broken.

Coexistence is released on tak:til, Glitterbeat’s instrumental music imprint, and home to artists such as Brìghde Chaimbeul, Širom, Jon Hassell and Park Jiha.

:::::::::::::::::::::

Something magical is happening on the South Korean music scene, and it isn’t K-Pop. Blow away the froth, and it is soon apparent that in the concert halls and clubs of Seoul and beyond, a febrile music scene is bubbling up. The Dal:um duo are at the forefront of new Korean music, bringing a questing, modernising energy to timeless traditions.
Ha Suyean and Hwang Hyeyoung grew up learning formal Korean gugak music, excelling on two different types of zithers: the gayageum and geomungo respectively. But these two young women soon became restless. Dal:um is the sound of 21st century Seoul, where the boundaries of tradition are stretched (and occasionally broken) to create something unique.

Dal:um translates as ‘to keep pursuing something’, a name which couldn’t be more apposite. Suyean and Hyeyoung garnered wide acclaim and toured around the world with their debut album, Similar and Different (Tak:til/Glitterbeat, 2021), and with their second album, Coexistence, they are taking another leap forward.

Similar and Different was the sound of two musicians pushing and pulling one another. In Coexistence they have become one: one with one another, one with the wider world around them, one with life itself. It is music that is deeply personal, but personal in the way that it absorbs the life that surrounds the pair, finding peace, fear, drama and – ultimately - hope.

Coexistence was forged at the tail end of the COVID pandemic. The duo, who first met as members of the Seoul Metropolitan Youth Traditional Music Ensemble, determined that this time round they would compose the whole album themselves. They took inspiration from the nature around them in Seoul, as well as from their tours in Europe, where long car journeys took them through natural landscapes that were strikingly different from home. “The pandemic made us realise how precious the things around us truly are,” they explain. “As we wrote, we contemplated the value of living alongside other living things. The question that arose was: how can we harmoniously coexist with the life surrounding us? We wanted to encapsulate these thoughts in our music.”

Recording in Seoul’s A&Tive Studio, Suyean and Hyeyoung resisted the temptation to add unnecessary bells and whistles to their music, sticking resolutely to the dynamic between their two instruments. Both the gayageum and the geomungo are made of long, rectangular blocks of Paulownia wood with strings strung across them. Each string is arched over a moveable wooden bridge at a different point along the length of the instrument. The 25-string gayageum is typically the more melodic and lyrical of the pair, lending itself to repeated undulating melodies. The geomungo is its more boisterous cousin. The bamboo-stick plectrum struck against its six thick strings produces the thrilling thwack and twang that is so distinctive in Korean music. Hyeyoung also brings a novel approach to the instrument by sawing at the strings with a bow, creating a scratchy wave of noise during the music’s most intense moments.

We can hear both instruments at their fullest on the opening number, ‘DOT’. A manifesto of sorts, it has the precision and urgency of morse code brought to life. In their words: “We were focussing on the 'dot' as a musical motif characteristic of string instruments. The expanding pattern of these dot motifs in both the gayageum and geomungo symbolises the continuous progress of Dal:um.”
Further into the album, ‘Dodry’, calls upon the duo’s musical education by incorporating elements of ‘Suyeonjangjigok’, a piece from Korea’s Joseon era that was used to pray for the longevity of the king. The title comes from dodry, the traditional Korean musical form that is similar to the repeat sign in Western music. In this piece Dal:um reflect on the daily routines which accumulate to shape who we are. With the strings ringing out in sustained notes, it is radical in its starkness and has the elegance of a Chopin nocturne.

The inspiration for another number on Coexistence is the work of English visual artist Cornelia Parker, whose fascination with opposites and transformations led to her mixing snake poison and its antidote with black and white inks. The interplay between the gayageum and geomungo on the track ‘Poison and Antidote’ finds the two musicians seemingly clawing at one another, then coming together to represent the writhing serpent itself. Equally evocative is the closing track, which was written in response to the television documentary My Octopus Teacher (Pippa Ehrlich & James Reed, 2020), which followed a diver in South Africa. ‘In the Deep’, reflects what the duo describe as a “beautiful yet fierce’ underwater ecosystem, the enquiring strings questioning humanity’s place in nature.”

Like the sea, on the surface this album stretches to the horizon with rippling, translucent patterns. The duo’s symbiotic connection and instrumental mastery is both awesome and strangely reassuring. Those who dive deeper will find that the album has a beautiful yet fierce ecosystem of its own. All life is to be found here. Near and far. Old and new. Fear. Hope. All… in coexistence. 
]]></content:encoded>

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      <title>Dal:um : Coexistence - 12&quot; Vinyl Album</title>
      <link>https://glitterbeat.greedbag.com/buy/coexistence-5</link>      <description>
                Dal:um - alongside peers Park Jiha, Jambinai and Leenalchi - are at the forefront of a new Korean music. The duo of Ha Suyean and Hwang Hyeyoung are virtuosos on two different types of traditional zithers, the gayageum and geomungo, and their music deftly navigates a plethora of contemporary influences: minimalism, experimental folk and abstract jazz.

The sound of 21st century Seoul, where the boundaries of tradition
are stretched and occasionally broken.

Coexistence is released on tak:ti      </description>
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      <category>Music</category>

      <content:encoded><![CDATA[Dal:um - alongside peers Park Jiha, Jambinai and Leenalchi - are at the forefront of a new Korean music. The duo of Ha Suyean and Hwang Hyeyoung are virtuosos on two different types of traditional zithers, the gayageum and geomungo, and their music deftly navigates a plethora of contemporary influences: minimalism, experimental folk and abstract jazz.

The sound of 21st century Seoul, where the boundaries of tradition
are stretched and occasionally broken.

Coexistence is released on tak:til, Glitterbeat’s instrumental music imprint, and home to artists such as Brìghde Chaimbeul, Širom, Jon Hassell and Park Jiha.

:::::::::::::::::::::

Something magical is happening on the South Korean music scene, and it isn’t K-Pop. Blow away the froth, and it is soon apparent that in the concert halls and clubs of Seoul and beyond, a febrile music scene is bubbling up. The Dal:um duo are at the forefront of new Korean music, bringing a questing, modernising energy to timeless traditions.
Ha Suyean and Hwang Hyeyoung grew up learning formal Korean gugak music, excelling on two different types of zithers: the gayageum and geomungo respectively. But these two young women soon became restless. Dal:um is the sound of 21st century Seoul, where the boundaries of tradition are stretched (and occasionally broken) to create something unique.

Dal:um translates as ‘to keep pursuing something’, a name which couldn’t be more apposite. Suyean and Hyeyoung garnered wide acclaim and toured around the world with their debut album, Similar and Different (Tak:til/Glitterbeat, 2021), and with their second album, Coexistence, they are taking another leap forward.

Similar and Different was the sound of two musicians pushing and pulling one another. In Coexistence they have become one: one with one another, one with the wider world around them, one with life itself. It is music that is deeply personal, but personal in the way that it absorbs the life that surrounds the pair, finding peace, fear, drama and – ultimately - hope.

Coexistence was forged at the tail end of the COVID pandemic. The duo, who first met as members of the Seoul Metropolitan Youth Traditional Music Ensemble, determined that this time round they would compose the whole album themselves. They took inspiration from the nature around them in Seoul, as well as from their tours in Europe, where long car journeys took them through natural landscapes that were strikingly different from home. “The pandemic made us realise how precious the things around us truly are,” they explain. “As we wrote, we contemplated the value of living alongside other living things. The question that arose was: how can we harmoniously coexist with the life surrounding us? We wanted to encapsulate these thoughts in our music.”

Recording in Seoul’s A&Tive Studio, Suyean and Hyeyoung resisted the temptation to add unnecessary bells and whistles to their music, sticking resolutely to the dynamic between their two instruments. Both the gayageum and the geomungo are made of long, rectangular blocks of Paulownia wood with strings strung across them. Each string is arched over a moveable wooden bridge at a different point along the length of the instrument. The 25-string gayageum is typically the more melodic and lyrical of the pair, lending itself to repeated undulating melodies. The geomungo is its more boisterous cousin. The bamboo-stick plectrum struck against its six thick strings produces the thrilling thwack and twang that is so distinctive in Korean music. Hyeyoung also brings a novel approach to the instrument by sawing at the strings with a bow, creating a scratchy wave of noise during the music’s most intense moments.

We can hear both instruments at their fullest on the opening number, ‘DOT’. A manifesto of sorts, it has the precision and urgency of morse code brought to life. In their words: “We were focussing on the 'dot' as a musical motif characteristic of string instruments. The expanding pattern of these dot motifs in both the gayageum and geomungo symbolises the continuous progress of Dal:um.”
Further into the album, ‘Dodry’, calls upon the duo’s musical education by incorporating elements of ‘Suyeonjangjigok’, a piece from Korea’s Joseon era that was used to pray for the longevity of the king. The title comes from dodry, the traditional Korean musical form that is similar to the repeat sign in Western music. In this piece Dal:um reflect on the daily routines which accumulate to shape who we are. With the strings ringing out in sustained notes, it is radical in its starkness and has the elegance of a Chopin nocturne.

The inspiration for another number on Coexistence is the work of English visual artist Cornelia Parker, whose fascination with opposites and transformations led to her mixing snake poison and its antidote with black and white inks. The interplay between the gayageum and geomungo on the track ‘Poison and Antidote’ finds the two musicians seemingly clawing at one another, then coming together to represent the writhing serpent itself. Equally evocative is the closing track, which was written in response to the television documentary My Octopus Teacher (Pippa Ehrlich & James Reed, 2020), which followed a diver in South Africa. ‘In the Deep’, reflects what the duo describe as a “beautiful yet fierce’ underwater ecosystem, the enquiring strings questioning humanity’s place in nature.”

Like the sea, on the surface this album stretches to the horizon with rippling, translucent patterns. The duo’s symbiotic connection and instrumental mastery is both awesome and strangely reassuring. Those who dive deeper will find that the album has a beautiful yet fierce ecosystem of its own. All life is to be found here. Near and far. Old and new. Fear. Hope. All… in coexistence. 
]]></content:encoded>

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      <title>El Khat : Mute - CD Album</title>
      <link>https://glitterbeat.greedbag.com/buy/mute-40</link>      <description>
                El Khat’s 3rd album mute belies its title as it careens out of the speakers with a raucous intensity. Formed in the garages and warehouses of Jaffa and now based in Berlin, the group’s ever-expanding vision makes a defiant stand against complacency, conflict and division. Skittering drums and brass, a jagged organ, hypnotic Yemeni melodies and one-of-a-kind DIY percussion and string instruments, all meld together in an infectious, heady soundscape.

Sometimes wildly raw, sometimes lush and env      </description>
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      <category>Music</category>

      <content:encoded><![CDATA[El Khat’s 3rd album mute belies its title as it careens out of the speakers with a raucous intensity. Formed in the garages and warehouses of Jaffa and now based in Berlin, the group’s ever-expanding vision makes a defiant stand against complacency, conflict and division. Skittering drums and brass, a jagged organ, hypnotic Yemeni melodies and one-of-a-kind DIY percussion and string instruments, all meld together in an infectious, heady soundscape.

Sometimes wildly raw, sometimes lush and enveloping.
Always uncompromised and adventurous.

Mute. As a noun it means refraining from speech; a device placed over the bridge of a stringed instrument; or something that temporarily turns off sound. As a verb, to mute is to deaden, muffle, or soften sound. Muting is the opposite of openness and communication and for Eyal el Wahab, the man behind El Khat, it’s a vital word, one which he’s chosen very carefully for the title of the band’s third album.

“Every distance between two people is an opportunity for conflict. Two of anything creates sides and sides create conflict. In such cases there will be muting,” el Wahab explains.

Mute is an album that explores distance, speech - and the lack of it. It’s a series of musings on people, places - and leaving.

The record began life with the core of El Khat – multi-instrumentalist el Wahab, percussionist Lotan Yaish and organist Yefet Hasan – recording in an isolated village underground shelter. “My state of mind at the time affected the compositions even before I wrote the music,” el Wahab notes, “and the isolated location gave us a chance to make sense of that.” Following those sessions, in the summer of 2023 the group emigrated to Berlin; a far cry from Jaffa, where they’d largely grown up. The move was an expression of the nomadic urge that has been a constant in el Wahab’s life, one that flows directly into his work.

“These songs are about emigrating, leaving someone or somewhere. I don’t think I’ve stayed in any one place for more than a year. For us Arab Jews whose families were forced to leave Yemen, it really began with that big move and our families’ arrival in Israel, a land with a constant muting of the ‘other’.”

Mute, he feels, is “a big and meaningful record.” It’s a story of endings and new beginnings. “But that’s true of all our albums” el Wahab insists. “They’re about relationships and the struggle to see two sides as a whole and not something that ends with muting and conflict. The songs here are about old loves, country, family. They are about feelings and identity.” And all of that inevitably brings up many questions. As he sings on “La Wala”: “Why can’t you never enjoy the moment you’re in/ And always says goodbye/ Why? Why?”

El Wahab keeps reinventing himself: even his career has been an act self-invention. Unable to read music, he still managed to talk his way into the Andalusian Orchestra, playing cello by ear until he learned music theory. And instruments he uses on his albums, like the blue gallon (actually a jug) or the kubana (named after a type of Yemeni bread) are also self-invented. These handmade, one-of-a-kind instruments sit at the heart of mute. He’s always made music from the items others discard. Everything recycled and reused, nothing wasted.

This same minimalist spirit echoes in El Khat’s melodies. They are unadorned and direct, inspired by the Yemeni traditional music that el Wahab heard in recordings from the 1960s. At times the songs are very close to the broad appeal of pop music, as with mute’s surging, powerful opening track and first single, “Tislami Tislami,” where the tune sweeps up the listener. But, he notes, while it might have the structure of pop, it is created “with more focus on character. Mute really feels like a continuation of what we did on our last album, Aalbat Alawi Op.99. It’s like the B-side, more pages in the chapter.”

But that doesn’t mean the album is without surprises, like the curiously off-kilter rhythm of “Commodore Lothan” and its jaggedly seductive organ line. “The song is a joke, really,” el Wahab laughs. “Basically, it’s about us the band and our drummer Lotan Yaish. He’s Commander Lothan, that’s a nickname we have for him.” It’s a light moment among the questions and sorrows that ache through other songs. Lines like “Forgiveness, forgiveness will create less mistakes/Between us” (“Zafa”), or “Someone now is on a quest for a new/ground” (“Intissar”) tell their tales of searching and doubt.

“Doubt is great,” el Wahab says. “It saves me. A lot of people easily determine between good and bad but I believe they are linked together depending from which angle you are looking. That’s what I’ve been dealing with in my writing: opening up to both sides. Listening, being completely aware, without labelling, without muting.” That sense of openness permeates the songs. The album can be ghostly, like the brief percussive interlude “Tabl Yamani" or the refracted quarter-tones of “Almania.” It can also be insistent and headlong, as heard in the brass-driven rush of “Zafa: Talaatam” and the pulsing melodicism of “Ward.”

Mute is an infectious heady mixture, sometimes wildly raw, sometimes lush and enveloping. Always uncompromised and adventurous.

“You’re dealing with the past even while you’re looking to the future” el Wahab says “and it’s not quite real. Only the present moment is real.” In terms of the “present moment” in Western Asia, he adds, “we Arab Jews of Yemeni origin condemn the war in Gaza. The war is a mute, the actions of leaders are a mute, dividing Islam and Judaism or any other religion is a mute. Judging people based on their skin colour, where they were born, or ethnicity is a mute.”

“I cannot even share my feelings with my friends and family anymore” he continues. “People only see themselves instead of the entire picture, that ‘whole’ where we all complete each other and cannot be separated as if we were different parts of a human body.”

Mute captures those present moments and the questions El Khat are asking. And that, Eyal el Wahab insists, is exactly the point. “I want to ask. I don’t need to get an answer.” ]]></content:encoded>

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      <title>El Khat : Mute - 12&quot; Vinyl Album</title>
      <link>https://glitterbeat.greedbag.com/buy/mute-40</link>      <description>
                El Khat’s 3rd album mute belies its title as it careens out of the speakers with a raucous intensity. Formed in the garages and warehouses of Jaffa and now based in Berlin, the group’s ever-expanding vision makes a defiant stand against complacency, conflict and division. Skittering drums and brass, a jagged organ, hypnotic Yemeni melodies and one-of-a-kind DIY percussion and string instruments, all meld together in an infectious, heady soundscape.

Sometimes wildly raw, sometimes lush and env      </description>
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      <content:encoded><![CDATA[El Khat’s 3rd album mute belies its title as it careens out of the speakers with a raucous intensity. Formed in the garages and warehouses of Jaffa and now based in Berlin, the group’s ever-expanding vision makes a defiant stand against complacency, conflict and division. Skittering drums and brass, a jagged organ, hypnotic Yemeni melodies and one-of-a-kind DIY percussion and string instruments, all meld together in an infectious, heady soundscape.

Sometimes wildly raw, sometimes lush and enveloping.
Always uncompromised and adventurous.

Mute. As a noun it means refraining from speech; a device placed over the bridge of a stringed instrument; or something that temporarily turns off sound. As a verb, to mute is to deaden, muffle, or soften sound. Muting is the opposite of openness and communication and for Eyal el Wahab, the man behind El Khat, it’s a vital word, one which he’s chosen very carefully for the title of the band’s third album.

“Every distance between two people is an opportunity for conflict. Two of anything creates sides and sides create conflict. In such cases there will be muting,” el Wahab explains.

Mute is an album that explores distance, speech - and the lack of it. It’s a series of musings on people, places - and leaving.

The record began life with the core of El Khat – multi-instrumentalist el Wahab, percussionist Lotan Yaish and organist Yefet Hasan – recording in an isolated village underground shelter. “My state of mind at the time affected the compositions even before I wrote the music,” el Wahab notes, “and the isolated location gave us a chance to make sense of that.” Following those sessions, in the summer of 2023 the group emigrated to Berlin; a far cry from Jaffa, where they’d largely grown up. The move was an expression of the nomadic urge that has been a constant in el Wahab’s life, one that flows directly into his work.

“These songs are about emigrating, leaving someone or somewhere. I don’t think I’ve stayed in any one place for more than a year. For us Arab Jews whose families were forced to leave Yemen, it really began with that big move and our families’ arrival in Israel, a land with a constant muting of the ‘other’.”

Mute, he feels, is “a big and meaningful record.” It’s a story of endings and new beginnings. “But that’s true of all our albums” el Wahab insists. “They’re about relationships and the struggle to see two sides as a whole and not something that ends with muting and conflict. The songs here are about old loves, country, family. They are about feelings and identity.” And all of that inevitably brings up many questions. As he sings on “La Wala”: “Why can’t you never enjoy the moment you’re in/ And always says goodbye/ Why? Why?”

El Wahab keeps reinventing himself: even his career has been an act self-invention. Unable to read music, he still managed to talk his way into the Andalusian Orchestra, playing cello by ear until he learned music theory. And instruments he uses on his albums, like the blue gallon (actually a jug) or the kubana (named after a type of Yemeni bread) are also self-invented. These handmade, one-of-a-kind instruments sit at the heart of mute. He’s always made music from the items others discard. Everything recycled and reused, nothing wasted.

This same minimalist spirit echoes in El Khat’s melodies. They are unadorned and direct, inspired by the Yemeni traditional music that el Wahab heard in recordings from the 1960s. At times the songs are very close to the broad appeal of pop music, as with mute’s surging, powerful opening track and first single, “Tislami Tislami,” where the tune sweeps up the listener. But, he notes, while it might have the structure of pop, it is created “with more focus on character. Mute really feels like a continuation of what we did on our last album, Aalbat Alawi Op.99. It’s like the B-side, more pages in the chapter.”

But that doesn’t mean the album is without surprises, like the curiously off-kilter rhythm of “Commodore Lothan” and its jaggedly seductive organ line. “The song is a joke, really,” el Wahab laughs. “Basically, it’s about us the band and our drummer Lotan Yaish. He’s Commander Lothan, that’s a nickname we have for him.” It’s a light moment among the questions and sorrows that ache through other songs. Lines like “Forgiveness, forgiveness will create less mistakes/Between us” (“Zafa”), or “Someone now is on a quest for a new/ground” (“Intissar”) tell their tales of searching and doubt.

“Doubt is great,” el Wahab says. “It saves me. A lot of people easily determine between good and bad but I believe they are linked together depending from which angle you are looking. That’s what I’ve been dealing with in my writing: opening up to both sides. Listening, being completely aware, without labelling, without muting.” That sense of openness permeates the songs. The album can be ghostly, like the brief percussive interlude “Tabl Yamani" or the refracted quarter-tones of “Almania.” It can also be insistent and headlong, as heard in the brass-driven rush of “Zafa: Talaatam” and the pulsing melodicism of “Ward.”

Mute is an infectious heady mixture, sometimes wildly raw, sometimes lush and enveloping. Always uncompromised and adventurous.

“You’re dealing with the past even while you’re looking to the future” el Wahab says “and it’s not quite real. Only the present moment is real.” In terms of the “present moment” in Western Asia, he adds, “we Arab Jews of Yemeni origin condemn the war in Gaza. The war is a mute, the actions of leaders are a mute, dividing Islam and Judaism or any other religion is a mute. Judging people based on their skin colour, where they were born, or ethnicity is a mute.”

“I cannot even share my feelings with my friends and family anymore” he continues. “People only see themselves instead of the entire picture, that ‘whole’ where we all complete each other and cannot be separated as if we were different parts of a human body.”

Mute captures those present moments and the questions El Khat are asking. And that, Eyal el Wahab insists, is exactly the point. “I want to ask. I don’t need to get an answer.” ]]></content:encoded>

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      <title>Buzz&apos; Ayaz : Buzz&apos; Ayaz - CD Album</title>
      <link>https://glitterbeat.greedbag.com/buy/buzz-ayaz</link>      <description>
                Hailing from Cyprus’s divided capital Nicosia, and led by Antonis Antoniou, the founder of Monsieur Doumani and Trio Tekke, Buzz’ Ayaz creates a transfixing Eastern Mediterranean psychedelia. Their self-titled debut album is a fuzzed-out urban soundscape of dubby electronics, 70s-psych organ, growling bass clarinet, amplified folk instruments, ritual beats and Greek and Anatolian melodicism.

The band members come from both sides of the capital’s divide, and the music found on Buzz’ Ayaz is a       </description>
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      <content:encoded><![CDATA[Hailing from Cyprus’s divided capital Nicosia, and led by Antonis Antoniou, the founder of Monsieur Doumani and Trio Tekke, Buzz’ Ayaz creates a transfixing Eastern Mediterranean psychedelia. Their self-titled debut album is a fuzzed-out urban soundscape of dubby electronics, 70s-psych organ, growling bass clarinet, amplified folk instruments, ritual beats and Greek and Anatolian melodicism.

The band members come from both sides of the capital’s divide, and the music found on Buzz’ Ayaz is a deliberate attempt to give a voice to the city as a whole. A mercurial sound that echoes above the concrete walls and checkpoints.
------------------------------------
Cyprus is a holiday destination for people from all over Europe, a sunny, blue-sea island in the Eastern Mediterranean with a proud, ancient history. But it’s also a divided island, with longstanding political tensions between the Greek and Turkish Cypriot populations. Yet, inevitably in a small place, the two cultures intertwine. Walk the streets of Nicosia, the divided capital, and you’ll hear Greek rembetiko alongside Turkish pop, Anatolian psychedelia next to Western rock.

That urban mix of sounds he heard each day put a spark in Antonis Antoniou’s head. With his new band, Buzz’ Ayaz, that spark has caught fire, making Cypriot music that strides between decades and continents, electric and organic. The results on their eponymous debut album holds a barely contained wildness…and a bass clarinet.

“That’s the distinctive colour in our palette,” explains Antoniou, also the founder of the lauded Monsieur Doumani and Trio Tekke. “That was the sound in my ear for years. I was – and still am - a big fan of the American band Morphine, although they use baritone sax. The dynamic of the electrified bass clarinet drives the whole thing. Will Scott, who plays it, is British, he moved here a few years ago. We all had to learn to integrate the instrument into our style by giving it the necessary space and respect.”

Buzz’ Ayaz carries a big sound, a punchy heaviness that draws from ʼ60s and ʼ70s rock, but stirring it up with all the differing sounds of Cyprus that Antoniou has known all his life.

“This is a very small country, so it was hard to form a band with the right musicians. We had to be able to communicate and have the right chemistry. Everyone had to believe, to have a similar aesthetic and political views. The guys didn’t know each other from before and we started an online communication exchanging ideas even before we all met in person.”

Once in the same room, they still had to become familiar with each other’s styles.

“We experimented and jammed a lot, and began to find our direction,” he remembers. “I had some compositions and we started to connect the dots. Most importantly was balancing the instruments and producing a solid and interactive sonic world. It had to groove and be fresh and wild. Getting Will’s bass clarinet along with my electric tzouras (a kind of bouzouki), and then with Manos Stratis’s bass synth and organ; we had to work on all that, discovering our roles. Our drummer, Ulaş Öğüç, has a unique way of playing. We made the drums sound more like percussion, not so pop or straightforward. Everyone had input into the arrangements.”

For two months the four members rehearsed together, more than eight hours of playing every single day. While it was hard work, Antoniou says, “it was very enjoyable. We could really spend time together, like those old bands who used to go off to a country house to find themselves. When we played, it felt like the live version of the music I’d been working on by myself. This was the next level.”

But the real test was taking this brand-new sound out on the road and playing for an audience. Buzz’ Ayaz made their live debut taking their Nicosia grit to some festivals and venues across the whole island. The band passed with flying colours.

“Yes, the music is very urban. Folk is there too but just as a bedrock layer. We represent both sides of the population. I write the lyrics, and I sometimes mix the Greek Cypriot dialect with Turkish words. All four of us are activists, and this music is a way of giving something back to the island. It doesn’t have any checkpoints or barriers. It’s simply Cypriot music.”

