Dans la foulée du Lp sorti en juillet dernier chez les américains Kill Shaman, THE DREAMS seront en concert ce soir (+ Delacave & Le Chomâge): reggae night/tropicalia degueu/induswave !
... pour les snobs il y a aussi une version cassette (Yerevan Tapes).
Plus d'infos:
La Mécanique Ondulatoire
8, Passage Thiéré
75011 Paris
M. Bastille
5€ / 20h30
In a country where comedy artists & satyrical bands seems more inclinded for popular success than any others; comes a selection for what sound best to my hears. I've never been actually to Finland and once again came across for those via various cd's friends brought me back & forums.
Finnish superstar and top selling artist, Jope Ruonansuu deserved to be first to be introduced there. He began early in the 80's as a stand-up actor, then go on relasing records. I've only managed to get few of his albums blended with phone jokes and cheap parody songs. Giorgio Moroder meets Harry Merry meets Russian Army Choir (more or less).
Claiming to be hugely influenced by the whole US pop, Hullujussi (fronted by the excentric Viktor Kalborrekin) gained notoriety with running shows on finnish pirate radios back in the early 70's. The "Rope Ja Kake" song comes from a 7inch single as released in 1975 & also appears on their very first eponym LP...
From 1985 and still fresh as a watermelon, a discreet yet cheerful EP from the mysterious Lula on Zero records . Moreover, a good opportunity to talk a bit about this label which catalogue seemed to contain all the roots of a music tree that would later become fundamental in the field of japanese independant music. While many of the musicians who happened to release their early recordings on Zero are still active, they furthermore developped a decisive influence through the years on a younger generation, wether you consider the now classic Shonen Knife or the less highlighted Luna Park Ensemble (which member Hiro Nakazaki now belongs to Maher Shalal Hash Baz), among many others.
This label's releases, now belonging to the tough world of collectors, start to resurface from time to time on various blogs: check Stalking Duppi for the highly recommended Kumiko Suyama's haunted vocals layered on filtered noises, or Mutant Sounds for the delicately detuned works of Che Shizu:
The rich Aura Music compilation, featuring various artists from the team, also offers an interesting panorama, including incursions into more synth oddities with such a kind of electronic tune:
It's not a surprise to learn that this label happened to release the japanese edition of After dinner's Paradise of replicaand Souvenir Cassette (compilating live recordings from european and japanese tours): its whole catalogue seems to be cemented with a deep coherence, a (sub?)conscious trademark that will allow you to find connexions between many of the artists, projects and specific musical aspects they developped.
A floating tempo principle inherited from traditional sundanese music played with Calung (a bamboo tube xylophone from the west Java), blended with soft MIDI tambourine and drums, give to these tracks from indonesian superstar Darso a specific and titillating sound that makes me feel highly grateful to my wise friend Makiko who kindly brought me the original tape back from her last travel here.
Trying to dig Darso's impressive career that goes from the 70s - with more psyche-related material - to recent karaoclips that remain full of unexpected ingredients, a search on the insanely completistMadrotter blog for more will lead you to this creme de la creme synthy jewel piece of him featuring Detty Kurnia. So good and underrated that I can't resist to include an excerpt:
Francis Falceto, the editor of the worldwide known and praised compilation "Les Ethiopiques", said in this 2005 interview ( http://www.afropop.org/multi/interview/ID/109 )
" We should speak first about Ethiopian production in Ethiopian nowadays, I mean in the past 20, 30 years. It is a pure disaster. It's the one-man band. A synthesizer playing all the lines. It's very cheap production. Many musicians are discouraged. "
(...)" I am a fan of the golden age of Ethiopian music, but I would like to see this music today very alive, not continuing what the veterans have done, but being still stronger than them, because this is the challenge. They don't have to imitate the older generation. They have to be better than them. But there is a lack of producers, a lack of arrangers. There is not any more arrangement. When you listen to the old recordings, the ones you find in Éthiopiques, if you listen to the horn lines, for instance, how intermingled, how sophisticated they are, how groovy it is—I don't see anything comparable nowadays. That's why I say it's very sad to see… It's not decadence. But it's a bit long to wait for a renaissance. It's now been 15 years since the new régime came. The musicians can express themselves. They can play the music that they want, produce what they want. Nothing seriously innovative has happened. I see nothing seriously innovative in the picture. Nothing. "
you agree ?
