Showing posts with label world music. Show all posts
Showing posts with label world music. Show all posts

Friday, October 14, 2022

Gjallarhorn - Dejelill and Lagerman


#Gjallarhorn #world music #European folk #Finnish folk #Swedish folk #traditional #medieval

Gjallarhorn is a Finnish band that performs world music with roots in the folk music of Finland and Sweden. The group was formed in 1994. The band's music echoes the ancient folk music tradition of Scandinavia with medieval ballads, minuets, prayers in runo-metric chanting and ancient Icelandic rímur epics in a modern way. The group is named after the Gjallarhorn associated with the god Heimdallr from the Norse mythology. The band hails from Ostrobothnia, a Swedish-speaking region on the west coast of Finland, one of the four regions of the historical province of Ostrobothnia and the only region in Finland outside Aland where more people speak Swedish than Finnish. The music of the band remains Swedish in character. Most of their repertoire is the acoustic folk music of these Swedish-speaking Finns, from the unique minuets and ballads that have only survived in Ostrobothnia, to the old traditional waltzes. The didgeridoo and sub-contrabass recorder offer an underlying drone, a technique shared by some other Nordic bands such as Garmarna. Also notable is their use of the hardanger fiddle and Jenny Wilhelms' kulning, a high-pitched, wordless vocal technique based on traditional Scandinavian cattle-herding calls.  From: https://en.wikipedia.org/wiki/Gjallarhorn_(band)

Wednesday, October 12, 2022

Planxty - The Little Drummer


 #Planxty #Christy Moore #Andy Irvine #Irish folk #world music #traditional Celtic folk #1970s #Irish TV

Planxty was an Irish folk music band consisting of soon-to-be-legendary musicians Christy Moore (vocals, acoustic guitar, bodhrán), Dónal Lunny (bouzouki, guitars), Andy Irvine (mandolin, mandola, bouzouki, hurdy-gurdy, harmonica), and Liam O'Flynn (uilleann pipes, tin whistle). The band was formed in 1972, and quickly revolutionized and popularized Irish folk music, touring and recording to great acclaim. The band broke up twice; first in 1975 and again in 1983. The band re-united again in 2004. Their final performance (to date) was in 2005.
In 1972 Christy Moore released his second album Prosperous, which he recorded with his old schoolmates, Lunny, Irvine, and O'Flynn. After recording Prosperous, they formed Planxty. The group's first major performance, opening for Donovan in Galway, was a great success. Neither the audience nor the band knowing what to expect, both were pleasantly surprised. Irvine, unable to see the audience through the lighting, was worried that the crowd was on the verge of rioting. It took him several minutes to realize what he was hearing was enthusiasm.
A formative influence on Planxty and, in particular, on Christy Moore was the singing of Irish Traveller John "Jacko" Reilly who hailed from Boyle, Co. Roscommon. It was from Reilly that Moore learned "The Raggle Taggle Gypsy", which was recorded on the first Planxty album, in addition to "The Well Below the Valley" and "As I Roved Out", which appeared on The Well Below the Valley. Christy later dipped into Reilly's songbook again for an updated version of the lengthy ballad "Lord Baker", which was featured on Planxty's 1983 album Words & Music.
Planxty released the highly acclaimed single, "The Cliffs of Dooneen, after which they were promptly signed to an exclusive contract in conjunction with Polydor Records. The band members, inexperienced in the world of business, signed a contract for £30,000, but for six albums, and with a low royalty percentage. (They were never to make much money from album sales, and were substantially in debt by the time the group dissolved.) The group became very popular in the next few years in Ireland, Britain and Europe, and they recorded two more albums in the following two years. After that they split up, and a compilation called The Planxty Collection was released. As time passed, the personnel changed - Johnny Moynihan replaced Dónal Lunny in July of 1973, and Paul Brady stepped in for Christy Moore in 1974. Christy, Andy, Dónal, and Liam, the original lineup, reformed Planxty in 1979. They recorded three albums, and made several changes and additions to their lineup, most notably the joining of Matt Molloy, flautist from the Bothy Band, later with The Chieftains.  
In 1983, Dónal Lunny and Christy Moore left to concentrate on Moving Hearts, and Andy and Liam started pursuing solo careers (the former in the band Patrick Street). The band broke up for the final time, or so it seemed. A low-key gig in Lisdoonvarna led to gigs in Dublin and County Clare in 2004, and the release of Live 2004 on DVD and CD. It remains to be seen if this is a new lease of life. Broadcaster and journalist Leagues O'Toole documented the band in the biography The Humours of Planxty, which was published by Hodder Headline in 2006.  From: https://sonichits.com/video/Planxty/The_Irish_March