Tightened and seasoned into a unit, with the material road-tested, Buzz’ Ayaz went into the studio. Antoniou had booked it for five days. It didn’t take that long. The band completed the album in three days, using the fourth for a few small overdubs.

“The key element to the way the record sounds, is that it was done live. We did it the way people used to, all of us in the same room, so it has that energy.”

There’s no doubt about that. From the first notes of “Buzzi Ayazi,” with Antoniou’s wah-wah tzouras leaping from the speakers, it’s electric and electrifying. Stratis’s organ builds the tension as the musicians invoke rock ghosts to stand alongside Eastern flourishes in a manifesto for their sound.

That’s just the first jolt of surprise. Every track offers something new: the Middle Eastern microtonal groove that threads through “Fysa,” or the pent-up Greek fire that builds and explodes in “Arkos.”

“The energy we found opens up in so many different directions,” Antoniou says. “There’s so much for us to explore in the combination of these instruments, and what we all bring from our own backgrounds adds to the texture of the sounds. It’s a colourful adventure.”

The recording captures the energy of Buzz’ Ayaz, with all the rawness and sweat of performance, coated with urban grit. But there’s far more to this than power; Buzz’ Ayaz prickles with intelligence, invention and imagination. “Ate Pale” keeps a heavy, thrilling roar, but revolves around quicksilver changes, while the airiness of “Meres” takes the listener on a woozy, Anatolian psychedelic journey.

“We’re all excited to explore this new world of possibilities,” Antoniou notes. “This band is a way to develop a new language to channel our artistic expression. Everything changes around us, and we also change all the time, so as artists we need to listen to these changes and adjust, in order to remain true and meaningful in what we create.”
Buzz’ Ayaz is the electric sound of modern Cyprus, the musical bridge that spans worlds. It’s music that keeps Antoniou’s blood racing, the sound in his head coming to life. “We are already working on the next album.”

The roots of Buzz’Ayaz are in Cyprus, Greece, Turkey and throughout the Levant, but they meld together on the streets of Nicosia.

“I hope,” Antoniou says, “that the reach is infinite.” 
]]></content:encoded>

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      <title>Buzz&apos; Ayaz : Buzz&apos; Ayaz - 12&quot; Vinyl Album</title>
      <link>https://glitterbeat.greedbag.com/buy/buzz-ayaz</link>      <description>
                Hailing from Cyprus’s divided capital Nicosia, and led by Antonis Antoniou, the founder of Monsieur Doumani and Trio Tekke, Buzz’ Ayaz creates a transfixing Eastern Mediterranean psychedelia. Their self-titled debut album is a fuzzed-out urban soundscape of dubby electronics, 70s-psych organ, growling bass clarinet, amplified folk instruments, ritual beats and Greek and Anatolian melodicism.

The band members come from both sides of the capital’s divide, and the music found on Buzz’ Ayaz is a       </description>
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      <content:encoded><![CDATA[Hailing from Cyprus’s divided capital Nicosia, and led by Antonis Antoniou, the founder of Monsieur Doumani and Trio Tekke, Buzz’ Ayaz creates a transfixing Eastern Mediterranean psychedelia. Their self-titled debut album is a fuzzed-out urban soundscape of dubby electronics, 70s-psych organ, growling bass clarinet, amplified folk instruments, ritual beats and Greek and Anatolian melodicism.

The band members come from both sides of the capital’s divide, and the music found on Buzz’ Ayaz is a deliberate attempt to give a voice to the city as a whole. A mercurial sound that echoes above the concrete walls and checkpoints.
------------------------------------
Cyprus is a holiday destination for people from all over Europe, a sunny, blue-sea island in the Eastern Mediterranean with a proud, ancient history. But it’s also a divided island, with longstanding political tensions between the Greek and Turkish Cypriot populations. Yet, inevitably in a small place, the two cultures intertwine. Walk the streets of Nicosia, the divided capital, and you’ll hear Greek rembetiko alongside Turkish pop, Anatolian psychedelia next to Western rock.

That urban mix of sounds he heard each day put a spark in Antonis Antoniou’s head. With his new band, Buzz’ Ayaz, that spark has caught fire, making Cypriot music that strides between decades and continents, electric and organic. The results on their eponymous debut album holds a barely contained wildness…and a bass clarinet.

“That’s the distinctive colour in our palette,” explains Antoniou, also the founder of the lauded Monsieur Doumani and Trio Tekke. “That was the sound in my ear for years. I was – and still am - a big fan of the American band Morphine, although they use baritone sax. The dynamic of the electrified bass clarinet drives the whole thing. Will Scott, who plays it, is British, he moved here a few years ago. We all had to learn to integrate the instrument into our style by giving it the necessary space and respect.”

Buzz’ Ayaz carries a big sound, a punchy heaviness that draws from ʼ60s and ʼ70s rock, but stirring it up with all the differing sounds of Cyprus that Antoniou has known all his life.

“This is a very small country, so it was hard to form a band with the right musicians. We had to be able to communicate and have the right chemistry. Everyone had to believe, to have a similar aesthetic and political views. The guys didn’t know each other from before and we started an online communication exchanging ideas even before we all met in person.”

Once in the same room, they still had to become familiar with each other’s styles.

“We experimented and jammed a lot, and began to find our direction,” he remembers. “I had some compositions and we started to connect the dots. Most importantly was balancing the instruments and producing a solid and interactive sonic world. It had to groove and be fresh and wild. Getting Will’s bass clarinet along with my electric tzouras (a kind of bouzouki), and then with Manos Stratis’s bass synth and organ; we had to work on all that, discovering our roles. Our drummer, Ulaş Öğüç, has a unique way of playing. We made the drums sound more like percussion, not so pop or straightforward. Everyone had input into the arrangements.”

For two months the four members rehearsed together, more than eight hours of playing every single day. While it was hard work, Antoniou says, “it was very enjoyable. We could really spend time together, like those old bands who used to go off to a country house to find themselves. When we played, it felt like the live version of the music I’d been working on by myself. This was the next level.”

But the real test was taking this brand-new sound out on the road and playing for an audience. Buzz’ Ayaz made their live debut taking their Nicosia grit to some festivals and venues across the whole island. The band passed with flying colours.

“Yes, the music is very urban. Folk is there too but just as a bedrock layer. We represent both sides of the population. I write the lyrics, and I sometimes mix the Greek Cypriot dialect with Turkish words. All four of us are activists, and this music is a way of giving something back to the island. It doesn’t have any checkpoints or barriers. It’s simply Cypriot music.”

Tightened and seasoned into a unit, with the material road-tested, Buzz’ Ayaz went into the studio. Antoniou had booked it for five days. It didn’t take that long. The band completed the album in three days, using the fourth for a few small overdubs.

“The key element to the way the record sounds, is that it was done live. We did it the way people used to, all of us in the same room, so it has that energy.”

There’s no doubt about that. From the first notes of “Buzzi Ayazi,” with Antoniou’s wah-wah tzouras leaping from the speakers, it’s electric and electrifying. Stratis’s organ builds the tension as the musicians invoke rock ghosts to stand alongside Eastern flourishes in a manifesto for their sound.

That’s just the first jolt of surprise. Every track offers something new: the Middle Eastern microtonal groove that threads through “Fysa,” or the pent-up Greek fire that builds and explodes in “Arkos.”

“The energy we found opens up in so many different directions,” Antoniou says. “There’s so much for us to explore in the combination of these instruments, and what we all bring from our own backgrounds adds to the texture of the sounds. It’s a colourful adventure.”

The recording captures the energy of Buzz’ Ayaz, with all the rawness and sweat of performance, coated with urban grit. But there’s far more to this than power; Buzz’ Ayaz prickles with intelligence, invention and imagination. “Ate Pale” keeps a heavy, thrilling roar, but revolves around quicksilver changes, while the airiness of “Meres” takes the listener on a woozy, Anatolian psychedelic journey.

“We’re all excited to explore this new world of possibilities,” Antoniou notes. “This band is a way to develop a new language to channel our artistic expression. Everything changes around us, and we also change all the time, so as artists we need to listen to these changes and adjust, in order to remain true and meaningful in what we create.”
Buzz’ Ayaz is the electric sound of modern Cyprus, the musical bridge that spans worlds. It’s music that keeps Antoniou’s blood racing, the sound in his head coming to life. “We are already working on the next album.”

The roots of Buzz’Ayaz are in Cyprus, Greece, Turkey and throughout the Levant, but they meld together on the streets of Nicosia.

“I hope,” Antoniou says, “that the reach is infinite.” 
]]></content:encoded>

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      <title>Landless : Lúireach - CD Album</title>
      <link>https://glitterbeat.greedbag.com/buy/lireach</link>      <description>
                Landless are: Lily Power, Méabh Meir, Ruth Clinton and Sinéad Lynch.
The Irish quartet sings centuries old ballads as well as more recently penned folk songs. Sometimes unaccompanied and at times with subtle instrumentation, their vocally rich music is dark and patient; spellbinding and gorgeous.

Lúireach is their second album and as with their acclaimed debut Bleaching Bones (2018), it is produced by John ‘Spud’ Murphy, known for his work with artists such as Lankum and ØXN.
--------------      </description>
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      <content:encoded><![CDATA[Landless are: Lily Power, Méabh Meir, Ruth Clinton and Sinéad Lynch.
The Irish quartet sings centuries old ballads as well as more recently penned folk songs. Sometimes unaccompanied and at times with subtle instrumentation, their vocally rich music is dark and patient; spellbinding and gorgeous.

Lúireach is their second album and as with their acclaimed debut Bleaching Bones (2018), it is produced by John ‘Spud’ Murphy, known for his work with artists such as Lankum and ØXN.
----------------------------------------------------------------------------
Folk music emerging from Dublin seems to be everywhere at the moment – demonstrated most clearly by Lankum gaining a host of ‘Album of the Year’ nods at the end of 2023 – but it would be a mistake to call this a movement, much less any kind of revival. While Lankum, John Francis Flynn, Ye Vagabonds, Lisa O’Neill et al might be new to a lot of audiences, these artists have been exploring and expanding what folk music can be for years, decades even. And this is just as true of Landless, the quartet who’ve been singing together since 2013, finding each other through the traditional singing scene in the city and, crucially, the Sacred Harp singing community.

Working once again with John ‘Spud’ Murphy (the Lankum producer and ØXN member), Lúireach sees the quartet adding sparingly-used instrumentation – Ruth’s aching pump organ on Death & The Lady, Méabh’s shruti box on Ej Husari, Lankum’s Cormac MacDiarmada on fiddle, viola and banjo throughout, even some mournful trombone from Alex Borwick on The Newry Highwayman. As Lily explains, “A lot of the instrumentation happened organically as we were recording, while some elements we have used live for years, like the organ. We tend not to make these kinds of decisions in advance, but make suggestions as we go and see how everyone feels about it. Hopefully the album still has the impact of the unaccompanied singing, with a bit of variation this time around.”

The songs on Lúireach are from remarkably diverse sources and eras: the likes of Blackwaterside, Death & The Lady and My Lagan Love (learned from Traveller Paddy Doran, Norma Waterson and Méabh’s late father respectively) are probably known to even the casual fan of traditional music, while Lúireach Bhríde was commissioned for the RTÉ Folk Awards in 2018 and the closing song Ej Husari was learned from teacher and singer Eva Brunovská at the annual Rozhybkosti festival in Slovakia. Some of these songs are centuries old, some remarkably recent, yet when sung by Landless, they all sound timeless and eternal.

The songs for the album were gathered over a number of years, Ruth explains, and while the melody and lyrics are paramount, there is a common theme for many of the inclusions. “Frequently in traditional songs women are described as a passive love interest, in terms of their relationship to a male character. It is refreshing to find songs that challenge this power dynamic, but we are not totally hard-line about it, and sing plenty of old-fashioned love songs.”

Landless are “feeling very grateful to be surrounded by so many talented people.” As Sinéad explains, “The traditional music scene was alive and kicking long before we arrived. Perhaps there was a generation gap where the Celtic Tiger took hold and people were too busy with flip phones and tracker mortgages, but it's always been there. When we first began singing and attending sessions there was a great buzz around us all and we felt most cherished. I guess seeing folks in their twenties and thirties eager to listen and learn was rousing for the scene. But, make no mistake, those singers taught us what we know, and surround and encourage us to this day. We are most certainly part of a thriving community.”

Lúireach is an album of quiet power, soaked in tradition but finding new and exciting ways to present these remarkable songs, songs that are full of melancholy, love, death and mystery. Lúireach rewards your close attention. 
]]></content:encoded>

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      <title>Landless : Lúireach - 12&quot; Vinyl Album</title>
      <link>https://glitterbeat.greedbag.com/buy/lireach</link>      <description>
                Landless are: Lily Power, Méabh Meir, Ruth Clinton and Sinéad Lynch.
The Irish quartet sings centuries old ballads as well as more recently penned folk songs. Sometimes unaccompanied and at times with subtle instrumentation, their vocally rich music is dark and patient; spellbinding and gorgeous.

Lúireach is their second album and as with their acclaimed debut Bleaching Bones (2018), it is produced by John ‘Spud’ Murphy, known for his work with artists such as Lankum and ØXN.
--------------      </description>
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      <content:encoded><![CDATA[Landless are: Lily Power, Méabh Meir, Ruth Clinton and Sinéad Lynch.
The Irish quartet sings centuries old ballads as well as more recently penned folk songs. Sometimes unaccompanied and at times with subtle instrumentation, their vocally rich music is dark and patient; spellbinding and gorgeous.

Lúireach is their second album and as with their acclaimed debut Bleaching Bones (2018), it is produced by John ‘Spud’ Murphy, known for his work with artists such as Lankum and ØXN.
----------------------------------------------------------------------------
Folk music emerging from Dublin seems to be everywhere at the moment – demonstrated most clearly by Lankum gaining a host of ‘Album of the Year’ nods at the end of 2023 – but it would be a mistake to call this a movement, much less any kind of revival. While Lankum, John Francis Flynn, Ye Vagabonds, Lisa O’Neill et al might be new to a lot of audiences, these artists have been exploring and expanding what folk music can be for years, decades even. And this is just as true of Landless, the quartet who’ve been singing together since 2013, finding each other through the traditional singing scene in the city and, crucially, the Sacred Harp singing community.

Working once again with John ‘Spud’ Murphy (the Lankum producer and ØXN member), Lúireach sees the quartet adding sparingly-used instrumentation – Ruth’s aching pump organ on Death & The Lady, Méabh’s shruti box on Ej Husari, Lankum’s Cormac MacDiarmada on fiddle, viola and banjo throughout, even some mournful trombone from Alex Borwick on The Newry Highwayman. As Lily explains, “A lot of the instrumentation happened organically as we were recording, while some elements we have used live for years, like the organ. We tend not to make these kinds of decisions in advance, but make suggestions as we go and see how everyone feels about it. Hopefully the album still has the impact of the unaccompanied singing, with a bit of variation this time around.”

The songs on Lúireach are from remarkably diverse sources and eras: the likes of Blackwaterside, Death & The Lady and My Lagan Love (learned from Traveller Paddy Doran, Norma Waterson and Méabh’s late father respectively) are probably known to even the casual fan of traditional music, while Lúireach Bhríde was commissioned for the RTÉ Folk Awards in 2018 and the closing song Ej Husari was learned from teacher and singer Eva Brunovská at the annual Rozhybkosti festival in Slovakia. Some of these songs are centuries old, some remarkably recent, yet when sung by Landless, they all sound timeless and eternal.

The songs for the album were gathered over a number of years, Ruth explains, and while the melody and lyrics are paramount, there is a common theme for many of the inclusions. “Frequently in traditional songs women are described as a passive love interest, in terms of their relationship to a male character. It is refreshing to find songs that challenge this power dynamic, but we are not totally hard-line about it, and sing plenty of old-fashioned love songs.”

Landless are “feeling very grateful to be surrounded by so many talented people.” As Sinéad explains, “The traditional music scene was alive and kicking long before we arrived. Perhaps there was a generation gap where the Celtic Tiger took hold and people were too busy with flip phones and tracker mortgages, but it's always been there. When we first began singing and attending sessions there was a great buzz around us all and we felt most cherished. I guess seeing folks in their twenties and thirties eager to listen and learn was rousing for the scene. But, make no mistake, those singers taught us what we know, and surround and encourage us to this day. We are most certainly part of a thriving community.”

Lúireach is an album of quiet power, soaked in tradition but finding new and exciting ways to present these remarkable songs, songs that are full of melancholy, love, death and mystery. Lúireach rewards your close attention. 
]]></content:encoded>

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      <title>Gordan : Gordan - CD Album</title>
      <link>https://glitterbeat.greedbag.com/buy/gordan-0</link>      <description>
                This self-titled 2nd album from this acclaimed transnational (Serbia/Germany/Austria) experimental trio, fuses traditional Balkan vocalizations with feedback, electronic sound generators, pulsing bass and hypnotic drumming.

Gordan mirror the mysticism of legends and stories from the Balkan region, creating a music that stretches between expressiveness and abstraction; tradition and the avant-garde. The visceral vocals of Svetlana Spajic (Marina Abramovic, Robert Wilson, Antony and the Johnson      </description>
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      <content:encoded><![CDATA[This self-titled 2nd album from this acclaimed transnational (Serbia/Germany/Austria) experimental trio, fuses traditional Balkan vocalizations with feedback, electronic sound generators, pulsing bass and hypnotic drumming.

Gordan mirror the mysticism of legends and stories from the Balkan region, creating a music that stretches between expressiveness and abstraction; tradition and the avant-garde. The visceral vocals of Svetlana Spajic (Marina Abramovic, Robert Wilson, Antony and the Johnsons) are both rooted and deeply interpretive. In turn, drummer Andi Stecher (STECHER, Billy Bultheel, Orchestre Les Mangelepa) and Guido Möbius on bass and electronics, employ sonic strategies that steer the songs in inspired and unpredictable directions.

-------------------------------------------

Gordan make music between expressiveness and abstraction. Their pieces are not limited by rigid formal structures. Instead, they are open processes that create a loss of sense of time. Reduced arrangements and expressive vocals combine to form a powerful musical whole. This band creates something new from minimalism, intensity and the rich singing tradition of the Balkans.

When Down in the Meadow, the first album by Gordan was released by Morphine Records in October 2021, it was celebrated by critics and audience alike. Now the trio presents its second, even more radical album. On this new release, Gordan mirror the mysticism of legends and stories from the Balkan countries with controlled feedback, hypnotic bass, expressive drum playing and the unique vocals by Svetlana Spajic.

Each piece on this album follows another sound idea and historical reference. And with all versatility, Gordan keep a coherent, immediately recognizable sound. There is the opener "Barabinska" with its stoic pulse, celebrating the bohemian lifestyle. It is followed by the noise -oriented, abstract "Selo Moje" with lyrics by Svetlana Spajic. The raw energy of "Šara", a popular traditional song, contrasts with the lightness of "The Bell is Buzzing". "Krajiška kontra", on the other hand, is a dark mantra referring to the times of Militärgrenze in the Balkans.

Drummer Andi Stecher forgoes any ornamentation and at the same time plays varied and concentrated. Confident and with outstanding technique, he is the engine of the band's sound. His stylistic flexibility demonstrates a profound knowledge of global music history. Guido Möbius plays bass guitar and various electronic sound generators. He also provokes feedback using a guitar amplifier, microphone and effects. These sometimes spherical, sometimes very concrete sounds interact with Svetlana Spajic’s voice. Vocals and feedback circle each other in fleeting, ever-changing harmony.

Spajic is an internationally recognized expert on the history and practice of a rich musical tradition. She knows and masters the hyperlocal singing styles of the Balkan Peninsula like no other contemporary singer. At the same time, she works as an active part of this culture to open it up and re-contextualize it. Spajic has worked with many international art and music universities as well as international stars of contemporary and avant-garde music. 
]]></content:encoded>

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      <title>Gordan : Gordan - 12&quot; Vinyl Album</title>
      <link>https://glitterbeat.greedbag.com/buy/gordan-0</link>      <description>
                This self-titled 2nd album from this acclaimed transnational (Serbia/Germany/Austria) experimental trio, fuses traditional Balkan vocalizations with feedback, electronic sound generators, pulsing bass and hypnotic drumming.

Gordan mirror the mysticism of legends and stories from the Balkan region, creating a music that stretches between expressiveness and abstraction; tradition and the avant-garde. The visceral vocals of Svetlana Spajic (Marina Abramovic, Robert Wilson, Antony and the Johnson      </description>
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      <category>Music</category>

      <content:encoded><![CDATA[This self-titled 2nd album from this acclaimed transnational (Serbia/Germany/Austria) experimental trio, fuses traditional Balkan vocalizations with feedback, electronic sound generators, pulsing bass and hypnotic drumming.

Gordan mirror the mysticism of legends and stories from the Balkan region, creating a music that stretches between expressiveness and abstraction; tradition and the avant-garde. The visceral vocals of Svetlana Spajic (Marina Abramovic, Robert Wilson, Antony and the Johnsons) are both rooted and deeply interpretive. In turn, drummer Andi Stecher (STECHER, Billy Bultheel, Orchestre Les Mangelepa) and Guido Möbius on bass and electronics, employ sonic strategies that steer the songs in inspired and unpredictable directions.

-------------------------------------------

Gordan make music between expressiveness and abstraction. Their pieces are not limited by rigid formal structures. Instead, they are open processes that create a loss of sense of time. Reduced arrangements and expressive vocals combine to form a powerful musical whole. This band creates something new from minimalism, intensity and the rich singing tradition of the Balkans.

When Down in the Meadow, the first album by Gordan was released by Morphine Records in October 2021, it was celebrated by critics and audience alike. Now the trio presents its second, even more radical album. On this new release, Gordan mirror the mysticism of legends and stories from the Balkan countries with controlled feedback, hypnotic bass, expressive drum playing and the unique vocals by Svetlana Spajic.

Each piece on this album follows another sound idea and historical reference. And with all versatility, Gordan keep a coherent, immediately recognizable sound. There is the opener "Barabinska" with its stoic pulse, celebrating the bohemian lifestyle. It is followed by the noise -oriented, abstract "Selo Moje" with lyrics by Svetlana Spajic. The raw energy of "Šara", a popular traditional song, contrasts with the lightness of "The Bell is Buzzing". "Krajiška kontra", on the other hand, is a dark mantra referring to the times of Militärgrenze in the Balkans.

Drummer Andi Stecher forgoes any ornamentation and at the same time plays varied and concentrated. Confident and with outstanding technique, he is the engine of the band's sound. His stylistic flexibility demonstrates a profound knowledge of global music history. Guido Möbius plays bass guitar and various electronic sound generators. He also provokes feedback using a guitar amplifier, microphone and effects. These sometimes spherical, sometimes very concrete sounds interact with Svetlana Spajic’s voice. Vocals and feedback circle each other in fleeting, ever-changing harmony.

Spajic is an internationally recognized expert on the history and practice of a rich musical tradition. She knows and masters the hyperlocal singing styles of the Balkan Peninsula like no other contemporary singer. At the same time, she works as an active part of this culture to open it up and re-contextualize it. Spajic has worked with many international art and music universities as well as international stars of contemporary and avant-garde music. 
]]></content:encoded>

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    <item>

      <title>Catherine Graindorge : Songs for the Dead - CD Album</title>
      <link>https://glitterbeat.greedbag.com/buy/songs-for-the-dead-0</link>      <description>
                Following her thrilling 2022 duo EP with Iggy Pop (The Dictator) Belgian composer/musician Catherine Graindorge returns with a luminous ensemble album. Collaborators include Simon Huw Jones (And Also the Trees) and Pascal Humbert (16 Horsepower, Lilium, Détroit).

Instrumental and vocal songs of life, love and death. Inspired by mythologies and elegies from the Greeks to the Beats.

-----------------------------------------------------

Stories and myths. They ripple like rivers through ou      </description>
      <guid isPermaLink="false">117706941340142</guid>
      <category>Music</category>

      <content:encoded><![CDATA[Following her thrilling 2022 duo EP with Iggy Pop (The Dictator) Belgian composer/musician Catherine Graindorge returns with a luminous ensemble album. Collaborators include Simon Huw Jones (And Also the Trees) and Pascal Humbert (16 Horsepower, Lilium, Détroit).

Instrumental and vocal songs of life, love and death. Inspired by mythologies and elegies from the Greeks to the Beats.

-----------------------------------------------------

Stories and myths. They ripple like rivers through our lives, our cultures. Some are ancient, others more recent, but they all help to shape us, to guide and console us along the ways of life and love and death. They have a quiet power, and that’s what Belgian musician and composer Catherine Graindorge explores on her new album, Songs for the Dead.

Aptly, it all began with words.

“I had a residency at a venue here in Brussels,” she recalls. Graindorge had recently finished working on The Dictator, her widely-acclaimed EP collaboration with the legendary Iggy Pop, “and I had the chance to work on something new. I had a book by Allen Ginsberg, and I wanted to go deeper into his poetry.”

Ginsberg was the most acclaimed poet of the Beat Generation. But Graindorge explored beneath the obvious, well-known work and discovered a piece called “A Dream Record,” which provided the spark for Songs for the Dead.

“The poem touched me, it made me think about art and life and reality, so I decided to construct the album around it.”

In the work, a dreaming Ginsberg visits Joan, the dead wife of writer William Burroughs who killed her while allegedly trying to emulate William Tell and shoot a glass off her head.

The pair laugh and talk of mutual friends as if she was still alive. But the reality of the grave returns and the dream fades.

“I didn’t know anything about Joan Vollmer, but the poem says everything about our lives,” Graindorge explains. “Something can happen and there’s no return, except in our dreams, when the dead come to visit us. Like the myth of Orpheus and Eurydice. In the eyes of Orpheus, Eurydice seems alive for a moment, but one look is enough for her to vanish into the world of the Dead. He wants to bring her back to life with his love for her.”