Don't forget to check the ethiopian youtube: http://www.diretube.com
Muñequitas Elisabeth is a mexican video producer for children songs/videos. They started making videos with Ana Celia, a cute young singer that became the xuxa of the new underage fapping generation.
After some cool synth songs they became bigger with more crew on the videos like Jacko el payaso or Nina la bailarina. New songs are mostly really bad, but there are some cool pirate costumes on the videos and some cool covers like this one. They also switched powerpoint-like backgrounds to some crappy 3d landscapes.
Under one of the most brilliant artwork ever seen among the dusty piles of french 7" production, you'll find a gently rascal easy-listening tune setup by a very specific team of people at the time:
Co-composer Bernard Gerard (with Jacques Datin) was a specialist in writing scores for various french movies (Melville, Lautner, as well as one of Michel Magne's favorite fellows and arrangers. Besides, Anne Germain who sings the soft background vocal, sang on some of the Magne soundtracks for Jean Yanne (see the well-known Jesus Java), often written or co-composed by her husband Claude Germain. She also got involved in the production of dozens of flexible commercial 7" intented at the time for advertisement.
Finally, let's say that the charming dialog here involves french actor Henri Piegay alongside Dany Danielle, who strangely seems to have a kind of specialisation regarding weather and season songs.
Among the members of that not-so-usual french synth-pop band, you will find Daniel Chevenez, future half of Niagara (who also produced les Calamités, among various other things), for what happens to be their only 7"release from 1981.
Infos are scarce on the band and its other mysterious members so we'll simply extract here the sweet mesmerizing B-side and also will notice that Pierre-René Worms, in charge of the cover portrait, is well-known for his experience as a photographer who shot the eclosion of new wave in France at the time.
A short video footage of the south-african Shangaan electro team, currently on tour in Europe, who stopped in Paris thanks to Etienne Tron's Secousse for a night at Point Ephémère: successfull night for these inventors of modern Shangaan and their trademark sound, sometimes slightly repetitive and a bit hard to follow for lazy euro dancers but 100% exciting all way long, with the demonstration that nobody really cares about violent start/stops and fadeouts when it's all about managing to let something happen in da place.
For those who might have miss it, the complete story as told by producer Nozinja here describes everything you need to know. A very good article also to check here, while it's still time to catch on and follow the rest of the tour:
June 28th: Brussel - Les Ateliers Claus June 29th: Rotterdam - Worm @ Heidegger June 30th: Berlin - Berghain July 1st: Roskilde fest. July 3rd: Lisbon - Gulbenkian foundation
Buy their merch ! Brought to you from South Africa, tones of fantastic bonus tracks on Cd and K7 from the various bands produced by Nozinjaand Mackzella (Tiyiselani Vomaseve, B.B.C. ...) completing your overview from the initial LP released by Honest Jon Rds.
As you already heard the speedup tracks when the record got out, here comes an interesting slower and mellow one, with a very specific disco-funk use of the marimba bass.
Covering, remixing, recycling: the whole story of indonesian dangdut is inhabited by these elements in a frenetical way. Being in itself an original adaptation and upgrade of traditionnal elements into a pop format, it developped in the 80's an industrial interest in adapting an impressive amount of foreign sources and western billboard hits to local sound and instrumentation.
One of the biggest indo hit, Kopi Dangdut("Coffee Dangdut"), and its 90s version by Campur Dki is actually an adaptation of venezuelian Hugo Blanco's "Moliendo Cafe", a 1961 #1 hit in Argentina. Remaining absolutely unknown in Europe, this version also became a success in Japan, probably due to the work and reputation of producer Makoto Kubota, member of Sandii & Sunsetz, probably responsible of the tr-808 catchy miami-style inserts.
Although the local songs' fate is quite the same (don't expect to ever overview the countless versions of Mabuk Janda) this habit dangdut has to cover international hits sometimes lead to amazing cheerfull high realms of nonsense, like this "Hotel California" version that brings us very far away from the american landscapes and atmosphere, also thanks to an amazing accent.