Monday, October 10, 2022

Laboratorium Piesni - Karanfilce Devojce


 #Laboratorium Piesni #world music #European folk #Eastern European folk #ethnic #traditional #polyphony #polyphonic chant #Slavic folk music #a capella #white voice #Polish #music video

Laboratorium Pieśni (Song Laboratory) is a group of female singers from Poland, created in 2013. Using traditional, polyphonic singing they perform songs from all over the world: Ukraine, Balkans, Poland, Belarus, Georgia, Scandinavia and many other places. They sing a capella as well as with shaman drums and other ethnic instruments (shruti box, kalimba, flute, gong, zaphir and koshi chimes, singing bowls, rattles etc.), creating a new space in a traditional song, adding voice improvisations, inspired by sounds of nature, often intuitive, wild and feminine.  From: http://laboratoriumpiesni.pl/en/about/

Friday, September 30, 2022

BraAgas - Vargtimmen


 #BraAgas #Balkan folk #medieval #Scandinavian folk #world music #Sephardic folk #traditional #ethno #period instruments #Czech Republic #live music video

BraAgas is an all female quartet created in 2007 after the split-up of the band Psalteria. The first two albums were hard to define genre-wise. “The first album called No.1 was a mix of everything – medieval and folk songs as well,” says Katka Göttlich. The four members of BraAgas have been playing for a long time. In addition to the previously mentioned Psalteria, the musicians played in other bands. “Our experiences from other bands have merged here – for me and Karla it was the Psalteria band, for Beta it was Gothart. Michaela had been sometimes the guest in different groups (e.g. Krless) before BraAgas originated,” says Göttlich. The four musicians play mostly ethnic instruments and historical replicas. Many guests helped them at the studio and there were also some electronic elements. Thanks to the electronics, a new modern sound was developed for Tapas, which was produced by David Göttlich and Petr Koláček. Tapas includes songs from various parts of Europe, including Spanish, Balkan, Nordic and Italian sources, originally dating back to anywhere within a thousand years time span, interpreted in a very modern way.  Current members include: Katerina Göttlichova on lead vocal, cittern, guitar, bagpipes, shawms; Alzbeta Josefy on vocal, davul, darbuka, duf, riq; Karla Braunova on vocal, flutes, recorders, clarinet, shawms, chalumeaux, and bagpipes; and Michala Hrbkova on vocal, fiddle, cittern.  From: https://worldmusiccentral.org/2017/01/09/artist-profiles-braagas/

Wednesday, September 28, 2022

Varttina - Karuliinan Kangaspuut


 #Varttina #Scandinavian folk #worldbeat #Finnish folk #world fusion #traditional #folk rock #contemporary folk #Finland

They are one of Finland's biggest musical exports but they could hardly be described as typically Finnish. They are, simply, Värttinä: musicians with a unique sound, with their feet firmly rooted in Finnish ground, in its language, culture and history, yet with the courage to develop over nearly two decades, something no-one else in the world has been able to copy.
Värttinä’s devoted and loyal fans all over the world may not all be Finnish speakers but they are intoxicated by the voices of Susan, Mari and Johanna, singers with the stage presence of a Wagnerian soprano, acting out roles from fishwives to lovers, while the guys lure the listeners with beguiling bouzouki, sax, accordion playing to die for, searing drums, guitar and bass.
Driving all this forward is the Finnish language itself, with its unique rhymes and rhythms, and spitting throaty sounds; words that launch themselves into the atmosphere and return several syllables later. Think of the pumping rhythms of Longfellow’s Hiawatha and you’re half way there.
For Värttinä it all began in the Finnish village of Rääkkylä in 1983 when a few mothers and grandmothers encouraged the children to sing and play some of the old songs from the Karelian region. Ancient stories once told with a simple accompaniment on the kantele (the Finnish zither-like instrument) suddenly woke up to find saxes, fiddles and guitars in their midst. This wasn’t important just for the birth of Värttinä but for the revival of Finnish folk music in general.
What emerged though wasn’t a folk band but, eventually, a ten-piece pop/rock style ensemble which established the formula of female voices at the front, boys at the back. Blessed by the no-nonsense and sometimes shocking lyrics of the ancient traditional sagas of blood, sweat and a lot of tears, the confrontational style of singing and song-writing won the music world over until the band was propelled into Finnish stardom in 1991.  From: https://realworldrecords.com/artists/varttina/ 