But only in dreams can love be enough to cheat fate.

Graindorge saw Ginsberg’s poem as the heart of Songs for the Dead. Recorded here as “This Is a Dream,” it explores the place where the veil between worlds becomes thin. The music she wrote for the tracks explores the beauty and loss, creating a floating, ethereal dialogue of music and voice that carries the listener forward.

Over the years, Graindorge has worked with an incredible cast of collaborators, including Iggy, Nick Cave, Hugo Race and producer John Parish (PJ Harvey). But for Songs for the Dead she wanted a small, tight ensemble, so she called on regular collaborators Simon Ho on keyboards, and bassist Pascal Humbert (16 Horsepower, Lilium, Détroit) who both know her and her music well. For a singer “I thought of Simon Huw Jones. His voice has a very theatrical quality, like a narrator. For him, literature is important; he’s attached to words. I sent him the Ginsberg poem and we talked about the Greek myth.”

Best known as the vocalist with And Also the Trees, Jones’s voice gives the lines gravity, a delivery between singing and speaking.
“I recorded demos of the music I’d written and sent them to him,” Graindorge recalls, “then he returned them with his ideas for the words. He understood what I was looking for.”

Things coalesced quickly, and by the time they went into the studio “almost everything was written, so we didn’t need to discuss much. We took six days to record the album, then another five to complete the mixing.”

All the mixing was analogue, Graindorge explains because “it’s warmer, and it makes more sense to me with my instruments and the way I write, acoustically on violin and viola. More like baroque music, in a way.”

Songs for the Dead is quite deliberately an album that gives space for the imagination, “where people can come and go in the music,” Graindorge says. And there’s plenty to explore in the stories of Orpheus and Eurydice and Ginsberg’s dream meeting with Joan Burroughs. Myths ancient and modern. Legends and stories.

“I like to tell a story,” she says. “I come from theatre, and I’m also an actor. These are narratives, questions and answers that relate and connect to each other.”

One of the most powerful of these stories is the pure sadness of “Joan” – the only piece here for which she wrote both music and lyrics. It caresses its loss, something she “wrote to challenge myself. I’m not really a singer, but this was a story I wanted to tell.” Graindorge’s viola and voice offer a sonic elegy.

It all culminates with “Time Is Broken,” where Jones and Graindorge (with daughter Lula Rabinovitch) duet until the music tails away and the final lines conclude: “There is no more to say.”

Composed by Graindorge and Simon Ho, the song came from a small, simple source – a piano line that Ho played while the pair were working together in the Brussels residency.

“He had the idea. That’s the heart of the piece and the lyric that grew into this song about loss and love.”

It ties everything together, moving from myth and into the lives of two people who are wrapped in the sadness and heartbreak of their lives coming apart.

Songs for the Dead is a quietly understated epic, with plenty of shade and light in the playing and the compositions. Yet throughout, it carries the creeping sense of foreboding and inevitability that befit its title. As a seasoned composer for film and theatre, Graindorge understands the power of atmosphere in music and uses it to the full here, especially on the instrumentals “Small Trees” and “The Unvisited Garden,” where her violin and voice create a trembling, fragile stillness. Melodies unfurl slowly, always lyrical, and the silences are as important as the notes.
“Musically, this album is an evolution for me,” she says. “I try to push myself where I haven’t been before.”

And these stories Catherine Graindorge tells are eternal. The music of love and grief, songs for the end of love and life. Songs for the dead who live on in hearts and memories 
]]></content:encoded>

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      <title>Catherine Graindorge : Songs for the Dead - 12&quot; Vinyl Album</title>
      <link>https://glitterbeat.greedbag.com/buy/songs-for-the-dead-0</link>      <description>
                Following her thrilling 2022 duo EP with Iggy Pop (The Dictator) Belgian composer/musician Catherine Graindorge returns with a luminous ensemble album. Collaborators include Simon Huw Jones (And Also the Trees) and Pascal Humbert (16 Horsepower, Lilium, Détroit).

Instrumental and vocal songs of life, love and death. Inspired by mythologies and elegies from the Greeks to the Beats.

-----------------------------------------------------

Stories and myths. They ripple like rivers through ou      </description>
      <guid isPermaLink="false">117706971290142</guid>
      <category>Music</category>

      <content:encoded><![CDATA[Following her thrilling 2022 duo EP with Iggy Pop (The Dictator) Belgian composer/musician Catherine Graindorge returns with a luminous ensemble album. Collaborators include Simon Huw Jones (And Also the Trees) and Pascal Humbert (16 Horsepower, Lilium, Détroit).

Instrumental and vocal songs of life, love and death. Inspired by mythologies and elegies from the Greeks to the Beats.

-----------------------------------------------------

Stories and myths. They ripple like rivers through our lives, our cultures. Some are ancient, others more recent, but they all help to shape us, to guide and console us along the ways of life and love and death. They have a quiet power, and that’s what Belgian musician and composer Catherine Graindorge explores on her new album, Songs for the Dead.

Aptly, it all began with words.

“I had a residency at a venue here in Brussels,” she recalls. Graindorge had recently finished working on The Dictator, her widely-acclaimed EP collaboration with the legendary Iggy Pop, “and I had the chance to work on something new. I had a book by Allen Ginsberg, and I wanted to go deeper into his poetry.”

Ginsberg was the most acclaimed poet of the Beat Generation. But Graindorge explored beneath the obvious, well-known work and discovered a piece called “A Dream Record,” which provided the spark for Songs for the Dead.

“The poem touched me, it made me think about art and life and reality, so I decided to construct the album around it.”

In the work, a dreaming Ginsberg visits Joan, the dead wife of writer William Burroughs who killed her while allegedly trying to emulate William Tell and shoot a glass off her head.

The pair laugh and talk of mutual friends as if she was still alive. But the reality of the grave returns and the dream fades.

“I didn’t know anything about Joan Vollmer, but the poem says everything about our lives,” Graindorge explains. “Something can happen and there’s no return, except in our dreams, when the dead come to visit us. Like the myth of Orpheus and Eurydice. In the eyes of Orpheus, Eurydice seems alive for a moment, but one look is enough for her to vanish into the world of the Dead. He wants to bring her back to life with his love for her.”

But only in dreams can love be enough to cheat fate.

Graindorge saw Ginsberg’s poem as the heart of Songs for the Dead. Recorded here as “This Is a Dream,” it explores the place where the veil between worlds becomes thin. The music she wrote for the tracks explores the beauty and loss, creating a floating, ethereal dialogue of music and voice that carries the listener forward.

Over the years, Graindorge has worked with an incredible cast of collaborators, including Iggy, Nick Cave, Hugo Race and producer John Parish (PJ Harvey). But for Songs for the Dead she wanted a small, tight ensemble, so she called on regular collaborators Simon Ho on keyboards, and bassist Pascal Humbert (16 Horsepower, Lilium, Détroit) who both know her and her music well. For a singer “I thought of Simon Huw Jones. His voice has a very theatrical quality, like a narrator. For him, literature is important; he’s attached to words. I sent him the Ginsberg poem and we talked about the Greek myth.”

Best known as the vocalist with And Also the Trees, Jones’s voice gives the lines gravity, a delivery between singing and speaking.
“I recorded demos of the music I’d written and sent them to him,” Graindorge recalls, “then he returned them with his ideas for the words. He understood what I was looking for.”

Things coalesced quickly, and by the time they went into the studio “almost everything was written, so we didn’t need to discuss much. We took six days to record the album, then another five to complete the mixing.”

All the mixing was analogue, Graindorge explains because “it’s warmer, and it makes more sense to me with my instruments and the way I write, acoustically on violin and viola. More like baroque music, in a way.”

Songs for the Dead is quite deliberately an album that gives space for the imagination, “where people can come and go in the music,” Graindorge says. And there’s plenty to explore in the stories of Orpheus and Eurydice and Ginsberg’s dream meeting with Joan Burroughs. Myths ancient and modern. Legends and stories.

“I like to tell a story,” she says. “I come from theatre, and I’m also an actor. These are narratives, questions and answers that relate and connect to each other.”

One of the most powerful of these stories is the pure sadness of “Joan” – the only piece here for which she wrote both music and lyrics. It caresses its loss, something she “wrote to challenge myself. I’m not really a singer, but this was a story I wanted to tell.” Graindorge’s viola and voice offer a sonic elegy.

It all culminates with “Time Is Broken,” where Jones and Graindorge (with daughter Lula Rabinovitch) duet until the music tails away and the final lines conclude: “There is no more to say.”

Composed by Graindorge and Simon Ho, the song came from a small, simple source – a piano line that Ho played while the pair were working together in the Brussels residency.

“He had the idea. That’s the heart of the piece and the lyric that grew into this song about loss and love.”

It ties everything together, moving from myth and into the lives of two people who are wrapped in the sadness and heartbreak of their lives coming apart.

Songs for the Dead is a quietly understated epic, with plenty of shade and light in the playing and the compositions. Yet throughout, it carries the creeping sense of foreboding and inevitability that befit its title. As a seasoned composer for film and theatre, Graindorge understands the power of atmosphere in music and uses it to the full here, especially on the instrumentals “Small Trees” and “The Unvisited Garden,” where her violin and voice create a trembling, fragile stillness. Melodies unfurl slowly, always lyrical, and the silences are as important as the notes.
“Musically, this album is an evolution for me,” she says. “I try to push myself where I haven’t been before.”

And these stories Catherine Graindorge tells are eternal. The music of love and grief, songs for the end of love and life. Songs for the dead who live on in hearts and memories 
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      <title>Avalanche Kaito : Talitakum - CD Album</title>
      <link>https://glitterbeat.greedbag.com/buy/talitakum</link>      <description>
                Avalanche Kaito: the exhilarating combination of Burkina Faso born urban griot Kaito Winse and fellow experimentalists Belgian guitarist Nico Gitto and French drummer/producer Benjamin Chaval. This transnational avant-rock trio created waves with their visceral self-titled 2022 debut, bagging notable festival appearances (Supersonic, End of the Road), a KEXP session and much deserved critical and audience enthusiasm.

Their new album Talitakum, is deeper and more sonically varied, revealing an      </description>
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      <content:encoded><![CDATA[Avalanche Kaito: the exhilarating combination of Burkina Faso born urban griot Kaito Winse and fellow experimentalists Belgian guitarist Nico Gitto and French drummer/producer Benjamin Chaval. This transnational avant-rock trio created waves with their visceral self-titled 2022 debut, bagging notable festival appearances (Supersonic, End of the Road), a KEXP session and much deserved critical and audience enthusiasm.

Their new album Talitakum, is deeper and more sonically varied, revealing an energy and spiritual weight that has undoubtedly emerged from the group's incessant touring. The live shows are indeed revelatory, twisting and turning with an unexpected intensity and collectiveness. It is a arresting, shapeshifting sound that spins freely from ancient griot traditions to full-throttle thrash (with many stops in between).

Polyrhythmic futurism, raw epiphanies, Burkinabe parables.
A rattling ritual of ecstatic noise.

--------------------------------------------------------------------

Jeff Nuttall’s 1968 polemic, Bomb Culture, lauds Dadaist Tristan Tzara as a main inspiration for the (atomic) countercultures of the 1950s and 1960s. According to Nuttall, Tzara ripped up the mores of the art world to invoke a new “cosmic identity” where “all things are seen as the part of the whole of existence and the whole is expressed in every part”. Things could now appear “as matter in cosmic terms,” and work as a “wonderful, rather than useful entity.” Both these ideas of deconstruction and reevaluation into new cosmic matter, however wildly expressed by the hedonistic Nuttall, mirror the music of transnational avant-rock trio, Avalanche Kaito. Avalanche Kaito are “driven by the desire for something new,” and see their own energies “as a show.” Their maelstrom of cosmic sound continually refocuses and reframes itself to an often startled audience, like fast-moving scenes on a cinema screen.

Another, less cosmic, link is worth noting. An unglamorous and often irascible man, Jeff Nuttall worked his countercultural magic from the provinces and on the more mundane fringes of swinging London. Similarly, one cannot help but see the businesslike Brussels as anything but exciting. But currently, the city is a magnet for many creative communities looking to reshape the world through new ideas and practices. Like Avalanche Kaito, who met there and used it as the base to develop their remarkable “borderland” music, a sound which suits a city where new socio-cultural forms emerge from previously unseen interzones.

According to drummer Benjamin Chaval, their music comes from “a sound, a sample, a desire, a feeling, or simply a lack of something.” And their second album, Talitakum, is the result of a Tzara-esque process, where “the whole” is, indeed, "expressed in every part.” whatever the provenance. To begin with, the band gigged as much as they could in 2021, the guitarist Nicco Gitto having replaced bassist Arnaud Paquotte, their fiery, mercurial shows becoming “a laboratory” in their own right. 2023 brought two creative residencies; where eight new pieces were sketched out. In July of that year the “aural puzzle” was recorded by Vincent Poujol at the Gam studio in the Belgian Ardennes. In contrast to what went before, there were no plans to rely on live recording, and overdubs were used extensively. Even so, the tracks were still very fresh, sometimes even non-existent: the track ‘Tanvusse’ began in the studio as a sample first heard in Niger. Other tracks like ‘Lago’ were brought to rehearsal as thoughtforms in the singer Kaito Winse’s head. Later, Benjamin Chaval assembled, arranged and further produced a body of work “that had to be tamed and reinvented” in concert.

Listening to Talitakum, one could be forgiven for thinking further about Tzara’s ideas; how do we really communicate with each other and what is the most effective way to do so? It’s a question that can hopefully never be fully answered. But we can note the new record’s title, Talitakum, means “Dead, come back to life!” (in Moore). Are the band unwittingly channeling the likes of Tzara and other old artists? Kaito Winse sometimes talks about his ancestors being there with him when he sings.

First impressions are driven by the different fusions thrown up between polyrhythms and polyphony: a notion of the constant reassembling of various musical building blocks. The opener ‘Borgo’ has a dissonant tone to it. Two minutes in and it’s by no means certain who will win out in this musical tug of war between voice, beat and instruments. All elements seem to burn themselves out eventually, living off the warmth of the energy created by their fight in a long meditative tail out.

The tracks on the album are informed by Kaito Winse’s voice and his use of a traditional flute and mouth bow. All three elements work, sometimes in tandem, as wider ciphers for communication, or “emotive” forms of mystification that inspire and unsettle. Throughout, Winse demonstrates what untapped powers many of us command, bodily; if only we knew how to use them. Alongside Winse, Nico Gitto (guitar) and Benjamin Chaval (drums, synths and electronics) work like mechanics, adding and updating elements to suit.

Winse’s streams of consciousness can dominate, and on tracks like ‘Lago’ and ‘Tanvusse’ it feels as if the music has been left to set the coordinates mapped out by the torrent of words and expressions. The listener does get some mental space - ‘Viima’ (which means Life in Moore) is a soothing if mysterious number. ‘Donle’ is on a similar journey to somewhere inside ourselves, and colored by some queasy organ sounds that could come from an early Tangerine Dream record. On the title track ‘Talitakum’ - possibly the most recognizable song (if we talk about traditional structures) we experience a question and answer session in quick time between vocals and instruments. Even so, the sound is soon broken up and redirected by Winse’s flute playing. ‘Lago’ throws up a lot of sonic bricolage that manages to work alongside a pulsating polyrhythmic beat.

In uncertain times artists embrace elements of chaos to reflect or react to what goes on in the world around them, creating other spaces that can give others relief. Talitakum is very much in this mold. Restless, sometimes discombobulating, it still manages to make sense and give succour. Tracks like ‘Shoya’ hop around, throwing out little passages of sound that can be digested separately, in nuggets. Their music also seems to answer questions for itself without any recourse to the listener, which can be a very refreshing thing to hear. In that way it feels like listening to Beefheart’s Trout Mask Replica. Last track ‘Machine (The Mill)’ is aptly named; this restless cut grinds out its message as an instrumental, one that comes at the listener from various start points. It could be an aural metaphor for the band’s music. Does Winse try to talk through his flute here? Maybe thinking that’s what is happening is enough. It should be clear by now that Talitakum is a shapeshifting, incredible record. 
]]></content:encoded>

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      <title>Avalanche Kaito : Talitakum - 12&quot; Vinyl Album</title>
      <link>https://glitterbeat.greedbag.com/buy/talitakum</link>      <description>
                Avalanche Kaito: the exhilarating combination of Burkina Faso born urban griot Kaito Winse and fellow experimentalists Belgian guitarist Nico Gitto and French drummer/producer Benjamin Chaval. This transnational avant-rock trio created waves with their visceral self-titled 2022 debut, bagging notable festival appearances (Supersonic, End of the Road), a KEXP session and much deserved critical and audience enthusiasm.

Their new album Talitakum, is deeper and more sonically varied, revealing an      </description>
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      <content:encoded><![CDATA[Avalanche Kaito: the exhilarating combination of Burkina Faso born urban griot Kaito Winse and fellow experimentalists Belgian guitarist Nico Gitto and French drummer/producer Benjamin Chaval. This transnational avant-rock trio created waves with their visceral self-titled 2022 debut, bagging notable festival appearances (Supersonic, End of the Road), a KEXP session and much deserved critical and audience enthusiasm.

Their new album Talitakum, is deeper and more sonically varied, revealing an energy and spiritual weight that has undoubtedly emerged from the group's incessant touring. The live shows are indeed revelatory, twisting and turning with an unexpected intensity and collectiveness. It is a arresting, shapeshifting sound that spins freely from ancient griot traditions to full-throttle thrash (with many stops in between).

Polyrhythmic futurism, raw epiphanies, Burkinabe parables.
A rattling ritual of ecstatic noise.

--------------------------------------------------------------------

Jeff Nuttall’s 1968 polemic, Bomb Culture, lauds Dadaist Tristan Tzara as a main inspiration for the (atomic) countercultures of the 1950s and 1960s. According to Nuttall, Tzara ripped up the mores of the art world to invoke a new “cosmic identity” where “all things are seen as the part of the whole of existence and the whole is expressed in every part”. Things could now appear “as matter in cosmic terms,” and work as a “wonderful, rather than useful entity.” Both these ideas of deconstruction and reevaluation into new cosmic matter, however wildly expressed by the hedonistic Nuttall, mirror the music of transnational avant-rock trio, Avalanche Kaito. Avalanche Kaito are “driven by the desire for something new,” and see their own energies “as a show.” Their maelstrom of cosmic sound continually refocuses and reframes itself to an often startled audience, like fast-moving scenes on a cinema screen.

Another, less cosmic, link is worth noting. An unglamorous and often irascible man, Jeff Nuttall worked his countercultural magic from the provinces and on the more mundane fringes of swinging London. Similarly, one cannot help but see the businesslike Brussels as anything but exciting. But currently, the city is a magnet for many creative communities looking to reshape the world through new ideas and practices. Like Avalanche Kaito, who met there and used it as the base to develop their remarkable “borderland” music, a sound which suits a city where new socio-cultural forms emerge from previously unseen interzones.

According to drummer Benjamin Chaval, their music comes from “a sound, a sample, a desire, a feeling, or simply a lack of something.” And their second album, Talitakum, is the result of a Tzara-esque process, where “the whole” is, indeed, "expressed in every part.” whatever the provenance. To begin with, the band gigged as much as they could in 2021, the guitarist Nicco Gitto having replaced bassist Arnaud Paquotte, their fiery, mercurial shows becoming “a laboratory” in their own right. 2023 brought two creative residencies; where eight new pieces were sketched out. In July of that year the “aural puzzle” was recorded by Vincent Poujol at the Gam studio in the Belgian Ardennes. In contrast to what went before, there were no plans to rely on live recording, and overdubs were used extensively. Even so, the tracks were still very fresh, sometimes even non-existent: the track ‘Tanvusse’ began in the studio as a sample first heard in Niger. Other tracks like ‘Lago’ were brought to rehearsal as thoughtforms in the singer Kaito Winse’s head. Later, Benjamin Chaval assembled, arranged and further produced a body of work “that had to be tamed and reinvented” in concert.

Listening to Talitakum, one could be forgiven for thinking further about Tzara’s ideas; how do we really communicate with each other and what is the most effective way to do so? It’s a question that can hopefully never be fully answered. But we can note the new record’s title, Talitakum, means “Dead, come back to life!” (in Moore). Are the band unwittingly channeling the likes of Tzara and other old artists? Kaito Winse sometimes talks about his ancestors being there with him when he sings.

First impressions are driven by the different fusions thrown up between polyrhythms and polyphony: a notion of the constant reassembling of various musical building blocks. The opener ‘Borgo’ has a dissonant tone to it. Two minutes in and it’s by no means certain who will win out in this musical tug of war between voice, beat and instruments. All elements seem to burn themselves out eventually, living off the warmth of the energy created by their fight in a long meditative tail out.

The tracks on the album are informed by Kaito Winse’s voice and his use of a traditional flute and mouth bow. All three elements work, sometimes in tandem, as wider ciphers for communication, or “emotive” forms of mystification that inspire and unsettle. Throughout, Winse demonstrates what untapped powers many of us command, bodily; if only we knew how to use them. Alongside Winse, Nico Gitto (guitar) and Benjamin Chaval (drums, synths and electronics) work like mechanics, adding and updating elements to suit.

Winse’s streams of consciousness can dominate, and on tracks like ‘Lago’ and ‘Tanvusse’ it feels as if the music has been left to set the coordinates mapped out by the torrent of words and expressions. The listener does get some mental space - ‘Viima’ (which means Life in Moore) is a soothing if mysterious number. ‘Donle’ is on a similar journey to somewhere inside ourselves, and colored by some queasy organ sounds that could come from an early Tangerine Dream record. On the title track ‘Talitakum’ - possibly the most recognizable song (if we talk about traditional structures) we experience a question and answer session in quick time between vocals and instruments. Even so, the sound is soon broken up and redirected by Winse’s flute playing. ‘Lago’ throws up a lot of sonic bricolage that manages to work alongside a pulsating polyrhythmic beat.

In uncertain times artists embrace elements of chaos to reflect or react to what goes on in the world around them, creating other spaces that can give others relief. Talitakum is very much in this mold. Restless, sometimes discombobulating, it still manages to make sense and give succour. Tracks like ‘Shoya’ hop around, throwing out little passages of sound that can be digested separately, in nuggets. Their music also seems to answer questions for itself without any recourse to the listener, which can be a very refreshing thing to hear. In that way it feels like listening to Beefheart’s Trout Mask Replica. Last track ‘Machine (The Mill)’ is aptly named; this restless cut grinds out its message as an instrumental, one that comes at the listener from various start points. It could be an aural metaphor for the band’s music. Does Winse try to talk through his flute here? Maybe thinking that’s what is happening is enough. It should be clear by now that Talitakum is a shapeshifting, incredible record. 
]]></content:encoded>

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      <title>Ana Lua Caiano : Vou Ficar Neste Quadrado - CD Album</title>
      <link>https://glitterbeat.greedbag.com/buy/vou-ficar-neste-quadrado</link>      <description>
                Ana Lua Caiano’s debut album melds rural Portuguese music traditions with layered vocals, synthesizers, insistent beats and field recordings. Her music is visceral and tightly focused pulling from a rich mosaic of influences that includes traditional group singing, musique concrete, songwriters from Portugal’s 70’s revolutionary period and electronic icons like Bjork and Laurie Anderson.

Hailing from Lisbon’s fertile musical underground, Caiano’s music – and its international reception – are       </description>
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      <content:encoded><![CDATA[Ana Lua Caiano’s debut album melds rural Portuguese music traditions with layered vocals, synthesizers, insistent beats and field recordings. Her music is visceral and tightly focused pulling from a rich mosaic of influences that includes traditional group singing, musique concrete, songwriters from Portugal’s 70’s revolutionary period and electronic icons like Bjork and Laurie Anderson.

Hailing from Lisbon’s fertile musical underground, Caiano’s music – and its international reception – are moving forward quickly. Her lauded recent performances at Eurosonic and Transmusicales (where she recorded a KEXP session) certainly attest to that, as do the laser sharp emotions and highly individual sonics of her much anticipated first album: Vou Ficar Neste Quadrado (I Shall Stay in This Square).

Silence can be the perfect way to sharpen the senses. To let the world in, to allow thoughts to come to the surface. For Lisbon’s Ana Lua Caiano, those empty spaces – when she’s walking or can’t sleep – are when the ideas creep in. They’re her time to create. She takes them and moulds them into the songs that have poured out of her over the last two years. Initially for a couple of EPs (Se Dan​ç​ar É Só Depois / 2023 & Cheguei Tarde A Ontem / 2022) that made a name for her around Europe and the world, and now on her debut album for Glitterbeat.

It’s electronic music. Utterly contemporary. Pulsing, glitchy, atmospheric and beat driven but with roots deep in the traditional Portuguese music her parents listened to when she was a child. “They had a lot of cassettes that they’d play,” she recalls. “I loved to mimic and I’d imitate the singers. I took it in by osmosis, I suppose, and the elements are still there in what I do.”

That’s the foundation; everything else has grown and flowered out that. But music has always been part of the fabric of her life. There were the classical piano lessons Caiano took until she was 13, then the four years of study at a jazz music school. All of it was discovery, but it was only a start. “Jazz gave more freedom, but it still had rules. By then I was listening to artists like Björk and Portishead, who offered a different tonality. I started going to workshops, learning about musique concrète, group singing, whatever I could learn outside of jazz.”

Everything fed into the pieces she began composing when she was 15, writing and singing for a couple of bands and playing synthesiser. But it was with Covid and lockdowns that she really had chance to take charge of her music.

Unable to play with other musicians, Caiano began experimenting at home with electro textures and clubby beats, expanding her horizons and fully blending her love of both electronic and Portuguese musical traditions. She notes that “when I talk about traditional Portuguese music, I’m not talking about Fado, I’m talking about a type of sonority sung in the countryside using canons, harmonies, and chorus. It was mostly transmitted orally.”