(check the amazing Journey of dangdut database for similar more or less successfull cover attempts)
Nowadays, the recent trancy dangdut / dugem club production, keeping alive that commercial pop tradition, looks like a steam factory declination of a few beats and loops exactly in the same way as baile funk or reggaeton. More than covers, these tunes are related to a certain piracy remix tradition quite common in a club field: here again, foreign hits get inserted and mashed-up into the local groove, as you will notice in those examples, one latin hit adaptation alongside another tune including a huge sample you'll easily recognize ...
Following our first post on the now classic E pak sa hero of the genre, finally come a bunch of digitalized tunes directly rippped from original korean ponchak tapes: strictly instrumentals, these are structured by groups of 3-4 songs played with same beat and autobass, while the whole tape is recorded using the same synth or group of synths and drum machine, covering what sounds like traditionnal themes and not necessarely representative of the usual techno-trot beat trademark.
Ponchak is often said to be music for truckdrivers, but the artwork suggests they're here probably more intended to be background music for circumstance events like dinners or celebrations, although such a level of cheesiness reveals these oddities' specific psychedelic power. With my apologies for the lack of artist's names in this post, I'd be happy if anyone could help on that side.
While trying to dig for infos that are scarce online, I discovered that a recent band is actually trusting the ponchak tags under the mysterious name of Bolbbalgan for what looks like a super appealing 2001 upgrade of the Ponchak idiom.
Researches in progress, more posts on the topic to follow soon here ...
Algerian early rai legendary band from the 70's who gained notoriety for imposing their "Abassi" music style playing (different to the Oranese one). They're beng collaborate with early Rai legends such as Groupe El Azhar, female rai singer Chaba Fadela amongs others...
The band was fronted by Ahmed Zergui (pic below) who go on after the group disbanded, releasing many other tapes. I can't really confirm if he's the same artist who appeared under "Cheb Zeguir" on Hicham Chadly's "Proto Raï" as they are quite a lot of: "Cheb Seguir", "Mohamed Zaguir", "Sghir" etc in the whole rai scene. (Anybody to confirm ?)
Coming out from mp3 crds I got offered from friends, hours of intensive donwloading on some peer to peer softwares and few song trades with other colombians djs are selected tracks of what I presume could be described as modern champeta sounds (which DJ Champeta Man from Palenque Rds once confirmed me).
Sampling madness for what could sound like some answer to brazilian funk music. Vids on youtube are better than any attempt to describ for those champeta mezclas...
Also, regarding the quality for the uploaded song I don't know if those are live recording or studio ones but I'd say most of them seem to be total live improvisation.
"I'm working now on a video for an exhibition in a museum, it's gonna be vernisaged next 10th, so I'm crazy busy since a month ago. It's like a movie trailer of my musical project (Musica, el musical) So I decided just making this trailer and forget about finishing the whole thing cose it's infinite job and I like to change my mind about my projects very quickly. But it's cool cose They supported for producción so I recorded the musical score with 5 orchestra players and made a hollywood-like video. Now I'm making special effects with hardcore timing..."
Kodiak Bachine is an organic and electronic progressive one-man band from the great country of Amazon river, Iguazu falls and kings toucans.
He played during the 80's an electronic avant-garde music with some productions references to the incredible extravagance of brazilian vegetation and the mystic of life, instead of mechanicals thematics and electronics first semblances. A kind of mix bettween A. Jodorowsky, Kraftwerk and François de Roubaix. Before his solo carreer, he played solicitating in a band called Agentss, in the same axis, but with a bit less of flamboyance (for me).
His great hit is called "Electicidade" 1982, and the video won lots of awards :
Let's simply forward the historical yet always too confidential announcement: Goodiepal is speading the word about a free download new album release under the alias Sygnok here:
Those who might have fail in tracking down his recent numerous activities, now either slightly more scarce or dematerialized than the well-covered 2003 Nag Nag Bacon release, might refer to the impressively complete biography here detailing his projects through the years. Including the mechanical bird construction, the bunch of Mort aux vaches music objects distribution plan, as well as the various kinds of lectures he gave completed by the Radical computer musicbook, it constantly highlights the striking and singular care of an anti-authority craftsman for both concepts and objects.