By 2022 she’d recorded a single, an online live session and had submitted material to Womex, the influential global music exposition which was taking place in her hometown that year. She was offered a showcase that brought her to an international audience, and then things truly began to explode.

A pair of EPs that highlighted her unique vision and appearances at festivals followed, always as a one-woman band, with a midi keyboard, sampler, looper and a small arsenal of percussion instruments. All moving rapidly and building up to Vou Ficar Neste Quadrado. “The songs I write start with a melody. I record it, then I put it in my computer,” she explains. “Later, sometimes it could even be a year later, I’ll go through and select what works. Sometimes I sing words that make no sense. But it all begins with a small melodic idea.”

Rhythm is also a vital part of her music. It’s right there in her physical performance, constantly moving as she plays, pushing the song along, her body feeling every beat as she uses the bombo drum or the colourful brinquinho de madeira, a piece of traditional percussion made of small dolls in outfits from Madeira, mixing the most natural of instruments with her electronics.

Everything is layered, one thing built on another, both music and voices, with Caiano’s words often curiously oblique, as on “Cansada” (Tired), where an evolving refrain that forms the song’s spine feels more like a reflective chant: “You know/ you know, you know/ I don’t even like to leave/I don’t even like to sing/ I don’t even know how to love you anymore.”

They might sound personal, but, she says, “most of the lyrics are stories I’ve made up. They come from hearing people’s conversations.” Some are observations on life, like the title track, with its sarcastic look at the way people spend their days, stuck in a “square,” a comfortable place they’re afraid to leave. “Sit down and look at the sun, the sun that is far away, look at the sun that is so far away/ Let’s remain seated until the night arrives at home, until the night arrives at home.”

While Caiano’s lyrics are filled with strong images, her attention to visual details doesn’t stop there. Onstage, her performing space is very carefully arranged with her percussion instruments in front of the keyboard, as a focus for the eyes. Indeed, she feels her music is made to be seen as well as heard. That’s why she uses video as an important way to present her songs. “It’s crucial for me to have a visual element so each song has its own visual identity. The videos are short surrealistic films trying to expand the ideas of the music.”

Since she began her sonic experiments during lockdown, Caiano has been relentlessly pushing the borders of her music. It is of course a process that already began when she first imitated traditional singers or took her first piano lesson. It is a process that’s led her to the road she’s on now, one where tradition and electronics walk side by side. “I think it’s quite experimental,” she says, affirming that her music emphasizes the restless and evolutionary. “I believe traditional music evolves with the world – nowadays you can make traditional music with a computer or talk about themes that weren’t relevant or didn’t exist in the past. Traditional music is always evolving.”

Travelling forward fast and sure, Ana Lua Caiano is definitely not stuck in a square. 
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      <title>Ana Lua Caiano : Vou Ficar Neste Quadrado - 12&quot; Vinyl Album</title>
      <link>https://glitterbeat.greedbag.com/buy/vou-ficar-neste-quadrado</link>      <description>
                Ana Lua Caiano’s debut album melds rural Portuguese music traditions with layered vocals, synthesizers, insistent beats and field recordings. Her music is visceral and tightly focused pulling from a rich mosaic of influences that includes traditional group singing, musique concrete, songwriters from Portugal’s 70’s revolutionary period and electronic icons like Bjork and Laurie Anderson.

Hailing from Lisbon’s fertile musical underground, Caiano’s music – and its international reception – are       </description>
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      <content:encoded><![CDATA[Ana Lua Caiano’s debut album melds rural Portuguese music traditions with layered vocals, synthesizers, insistent beats and field recordings. Her music is visceral and tightly focused pulling from a rich mosaic of influences that includes traditional group singing, musique concrete, songwriters from Portugal’s 70’s revolutionary period and electronic icons like Bjork and Laurie Anderson.

Hailing from Lisbon’s fertile musical underground, Caiano’s music – and its international reception – are moving forward quickly. Her lauded recent performances at Eurosonic and Transmusicales (where she recorded a KEXP session) certainly attest to that, as do the laser sharp emotions and highly individual sonics of her much anticipated first album: Vou Ficar Neste Quadrado (I Shall Stay in This Square).

Silence can be the perfect way to sharpen the senses. To let the world in, to allow thoughts to come to the surface. For Lisbon’s Ana Lua Caiano, those empty spaces – when she’s walking or can’t sleep – are when the ideas creep in. They’re her time to create. She takes them and moulds them into the songs that have poured out of her over the last two years. Initially for a couple of EPs (Se Dan​ç​ar É Só Depois / 2023 & Cheguei Tarde A Ontem / 2022) that made a name for her around Europe and the world, and now on her debut album for Glitterbeat.

It’s electronic music. Utterly contemporary. Pulsing, glitchy, atmospheric and beat driven but with roots deep in the traditional Portuguese music her parents listened to when she was a child. “They had a lot of cassettes that they’d play,” she recalls. “I loved to mimic and I’d imitate the singers. I took it in by osmosis, I suppose, and the elements are still there in what I do.”

That’s the foundation; everything else has grown and flowered out that. But music has always been part of the fabric of her life. There were the classical piano lessons Caiano took until she was 13, then the four years of study at a jazz music school. All of it was discovery, but it was only a start. “Jazz gave more freedom, but it still had rules. By then I was listening to artists like Björk and Portishead, who offered a different tonality. I started going to workshops, learning about musique concrète, group singing, whatever I could learn outside of jazz.”

Everything fed into the pieces she began composing when she was 15, writing and singing for a couple of bands and playing synthesiser. But it was with Covid and lockdowns that she really had chance to take charge of her music.

Unable to play with other musicians, Caiano began experimenting at home with electro textures and clubby beats, expanding her horizons and fully blending her love of both electronic and Portuguese musical traditions. She notes that “when I talk about traditional Portuguese music, I’m not talking about Fado, I’m talking about a type of sonority sung in the countryside using canons, harmonies, and chorus. It was mostly transmitted orally.”

By 2022 she’d recorded a single, an online live session and had submitted material to Womex, the influential global music exposition which was taking place in her hometown that year. She was offered a showcase that brought her to an international audience, and then things truly began to explode.

A pair of EPs that highlighted her unique vision and appearances at festivals followed, always as a one-woman band, with a midi keyboard, sampler, looper and a small arsenal of percussion instruments. All moving rapidly and building up to Vou Ficar Neste Quadrado. “The songs I write start with a melody. I record it, then I put it in my computer,” she explains. “Later, sometimes it could even be a year later, I’ll go through and select what works. Sometimes I sing words that make no sense. But it all begins with a small melodic idea.”

Rhythm is also a vital part of her music. It’s right there in her physical performance, constantly moving as she plays, pushing the song along, her body feeling every beat as she uses the bombo drum or the colourful brinquinho de madeira, a piece of traditional percussion made of small dolls in outfits from Madeira, mixing the most natural of instruments with her electronics.

Everything is layered, one thing built on another, both music and voices, with Caiano’s words often curiously oblique, as on “Cansada” (Tired), where an evolving refrain that forms the song’s spine feels more like a reflective chant: “You know/ you know, you know/ I don’t even like to leave/I don’t even like to sing/ I don’t even know how to love you anymore.”

They might sound personal, but, she says, “most of the lyrics are stories I’ve made up. They come from hearing people’s conversations.” Some are observations on life, like the title track, with its sarcastic look at the way people spend their days, stuck in a “square,” a comfortable place they’re afraid to leave. “Sit down and look at the sun, the sun that is far away, look at the sun that is so far away/ Let’s remain seated until the night arrives at home, until the night arrives at home.”

While Caiano’s lyrics are filled with strong images, her attention to visual details doesn’t stop there. Onstage, her performing space is very carefully arranged with her percussion instruments in front of the keyboard, as a focus for the eyes. Indeed, she feels her music is made to be seen as well as heard. That’s why she uses video as an important way to present her songs. “It’s crucial for me to have a visual element so each song has its own visual identity. The videos are short surrealistic films trying to expand the ideas of the music.”

Since she began her sonic experiments during lockdown, Caiano has been relentlessly pushing the borders of her music. It is of course a process that already began when she first imitated traditional singers or took her first piano lesson. It is a process that’s led her to the road she’s on now, one where tradition and electronics walk side by side. “I think it’s quite experimental,” she says, affirming that her music emphasizes the restless and evolutionary. “I believe traditional music evolves with the world – nowadays you can make traditional music with a computer or talk about themes that weren’t relevant or didn’t exist in the past. Traditional music is always evolving.”

Travelling forward fast and sure, Ana Lua Caiano is definitely not stuck in a square. 
]]></content:encoded>

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      <title>Aziza Brahim : Mawja - CD Album</title>
      <link>https://glitterbeat.greedbag.com/buy/mawja</link>      <description>
                Sahrawi singer-songwriter activist Aziza Brahim’s fifth album Mawja (Wave in Hassaniya Arabic) is fashioned from a simple but powerful foundational palette: Saharan and Iberian percussion entwining with stately guitars and warm, enveloping bass.

Co-produced by Brahim with long-time collaborator Guillem Aguilar, the record from her oeuvre that Mawja most sonically resembles is her revered and graceful debut Soutak (2014).

That noted, there is a confident eclecticism found here, an expansive      </description>
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      <category>Music</category>

      <content:encoded><![CDATA[Sahrawi singer-songwriter activist Aziza Brahim’s fifth album Mawja (Wave in Hassaniya Arabic) is fashioned from a simple but powerful foundational palette: Saharan and Iberian percussion entwining with stately guitars and warm, enveloping bass.

Co-produced by Brahim with long-time collaborator Guillem Aguilar, the record from her oeuvre that Mawja most sonically resembles is her revered and graceful debut Soutak (2014).

That noted, there is a confident eclecticism found here, an expansive take on her vision that even includes a drum pattern inspired by the Clash.

Brahim’s voice, as always, is a wellspring of deep and resonant emotions. The yearning for homeland. The struggle for freedom. The love for one's elders. The unfurling of time. Waves of history, waves of sound. Mawja.

------------------------------------------------------

Growing up in the Sahrawi refugee camps in Algeria, after her family was forced into exile from Western Sahara, singer and songwriter Aziza Brahim spent hours listening to the radio. Mawja, her grandparents would say as they changed stations. Wave. Medium wave, FM. Radio brought the world to her, music from across the globe carried over the airwaves. When she left, first to study in Cuba, then to live in Barcelona, Brahim never forgot the radio and the education it offered. Now the waves carry her again on Mawja, her fourth album for Glitterbeat. It’s coloured by her own travels, her personal diaspora, and the music she heard through the speaker of that transistor radio as a child.

“Music lets you enrich your original sounds with others you learn,” Brahim says. “Mawja reflects everything that involves me.” It reflects what she’s heard around the Iberian Peninsula, especially the rhythms and percussion instruments. “There’s the tambourine, square tambourine, the almirez (pestle and mortar) that you hear in folk music everywhere on the peninsula. But I mixed with other African percussion instruments, and even ones from other continents. There’s a fusion in the root of each song.”

Mawja is a powerful statement, building on all Brahim achieved with her last album, the lauded Sahari (2019), which offered a portrait of her displaced Sahrawi people. But the four years since that release have been difficult ones for her.

“I had a bad anxiety crisis,” she recalls. “Just as I was recovering, Covid and lockdown happened, and we had to stop the tour we had planned. That made my condition worse. I had to fight to keep my equilibrium. Then, as I began to recover, in November 2020, my country, Western Sahara, was back at war against Morocco. It still is.” All of that was more than enough to experience. But life had one other huge blow for her. A year later “my grandmother Ljadra passed away. She was very important to me and that brought a relapse.”

Gradually, though, out of the pain came inspiration and the songs for Mawja, looking back but definitely also looking forward. In with the sorrow and loss, there’s a strong spirit of hope, of exploration and adventure.

Her adventurous side shows most obviously on “Metal, Madera.” It stands out, raw and electric, with sharp, bluesy chords and a fiery attitude. “It has lyrics that needed a very specific rhythm on the drums,” Brahim explains. “It’s very rooted in the blues, but with an inclination towards punk - desert punk! To get the feel, I made the drummer listen to some of my favourite Clash songs before we recorded.”

The members of her band are an important ingredient in Brahim’s sound. They’ve worked together for years, a tight group that can listen and respond to each other. They’ve built up a trust. But the most important person is undoubtedly bassist and guitarist Guillem Aguilar. He is, she says, a “specialist in folk music, roots music, with a great ear and a refined judgement. In relation to music, we understand the other perfectly.”

A sign of that understanding in that he’s her co-producer on Mawja. Having control of the music and the sound in her head is vitally important to her, Brahim says. During recording “I am open to dialogue, and if it works, I integrate it. But I like to enforce my opinion and working on production lets me do this.”

Mawja is an album that shifts across moods, from the loud rattle of “Metal, Madera” through her reimagination of “Marhabna 2.1,” a song that appeared on her debut, to “Duaa” and “Ljaima Likbira,” Brahim’s tender, loving elegies for her grandmother.

“She was a very important poet of the Sahrawi revolution and culture,” Brahim says. “People like her are immortal and her legacy will live forever on the memory of many people. “Duaa” is a prayer to honour her memory. My grandparents’ home was called “the big haima,” where she was the great matriarch. It’s where I was born and raised. Where we were able to learn to be proud, tenacious, to become activists. First in El Aaiun, then in refugee camps and today in Bucraa in Algeria. Life never have been easy for the Sahrawi.”

But there’s an escape from pain into magic and myth that she follows on “Bubisher,” about a legendary bird of Sahrawi literature. “In popular belief, the bubisher is a lucky bird because it brings good news, its sighting is a sign that we will receive good news. Based on that idea, people created a project for those in the refugee camps and it carries the bird’s name.”

The refugees and the camps were Brahim’s childhood. They, and the Sahrawi struggle to reclaim their homeland of Western Sahara from its nearly fifty-year occupation, formed her, and remain a vital part of her identity. “Haiyu Ya Zawar” is a summary of that, she says, “a popular Sahrawi song of resistance and struggle. I wanted to include it because it is very related to my people and the meaning of its lyrics at this time of war is evident.” She made the tune more Spanish and brought in Raúl Rodríguez, an Andalucian guitar player who created the Tres Flamenco, on the Cuban Tres. All three geographical strands of her history come together in the anthem.

It stands like the photographs of the desert, the waves of sand and the refugee camps that feature in the album booklet. Brahim might no longer physically be there, but so much of her heart is wrapped up in those places.

“They’re not only my past, but they are also my present. My mother, one of my daughters, my brothers and sisters continue living there. Fifty years have passed. Anyone who’s lived in this situation knows perfectly that this fact marks you forever.”

Past, present, future. Waves of history, waves of sound. Mawja. 
]]></content:encoded>

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      <title>Aziza Brahim : Mawja - 12&quot; Vinyl Album</title>
      <link>https://glitterbeat.greedbag.com/buy/mawja</link>      <description>
                Sahrawi singer-songwriter activist Aziza Brahim’s fifth album Mawja (Wave in Hassaniya Arabic) is fashioned from a simple but powerful foundational palette: Saharan and Iberian percussion entwining with stately guitars and warm, enveloping bass.

Co-produced by Brahim with long-time collaborator Guillem Aguilar, the record from her oeuvre that Mawja most sonically resembles is her revered and graceful debut Soutak (2014).

That noted, there is a confident eclecticism found here, an expansive      </description>
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      <content:encoded><![CDATA[Sahrawi singer-songwriter activist Aziza Brahim’s fifth album Mawja (Wave in Hassaniya Arabic) is fashioned from a simple but powerful foundational palette: Saharan and Iberian percussion entwining with stately guitars and warm, enveloping bass.

Co-produced by Brahim with long-time collaborator Guillem Aguilar, the record from her oeuvre that Mawja most sonically resembles is her revered and graceful debut Soutak (2014).

That noted, there is a confident eclecticism found here, an expansive take on her vision that even includes a drum pattern inspired by the Clash.

Brahim’s voice, as always, is a wellspring of deep and resonant emotions. The yearning for homeland. The struggle for freedom. The love for one's elders. The unfurling of time. Waves of history, waves of sound. Mawja.

------------------------------------------------------

Growing up in the Sahrawi refugee camps in Algeria, after her family was forced into exile from Western Sahara, singer and songwriter Aziza Brahim spent hours listening to the radio. Mawja, her grandparents would say as they changed stations. Wave. Medium wave, FM. Radio brought the world to her, music from across the globe carried over the airwaves. When she left, first to study in Cuba, then to live in Barcelona, Brahim never forgot the radio and the education it offered. Now the waves carry her again on Mawja, her fourth album for Glitterbeat. It’s coloured by her own travels, her personal diaspora, and the music she heard through the speaker of that transistor radio as a child.

“Music lets you enrich your original sounds with others you learn,” Brahim says. “Mawja reflects everything that involves me.” It reflects what she’s heard around the Iberian Peninsula, especially the rhythms and percussion instruments. “There’s the tambourine, square tambourine, the almirez (pestle and mortar) that you hear in folk music everywhere on the peninsula. But I mixed with other African percussion instruments, and even ones from other continents. There’s a fusion in the root of each song.”

Mawja is a powerful statement, building on all Brahim achieved with her last album, the lauded Sahari (2019), which offered a portrait of her displaced Sahrawi people. But the four years since that release have been difficult ones for her.

“I had a bad anxiety crisis,” she recalls. “Just as I was recovering, Covid and lockdown happened, and we had to stop the tour we had planned. That made my condition worse. I had to fight to keep my equilibrium. Then, as I began to recover, in November 2020, my country, Western Sahara, was back at war against Morocco. It still is.” All of that was more than enough to experience. But life had one other huge blow for her. A year later “my grandmother Ljadra passed away. She was very important to me and that brought a relapse.”

Gradually, though, out of the pain came inspiration and the songs for Mawja, looking back but definitely also looking forward. In with the sorrow and loss, there’s a strong spirit of hope, of exploration and adventure.

Her adventurous side shows most obviously on “Metal, Madera.” It stands out, raw and electric, with sharp, bluesy chords and a fiery attitude. “It has lyrics that needed a very specific rhythm on the drums,” Brahim explains. “It’s very rooted in the blues, but with an inclination towards punk - desert punk! To get the feel, I made the drummer listen to some of my favourite Clash songs before we recorded.”

The members of her band are an important ingredient in Brahim’s sound. They’ve worked together for years, a tight group that can listen and respond to each other. They’ve built up a trust. But the most important person is undoubtedly bassist and guitarist Guillem Aguilar. He is, she says, a “specialist in folk music, roots music, with a great ear and a refined judgement. In relation to music, we understand the other perfectly.”

A sign of that understanding in that he’s her co-producer on Mawja. Having control of the music and the sound in her head is vitally important to her, Brahim says. During recording “I am open to dialogue, and if it works, I integrate it. But I like to enforce my opinion and working on production lets me do this.”

Mawja is an album that shifts across moods, from the loud rattle of “Metal, Madera” through her reimagination of “Marhabna 2.1,” a song that appeared on her debut, to “Duaa” and “Ljaima Likbira,” Brahim’s tender, loving elegies for her grandmother.

“She was a very important poet of the Sahrawi revolution and culture,” Brahim says. “People like her are immortal and her legacy will live forever on the memory of many people. “Duaa” is a prayer to honour her memory. My grandparents’ home was called “the big haima,” where she was the great matriarch. It’s where I was born and raised. Where we were able to learn to be proud, tenacious, to become activists. First in El Aaiun, then in refugee camps and today in Bucraa in Algeria. Life never have been easy for the Sahrawi.”

But there’s an escape from pain into magic and myth that she follows on “Bubisher,” about a legendary bird of Sahrawi literature. “In popular belief, the bubisher is a lucky bird because it brings good news, its sighting is a sign that we will receive good news. Based on that idea, people created a project for those in the refugee camps and it carries the bird’s name.”

The refugees and the camps were Brahim’s childhood. They, and the Sahrawi struggle to reclaim their homeland of Western Sahara from its nearly fifty-year occupation, formed her, and remain a vital part of her identity. “Haiyu Ya Zawar” is a summary of that, she says, “a popular Sahrawi song of resistance and struggle. I wanted to include it because it is very related to my people and the meaning of its lyrics at this time of war is evident.” She made the tune more Spanish and brought in Raúl Rodríguez, an Andalucian guitar player who created the Tres Flamenco, on the Cuban Tres. All three geographical strands of her history come together in the anthem.

It stands like the photographs of the desert, the waves of sand and the refugee camps that feature in the album booklet. Brahim might no longer physically be there, but so much of her heart is wrapped up in those places.

“They’re not only my past, but they are also my present. My mother, one of my daughters, my brothers and sisters continue living there. Fifty years have passed. Anyone who’s lived in this situation knows perfectly that this fact marks you forever.”

Past, present, future. Waves of history, waves of sound. Mawja. 
]]></content:encoded>

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      <title>Saramaccan Sound (Suriname) : Where The River Bends Is Only the Beginning - CD Album</title>
      <link>https://glitterbeat.greedbag.com/buy/where-the-river-bends-is-only-th</link>      <description>
                Saramaccan Sound (Suriname) are a brother duo - Dwight Sampie and Robert Jabini - who write and perform flowing acoustic songs sung in Saramaccan, the language from the Americas with the most African elements. Their debut album was recorded in situ by Grammy winner Ian Brennan (Parchman Prison Prayer, Ustad Saami, The Good Ones) along a remote riverside in the Amazon region of Suriname. The lyrics are topical and reference everyday strife such as the rising tides and floods in the area due to gl      </description>
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      <content:encoded><![CDATA[Saramaccan Sound (Suriname) are a brother duo - Dwight Sampie and Robert Jabini - who write and perform flowing acoustic songs sung in Saramaccan, the language from the Americas with the most African elements. Their debut album was recorded in situ by Grammy winner Ian Brennan (Parchman Prison Prayer, Ustad Saami, The Good Ones) along a remote riverside in the Amazon region of Suriname. The lyrics are topical and reference everyday strife such as the rising tides and floods in the area due to global warming.

Their bone raw songs and performances evoke heart-worn longing, a deep sense of place and a strange familiarity. As if Merle Haggard had been raised in the Amazon rather than Bakersfield.

“Where the River Bends is Only the Beginning” is the 12th release in Glitterbeat’s acclaimed Hidden Musics series.
---------------------------------------------

I cut down a tree.
I made two boats.
They will carry me to the sea.

Entering the rainforest— the lungs of the earth— we rode up-river to settlements reached only by boat. We passed villages swallowed whole. Many of the still existing towns may soon not be here— submerged down river from the dams or drowned by the rising tides.

The singers we recorded, Dwight Sampie and Robert Jabini, were Saramaccan. Linguists consider the Saramaccan language notable because its vocabulary is based on two European source languages, English (30%) and Portuguese (20%), and various West and Central African languages (50%), but it diverges considerably from all of them. The African component accounts for over half of the vocabulary, the highest percentage in the Americas.

“We come from one belly. All from the same mother…” was a lyrical theme.

A village alarm bell was rung the first night we were there. We were informed this was a bad sign, a notice that someone from the village had passed while in the city.

One group took us to the river’s edge where they performed death rites that cannot be conducted in the village lest the risk that some people will be taken by the spirits. The musicians broke twigs from a mangrove tree, fashioned percussion instruments, and used them to wake the dead.

Groups of Rastas regaled us with beats and chants, the lead drummer bursting with polyrhythms like an Art Blakey prototype. The fact that their language includes an implosive sound no doubt must help lend itself to such complexity.

Acoustic guitars were the rule, though. With nylon strings being mandatory since steel strings almost immediately rust due to the humidity of the region.

The main writer, singer and mentor was Robert Jabini, a military man, who stood less than 5’ 6’’ but with an opposing build. His gym, a lifetime of hard work.

With his mournful melodies and handle-bar mustache, it was as if Merle Haggard had been raised in the Amazon instead of dusty Bakersfield. You can almost hear the humidity seeping into the microphones.

And as so often was the case, the best songs emerged only after we were done recording. The equipment had to be setup three separate times and brought to the men on the front-porch, as they sang almost non-stop throughout the night, growing freer as the bottles of rum were drained. Finally, they concluded with a song written on the spot about their brotherhood — “One Mother, Two Hearts.”

For hours after the sun had gone down following the official, daytime recording session, The brothers continued to trade songs on a neighboring front porch. On two occasions, such beautiful sounds echoed out that I was left with little choice but to unpack the gear, lug the microphones to where they were, and set up anew.

“We Lost Someone Close to us Again” was recorded in one of those quiet and intimate, on-the-fly moments, where many of their strongest songs emerged, almost as an afterthought.

--- Ian Brennan 
]]></content:encoded>

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      <title>YĪN YĪN : Mount Matsu (Black vinyl) - 12&quot; Vinyl Album (Black vinyl)</title>
      <link>https://glitterbeat.greedbag.com/buy/mount-matsu</link>      <description>
                YĪN YĪN, the highly touted Dutch quartet from Maastricht, returns with a sonically expansive third album Mount Matsu. Recorded collectively in their own studio in the Belgian countryside, the album is a kaleidoscope of sounds and influences, occupying a no man’s land between Khruangbin and Kraftwerk, surf music and Southeast Asian psychedelia, Stax soul and mutant 80s disco, City pop and Japanese instrumental folk (sōkyoku).

Mount Matsu sees YĪN YĪN at their most mature and adventurous stage       </description>
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      <content:encoded><![CDATA[YĪN YĪN, the highly touted Dutch quartet from Maastricht, returns with a sonically expansive third album Mount Matsu. Recorded collectively in their own studio in the Belgian countryside, the album is a kaleidoscope of sounds and influences, occupying a no man’s land between Khruangbin and Kraftwerk, surf music and Southeast Asian psychedelia, Stax soul and mutant 80s disco, City pop and Japanese instrumental folk (sōkyoku).