Such a detailed wikipedia overview, as well as his talkative nature and specific taste for classy theory quickly pull the rug from under our feet in these fanbase attempts to add a few words to the character depiction: both intellectual and wild, possibly fluxus if not terrorist in a V/Vm way, he's modestly in charge of an ambitious anti-ideology danish gentleman's life project that encompasses way more than the music shapes produced, and should not be simply reduced to it.
This is why we highly recommend that you, the most attentive of you readers, take a bit of time to refer directly to the Radical computer music theory elements avalaible in english here or there, waiting for the day when some french institution might luckily find the balls to invite him for one of those smart lectures with the appropriate hi-tech translation system he deserves.
First in a number of few posts dedicated to other fascinating Tamil / Kollywood score composers who did not appear on the tracklist of our "Play That Beat Mr. Raja #1" compilation...
Chandrabose, sometimes also known as "Chandra Bose", was a hugely popular Tamil composer who scored for around 300 movies and was kind of emblematic in the late 80's to early 90's..
At first comes one song as taken from "Manithan's score, a 1987 Kollywood blockbuster starring Rajinikanth. The movie being quite famous too for its ending with the violent and explosive death of the villain and some dreamy & beautiful music clips.
As for the anecdocte, back in 2008 when we thought for a Tamil score compilation (which was supposed to be a 2xLP record), that song was planned to appear...
Rougher and South Indian folklore inspired second song, from "Paati Solle Thattathey"(1990) with a pic (above) taken from its cartoonish style animated generic.
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To end properly comes one last extract from one of Chandrabose's most popular succes: "Raja Chinna Roja" (1989).
Iranian music scene is one of my favorite in the all world, it's dark as the night, refined in a very special way, quite mystic. Here I want to introduce two greats albums of the sweet singer Pari Zangeneh (Pari Zanganeh in some others traductions). The first one is called "Series of music for young adults", 1978, from arranger Varoujan. Pari sings for children a selection of persian folklorics songs with poetic arrangements and a fine and sweet 70's orchestra. A love master piece for kids.
The second one is from a composer named Fariborz Lachini.
It's an audio story book named "Boze Boze Ghandi", 1989, based on a traditional Persian story. The songs and background effects are quite wild, Pari Zangeneh give her voice to the tale and sing also with Elahe Hamidi somes cool songs like you can heard in the following extract.
It's available to buy in MP3 here, with some greats others, like "Carnival of Animals" a 1979 album.
Following the post on the horror movie Hausu soundtrack composer Kobayashi Asei, I'd like to briefly focus on another musical item related to one of the film's actress Haruko Wanibuchi (playing the role of the mother): in the wake of her appearance in the 1977 Toei movie drama Rashamen, a delicate LP was released. Produced by Kazuhiko Karo, from the mighty Sadistic Mika band, and Folk crusaders, it happily got reissued in 2006 by Vivid records, with a few copies are still avalaible for foreigners.
I admit it's a bit of an obvious celebrated deviant horror soundtrack classic, already posted on various other blogs, a score influenced by Goblin in the same way that the movie echoes the Argento's maestria, but I'd like to take the opportunity to mention an amazing serie of rare screenings at the Paris' MCJP, that give us a rare opportunity to overview more than 40 years of ghost-related japanese movies in every details.
Recommended gossips regarding Hausu's production story and its soundtrack maybe be read here.
Also, this lead me to partly track down the traces of one of the co-composers, Asei Kobayashi (who worked alongside Mickie Yoshino and his band Godiego): acting in the movie as the farmer selling watermelons (!), his name may be found in a huge variety of productions, from commercial songs (Suntory whiskey) to 1969 funk bombs like soundtrack for the Toei's Flower Action 009 1, reissued by Solid records.
In the world of anime, he composed for Mahou Tsukai Sally (known in France as Mini-fée), being especially credited for the Mahou no mambo tune, sang by Yoko Maekawa: a fantastic ending theme that was kindly brought to my attention by the encyclopedical Kishino Yuichi, before I include it in a recent podcast here.
I finally also found Kobayashi credited for the composition of that Pin Pon Pan Pajama Man 7", related to a 50s and early 60s Fuji TV children tv program introducing the lovely wild character Deberon that makes the cover artwork so instantly compelling.