Mount Matsu sees YĪN YĪN at their most mature and adventurous stage yet. Infectious pentatonic melodicism calling for multiple rewinds.

---------------------------------

After capturing widespread attention with their beloved debut album The Rabbit That Hunts Tigers (2019) and its acclaimed follow-up The Age Of Aquarius (2022), the Dutch quartet YĪN YĪN returns with their third LP Mount Matsu, and an expansive new sonic direction. While their earlier releases were a result of the chemistry between its founding members, drummer Kees Berkers and multi-instrumentalist Yves Lennertz (who recently left the band), the group’s lineup change has brought forward a more democratic creative mode. Members Remy Scheren (bass), Robbert Verwijlen (keys) and Erik Bandt (guitar) from the onset joined Berkers in the songwriting process, making the music on Mount Matsu much more than a sum of its kaleidoscopic influences.

“Art and ideas are personal and precious and the process of doing this truly together has been about more than just making an album. It was also a study of how collectives work,” notes Scheren, YĪN YĪN’s bass player since day one. “It’s sometimes hard seeing your own artistic ideas challenged as a member of a group, but we’re very proud of the result. When you truly co-create, literally every sound on a record has been tested through and through,” keyboardist Verwijlen adds. The process of creation, which took place in their studio in Belgium, felt like a long but satisfying ascent, hence the title Mount Matsu. The mountain itself is fictional but in Japanese matsu means pine tree and is (among other things) a symbol for rebirth and hope for the future.

Their mostly instrumental songs, still deeply rooted in the Southeast psychedelia Asian and funk from the 60́s and 70s, are occasionally embellished with hushed vocal harmonies, adding even more depth to their soulful expression. “We’ve decided to only sparsely use vocals, which leaves plenty of room for the listener’s imagination. You can really let your fantasy run wild as you listen and dance to it,” says drummer Berkers. And while off-kilter disco tunes with a trans-local character, neo-Thai psych funk jams and folk-styled soul ballads remain central to their sonic identity, the influx of fresh ideas results in an even more eclectic and effervescent sound image.

There are moments where the Dutch quartet flirts heavily with the dancefloor. Idiosyncratic nu-disco songs like ‘Takahashi Timing’, ‘Pia Dance’ and ‘Tokyo Disko’ conjure a welcoming hands-in-the-air vibe worthy of any digger’s vinyl crate. In the song ‘The Perseverance of Sano’, the worlds of Dick Dale and Wong shadow collide, creating a powerful neo-surf rock anthem worthy of a Tarantino soundtrack. The band’s essence remains unspoilt, though, particularly in ‘The Year of the Rabbit’, a signature moody YĪN YĪN tune that harkens back to their debut album, and the laid-back jam ‘Tam Tam’, a perfect backdrop to your morning coffee rituals. There’s also the trademark tune ‘White Storm’, boasting a spiralling 6/8 Afrobeat groove, floaty synth motifs and shimmering guitar licks.

Elsewhere, they rely on more dulcet tones. The erotic lullaby ‘Komori Uta’, with its shiver-inducing Birkin-esque female whispers, and ‘Shiatsu for Dinner’, with its tear-jerking guitar melodies and softly sung verses, tug at your heartstrings. Their knack for melodious psychedelia comes to the fore in the chaotic dreamlike bass-guitar dialogue of ‘The Year of The Tiger’, while closer ‘Ascending to Matsu’s Height’ comes across as a heartfelt tribute to the traditional sounds of the guzheng (Chinese harp).

Mount Matsu marks a step back from the occasionally more Moroder-esque, rhythm-machine and synth-heavy production style of their second album towards a more organic, 70s live band aesthetic. This is encapsulated in the analogue warmth of their valve amp guitar sounds, vintage synth lines and acoustic percussion timbres, evoking the buzz of being in the rehearsal space with the band. “It was a real adventure trying to capture the new ‘YĪN YĪN’ sound,” notes guitarist Bandt, and that sense of discovery is keenly felt in the compelling music the band created.

Occupying a no man’s land between Khruangbin and Kraftwerk, Stax soul and mutant 80s disco, City pop and Japanese instrumental folk (sōkyoku), Mount Matsu sees YĪN YĪN at their most mature and adventurous stage yet. Infectious pentatonic melodicism calling for multiple rewinds!]]></content:encoded>

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      <title>YĪN YĪN : Mount Matsu - CD Album</title>
      <link>https://glitterbeat.greedbag.com/buy/mount-matsu</link>      <description>
                YĪN YĪN, the highly touted Dutch quartet from Maastricht, returns with a sonically expansive third album Mount Matsu. Recorded collectively in their own studio in the Belgian countryside, the album is a kaleidoscope of sounds and influences, occupying a no man’s land between Khruangbin and Kraftwerk, surf music and Southeast Asian psychedelia, Stax soul and mutant 80s disco, City pop and Japanese instrumental folk (sōkyoku).

Mount Matsu sees YĪN YĪN at their most mature and adventurous stage       </description>
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      <category>Music</category>

      <content:encoded><![CDATA[YĪN YĪN, the highly touted Dutch quartet from Maastricht, returns with a sonically expansive third album Mount Matsu. Recorded collectively in their own studio in the Belgian countryside, the album is a kaleidoscope of sounds and influences, occupying a no man’s land between Khruangbin and Kraftwerk, surf music and Southeast Asian psychedelia, Stax soul and mutant 80s disco, City pop and Japanese instrumental folk (sōkyoku).

Mount Matsu sees YĪN YĪN at their most mature and adventurous stage yet. Infectious pentatonic melodicism calling for multiple rewinds.

---------------------------------

After capturing widespread attention with their beloved debut album The Rabbit That Hunts Tigers (2019) and its acclaimed follow-up The Age Of Aquarius (2022), the Dutch quartet YĪN YĪN returns with their third LP Mount Matsu, and an expansive new sonic direction. While their earlier releases were a result of the chemistry between its founding members, drummer Kees Berkers and multi-instrumentalist Yves Lennertz (who recently left the band), the group’s lineup change has brought forward a more democratic creative mode. Members Remy Scheren (bass), Robbert Verwijlen (keys) and Erik Bandt (guitar) from the onset joined Berkers in the songwriting process, making the music on Mount Matsu much more than a sum of its kaleidoscopic influences.

“Art and ideas are personal and precious and the process of doing this truly together has been about more than just making an album. It was also a study of how collectives work,” notes Scheren, YĪN YĪN’s bass player since day one. “It’s sometimes hard seeing your own artistic ideas challenged as a member of a group, but we’re very proud of the result. When you truly co-create, literally every sound on a record has been tested through and through,” keyboardist Verwijlen adds. The process of creation, which took place in their studio in Belgium, felt like a long but satisfying ascent, hence the title Mount Matsu. The mountain itself is fictional but in Japanese matsu means pine tree and is (among other things) a symbol for rebirth and hope for the future.

Their mostly instrumental songs, still deeply rooted in the Southeast psychedelia Asian and funk from the 60́s and 70s, are occasionally embellished with hushed vocal harmonies, adding even more depth to their soulful expression. “We’ve decided to only sparsely use vocals, which leaves plenty of room for the listener’s imagination. You can really let your fantasy run wild as you listen and dance to it,” says drummer Berkers. And while off-kilter disco tunes with a trans-local character, neo-Thai psych funk jams and folk-styled soul ballads remain central to their sonic identity, the influx of fresh ideas results in an even more eclectic and effervescent sound image.

There are moments where the Dutch quartet flirts heavily with the dancefloor. Idiosyncratic nu-disco songs like ‘Takahashi Timing’, ‘Pia Dance’ and ‘Tokyo Disko’ conjure a welcoming hands-in-the-air vibe worthy of any digger’s vinyl crate. In the song ‘The Perseverance of Sano’, the worlds of Dick Dale and Wong shadow collide, creating a powerful neo-surf rock anthem worthy of a Tarantino soundtrack. The band’s essence remains unspoilt, though, particularly in ‘The Year of the Rabbit’, a signature moody YĪN YĪN tune that harkens back to their debut album, and the laid-back jam ‘Tam Tam’, a perfect backdrop to your morning coffee rituals. There’s also the trademark tune ‘White Storm’, boasting a spiralling 6/8 Afrobeat groove, floaty synth motifs and shimmering guitar licks.

Elsewhere, they rely on more dulcet tones. The erotic lullaby ‘Komori Uta’, with its shiver-inducing Birkin-esque female whispers, and ‘Shiatsu for Dinner’, with its tear-jerking guitar melodies and softly sung verses, tug at your heartstrings. Their knack for melodious psychedelia comes to the fore in the chaotic dreamlike bass-guitar dialogue of ‘The Year of The Tiger’, while closer ‘Ascending to Matsu’s Height’ comes across as a heartfelt tribute to the traditional sounds of the guzheng (Chinese harp).

Mount Matsu marks a step back from the occasionally more Moroder-esque, rhythm-machine and synth-heavy production style of their second album towards a more organic, 70s live band aesthetic. This is encapsulated in the analogue warmth of their valve amp guitar sounds, vintage synth lines and acoustic percussion timbres, evoking the buzz of being in the rehearsal space with the band. “It was a real adventure trying to capture the new ‘YĪN YĪN’ sound,” notes guitarist Bandt, and that sense of discovery is keenly felt in the compelling music the band created.

Occupying a no man’s land between Khruangbin and Kraftwerk, Stax soul and mutant 80s disco, City pop and Japanese instrumental folk (sōkyoku), Mount Matsu sees YĪN YĪN at their most mature and adventurous stage yet. Infectious pentatonic melodicism calling for multiple rewinds!]]></content:encoded>

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      <title>Lucidvox : That&apos;s What Remained - CD Album</title>
      <link>https://glitterbeat.greedbag.com/buy/thats-what-remained</link>      <description>
                Lucidvox&apos;s new album is vast-sounding. A collection of swirling ritual missives offered up in the hope of better times. Formerly based in Russia, for their new album That’s What Remained, the all-female quartet has added additional sonic thrust (horns, keyboards, strings, atmospheric textures) to their already acclaimed and impassioned psych-rock.

Speaking to Vogue in 1970, the 20th century modernist writer Vladimir Nabokov stated that, “The best part of a writer’s biography is not the record      </description>
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      <category>Music</category>

      <content:encoded><![CDATA[Lucidvox's new album is vast-sounding. A collection of swirling ritual missives offered up in the hope of better times. Formerly based in Russia, for their new album That’s What Remained, the all-female quartet has added additional sonic thrust (horns, keyboards, strings, atmospheric textures) to their already acclaimed and impassioned psych-rock.

Speaking to Vogue in 1970, the 20th century modernist writer Vladimir Nabokov stated that, “The best part of a writer’s biography is not the record of his adventures but the story of his style.” This is an easily transferable maxim; style often being - if inadvertently - a clearer mirror to the soul than other artistic considerations.

Nabokov’s words could have been said of Lucidvox’s second long player, That’s What Remained: here, style reveals the soul.

The first thing that strikes the listener when diving in is the sheer scale, and breadth, of the sound. And the directness of the music. The outlines of the arrangements are drawn in with strong bold strokes using a thick, warm line. Closer inspection reveals a wealth of detail, and perspectives that surprise. Deliberate twists of a phrase, the odd synth passage or guitar lick add yet more emotional hinterland. The melodies are often simple, but determined and forced home to make their point; and though they resemble the playground rhymes documenting the childhood memories the band holds dear, maybe there is no time for being too clever, or allusive, right now. This is their style going forward, nothing here is given to chance, or left in as a beautiful accident.

That’s What Remained cannot be anything other than a Lucidvox record - that firebird quality they always had, the busy rhythms and spitting guitar runs, are still there. But it’s a work with a considerable presence; much more so than their debut, We Are. This is down to a number of factors, maybe the key one being the number of people involved. Lucidvox are a tight-knit, democratic band, used to making music together, alone. But when formulating this record they turned outwards, and asked trumpeter Timur Mizinov from Wooden Whales, violinist Dasha Avramova, guitarist Dmitry Chesnov and multi-instrumentalist Ella Bayisbaeva as a back vocalist to contribute; alongside a children’s choir(!). Guitarist Galla Gintovt mapped out the reason. “We wanted to have a bigger, more powerful sound. And when many people make music together, we can come together as one in the group; it’s different, an interesting experience for a musician when you are one of many.” The results were such that Galla, and drummer Nadya Samodurova both quipped they wanted to rename the band Lucidvox Orchestra. Samodurova noted: “Dima [Dmitry] came to the rehearsals and tried to make a bigger sound. Dima is magic; he has a good ear for music and plays his guitar instantly, to find the correct point where to add to the sound.” Vocalist Alina Evseeva: “All the musicians who played with us created their parts themselves. It wasn’t us suggesting it. It was coworking and co-curating.”

It is an oddly liturgical work, too. Devotions are made in sonic form, the songs often seem to be acting as ritual missives offered up in the hope of better times. The lyrics on single ‘There Ahead’ are indicative, and in their straightforwardness dovetail well with this new approach to structure: “Stay there, the lights will shine ahead / New flags of the new spring / You can't break me / You can't break me / You can't break me / Peace to the world.”

Nadya sees this latter, “liturgical” development as natural, given their currently dislocated state. Due to the fallout from Russia’s brutal invasion of Ukraine, the band, scattered throughout Europe and the Middle East, hadn't met up collectively for over a year, until the late summer of 2023. “It [the new approach] is because we became older and some situations forced us to grow up. The music grew up with us as well. We want to talk about these situations, like Covid and this war, not just in the lyrics but the music as well. We want to say something important and tell people about what is happening around us. We have very different topics now. You can maybe hear this.”

Bassist Anna Moskvitina noted that, “We first started the record back in 2020 and it carried on through some very uncertain years in our life, during which we had no stability under our feet. Maybe that translates a little bit in our music. When we started Lucidvox, Nadya wanted to make music that sounded like a fairy tale; using stories from childhood, and showing the difference between that and grown-up life.” Nadya: “I didn’t know what grown-up life was. Now I do. You need to do something with your life, you have to grow up because you need to, we all need to.”

When examining the record, it may be worth turning to another writer, Graham Caveney, who once wrote, “Who doesn’t want their experience to have a description? Yet who doesn’t want to be more than their diagnosis?” This is also a key element at play in That’s What Remained. Artfully and collectively constructed to convey their message, nothing here is wasted or done for the hell of it, as we have heard; but the band clearly hope that their new style can change their own narrative. Each track’s DNA tries to persuade the listener that Lucidvox see this record as a launchpad for other iterations of themselves. ‘There Ahead’ is a vast-sounding clarion call, a scene setter that leads the other songs onto this new stage, and sets up one of the band’s finest tracks, ‘Naidiya’, which is a great stop-start number: filmic, melancholy, and with a vulnerable underbelly. At its quietest, the song is reminiscent of the soundtrack of the 70’s Czechoslovakian surrealist horror film Valerie and Her Week of Wonders. Still: guitars, keys and brass add drama and direction where necessary and the bass drum and toms play off each other, creating a sound that bobs up and down, like a buoy on the water.

Given time and circumstance, Lucidvox want to be understood as more than their current “diagnosis”. Although ‘Don’t Look Away’ harks back to their adrenaline-fuelled earlier works, the new focus adds emotional depth and steel. Their trick of making spitting, fiery guitar runs that almost trip over themselves in their haste is still here, but Lucidvox now know when to make way for other elements, such as the brass, which adds an uplifting note.

Their music is of the land, fecund, powerful and complex if you take time to investigate. Like the land, it may give birth to unexpected new forms. As singer Alina Evseeva says, their roots, historical, social, personal, are in this music. ‘Wandering’ is as the name suggests, and maybe as close to a musical take on tautology as you can get. Plaintive notes of guitar pick out a melody that is then embellished with trumpet. The guitar returns to rework the melody line; injecting Iommi-style rockisms as thick and unguent as molten chocolate. The trumpet part flutters around, like seagulls behind a tractor. ‘Hold Me’ uses the simple melody line as the framework for a track where the guitars spin thick webs of sound, doubling back on themselves, the patterns not dissimilar to those found on Amon Düül II’s 1970 album Yeti. Trumpets and keys add space and a sense of emotional hinterland. ‘All Frozen’ follows a similar path where the vocals - distant, almost numb at times - contrast sharply with the quicksand of electronic noise that the band have whipped up.

These punchy, repetitive, broad-brush tracks are at once recognisable and unsettling. For instance, the synth pattern that launches ‘That’s What Remained’ may be there to throw the listener off the scent: but the initial mathrock feel, with the off-beats and slightly arrhythmic patterns, gives way to a crushing, obvious rock song. ‘On The Way’ is a lament given shape by some drowsy, feedback-heavy guitars. Eventually the voices swell, soaring around the fuzz of kicked out by the axe work. But what, or who is lamented? Themselves?

Among other things, the term dissociation describes the process of ionic compounds being broken down into smaller particles and ions. The process of crystallisation allows each component part to be liberated from the other. It’s worth noting that, with a few exceptions, they can be reunited. You could take this process as a metaphor for the history of Lucidvox and their first new record since 2022. Plotted and rehearsed a handful of times before the band left Moscow, and built online over a year, the swapped files and code became the smaller particles of the (human) whole. The pathways these files negotiated also ran parallel to those trodden by the band members. What will happen when they meet, and play the music? Anna: “It’s like riding a bicycle. We will remember.” Galla “There are ten years of our friendship behind us: we are four girls, we try.” Anna, once again: “We have been together through other, very hard situations in these ten years, and we know each other very well: no need to talk.” ]]></content:encoded>

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      <title>Lucidvox : That&apos;s What Remained - 12&quot; Vinyl Album</title>
      <link>https://glitterbeat.greedbag.com/buy/thats-what-remained</link>      <description>
                Lucidvox&apos;s new album is vast-sounding. A collection of swirling ritual missives offered up in the hope of better times. Formerly based in Russia, for their new album That’s What Remained, the all-female quartet has added additional sonic thrust (horns, keyboards, strings, atmospheric textures) to their already acclaimed and impassioned psych-rock.

Speaking to Vogue in 1970, the 20th century modernist writer Vladimir Nabokov stated that, “The best part of a writer’s biography is not the record      </description>
      <guid isPermaLink="false">117706978570142</guid>
      <category>Music</category>

      <content:encoded><![CDATA[Lucidvox's new album is vast-sounding. A collection of swirling ritual missives offered up in the hope of better times. Formerly based in Russia, for their new album That’s What Remained, the all-female quartet has added additional sonic thrust (horns, keyboards, strings, atmospheric textures) to their already acclaimed and impassioned psych-rock.

Speaking to Vogue in 1970, the 20th century modernist writer Vladimir Nabokov stated that, “The best part of a writer’s biography is not the record of his adventures but the story of his style.” This is an easily transferable maxim; style often being - if inadvertently - a clearer mirror to the soul than other artistic considerations.

Nabokov’s words could have been said of Lucidvox’s second long player, That’s What Remained: here, style reveals the soul.

The first thing that strikes the listener when diving in is the sheer scale, and breadth, of the sound. And the directness of the music. The outlines of the arrangements are drawn in with strong bold strokes using a thick, warm line. Closer inspection reveals a wealth of detail, and perspectives that surprise. Deliberate twists of a phrase, the odd synth passage or guitar lick add yet more emotional hinterland. The melodies are often simple, but determined and forced home to make their point; and though they resemble the playground rhymes documenting the childhood memories the band holds dear, maybe there is no time for being too clever, or allusive, right now. This is their style going forward, nothing here is given to chance, or left in as a beautiful accident.

That’s What Remained cannot be anything other than a Lucidvox record - that firebird quality they always had, the busy rhythms and spitting guitar runs, are still there. But it’s a work with a considerable presence; much more so than their debut, We Are. This is down to a number of factors, maybe the key one being the number of people involved. Lucidvox are a tight-knit, democratic band, used to making music together, alone. But when formulating this record they turned outwards, and asked trumpeter Timur Mizinov from Wooden Whales, violinist Dasha Avramova, guitarist Dmitry Chesnov and multi-instrumentalist Ella Bayisbaeva as a back vocalist to contribute; alongside a children’s choir(!). Guitarist Galla Gintovt mapped out the reason. “We wanted to have a bigger, more powerful sound. And when many people make music together, we can come together as one in the group; it’s different, an interesting experience for a musician when you are one of many.” The results were such that Galla, and drummer Nadya Samodurova both quipped they wanted to rename the band Lucidvox Orchestra. Samodurova noted: “Dima [Dmitry] came to the rehearsals and tried to make a bigger sound. Dima is magic; he has a good ear for music and plays his guitar instantly, to find the correct point where to add to the sound.” Vocalist Alina Evseeva: “All the musicians who played with us created their parts themselves. It wasn’t us suggesting it. It was coworking and co-curating.”

It is an oddly liturgical work, too. Devotions are made in sonic form, the songs often seem to be acting as ritual missives offered up in the hope of better times. The lyrics on single ‘There Ahead’ are indicative, and in their straightforwardness dovetail well with this new approach to structure: “Stay there, the lights will shine ahead / New flags of the new spring / You can't break me / You can't break me / You can't break me / Peace to the world.”

Nadya sees this latter, “liturgical” development as natural, given their currently dislocated state. Due to the fallout from Russia’s brutal invasion of Ukraine, the band, scattered throughout Europe and the Middle East, hadn't met up collectively for over a year, until the late summer of 2023. “It [the new approach] is because we became older and some situations forced us to grow up. The music grew up with us as well. We want to talk about these situations, like Covid and this war, not just in the lyrics but the music as well. We want to say something important and tell people about what is happening around us. We have very different topics now. You can maybe hear this.”

Bassist Anna Moskvitina noted that, “We first started the record back in 2020 and it carried on through some very uncertain years in our life, during which we had no stability under our feet. Maybe that translates a little bit in our music. When we started Lucidvox, Nadya wanted to make music that sounded like a fairy tale; using stories from childhood, and showing the difference between that and grown-up life.” Nadya: “I didn’t know what grown-up life was. Now I do. You need to do something with your life, you have to grow up because you need to, we all need to.”

When examining the record, it may be worth turning to another writer, Graham Caveney, who once wrote, “Who doesn’t want their experience to have a description? Yet who doesn’t want to be more than their diagnosis?” This is also a key element at play in That’s What Remained. Artfully and collectively constructed to convey their message, nothing here is wasted or done for the hell of it, as we have heard; but the band clearly hope that their new style can change their own narrative. Each track’s DNA tries to persuade the listener that Lucidvox see this record as a launchpad for other iterations of themselves. ‘There Ahead’ is a vast-sounding clarion call, a scene setter that leads the other songs onto this new stage, and sets up one of the band’s finest tracks, ‘Naidiya’, which is a great stop-start number: filmic, melancholy, and with a vulnerable underbelly. At its quietest, the song is reminiscent of the soundtrack of the 70’s Czechoslovakian surrealist horror film Valerie and Her Week of Wonders. Still: guitars, keys and brass add drama and direction where necessary and the bass drum and toms play off each other, creating a sound that bobs up and down, like a buoy on the water.

Given time and circumstance, Lucidvox want to be understood as more than their current “diagnosis”. Although ‘Don’t Look Away’ harks back to their adrenaline-fuelled earlier works, the new focus adds emotional depth and steel. Their trick of making spitting, fiery guitar runs that almost trip over themselves in their haste is still here, but Lucidvox now know when to make way for other elements, such as the brass, which adds an uplifting note.

Their music is of the land, fecund, powerful and complex if you take time to investigate. Like the land, it may give birth to unexpected new forms. As singer Alina Evseeva says, their roots, historical, social, personal, are in this music. ‘Wandering’ is as the name suggests, and maybe as close to a musical take on tautology as you can get. Plaintive notes of guitar pick out a melody that is then embellished with trumpet. The guitar returns to rework the melody line; injecting Iommi-style rockisms as thick and unguent as molten chocolate. The trumpet part flutters around, like seagulls behind a tractor. ‘Hold Me’ uses the simple melody line as the framework for a track where the guitars spin thick webs of sound, doubling back on themselves, the patterns not dissimilar to those found on Amon Düül II’s 1970 album Yeti. Trumpets and keys add space and a sense of emotional hinterland. ‘All Frozen’ follows a similar path where the vocals - distant, almost numb at times - contrast sharply with the quicksand of electronic noise that the band have whipped up.

These punchy, repetitive, broad-brush tracks are at once recognisable and unsettling. For instance, the synth pattern that launches ‘That’s What Remained’ may be there to throw the listener off the scent: but the initial mathrock feel, with the off-beats and slightly arrhythmic patterns, gives way to a crushing, obvious rock song. ‘On The Way’ is a lament given shape by some drowsy, feedback-heavy guitars. Eventually the voices swell, soaring around the fuzz of kicked out by the axe work. But what, or who is lamented? Themselves?

Among other things, the term dissociation describes the process of ionic compounds being broken down into smaller particles and ions. The process of crystallisation allows each component part to be liberated from the other. It’s worth noting that, with a few exceptions, they can be reunited. You could take this process as a metaphor for the history of Lucidvox and their first new record since 2022. Plotted and rehearsed a handful of times before the band left Moscow, and built online over a year, the swapped files and code became the smaller particles of the (human) whole. The pathways these files negotiated also ran parallel to those trodden by the band members. What will happen when they meet, and play the music? Anna: “It’s like riding a bicycle. We will remember.” Galla “There are ten years of our friendship behind us: we are four girls, we try.” Anna, once again: “We have been together through other, very hard situations in these ten years, and we know each other very well: no need to talk.” ]]></content:encoded>

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      <title>Lenhart Tapes : Dens - CD Album</title>
      <link>https://glitterbeat.greedbag.com/buy/dens</link>      <description>
                The 2nd album from Belgrade Ethno-Noise outfit Lenhart Tapes, boldly extends producer Vladimir Lenhart&apos;s acclaimed re-tooling of submerged Balkan musics.

Hypnotic Walkman jams meet industrial rhythm loops and trad-folk songs interpreted by a lineup of thrilling female vocalists: Tijana Stanković, Svetlana Spajić (Gordan, Pjevačka družina) and Zoja Borovčanin (Lira Vega).

A magical, beauty-and-the-beast encounter of dirty noise and righteous folk.

Fans love labels, musicians tend not to,      </description>
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      <content:encoded><![CDATA[The 2nd album from Belgrade Ethno-Noise outfit Lenhart Tapes, boldly extends producer Vladimir Lenhart's acclaimed re-tooling of submerged Balkan musics.

Hypnotic Walkman jams meet industrial rhythm loops and trad-folk songs interpreted by a lineup of thrilling female vocalists: Tijana Stanković, Svetlana Spajić (Gordan, Pjevačka družina) and Zoja Borovčanin (Lira Vega).

A magical, beauty-and-the-beast encounter of dirty noise and righteous folk.

Fans love labels, musicians tend not to, so it’s rare to find one so ready to oblige. Vladimir Lenhart will happily drop Ethno-Noise on you, then leave you to work out what that might mean. You’ll have a pretty good idea after about a minute of this record ¬― or indeed if you’ve spent any time in the Balkans generally, surrounded by folk music in all its incarnations, and in Belgrade specifically, which yields up the ghosts of the Yugoslav punk and industrial scenes of the 1980s and the city’s current experimental excursions to anyone with time to listen and explore.

The interrogation of folk and the national songbook has gained considerable currency in the last several years (think Damir Imamović in Bosnia, Richard Dawson in the UK or labelmates Altın Gün), but Lenhart Tapes are taking a slightly different path. Vladimir’s grandfather Ján was a popular interpreter of Slovak folk song in the 1950s, and the careful marshalling of national minority cultures in Yugoslavia produced a musical heritage that continues to resonate for those that have come after. Being younger, however, means that they have their own musical stories to tell and influences to work round. Vladimir’s tapes-by-the-kilo, car-boot-sale approach is something familiar to turntablists and hip-hop artists, but it’s his love of industrial sound that’s key, producing a magical, beauty-and-the-beast encounter of dirty noise, improvised violin and righteous folk.

Vladimir Lenhart is only one half of the story here, however. Enter Tijana Stanković: singer, classically trained violinist, ethnomusicologist and Radio Belgrade music editor. By Vladimir’s own admission, her encyclopaedic knowledge of the music he had grown up with turned the project from something somewhat ironic to something very sincere. He recalls an immediate connection, over a shared love of that music, and it’s a connection that has since developed in perhaps unforeseen directions, with Tijana herself pushing Vladimir into an even more uncompromising sonic stance. It’s a happy provocation, and one that marks this record out as a collaboration of equals.

The slow burn of Lenhart Tapes’ emergence has been built upon a set of scorching small-venue performances, with Vladimir’s Walkmans laying down a collage of beat, noise and tune for Tijana’s voice and violin to respond to and, at times, work against. But if you think that makes them more of a live than a recorded proposition, you’d be wrong. A decade of sporadic releases, frequently on cassette, was followed by 2021’s Duets, a sweeping, sample-heavy progress report. Now comes Dens, which hits a different kind of stride. The loops and samples of the previous record are still there, but are joined by an expanded roster of musicians and bolstered by the return of Tijana after a musical sojourn in Budapest. It’s denser, more considered, but still spacious; and it’s as rackety as Belgrade, one of Europe’s most intense capitals, but beautifully put together.

There’s the nod to the dancefloor in the opener, ‘Vodu Brala’, which feels like a coda to Duets, after which the record becomes very much its own universe, from the junkyard orchestration of ‘Žuta Žaba’, to ‘Džamahirija’, a track of pure propulsion and commitment that Adrian Sherwood needs to listen to, and the glorious, sludgy ‘Mejremo’, which is perhaps what The Velvet Underground might have sounded like if they’d been Belgrade decadents rather than New York ones.

There’s a lot going on in this record, and you’ll want time (and your biggest ears) to catch it all. Expertly produced and mastered, with superb vocal presence courtesy of Tijana Stanković, Zoja Borovčanin and Svetlana Spajić, it’s an endlessly fascinating analogue journey that rewards repeated and close listening. Where will they go next? One thing’s for certain, Lenhart Tapes will continue to bring the Noise. ]]></content:encoded>

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      <title>Lenhart Tapes : Dens - 12&quot; Vinyl Album</title>
      <link>https://glitterbeat.greedbag.com/buy/dens</link>      <description>
                The 2nd album from Belgrade Ethno-Noise outfit Lenhart Tapes, boldly extends producer Vladimir Lenhart&apos;s acclaimed re-tooling of submerged Balkan musics.

Hypnotic Walkman jams meet industrial rhythm loops and trad-folk songs interpreted by a lineup of thrilling female vocalists: Tijana Stanković, Svetlana Spajić (Gordan, Pjevačka družina) and Zoja Borovčanin (Lira Vega).

A magical, beauty-and-the-beast encounter of dirty noise and righteous folk.

Fans love labels, musicians tend not to,      </description>
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      <category>Music</category>

      <content:encoded><![CDATA[The 2nd album from Belgrade Ethno-Noise outfit Lenhart Tapes, boldly extends producer Vladimir Lenhart's acclaimed re-tooling of submerged Balkan musics.

Hypnotic Walkman jams meet industrial rhythm loops and trad-folk songs interpreted by a lineup of thrilling female vocalists: Tijana Stanković, Svetlana Spajić (Gordan, Pjevačka družina) and Zoja Borovčanin (Lira Vega).

A magical, beauty-and-the-beast encounter of dirty noise and righteous folk.

Fans love labels, musicians tend not to, so it’s rare to find one so ready to oblige. Vladimir Lenhart will happily drop Ethno-Noise on you, then leave you to work out what that might mean. You’ll have a pretty good idea after about a minute of this record ¬― or indeed if you’ve spent any time in the Balkans generally, surrounded by folk music in all its incarnations, and in Belgrade specifically, which yields up the ghosts of the Yugoslav punk and industrial scenes of the 1980s and the city’s current experimental excursions to anyone with time to listen and explore.

The interrogation of folk and the national songbook has gained considerable currency in the last several years (think Damir Imamović in Bosnia, Richard Dawson in the UK or labelmates Altın Gün), but Lenhart Tapes are taking a slightly different path. Vladimir’s grandfather Ján was a popular interpreter of Slovak folk song in the 1950s, and the careful marshalling of national minority cultures in Yugoslavia produced a musical heritage that continues to resonate for those that have come after. Being younger, however, means that they have their own musical stories to tell and influences to work round. Vladimir’s tapes-by-the-kilo, car-boot-sale approach is something familiar to turntablists and hip-hop artists, but it’s his love of industrial sound that’s key, producing a magical, beauty-and-the-beast encounter of dirty noise, improvised violin and righteous folk.

Vladimir Lenhart is only one half of the story here, however. Enter Tijana Stanković: singer, classically trained violinist, ethnomusicologist and Radio Belgrade music editor. By Vladimir’s own admission, her encyclopaedic knowledge of the music he had grown up with turned the project from something somewhat ironic to something very sincere. He recalls an immediate connection, over a shared love of that music, and it’s a connection that has since developed in perhaps unforeseen directions, with Tijana herself pushing Vladimir into an even more uncompromising sonic stance. It’s a happy provocation, and one that marks this record out as a collaboration of equals.

The slow burn of Lenhart Tapes’ emergence has been built upon a set of scorching small-venue performances, with Vladimir’s Walkmans laying down a collage of beat, noise and tune for Tijana’s voice and violin to respond to and, at times, work against. But if you think that makes them more of a live than a recorded proposition, you’d be wrong. A decade of sporadic releases, frequently on cassette, was followed by 2021’s Duets, a sweeping, sample-heavy progress report. Now comes Dens, which hits a different kind of stride. The loops and samples of the previous record are still there, but are joined by an expanded roster of musicians and bolstered by the return of Tijana after a musical sojourn in Budapest. It’s denser, more considered, but still spacious; and it’s as rackety as Belgrade, one of Europe’s most intense capitals, but beautifully put together.

There’s the nod to the dancefloor in the opener, ‘Vodu Brala’, which feels like a coda to Duets, after which the record becomes very much its own universe, from the junkyard orchestration of ‘Žuta Žaba’, to ‘Džamahirija’, a track of pure propulsion and commitment that Adrian Sherwood needs to listen to, and the glorious, sludgy ‘Mejremo’, which is perhaps what The Velvet Underground might have sounded like if they’d been Belgrade decadents rather than New York ones.

There’s a lot going on in this record, and you’ll want time (and your biggest ears) to catch it all. Expertly produced and mastered, with superb vocal presence courtesy of Tijana Stanković, Zoja Borovčanin and Svetlana Spajić, it’s an endlessly fascinating analogue journey that rewards repeated and close listening. Where will they go next? One thing’s for certain, Lenhart Tapes will continue to bring the Noise. ]]></content:encoded>

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      <title>Altın Gün : Aşk - CD Album</title>
      <link>https://glitterbeat.greedbag.com/buy/ak-60</link>      <description>
                Their 5th album in as many years Aşk (deeper feeling of love), marks an exuberant return to the 70s Anatolian folk-rock sound that characterised Altın Gün’s first two albums.

It is a record that radiates the infectious energy found in the Amsterdam-based sextet’s celebrated live performances and next levels the group’s ground breaking sonic palette of Turkish psychedelic groove pop, sci-fi disco and dreamy acid folk.      </description>
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      <content:encoded><![CDATA[Their 5th album in as many years Aşk (deeper feeling of love), marks an exuberant return to the 70s Anatolian folk-rock sound that characterised Altın Gün’s first two albums.

It is a record that radiates the infectious energy found in the Amsterdam-based sextet’s celebrated live performances and next levels the group’s ground breaking sonic palette of Turkish psychedelic groove pop, sci-fi disco and dreamy acid folk.]]></content:encoded>

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      <title>Altın Gün : Aşk (Black vinyl) - 12&quot; Vinyl Album (Black vinyl)</title>
      <link>https://glitterbeat.greedbag.com/buy/ak-60</link>      <description>
                Their 5th album in as many years Aşk (deeper feeling of love), marks an exuberant return to the 70s Anatolian folk-rock sound that characterised Altın Gün’s first two albums.

It is a record that radiates the infectious energy found in the Amsterdam-based sextet’s celebrated live performances and next levels the group’s ground breaking sonic palette of Turkish psychedelic groove pop, sci-fi disco and dreamy acid folk.      </description>
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      <content:encoded><![CDATA[Their 5th album in as many years Aşk (deeper feeling of love), marks an exuberant return to the 70s Anatolian folk-rock sound that characterised Altın Gün’s first two albums.

It is a record that radiates the infectious energy found in the Amsterdam-based sextet’s celebrated live performances and next levels the group’s ground breaking sonic palette of Turkish psychedelic groove pop, sci-fi disco and dreamy acid folk.]]></content:encoded>

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      <title>Altın Gün : Yol - CD Album</title>
      <link>https://glitterbeat.greedbag.com/buy/yol-16</link>      <description>
                Altın Gün return with a masterful album that widens their critically acclaimed exploration of Anatolian rock and Turkish psychedelic stylings to include dreamy 80’s synth-pop and dancefloor excursions. Yol (Road) brings together all vectors of the Altın Gün experience and delivers their most compelling and individual album to date.
      </description>
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      <content:encoded><![CDATA[Altın Gün return with a masterful album that widens their critically acclaimed exploration of Anatolian rock and Turkish psychedelic stylings to include dreamy 80’s synth-pop and dancefloor excursions. Yol (Road) brings together all vectors of the Altın Gün experience and delivers their most compelling and individual album to date.
]]></content:encoded>

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      <title>Altın Gün : Yol (Black vinyl) - 12&quot; Vinyl Album (Black vinyl)</title>
      <link>https://glitterbeat.greedbag.com/buy/yol-16</link>      <description>
                Altın Gün return with a masterful album that widens their critically acclaimed exploration of Anatolian rock and Turkish psychedelic stylings to include dreamy 80’s synth-pop and dancefloor excursions. Yol (Road) brings together all vectors of the Altın Gün experience and delivers their most compelling and individual album to date.
      </description>
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      <content:encoded><![CDATA[Altın Gün return with a masterful album that widens their critically acclaimed exploration of Anatolian rock and Turkish psychedelic stylings to include dreamy 80’s synth-pop and dancefloor excursions. Yol (Road) brings together all vectors of the Altın Gün experience and delivers their most compelling and individual album to date.
]]></content:encoded>

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      <title>YĪN YĪN : The Age of Aquarius (Black vinyl) - 12&quot; Vinyl Album (Black vinyl)</title>
      <link>https://glitterbeat.greedbag.com/buy/the-age-of-aquarius-3</link>      <description>
                “Yīn Yīn hop and bound along, being whisked up by the pure joy of their experimentation, unafraid to see how far from home it takes them...eccentric, boundary-bashing, genre-melding groove.” – The Line of Best Fit

YĪN YĪN’s dazzling second album dives even deeper into dancefloor propulsion and space travel atmospherics than their lauded debut The Rabbit that Hunts Tigers (2019).

While there is an expanded sonic richness on the new album as samples, drum computers and otherworldly synthesiz      </description>
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      <content:encoded><![CDATA[“Yīn Yīn hop and bound along, being whisked up by the pure joy of their experimentation, unafraid to see how far from home it takes them...eccentric, boundary-bashing, genre-melding groove.” – The Line of Best Fit

YĪN YĪN’s dazzling second album dives even deeper into dancefloor propulsion and space travel atmospherics than their lauded debut The Rabbit that Hunts Tigers (2019).

While there is an expanded sonic richness on the new album as samples, drum computers and otherworldly synthesizers intertwine with the band’s taut playing, more than anything The Age of Aquarius is a simple, direct appeal to dance. The record’s groove manifesto can be put down to YĪN YĪN’s experiences on the road, where the positive energies picked up from their audiences fed back into a sound that increasingly “kept people moving.”

Funk and disco beats. Electro experimentation. Global retro vibes.
A shimmering, cinematic sweep.]]></content:encoded>

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      <title>YĪN YĪN : The Age of Aquarius - CD Album</title>
      <link>https://glitterbeat.greedbag.com/buy/the-age-of-aquarius-3</link>      <description>
                “Yīn Yīn hop and bound along, being whisked up by the pure joy of their experimentation, unafraid to see how far from home it takes them...eccentric, boundary-bashing, genre-melding groove.” – The Line of Best Fit

YĪN YĪN’s dazzling second album dives even deeper into dancefloor propulsion and space travel atmospherics than their lauded debut The Rabbit that Hunts Tigers (2019).

While there is an expanded sonic richness on the new album as samples, drum computers and otherworldly synthesiz      </description>
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      <content:encoded><![CDATA[“Yīn Yīn hop and bound along, being whisked up by the pure joy of their experimentation, unafraid to see how far from home it takes them...eccentric, boundary-bashing, genre-melding groove.” – The Line of Best Fit

YĪN YĪN’s dazzling second album dives even deeper into dancefloor propulsion and space travel atmospherics than their lauded debut The Rabbit that Hunts Tigers (2019).

While there is an expanded sonic richness on the new album as samples, drum computers and otherworldly synthesizers intertwine with the band’s taut playing, more than anything The Age of Aquarius is a simple, direct appeal to dance. The record’s groove manifesto can be put down to YĪN YĪN’s experiences on the road, where the positive energies picked up from their audiences fed back into a sound that increasingly “kept people moving.”

Funk and disco beats. Electro experimentation. Global retro vibes.
A shimmering, cinematic sweep.]]></content:encoded>

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      <title>Krononaut : Krononaut - 12&quot; Vinyl Album</title>
      <link>https://glitterbeat.greedbag.com/buy/krononaut-2</link>      <description>
                Coming out of the fertile London jazz and experimental scenes, Krononaut is a richly textured new ensemble helmed by guitarist /producer Leo Abrahams (Brian Eno, Imogen Heap, Jon Hopkins) and drummer Martin France (Nils Petter Molvær, Evan Parker). The album features an esteemed group of collaborators and a sonic footprint that channels spectral ambiance, ‘fourth world’ expansions and a gorgeous slow-boiling pointillism.

‘No one’s dictating where it is going. We are treating it incredibly car      </description>
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      <content:encoded><![CDATA[Coming out of the fertile London jazz and experimental scenes, Krononaut is a richly textured new ensemble helmed by guitarist /producer Leo Abrahams (Brian Eno, Imogen Heap, Jon Hopkins) and drummer Martin France (Nils Petter Molvær, Evan Parker). The album features an esteemed group of collaborators and a sonic footprint that channels spectral ambiance, ‘fourth world’ expansions and a gorgeous slow-boiling pointillism.

‘No one’s dictating where it is going. We are treating it incredibly carefully. That sort of music, it’s delicate. You’ve got to know what you’re doing, but at the same time not do it’ -- Martin France (Krononaut)

Krononaut are a posse of time-expanding shapeshifters who, in the space of two sessions recorded early last year in London, have managed to produce ten cuts of arresting, deeply immersive instrumental music. Tak:til, Glitterbeat’s experimental arm, now fifteen releases strong in a little over three years, has again found a record that echoes many key aspects of its emerging soundworld.

The core of the album is provided by Leo Abrahams, whose startling guitar lit up Small Craft On A Milk Sea, some of Brian Eno’s best work of the last couple of decades, and who plays and produces here, and Martin France, the extraordinary drummer whose wide list of achievements and collaborators includes Evan Parker, Nils Petter Molvær and, more tangentially, Elvis Costello. Experimental music contains multitudes, so it’s perhaps no surprise that the two men came at it from, if not opposing sides, then from two radically different backgrounds: Leo, who started off studying classic composition and who, in his own words, ‘can’t play jazz’, and Martin, whose playing rests precisely on what he refers to a ‘jazz sensibility’, on everything about interacting within and shaping the music implied by that term.

So those are the terms of reference right there―freedom and a room for creativity that Martin says is rare and in which he, in particular, delights in. ‘I have never encountered anybody who has quite the approach [Leo] has. He keeps it open to whichever way it might want to go.’ Leo returns the compliment: ‘I had never played with a drummer like Martin before. It felt really exciting.’

Also in on that first session was Shahzad Ismaily (Tom Waits, Laurie Anderson, Marc Ribot), who was looking for some playing time while in London. Like many great multi-instrumentalists (on this album he plays bass), he was keen to find a frame for the ‘attitude’ they should seek in the session; Leo obliged by playing some Madoh, shamanic funeral music from Tajikistan, whose unique rhythms ended up informing both the guitar and drums on this record.

A second session was inevitable, this time joined by bassist Tim Harries (June Tabor, Byrne & Eno), American saxophonist Matana Roberts (best known for her acclaimed Coin Coin album series) and Swedish trumpet maestro Arve Henriksen. Save for Henriksen’s gorgeously melodic, flute-like lines, Krononaut was improvised live with no overdubs. Yet these soundscapes never feel jammy or unfocused, possibly because of the influence of another of the album’s spiritual touchstones: avant-garde pioneer Morton Feldman. As Leo points out: ‘In terms of harmonies and the almost playful but ritualistic reiterations of motifs, Feldman’s structures are not really linear in the conventional sense― they are more like refractions of a set of intervals and motifs. Contemplative rather than directional. And that was something that really interested me as a possible basis for my own improvisation.’ For Martin, listening to the outside music Leo had brought to the session ‘was a wonderful way to start off the actual playing, but then we started to get a footing and feel out what sort of landscape we could create with the way we were all playing. Yes, we did have a starting point in terms of some ideas, but it very quickly took on its own life.’

What this all produces is a subtle and intricate record that expands with each listen. In contrast to Pulled By Magnets’ Rose Golden Doorways, tak:til’s other major release of 2020, it expands through its details rather than through tectonic effort: this is not a loud record. Rather, as Martin points out, it is a ‘delicate’ one. Pointillistic and often quietly restless. Rough edges butting against discrete spaces. The groove is mournful at times, but with an effect that is never less than cinematic, as in the startling ‘Wealth of Nations’, in ‘Leaving Alhambra’, which sounds like the score to Peter Strickland directing mid-period Elizabeth Taylor, and in ‘Convocation’, the album’s closer, where Roberts’s spectral sax lines pull against the track’s widescreen instincts, returning it firmly to the flickering late-night TV and the feeling that, while not everything is right with the world, it continues to make some deep and beautiful noise.
]]></content:encoded>

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      <title>Krononaut : Krononaut - CD Album</title>
      <link>https://glitterbeat.greedbag.com/buy/krononaut-2</link>      <description>
                Coming out of the fertile London jazz and experimental scenes, Krononaut is a richly textured new ensemble helmed by guitarist /producer Leo Abrahams (Brian Eno, Imogen Heap, Jon Hopkins) and drummer Martin France (Nils Petter Molvær, Evan Parker). The album features an esteemed group of collaborators and a sonic footprint that channels spectral ambiance, ‘fourth world’ expansions and a gorgeous slow-boiling pointillism.

‘No one’s dictating where it is going. We are treating it incredibly car      </description>
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      <content:encoded><![CDATA[Coming out of the fertile London jazz and experimental scenes, Krononaut is a richly textured new ensemble helmed by guitarist /producer Leo Abrahams (Brian Eno, Imogen Heap, Jon Hopkins) and drummer Martin France (Nils Petter Molvær, Evan Parker). The album features an esteemed group of collaborators and a sonic footprint that channels spectral ambiance, ‘fourth world’ expansions and a gorgeous slow-boiling pointillism.

‘No one’s dictating where it is going. We are treating it incredibly carefully. That sort of music, it’s delicate. You’ve got to know what you’re doing, but at the same time not do it’ -- Martin France (Krononaut)

Krononaut are a posse of time-expanding shapeshifters who, in the space of two sessions recorded early last year in London, have managed to produce ten cuts of arresting, deeply immersive instrumental music. Tak:til, Glitterbeat’s experimental arm, now fifteen releases strong in a little over three years, has again found a record that echoes many key aspects of its emerging soundworld.

The core of the album is provided by Leo Abrahams, whose startling guitar lit up Small Craft On A Milk Sea, some of Brian Eno’s best work of the last couple of decades, and who plays and produces here, and Martin France, the extraordinary drummer whose wide list of achievements and collaborators includes Evan Parker, Nils Petter Molvær and, more tangentially, Elvis Costello. Experimental music contains multitudes, so it’s perhaps no surprise that the two men came at it from, if not opposing sides, then from two radically different backgrounds: Leo, who started off studying classic composition and who, in his own words, ‘can’t play jazz’, and Martin, whose playing rests precisely on what he refers to a ‘jazz sensibility’, on everything about interacting within and shaping the music implied by that term.

So those are the terms of reference right there―freedom and a room for creativity that Martin says is rare and in which he, in particular, delights in. ‘I have never encountered anybody who has quite the approach [Leo] has. He keeps it open to whichever way it might want to go.’ Leo returns the compliment: ‘I had never played with a drummer like Martin before. It felt really exciting.’

Also in on that first session was Shahzad Ismaily (Tom Waits, Laurie Anderson, Marc Ribot), who was looking for some playing time while in London. Like many great multi-instrumentalists (on this album he plays bass), he was keen to find a frame for the ‘attitude’ they should seek in the session; Leo obliged by playing some Madoh, shamanic funeral music from Tajikistan, whose unique rhythms ended up informing both the guitar and drums on this record.

A second session was inevitable, this time joined by bassist Tim Harries (June Tabor, Byrne & Eno), American saxophonist Matana Roberts (best known for her acclaimed Coin Coin album series) and Swedish trumpet maestro Arve Henriksen. Save for Henriksen’s gorgeously melodic, flute-like lines, Krononaut was improvised live with no overdubs. Yet these soundscapes never feel jammy or unfocused, possibly because of the influence of another of the album’s spiritual touchstones: avant-garde pioneer Morton Feldman. As Leo points out: ‘In terms of harmonies and the almost playful but ritualistic reiterations of motifs, Feldman’s structures are not really linear in the conventional sense― they are more like refractions of a set of intervals and motifs. Contemplative rather than directional. And that was something that really interested me as a possible basis for my own improvisation.’ For Martin, listening to the outside music Leo had brought to the session ‘was a wonderful way to start off the actual playing, but then we started to get a footing and feel out what sort of landscape we could create with the way we were all playing. Yes, we did have a starting point in terms of some ideas, but it very quickly took on its own life.’

What this all produces is a subtle and intricate record that expands with each listen. In contrast to Pulled By Magnets’ Rose Golden Doorways, tak:til’s other major release of 2020, it expands through its details rather than through tectonic effort: this is not a loud record. Rather, as Martin points out, it is a ‘delicate’ one. Pointillistic and often quietly restless. Rough edges butting against discrete spaces. The groove is mournful at times, but with an effect that is never less than cinematic, as in the startling ‘Wealth of Nations’, in ‘Leaving Alhambra’, which sounds like the score to Peter Strickland directing mid-period Elizabeth Taylor, and in ‘Convocation’, the album’s closer, where Roberts’s spectral sax lines pull against the track’s widescreen instincts, returning it firmly to the flickering late-night TV and the feeling that, while not everything is right with the world, it continues to make some deep and beautiful noise.
]]></content:encoded>

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      <title>TootArd : Migrant Birds - CD Album</title>
      <link>https://glitterbeat.greedbag.com/buy/migrant-birds-2</link>      <description>
                This inventive duo of brothers from the Golan Heights – Hasan and Rami Nakhleh – return with an infectious re-imagining of their sound. Jammed full of pop hooks and quarter-tone melodic lines, “Migrant Birds” unleashes a disco whirlwind that pays homage to the Middle Eastern dancefloor scenes of the 80’s. Retro funky meets hi-sheen contemporary.

It’s 1980. You’re in a disco, maybe in Beirut or Cairo, almost anywhere in the Middle East, lost in the colours and the lights, overwhelmed by the so      </description>
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      <content:encoded><![CDATA[This inventive duo of brothers from the Golan Heights – Hasan and Rami Nakhleh – return with an infectious re-imagining of their sound. Jammed full of pop hooks and quarter-tone melodic lines, “Migrant Birds” unleashes a disco whirlwind that pays homage to the Middle Eastern dancefloor scenes of the 80’s. Retro funky meets hi-sheen contemporary.

It’s 1980. You’re in a disco, maybe in Beirut or Cairo, almost anywhere in the Middle East, lost in the colours and the lights, overwhelmed by the sound of drum machines and keyboards. It’s heady, it’s beautiful…but those days are long gone; maybe they were only ever just a fantasy. Real or not, they provide the inspiration for Migrant Birds, the new synth-powered album from TootArd that takes them to the dancefloor, about as far from the spare, guitar-driven desert blues of their highly touted Glitterbeat debut Laissez Passer, as it’s possible to go.

“After that record, Rami and I started listening to different things, dance music and old disco,” explains keyboard player and guitarist Hasan Nakhleh. “When we were little, we had compilations of 80s hits that we played over and over. We didn’t know the artists, but we knew all the melodies and harmonies. A lot of that was dance music. Back then, our family had an Arabic synthesizer with the quarter-tones, called a PSR-62, Oriental Model that I loved to play as a kid. My family still has a similar one. I bought an Oriental and began messing around. That was how Migrant Birds was born.”

The 80s may be the catalyst, with the glittering, hedonistic party vibe. But the real roots of the music here run deeper, to musicians like keyboardist Magdi al-Husseini and Ihsan Al-Munzer, who were the first to introduce synthesizers to the Arabic classical style, or Omar Khorshid, who pioneered the addition of electric guitar and worked with the legendary Umm Kulthum. They brought Arabic music firmly into the modern age.

“They were definitely big influences on me,” Nakhleh says, “I write to carry on and do more with the sounds they brought.” Migrant Birds winds all those strands from the past together into a very intricately-crafted whole with a full sound. While Nakhleh plays synthesizer on every track, he doesn’t completely ignore the guitar that was his trademark for so long. It’s there, but this time buried below the surface to bolster the rhythm, while the drums, played again by Nakhleh’s brother and co-conspirator Rami, are a carefully layered mix of machine and kit.

And under the beats and the joy, there’s a dark contrast, a sorrow that casts its shadow all across the lyrics.

“There’s a melancholic feeling to the writing,” Nakhleh agrees. ‘The subjects are darker. Arabs are people who have boiling emotions, they write sad love songs. Maybe it’s how we cope, to try and understand the struggle.”

The album’s heart is simple idea – freedom; of being those Migrant Birds and flying away. But perhaps that’s as natural as breathing for people who remain officially “undefined” and stateless. Those who are born in the occupied Golan Heights – like the Nakhleh brothers – have no passport, depending instead on a document called a laissez passer to be able to cross borders. It is a situation that has existed since the late 1960’s when Israel took control of the region.

“We talked about birds migrating, and it began as something political,” Nakhleh recalls. “It grew into more – social, love, freedom and women, queer freedom. I left my village on the Golan Heights when I was 19, went to Jerusalem, then Haifa, before I moved to Europe six years ago. That’s going for freedom. We’re the migrant birds looking for find ourselves. But our parents are still back in the village and their life isn’t ours any longer.”

That feeling of leaving, of knowing the emotional distance from where you began, is perfectly captured in “Wanderlust” with its Kerouac images of existing on the road: now let the car count the miles, I’ve got my cup of coffee/Driven for a far unknown challenge, I shall never find my way back home.

In “Babe,” the thoughts of escape come from an Arabic woman, desperate to flee her dominant husband: Oh my love/ You are soft as a tank/ So narrow has become our universe… I swear I will fly away with a balloon/ Abandon my husband and country.

That sadness which ripples through the lyrics is a perfect fit with the album’s two slower tracks, “Ya Ghali” and the stately closer, “Remote Love.” Both look back on beauty with warmth, from a place where “love turns into memory.” It’s another kind of flight, a freedom from the past. But “we tried to do something new for our audience,” Nakhleh admits, “some soft, slow-down dance tracks. It’s another facet of the emotions here.”

All through Migrant Birds, the focus is on songs that have plenty to say. Only one is an instrumental, the enigmatically-titled “Stone Heap of the Wild Cat.” It’s the name given to Rujm el-Hiri, a megalithic stone monument on the Golan Heights, as old as Stonehenge, close to where the Nakhleh brothers grew up. A glance over the shoulder from a distance.

While proudly rooted in the Middle East, Migrant Birds is infectious and globally accessible. But, Nakhleh notes, it was always meant to be “a basic pop concept, keeping the songs short and well-produced. A lot of that comes from the 80s Lebanese and Egyptian influence. If I wrote a straight Arabic melody, more like classical music, it would be too long for many people. This keeps the flavour, but it appeals to a broader audience.”

Live the songs will stretch out longer and will be buoyed by a full band. At gigs and festivals across Europe, Nakhleh will strap on the guitar he built with extra frets and take some soloes. He also hopes that in 2021, TootArd will be able to play all across the Middle East for the first time.

“There are around 22 Arab countries, and we’ve only been able to make it to four of them so far,” he says. “But we haven’t been able to tour anywhere else in the region because all we have are laissez passers. It’s a crazy situation. But next year I can become a Swiss citizen. For the first time in my life, I’ll have a proper passport.”

Then TootArd will be free to fly away wherever they choose. Until then, though, the Migrant Birds can fill the dancefloors. 
]]></content:encoded>

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      <title>Tamikrest : Tamotaït - 12&quot; Vinyl Album</title>
      <link>https://glitterbeat.greedbag.com/buy/tamotat-2</link>      <description>
                Tamikrest return with a vivid, irrepressible rock and roll statement. Their most powerful album since 2013’s wildly acclaimed Chatma, Tamotaït finds the band not only turning up the volume, but also sharpening their ruminations on the state of the Sahara and the world beyond. Features acclaimed Moroccan singer Hindi Zahra and Japanese traditional musicians.

Sometimes music is more than the notes played or the words sung. Sometimes it’s a spirit that catches fire and burns with a dangerous, da      </description>
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      <content:encoded><![CDATA[Tamikrest return with a vivid, irrepressible rock and roll statement. Their most powerful album since 2013’s wildly acclaimed Chatma, Tamotaït finds the band not only turning up the volume, but also sharpening their ruminations on the state of the Sahara and the world beyond. Features acclaimed Moroccan singer Hindi Zahra and Japanese traditional musicians.

Sometimes music is more than the notes played or the words sung. Sometimes it’s a spirit that catches fire and burns with a dangerous, dazzling flame. On Tamotaït, Tamikrest’s fifth studio album, the music blazes bright and long. With the political situation so volatile and desperate in the Saharan ancestral lands from which Tamikrest comes, this is more than an album. This is resistance.

But in there, too, is the dream of the future. “The definition of the album is there in its title,” explains singer, guitarist and songwriter Ousmane Ag Mossa. “Tamotaït means hope for a positive change.”

Change as in an end to the fighting that’s plagued northern Mali and the wider region for the past several years; change as in the chance to prosper within their own homeland – Azawad – a proto nation that the nomadic Tuareg (or Kel Tamasheq as they prefer to be called) briefly possessed in 2012. It is music formed from thoughts, dreams, inspiration, and above all, collective experimentation.

“We are a band and when we play together everyone brings their way of playing. For the compositions, some pieces start from a riff, another part from a melody or a rhythm and each musician adds his ideas afterwards. The idea was to keep a common thread that comes from Tamasheq music and to take it through different worlds, whether they come from our influences or from our encounters during our travels.”

That common thread is passion. You can hear it from the very first note of the opening cut, “Awnafin,” where defiance powers the vocals, all the way to the floating, airy melodies that close “Tabsit.” It’s assouf, music forged in exile. Because of the toxic regional conflict, for most of the last decade the founding members of Tamikrest have not lived in Kidal, Mali, the desert crossroads town where the band began in 2007.

Yet exile can also mean the hope of return, and on “Amzagh” and “As Sastnan Hidjan,” the two tracks the group sees as pivotal to understanding the themes of Tamotaït, Tamikrest sing of the possibilities that lie ahead for the Kel Tamasheq people.

“‘Amzagh’ is a song that describes the people of today and reflects about the people of the future,” observes percussionist and singer Aghlaly Ag Mohamedine. “What are we doing right now and how this will influence the future.”

And “Sastnam Hidjan” peers into one of those futures: ‘It’s about revolution,” he says. “A revolution in the Tamasheq culture. We want to fight for our culture and tradition. We are not taking the oppression for granted. We stand and we fight.” That’s more than lip service. You can hear it in the way the music builds and builds, the dual, intertwined guitars of Ag Mossa and Paul Salvagnac relentless and insistent, until it finally all boils over. The blaze burning bright.

Yet fire does more than cleanse. It also brings light and warmth and comfort, and its glow fills the beautifully aching “Timtarin,” where the band is joined by an ideal collaborator (Salvagnac played in her band for several years), renowned Moroccan singer Hindi Zahra.

“We invited her to play with us at one of our concerts in Brussels,” Ag Mossa recalls. “We hadn't rehearsed; she just came on stage and it all happened very naturally. We really liked what she brought to our songs and invited her to come and sing on other dates. Each time, we managed to create something very natural and spontaneous. She has a remarkable voice and she’s a very good improviser. It seemed natural to us for her to sing on the album. We recorded without any rehearsal, and the first take was the right one.”

Tamotaït is the most expansive and adventurous album that Tamikrest have made, exploring every corner of their sound. There’s even music they made far from the Sahara – in Japan. On tour there, Ag Mossa had been very taken by the sound of their traditional instruments.

“I decided to go back, to know more about the culture and music. During my visit, I composed some songs on one of the remote islands of Japan. And since the songwriting of this album started in the desert and ended on the islands in Japan, we believed that it was a good idea to reflect this on the album as well.”

Tamikrest’s plans to record there were almost derailed by a typhoon. But one track does appear on the album: the final cut, “Tabsit,” with its atmospheric, gossamer melody. The shamisen and five-string tonkori of guests Atsushi Sakta and Oki Kano glide around the guitars to create a piece where the desert truly does meet the Rising Sun.

Most of Tamotaït, though, was recorded in rural France, working with producer David Odlum (Glen Hansard, Gemma Hayes, Tinariwen), stepping up from his mixing role on the band’s 2016 release, Kidal.

“We wanted to make a modern album but with vintage sounds, and we fell in love with his studio, Black Box, when we visited a few years ago,” Ag Mossa explains. We wanted to work as much as possible on the sounds beforehand and not leave everything for the mixing. So we spent time with him, finalising the arrangements before we began recording, and he also helped us a lot in the choice of amps and microphones.”

The Odlum effect is especially apparent than on “Anha Achal Wad Namda.” Just listen for that moment where the taut rhythm section of Ag Mohamedine, Cheikh Ag Tiglia (bass) and Nicolas Grupp (drums) kick in and the track lifts off to the stratosphere with a full-throated roar. It’s pure, perfect rock bliss, a reminder of how music can speak with such a towering voice – and why a decade into their acclaimed career, Tamikrest have become one of the best rock’n’roll bands in the world.

That’s a big title to carry. But Tamotaït proves they’re worthy of it. This album is what rock’n’roll can be, what all music can be. Music as a weapon of hope. Songs as a vessel of truth. 
]]></content:encoded>

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      <title>Tamikrest : Tamotaït - CD Album</title>
      <link>https://glitterbeat.greedbag.com/buy/tamotat-2</link>      <description>
                Tamikrest return with a vivid, irrepressible rock and roll statement. Their most powerful album since 2013’s wildly acclaimed Chatma, Tamotaït finds the band not only turning up the volume, but also sharpening their ruminations on the state of the Sahara and the world beyond. Features acclaimed Moroccan singer Hindi Zahra and Japanese traditional musicians.

Sometimes music is more than the notes played or the words sung. Sometimes it’s a spirit that catches fire and burns with a dangerous, da      </description>
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      <content:encoded><![CDATA[Tamikrest return with a vivid, irrepressible rock and roll statement. Their most powerful album since 2013’s wildly acclaimed Chatma, Tamotaït finds the band not only turning up the volume, but also sharpening their ruminations on the state of the Sahara and the world beyond. Features acclaimed Moroccan singer Hindi Zahra and Japanese traditional musicians.

Sometimes music is more than the notes played or the words sung. Sometimes it’s a spirit that catches fire and burns with a dangerous, dazzling flame. On Tamotaït, Tamikrest’s fifth studio album, the music blazes bright and long. With the political situation so volatile and desperate in the Saharan ancestral lands from which Tamikrest comes, this is more than an album. This is resistance.

But in there, too, is the dream of the future. “The definition of the album is there in its title,” explains singer, guitarist and songwriter Ousmane Ag Mossa. “Tamotaït means hope for a positive change.”

Change as in an end to the fighting that’s plagued northern Mali and the wider region for the past several years; change as in the chance to prosper within their own homeland – Azawad – a proto nation that the nomadic Tuareg (or Kel Tamasheq as they prefer to be called) briefly possessed in 2012. It is music formed from thoughts, dreams, inspiration, and above all, collective experimentation.

“We are a band and when we play together everyone brings their way of playing. For the compositions, some pieces start from a riff, another part from a melody or a rhythm and each musician adds his ideas afterwards. The idea was to keep a common thread that comes from Tamasheq music and to take it through different worlds, whether they come from our influences or from our encounters during our travels.”

That common thread is passion. You can hear it from the very first note of the opening cut, “Awnafin,” where defiance powers the vocals, all the way to the floating, airy melodies that close “Tabsit.” It’s assouf, music forged in exile. Because of the toxic regional conflict, for most of the last decade the founding members of Tamikrest have not lived in Kidal, Mali, the desert crossroads town where the band began in 2007.

Yet exile can also mean the hope of return, and on “Amzagh” and “As Sastnan Hidjan,” the two tracks the group sees as pivotal to understanding the themes of Tamotaït, Tamikrest sing of the possibilities that lie ahead for the Kel Tamasheq people.

“‘Amzagh’ is a song that describes the people of today and reflects about the people of the future,” observes percussionist and singer Aghlaly Ag Mohamedine. “What are we doing right now and how this will influence the future.”

And “Sastnam Hidjan” peers into one of those futures: ‘It’s about revolution,” he says. “A revolution in the Tamasheq culture. We want to fight for our culture and tradition. We are not taking the oppression for granted. We stand and we fight.” That’s more than lip service. You can hear it in the way the music builds and builds, the dual, intertwined guitars of Ag Mossa and Paul Salvagnac relentless and insistent, until it finally all boils over. The blaze burning bright.

Yet fire does more than cleanse. It also brings light and warmth and comfort, and its glow fills the beautifully aching “Timtarin,” where the band is joined by an ideal collaborator (Salvagnac played in her band for several years), renowned Moroccan singer Hindi Zahra.

“We invited her to play with us at one of our concerts in Brussels,” Ag Mossa recalls. “We hadn't rehearsed; she just came on stage and it all happened very naturally. We really liked what she brought to our songs and invited her to come and sing on other dates. Each time, we managed to create something very natural and spontaneous. She has a remarkable voice and she’s a very good improviser. It seemed natural to us for her to sing on the album. We recorded without any rehearsal, and the first take was the right one.”

Tamotaït is the most expansive and adventurous album that Tamikrest have made, exploring every corner of their sound. There’s even music they made far from the Sahara – in Japan. On tour there, Ag Mossa had been very taken by the sound of their traditional instruments.

“I decided to go back, to know more about the culture and music. During my visit, I composed some songs on one of the remote islands of Japan. And since the songwriting of this album started in the desert and ended on the islands in Japan, we believed that it was a good idea to reflect this on the album as well.”

Tamikrest’s plans to record there were almost derailed by a typhoon. But one track does appear on the album: the final cut, “Tabsit,” with its atmospheric, gossamer melody. The shamisen and five-string tonkori of guests Atsushi Sakta and Oki Kano glide around the guitars to create a piece where the desert truly does meet the Rising Sun.

Most of Tamotaït, though, was recorded in rural France, working with producer David Odlum (Glen Hansard, Gemma Hayes, Tinariwen), stepping up from his mixing role on the band’s 2016 release, Kidal.

“We wanted to make a modern album but with vintage sounds, and we fell in love with his studio, Black Box, when we visited a few years ago,” Ag Mossa explains. We wanted to work as much as possible on the sounds beforehand and not leave everything for the mixing. So we spent time with him, finalising the arrangements before we began recording, and he also helped us a lot in the choice of amps and microphones.”

The Odlum effect is especially apparent than on “Anha Achal Wad Namda.” Just listen for that moment where the taut rhythm section of Ag Mohamedine, Cheikh Ag Tiglia (bass) and Nicolas Grupp (drums) kick in and the track lifts off to the stratosphere with a full-throated roar. It’s pure, perfect rock bliss, a reminder of how music can speak with such a towering voice – and why a decade into their acclaimed career, Tamikrest have become one of the best rock’n’roll bands in the world.

That’s a big title to carry. But Tamotaït proves they’re worthy of it. This album is what rock’n’roll can be, what all music can be. Music as a weapon of hope. Songs as a vessel of truth. 
]]></content:encoded>

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      <title>Trupa Trupa : Of The Sun - 12&quot; Vinyl Album</title>
      <link>https://glitterbeat.greedbag.com/buy/of-the-sun-2</link>      <description>
                Almost every song on Of The Sun—the magnetic fifth album from the Polish quartet Trupa Trupa—lands like an anthem, with barbed hooks driven by an italicized rhythm section and a chimera of crisscrossing harmonies. During “Dream About,” a honeyed falsetto totters over a menacing bassline, the frisson between them so hypnotic it renders the title phrase as an existential mantra, a lifeline. The distorted and snarling “Mangle” rumbles then lifts skyward, its wild-eyed shouts and phosphorescent guit      </description>
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      <content:encoded><![CDATA[Almost every song on Of The Sun—the magnetic fifth album from the Polish quartet Trupa Trupa—lands like an anthem, with barbed hooks driven by an italicized rhythm section and a chimera of crisscrossing harmonies. During “Dream About,” a honeyed falsetto totters over a menacing bassline, the frisson between them so hypnotic it renders the title phrase as an existential mantra, a lifeline. The distorted and snarling “Mangle” rumbles then lifts skyward, its wild-eyed shouts and phosphorescent guitar rising like a winter sun. “Angle” is a pensive acoustic reverie, with chiming harmonics swirling like wisps of smoke around the refrain.

Throughout its propulsive 12-song sequence, this is an album that never lets up. From the relentlessly pulsing “Long Time Ago” to the deep glisten of “Longing,” Of The Sun is an unbroken string of hits in Trupa Trupa’s idiosyncratic, self-made universe.

But just beneath the surface of these often bright and always indelible songs, there is a world teeming with nihilistic considerations, slyly dark humor, and survivalist self-assurances – all subtly nestled into bold refrains and reflected back via complex, secret textures. In the breathless rush of “Remainder,” for instance, the band chants “Well, it did not take place” again and again for three minutes, refusing to define “it” so that the emptiness applies to everything. And though “Long Time Ago” hits like a psychedelic romp, corroded sheets of noise spill out beneath the hook, betraying the sense of absolute oblivion at the song’s core.

“It pretends to be nice,” confesses singer Grzegorz Kwiatkowski with a laugh, from the band’s home city in northern Poland along the edge of the Baltic Sea, Gdańsk. “But really, it’s not nice. These are contemplative songs about extremes. Sometimes, I call it vital pessimism. We cherish our freedom but the place where we are from is also a grim reminder of the evil that people are capable of. We cannot forget it. We cannot justify it. We must remember and not be indifferent.”

The setting of Gdańsk is a crucial philosophical and aesthetic touchstone for Trupa Trupa. A city with a convoluted history of German and Polish rule and self-sovereignty, it is itself a living testament to the turnover of human toil. It’s also the homeland of Arthur Schopenhauer, a philosopher whose system of metaphysical will inspired Nietzsche and, in turn, Trupa Trupa. Klaus Kinski was born nearby, too; Kwiatkowski considers his Werner Herzog-directed film, Fitzcarraldo, one of the best movies ever made. Kinski tries in vain to amass a fortune by piloting a steamship over a mountain into the rubber bonanza of the Amazon. It is a portrait of great effort and pathetic failure, of strain sublimating into nothing. Along with the notions of Beckett, hints of Syd Barrett, and the knotty complications of Wire, these emotions ripple through Of The Sun, a radiant album about the damnation of mortality.

Trupa Trupa has grown inordinately in both confidence and execution during the last half-decade. Spurred on by a democratic process, where no one is the real leader and all ideas and influences are funneled into the same rich sound, Trupa Trupa channel a multiverse of feelings into captivating four-minute spans. Throughout Of The Sun, they stare into the dark and summon a light of their own, making the struggle feel not just tolerable but deceptively triumphant. ]]></content:encoded>

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      <title>Trupa Trupa : Of The Sun - CD Album</title>
      <link>https://glitterbeat.greedbag.com/buy/of-the-sun-2</link>      <description>
                Almost every song on Of The Sun—the magnetic fifth album from the Polish quartet Trupa Trupa—lands like an anthem, with barbed hooks driven by an italicized rhythm section and a chimera of crisscrossing harmonies. During “Dream About,” a honeyed falsetto totters over a menacing bassline, the frisson between them so hypnotic it renders the title phrase as an existential mantra, a lifeline. The distorted and snarling “Mangle” rumbles then lifts skyward, its wild-eyed shouts and phosphorescent guit      </description>
      <guid isPermaLink="false">117682225180142</guid>
      <category>Music</category>

      <content:encoded><![CDATA[Almost every song on Of The Sun—the magnetic fifth album from the Polish quartet Trupa Trupa—lands like an anthem, with barbed hooks driven by an italicized rhythm section and a chimera of crisscrossing harmonies. During “Dream About,” a honeyed falsetto totters over a menacing bassline, the frisson between them so hypnotic it renders the title phrase as an existential mantra, a lifeline. The distorted and snarling “Mangle” rumbles then lifts skyward, its wild-eyed shouts and phosphorescent guitar rising like a winter sun. “Angle” is a pensive acoustic reverie, with chiming harmonics swirling like wisps of smoke around the refrain.

Throughout its propulsive 12-song sequence, this is an album that never lets up. From the relentlessly pulsing “Long Time Ago” to the deep glisten of “Longing,” Of The Sun is an unbroken string of hits in Trupa Trupa’s idiosyncratic, self-made universe.

But just beneath the surface of these often bright and always indelible songs, there is a world teeming with nihilistic considerations, slyly dark humor, and survivalist self-assurances – all subtly nestled into bold refrains and reflected back via complex, secret textures. In the breathless rush of “Remainder,” for instance, the band chants “Well, it did not take place” again and again for three minutes, refusing to define “it” so that the emptiness applies to everything. And though “Long Time Ago” hits like a psychedelic romp, corroded sheets of noise spill out beneath the hook, betraying the sense of absolute oblivion at the song’s core.

“It pretends to be nice,” confesses singer Grzegorz Kwiatkowski with a laugh, from the band’s home city in northern Poland along the edge of the Baltic Sea, Gdańsk. “But really, it’s not nice. These are contemplative songs about extremes. Sometimes, I call it vital pessimism. We cherish our freedom but the place where we are from is also a grim reminder of the evil that people are capable of. We cannot forget it. We cannot justify it. We must remember and not be indifferent.”

The setting of Gdańsk is a crucial philosophical and aesthetic touchstone for Trupa Trupa. A city with a convoluted history of German and Polish rule and self-sovereignty, it is itself a living testament to the turnover of human toil. It’s also the homeland of Arthur Schopenhauer, a philosopher whose system of metaphysical will inspired Nietzsche and, in turn, Trupa Trupa. Klaus Kinski was born nearby, too; Kwiatkowski considers his Werner Herzog-directed film, Fitzcarraldo, one of the best movies ever made. Kinski tries in vain to amass a fortune by piloting a steamship over a mountain into the rubber bonanza of the Amazon. It is a portrait of great effort and pathetic failure, of strain sublimating into nothing. Along with the notions of Beckett, hints of Syd Barrett, and the knotty complications of Wire, these emotions ripple through Of The Sun, a radiant album about the damnation of mortality.

Trupa Trupa has grown inordinately in both confidence and execution during the last half-decade. Spurred on by a democratic process, where no one is the real leader and all ideas and influences are funneled into the same rich sound, Trupa Trupa channel a multiverse of feelings into captivating four-minute spans. Throughout Of The Sun, they stare into the dark and summon a light of their own, making the struggle feel not just tolerable but deceptively triumphant. ]]></content:encoded>

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      <title>Altın Gün : Gece - CD Album</title>
      <link>https://glitterbeat.greedbag.com/buy/gece-4</link>      <description>
                Following their hotly tipped 2018 debut album “On” – Altın Gün returns with an exhilarating second album. “Gece” firmly establishes the band as essential interpreters of the Anatolian rock and folk legacy and as a leading voice in the emergent global psych-rock scene. Explosive, funky and transcendent.

The world is rarely what it seems. A quick glance doesn’t always reveal the full truth. To find that, you need to burrow deeper. Listen to Altın Gün, for example: they sound utterly Turkish, bu      </description>
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      <category>Music</category>

      <content:encoded><![CDATA[Following their hotly tipped 2018 debut album “On” – Altın Gün returns with an exhilarating second album. “Gece” firmly establishes the band as essential interpreters of the Anatolian rock and folk legacy and as a leading voice in the emergent global psych-rock scene. Explosive, funky and transcendent.

The world is rarely what it seems. A quick glance doesn’t always reveal the full truth. To find that, you need to burrow deeper. Listen to Altın Gün, for example: they sound utterly Turkish, but only one of the Netherlands based band’s six members was actually born there. And while their new album, Gece, is absolutely electric, filled with funk-like grooves and explosive psychedelic textures, what they play - by their own estimation - is folk music.

“It really is,” insists band founder and bass player Jasper Verhulst. “The songs come out of a long tradition. This is music that tries to be a voice for a lot of other people.”

While most of the material here has been a familiar part of Turkish life for many years - some of it associated with the late national icon Neşet Ertaş – it’s definitely never been heard like this before. This music is electric Turkish history, shot through with a heady buzz of 21st century intensity.
Pumping, flowing, a new and leading voice in the emergent global psych scene.

“We do have a weak spot for the music of the late ‘60s and ‘70s,” Verhulst admits. “With all the instruments and effects that arrived then, it was an exciting time. Everything was new, and it still feels fresh. We’re not trying to copy it, but these are the sounds we like and we’re trying to make them our own.”

And what they create really is theirs. Altın Gün radically reimagine an entire tradition. The electric saz (a three-string Turkish lute) and voice of Erdinç Ecevit (who has Turkish roots) is urgent and immediately distinctive, while keyboards, guitar, bass, drums, and percussion power the surging rhythms and Merve Daşdemir (born and raised in Istanbul) sings with the mesmerizing power of a young Grace Slick. This isn’t music that seduces the listener: it demands attention.

Altın Gün – the name translates as “golden day” - are focused, relentless and absolutely assured in what they do. What is remarkable is the band has only existed for two years and didn’t play in public until November 2017; now they have almost 200 shows under their belt. It all grew from Verhulst’s obsession with Turkish music. He’d been aware of it for some time but a trip to Istanbul while playing in another band gave him the chance to discover so much more. But Verhulst wasn’t content to just listen, he had a vision for what the music could be. And Altın Gün was born.

“For me, finding out about this music is crate digging,” he admits. “None of it is widely available in the Netherlands. Of course, since our singers are Turkish, they know many of these pieces. All this is part of the country’s musical past, their heritage, like 'House of The Rising Sun' is in America.”
As Verhulst delves deeper and deeper into old Turkish music, he’s constantly seeking out things that grab his ear.

“I’m listening for something we can change and make into our own. You have to understand that most of these songs have had hundreds of different interpretations over the years. We need something that will make people stop and listen, as if it’s the first time they’ve heard it.”

It’s a testament to Altın Gün’s work and vision that everything on Gece sounds so cohesive. They bring together music from many different Anatolian sources (the only original is the improvised piece “Şoför Bey”) so that it bristles with the power and tightness of a rock band; echoing new textures and radiating a spectrum of vibrant color (ironic, as gece means “night” in Turkish). It’s the sound of a band both committed to its sources and excitedly transforming them. It’s the sound of Altın Gün. Incandescent and sweltering.

Creating the band’s sound is very much a collaborative process, Verhulst explains.
“Sometimes me or the singer will come in with a demo of our ideas. Sometimes an idea will just come up and we’ll work on it together at rehearsals. However we start, it’s always finished by the whole band. We can feel very quickly if it’s going to work, if this is really our song.”

Just how Altın Gün can collectively spark and burn is evident in the YouTube concert video they made for the legendary Seattle radio station KEXP. In just under 20 minutes they set out their irresistible manifesto for an electrified, contemporary Turkish folk rock. It’s utterly compelling. And with around 800,000 views, it has helped make them known around the world.

“It certainly got us a lot of attention,” Verhulst agrees. “I think a lot of that interest originally came from Turkey, plenty of people there shared it.”

That might be how it began, but it’s not the whole tale. The waves have spread far beyond the Bosphorus. What started out as a deep passion for Turkish folk and psychedelia has taken on a resonance that now travels widely. The band has played all over Europe, has ventured to Turkey and Australia and will soon bring their music to North America for the first time.

“Not a lot of other bands are doing what we do,” he says, “playing songs in that style and seeing folk music in the same way.” 
]]></content:encoded>

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      <title>Altın Gün : Gece (Black vinyl) - 12&quot; Vinyl Album (Black vinyl)</title>
      <link>https://glitterbeat.greedbag.com/buy/gece-4</link>      <description>
                Following their hotly tipped 2018 debut album “On” – Altın Gün returns with an exhilarating second album. “Gece” firmly establishes the band as essential interpreters of the Anatolian rock and folk legacy and as a leading voice in the emergent global psych-rock scene. Explosive, funky and transcendent.

The world is rarely what it seems. A quick glance doesn’t always reveal the full truth. To find that, you need to burrow deeper. Listen to Altın Gün, for example: they sound utterly Turkish, bu      </description>
      <guid isPermaLink="false">117568754070142</guid>
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      <content:encoded><![CDATA[Following their hotly tipped 2018 debut album “On” – Altın Gün returns with an exhilarating second album. “Gece” firmly establishes the band as essential interpreters of the Anatolian rock and folk legacy and as a leading voice in the emergent global psych-rock scene. Explosive, funky and transcendent.

The world is rarely what it seems. A quick glance doesn’t always reveal the full truth. To find that, you need to burrow deeper. Listen to Altın Gün, for example: they sound utterly Turkish, but only one of the Netherlands based band’s six members was actually born there. And while their new album, Gece, is absolutely electric, filled with funk-like grooves and explosive psychedelic textures, what they play - by their own estimation - is folk music.

“It really is,” insists band founder and bass player Jasper Verhulst. “The songs come out of a long tradition. This is music that tries to be a voice for a lot of other people.”

While most of the material here has been a familiar part of Turkish life for many years - some of it associated with the late national icon Neşet Ertaş – it’s definitely never been heard like this before. This music is electric Turkish history, shot through with a heady buzz of 21st century intensity.
Pumping, flowing, a new and leading voice in the emergent global psych scene.

“We do have a weak spot for the music of the late ‘60s and ‘70s,” Verhulst admits. “With all the instruments and effects that arrived then, it was an exciting time. Everything was new, and it still feels fresh. We’re not trying to copy it, but these are the sounds we like and we’re trying to make them our own.”

And what they create really is theirs. Altın Gün radically reimagine an entire tradition. The electric saz (a three-string Turkish lute) and voice of Erdinç Ecevit (who has Turkish roots) is urgent and immediately distinctive, while keyboards, guitar, bass, drums, and percussion power the surging rhythms and Merve Daşdemir (born and raised in Istanbul) sings with the mesmerizing power of a young Grace Slick. This isn’t music that seduces the listener: it demands attention.

Altın Gün – the name translates as “golden day” - are focused, relentless and absolutely assured in what they do. What is remarkable is the band has only existed for two years and didn’t play in public until November 2017; now they have almost 200 shows under their belt. It all grew from Verhulst’s obsession with Turkish music. He’d been aware of it for some time but a trip to Istanbul while playing in another band gave him the chance to discover so much more. But Verhulst wasn’t content to just listen, he had a vision for what the music could be. And Altın Gün was born.

“For me, finding out about this music is crate digging,” he admits. “None of it is widely available in the Netherlands. Of course, since our singers are Turkish, they know many of these pieces. All this is part of the country’s musical past, their heritage, like 'House of The Rising Sun' is in America.”
As Verhulst delves deeper and deeper into old Turkish music, he’s constantly seeking out things that grab his ear.

“I’m listening for something we can change and make into our own. You have to understand that most of these songs have had hundreds of different interpretations over the years. We need something that will make people stop and listen, as if it’s the first time they’ve heard it.”

It’s a testament to Altın Gün’s work and vision that everything on Gece sounds so cohesive. They bring together music from many different Anatolian sources (the only original is the improvised piece “Şoför Bey”) so that it bristles with the power and tightness of a rock band; echoing new textures and radiating a spectrum of vibrant color (ironic, as gece means “night” in Turkish). It’s the sound of a band both committed to its sources and excitedly transforming them. It’s the sound of Altın Gün. Incandescent and sweltering.

Creating the band’s sound is very much a collaborative process, Verhulst explains.
“Sometimes me or the singer will come in with a demo of our ideas. Sometimes an idea will just come up and we’ll work on it together at rehearsals. However we start, it’s always finished by the whole band. We can feel very quickly if it’s going to work, if this is really our song.”

Just how Altın Gün can collectively spark and burn is evident in the YouTube concert video they made for the legendary Seattle radio station KEXP. In just under 20 minutes they set out their irresistible manifesto for an electrified, contemporary Turkish folk rock. It’s utterly compelling. And with around 800,000 views, it has helped make them known around the world.

“It certainly got us a lot of attention,” Verhulst agrees. “I think a lot of that interest originally came from Turkey, plenty of people there shared it.”

That might be how it began, but it’s not the whole tale. The waves have spread far beyond the Bosphorus. What started out as a deep passion for Turkish folk and psychedelia has taken on a resonance that now travels widely. The band has played all over Europe, has ventured to Turkey and Australia and will soon bring their music to North America for the first time.

“Not a lot of other bands are doing what we do,” he says, “playing songs in that style and seeing folk music in the same way.” 
]]></content:encoded>

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      <title>Noura Mint Seymali : Arbina - 12&quot; Vinyl Album</title>
      <link>https://glitterbeat.greedbag.com/buy/arbina-2</link>      <description>
                Noura Mint Seymali hails from a Moorish musical dynasty in Mauritania, born into a prominent family of griot and choosing from an early age to embrace the artform that is its lifeblood. Yet traditional pedigree has proven but a stepping-stone for the work Noura and her band have embarked upon in recent years, simultaneously popularizing and reimagining Moorish music on the global stage, taking her family’s legacy to new heights as arguably Mauritania’s most widely exported musical act of all tim      </description>
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      <content:encoded><![CDATA[Noura Mint Seymali hails from a Moorish musical dynasty in Mauritania, born into a prominent family of griot and choosing from an early age to embrace the artform that is its lifeblood. Yet traditional pedigree has proven but a stepping-stone for the work Noura and her band have embarked upon in recent years, simultaneously popularizing and reimagining Moorish music on the global stage, taking her family’s legacy to new heights as arguably Mauritania’s most widely exported musical act of all time. Gamely wielding the griot’s idiom, a form itself distilled from centuries of trans-Saharan musical knowledge, Noura Mint Seymali’s sound as heard on this record carves out a unique position in the musical cartography of West Africa, at once her country’s leading proponent of the avant garde and yet a rigorously devoted tradition-bearer.

Arbina is Noura Mint Seymali’s second international release. Delving deeper into the wellspring of Moorish roots, as is after all the tried and true way of the griot, the album strengthens her core sound, applying a cohesive aesthetic approach to the reinterpretation of Moorish tradition in contemporary context. The band is heard here in full relief; soaring vocals and guitar at the forefront, the mesmerizing sparkle of the ardine, elemental bass lines and propulsive rhythms swirling together to conjure a 360 degree vibe. Arbina refines a sound that the band has gradually intensified over years of touring, aiming to posit a new genre from Mauritania, distinct unto itself; music of the “Azawan.”

Supported by guitarist, husband and fellow griot, Jeiche Ould Chighaly, Seymali’s tempestuous voice is answered with electrified counterpoint, his quarter-tone rich guitar phraseology flashing out lightning bolt ideas. Heir to the same music culture as Noura, Jeiche intimates the tidinit’s (Moorish lute) leading role under the wedding khaima with the gusto of a rock guitar hero. Bassist Ousmane Touré, who has innovated a singular style of Moorish low-end groove over the course of many years, can be heard on this album with greater force and vigor than ever before. Drummer/producer Matthew Tinari drives the ensemble forward with the agility and precision need to make the beats cut.

Many of the songs on Arbina call out to the divine, asking for grace and protection. “Arbina” is a name for God. The album carries a message about reaching beyond oneself to an infinite spiritual source, while learning to take the finite human actions to necessary to affect reality on earth. The concept of sëbeu, or that which a human can do to take positive action on their destiny, is animated throughout. While final outcomes rest in the hands of the creator, the duty to use one’s capacities as a human to work towards our hopes and highest intentions roots us in life and relationship to God. The title track ‘Arbina’ applies this concept to specifically empower women in their decisions about preventative healthcare. It advocates for the concrete task of early screening to prevent breast and uterine cancer, sickness that claimed Noura’s own mother at a premature age, while offering an appeal to the ultimate benevolence of God. “Ghizlane” invokes the concept through metaphor, describing the elusive nature of our dreams and the innate obligation to follow. “Richa” reflects of the power of music as a vehicle.

Lyrically, the Moorish griot tradition is complex and associative. Poetry is held in a continuum between author and audience in which a singer may draw on disparate sources, selecting individual lines here or there for musicality to form a lyrical patchwork expressing larger ideas via association. A griot may relate her own thoughts and poetry, sing poetry written for and about her by a third party, and transmit lines from one party addressing another in the course of a single song. With this ever-fluid narrative voice, stories are told.

Arbina is a musical act of devotion, calling upon the creator to channel grace through us and uplift our actions. 
]]></content:encoded>

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      <title>Noura Mint Seymali : Arbina - CD Album</title>
      <link>https://glitterbeat.greedbag.com/buy/arbina-2</link>      <description>
                Noura Mint Seymali hails from a Moorish musical dynasty in Mauritania, born into a prominent family of griot and choosing from an early age to embrace the artform that is its lifeblood. Yet traditional pedigree has proven but a stepping-stone for the work Noura and her band have embarked upon in recent years, simultaneously popularizing and reimagining Moorish music on the global stage, taking her family’s legacy to new heights as arguably Mauritania’s most widely exported musical act of all tim      </description>
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      <content:encoded><![CDATA[Noura Mint Seymali hails from a Moorish musical dynasty in Mauritania, born into a prominent family of griot and choosing from an early age to embrace the artform that is its lifeblood. Yet traditional pedigree has proven but a stepping-stone for the work Noura and her band have embarked upon in recent years, simultaneously popularizing and reimagining Moorish music on the global stage, taking her family’s legacy to new heights as arguably Mauritania’s most widely exported musical act of all time. Gamely wielding the griot’s idiom, a form itself distilled from centuries of trans-Saharan musical knowledge, Noura Mint Seymali’s sound as heard on this record carves out a unique position in the musical cartography of West Africa, at once her country’s leading proponent of the avant garde and yet a rigorously devoted tradition-bearer.

Arbina is Noura Mint Seymali’s second international release. Delving deeper into the wellspring of Moorish roots, as is after all the tried and true way of the griot, the album strengthens her core sound, applying a cohesive aesthetic approach to the reinterpretation of Moorish tradition in contemporary context. The band is heard here in full relief; soaring vocals and guitar at the forefront, the mesmerizing sparkle of the ardine, elemental bass lines and propulsive rhythms swirling together to conjure a 360 degree vibe. Arbina refines a sound that the band has gradually intensified over years of touring, aiming to posit a new genre from Mauritania, distinct unto itself; music of the “Azawan.”

Supported by guitarist, husband and fellow griot, Jeiche Ould Chighaly, Seymali’s tempestuous voice is answered with electrified counterpoint, his quarter-tone rich guitar phraseology flashing out lightning bolt ideas. Heir to the same music culture as Noura, Jeiche intimates the tidinit’s (Moorish lute) leading role under the wedding khaima with the gusto of a rock guitar hero. Bassist Ousmane Touré, who has innovated a singular style of Moorish low-end groove over the course of many years, can be heard on this album with greater force and vigor than ever before. Drummer/producer Matthew Tinari drives the ensemble forward with the agility and precision need to make the beats cut.

Many of the songs on Arbina call out to the divine, asking for grace and protection. “Arbina” is a name for God. The album carries a message about reaching beyond oneself to an infinite spiritual source, while learning to take the finite human actions to necessary to affect reality on earth. The concept of sëbeu, or that which a human can do to take positive action on their destiny, is animated throughout. While final outcomes rest in the hands of the creator, the duty to use one’s capacities as a human to work towards our hopes and highest intentions roots us in life and relationship to God. The title track ‘Arbina’ applies this concept to specifically empower women in their decisions about preventative healthcare. It advocates for the concrete task of early screening to prevent breast and uterine cancer, sickness that claimed Noura’s own mother at a premature age, while offering an appeal to the ultimate benevolence of God. “Ghizlane” invokes the concept through metaphor, describing the elusive nature of our dreams and the innate obligation to follow. “Richa” reflects of the power of music as a vehicle.

Lyrically, the Moorish griot tradition is complex and associative. Poetry is held in a continuum between author and audience in which a singer may draw on disparate sources, selecting individual lines here or there for musicality to form a lyrical patchwork expressing larger ideas via association. A griot may relate her own thoughts and poetry, sing poetry written for and about her by a third party, and transmit lines from one party addressing another in the course of a single song. With this ever-fluid narrative voice, stories are told.

Arbina is a musical act of devotion, calling upon the creator to channel grace through us and uplift our actions. 
]]></content:encoded>

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      <title>Tamikrest : Taksera (Live) - 12&quot; Vinyl Album (Live)</title>
      <link>https://glitterbeat.greedbag.com/buy/taksera-2</link>      <description>
                “Taksera” (which in Tamashek means ‘a celebration with music’) is a rough and ready live album that is sure to give jolt to Tuareg-rock group Tamikrest’s already heady reputation. Recorded on a summer festival stage during their 2014 “Chatma” tour, the album vividly showcases the visceral and improvisational power of the band. The hypnotic grooves of the songs are blissfully extended, and the band’s signature drive and electric guitar telepathy are pushed up front and center.

The material on       </description>
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      <content:encoded><![CDATA[“Taksera” (which in Tamashek means ‘a celebration with music’) is a rough and ready live album that is sure to give jolt to Tuareg-rock group Tamikrest’s already heady reputation. Recorded on a summer festival stage during their 2014 “Chatma” tour, the album vividly showcases the visceral and improvisational power of the band. The hypnotic grooves of the songs are blissfully extended, and the band’s signature drive and electric guitar telepathy are pushed up front and center.

The material on “Taksera” visits all three of the band’s acclaimed studio albums and gives a sharply focused argument as to why in the last few years Tamikrest has been one of the most lauded young bands from the African continent. Their 2013 album Chatma reached the #1 position on the World Music Charts Europe and graced year-end “best of” lists at Uncut, Mojo, Les Inrocks and The Quietus. Songlines magazine went even farther and gave them their “Best Group Award” for 2013.

“Taksera” was engineered and mixed by Jean-Paul Romann, who has produced seminal albums by Tuareg music legends Tinariwen and Terakaft. The album was recorded at the Burg Herzberg Festival in Alsfeld, Germany on August 1, 2014.

This RECORD STORE DAY LP is a limited edition pressing of 1500 on 180-gram audiophile vinyl with a gatefold sleeve and download code.

“Taksera” is in every way the celebration that the album title promises. It energetically underlines Tamikrest’s unique cultural mission and their commitment to explore new possibilities for Tuareg music. It shows a band full of hard-earned confidence and swagger; a band in love with turning up their amps and letting it rip. ]]></content:encoded>

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      <title>Tamikrest : Chatma - CD Album</title>
      <link>https://glitterbeat.greedbag.com/buy/chatma-3</link>      <description>
                Tamikrest means “crossing” in the language of the Kel Tamashek, a traditionally nomadic Saharan people that are commonly referred to as the Tuaregs. It is an apt name for a band that so successfully merges the values of their timeless culture with the sounds and visions they have encountered on a headlong journey to the concert stages and ipods of the world.

Since the band emerged onto the international scene four years ago with their debut album “Adagh”, they have been in constant motion, mo      </description>
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      <content:encoded><![CDATA[Tamikrest means “crossing” in the language of the Kel Tamashek, a traditionally nomadic Saharan people that are commonly referred to as the Tuaregs. It is an apt name for a band that so successfully merges the values of their timeless culture with the sounds and visions they have encountered on a headlong journey to the concert stages and ipods of the world.

Since the band emerged onto the international scene four years ago with their debut album “Adagh”, they have been in constant motion, moving between the Sahara and Europe as though these places were next-door neighbors. All the while, during this same time period, their homeland has suffered increasingly profound and catastrophic events. Originally hailing from Kidal, in the northeast of Mali, as the result of ongoing war, persecution and political collapse most of the band now lives in exile in Algeria.

These last years have been intensely vivid for Tamikrest, defined as they have been by both tragic sadness (families and friends turned refugees, the brutal imposition of Sharia law in their hometown) and collective growth (their musical dreams building one upon another).

Their new album “Chatma”, their third, deftly navigates these experiences and fashions them into a fully persuasive and poetic musical document. The album is filled with sober reflection, moral indignation, musical experimentation, cultural celebration and the kick of rock and roll.

“Chatma” is also Tamikrest’s first album to be wholly written around a defined theme. In Tamashek “Chatma” means “Sisters” and the band has dedicated the album in their own words to: “the courage of the Tuareg women, who have ensured both their children's survival and the morals of their fathers and brothers.”

The opening track “Tisnant an Chatma (The suffering of my sisters)” is a heartbreaking homage: « Who can estimate the suffering felt by the soul / of one who sees her sisters exhausted from waiting/ of one who sees her sisters exhausted from waiting between countries, in deep distress /and daily oppression? «

Fittingly for an album so lyrically evocative, “Chatma “ also delivers Tamikrest's most wide-screen and wide-ranging sonic statement to date. The infectious, sing-along rock stylings of "Imanin bas zihoun", the acoustic seduction of “Adounia tabarat”, the Pink Floyd influenced montage "Assikal" and the lush, melancholy ambiance of the albums finale, “Timtar”, all add up to a sustained audio adventure. Echoes of dub, blues, psychedelia, funk and even art-rock are seamlessly weaved by Tamikrest into their increasingly individual take on the Tuareg musical tradition.

And on an album where the title translates as "Sisters", it makes perfect sense that this time around we hear the full emergence of the haunting voice of female vocalist Wonou Walet Sidati in tandem with lead vocalist Ousmane Ag Mossa. A new guitarist, Paul Salvagnac has also joined the band, bringing with him fresh textures and possibilities.

Contemporary Tuareg music has produced several unforgettable albums in recent years and "Chatma" certainly deserves to be ranked with these. But one also gets the sense, when listening to “Chatma” that there is something uniquely innovative and exploratory about Tamikrest's musical quest and that at last they have stepped into a wide-open space of their own. 
]]></content:encoded>

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      <title>Tamikrest : Chatma (Black vinyl) - 12&quot; Vinyl Album (Black vinyl)</title>
      <link>https://glitterbeat.greedbag.com/buy/chatma-3</link>      <description>
                Tamikrest means “crossing” in the language of the Kel Tamashek, a traditionally nomadic Saharan people that are commonly referred to as the Tuaregs. It is an apt name for a band that so successfully merges the values of their timeless culture with the sounds and visions they have encountered on a headlong journey to the concert stages and ipods of the world.

Since the band emerged onto the international scene four years ago with their debut album “Adagh”, they have been in constant motion, mo      </description>
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      <content:encoded><![CDATA[Tamikrest means “crossing” in the language of the Kel Tamashek, a traditionally nomadic Saharan people that are commonly referred to as the Tuaregs. It is an apt name for a band that so successfully merges the values of their timeless culture with the sounds and visions they have encountered on a headlong journey to the concert stages and ipods of the world.

Since the band emerged onto the international scene four years ago with their debut album “Adagh”, they have been in constant motion, moving between the Sahara and Europe as though these places were next-door neighbors. All the while, during this same time period, their homeland has suffered increasingly profound and catastrophic events. Originally hailing from Kidal, in the northeast of Mali, as the result of ongoing war, persecution and political collapse most of the band now lives in exile in Algeria.

These last years have been intensely vivid for Tamikrest, defined as they have been by both tragic sadness (families and friends turned refugees, the brutal imposition of Sharia law in their hometown) and collective growth (their musical dreams building one upon another).

Their new album “Chatma”, their third, deftly navigates these experiences and fashions them into a fully persuasive and poetic musical document. The album is filled with sober reflection, moral indignation, musical experimentation, cultural celebration and the kick of rock and roll.

“Chatma” is also Tamikrest’s first album to be wholly written around a defined theme. In Tamashek “Chatma” means “Sisters” and the band has dedicated the album in their own words to: “the courage of the Tuareg women, who have ensured both their children's survival and the morals of their fathers and brothers.”

The opening track “Tisnant an Chatma (The suffering of my sisters)” is a heartbreaking homage: « Who can estimate the suffering felt by the soul / of one who sees her sisters exhausted from waiting/ of one who sees her sisters exhausted from waiting between countries, in deep distress /and daily oppression? «

Fittingly for an album so lyrically evocative, “Chatma “ also delivers Tamikrest's most wide-screen and wide-ranging sonic statement to date. The infectious, sing-along rock stylings of "Imanin bas zihoun", the acoustic seduction of “Adounia tabarat”, the Pink Floyd influenced montage "Assikal" and the lush, melancholy ambiance of the albums finale, “Timtar”, all add up to a sustained audio adventure. Echoes of dub, blues, psychedelia, funk and even art-rock are seamlessly weaved by Tamikrest into their increasingly individual take on the Tuareg musical tradition.

And on an album where the title translates as "Sisters", it makes perfect sense that this time around we hear the full emergence of the haunting voice of female vocalist Wonou Walet Sidati in tandem with lead vocalist Ousmane Ag Mossa. A new guitarist, Paul Salvagnac has also joined the band, bringing with him fresh textures and possibilities.

Contemporary Tuareg music has produced several unforgettable albums in recent years and "Chatma" certainly deserves to be ranked with these. But one also gets the sense, when listening to “Chatma” that there is something uniquely innovative and exploratory about Tamikrest's musical quest and that at last they have stepped into a wide-open space of their own. 
]]></content:encoded>

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      <g:item_group_id>GBLP 007</g:item_group_id>
      <g:availability>in stock</g:availability>      <g:quantity_to_sell_on_facebook>2</g:quantity_to_sell_on_facebook>
      <g:shipping_label>12&quot; Vinyl</g:shipping_label>
                  <g:adult>no</g:adult>
    </item>
</channel>
</rss>