Saturday, September 24, 2022

Leem Lubany - Peace Train


 #Leem Lubany #actress/singer #Israeli #world music #Cat Stevens cover #movie soundtrack #Rock the Kasbah

When noted film director Barry Levinson (Diner, Rain Man, The Natural, Bugsy, Wag the Dog, and many more) first read the script for his new film, Rock the Kasbah, he realized he needed the help of a pop icon: Yusuf Islam—that is, the singer/songwriter formely known as Cat Stevens. In this comedy (dark at times, sweet at times), which opens this weekend, Bill Murray plays a down-and-way-out LA talent manager who has but one act left in his falling-apart stable, a neurotic bar singer (Zooey Deschanel). Yet somehow he finds a gig for her: USO shows in Afghanistan. And off they jet to the war zone, where soon Murray’s only meal ticket abandons him, and he’s stranded in Kabul with no passport, no money, and no way home. Hijinks—and violence—ensue, as Murray falls into the world of sleazy arms dealers, cynical American mercenaries (including a tough guy played by Bruce Willis), and competing tribal warlords. But this is no adventure flick. It’s a tale of cultural and spiritual bridge-building—with laughs—because Murray, stuck at one point in rural Afghanistan, stumbles into a cave and discovers an Afghan teenage girl (Leem Lubany) singing beautifully. And the song she’s covertly crooning is Cat Stevens’ “Trouble.”
From here on, Murray has a mission: to get this Muslim teen on the Afghan version of American Idol, which has never featured a female performer. The film is based, as they say, on a true story, and the real-life Afghan woman who appeared on this television show, Setara Hussainzada, confronted tremendous opposition from religious and cultural conservatives; she even received death threats and fled Afghanistan for exile in Germany. Levinson’s film tracks a tale of female empowerment in the Muslim world, while — get this!— being respectful of the society it portrays. Most of the laughs it generates are at the expense of Murray’s character, not cheap gags aimed at the natives. As Levinson put it, he was looking to craft “a humanistic, dramatic comedy that dealt with the Muslim world in Afghanistan.”
The script, penned by Mitch Glazer (Scrooged, Great Expectations) had been knocking about Hollywood for years without being made, even though marquis-name Murray was attached to the project. “It was too foreign some said,” Levinson explains in a blog post. “Too much about that part of the world, not enough action, not a war film, too much about people, and in whispers, too much about Muslims.” But Levinson, Glazer, and the rest of the film’s team were able to get the movie going on a basement budget (just $15 million) — with the actors pocketing lower-than-usual rates — but they needed the okay of Yusaf Islam. At least, to a certain extent. Several Cat Stevens songs play a critical role in the movie, so much so that Stevens is something of an unseen co-star. And the film’s climax—slight spoiler alert—makes effective use of his anthemic “Peace Train.” So when Levinson read Glazer’s script and saw that it included these tunes, he asked, “Do we have the rights?” Not yet, he was told.
Usually, it’s not a big deal for a director to obtain the rights to use music in a film. The music supervisor contacts the folks who control the rights to a song and negotiates a deal. But it was not so simple in this case. Yusuf wanted to meet Levinson and Glazer. So on a spring afternoon in New York City, hours before Yusuf was to be inducted into the Rock and Roll Hall of Fame, he and Glazer met with the singer at his hotel. There was a bit of apprehension on the filmmakers’ part. If Yusuf said no, they weren’t sure what they would do. “We didn’t know what we could use instead, what would get us there,” Levinson says. The Cat Stevens songs were instrumental to the story. (After all, how many Muslim-Western mega pop stars are there?) Yusuf had been sent a copy of the script, and shortly after the introductions were done, Levinson and Glazer were relieved: He liked the story and was excited by the prospect of being involved in the project. “He wanted to make sure his music was being used appropriately,” Levinson says. “And he saw exactly what we were trying to do with the whole idea of an Afghan Muslim young woman so taken with his music that she becomes a pop star and remains a Muslim.” Islam gave them a green light. “It was a key element to get into place,” Levinson notes.  From: https://www.motherjones.com/politics/2015/10/cat-stevens-rock-the-kasbah-bill-murray-barry-levinson/

Thursday, September 22, 2022

Laura Love - Bad Feeling


 #Laura Love #folk #Afro-Celtic #Americana #Afro-Carribean #folk rock #funk #R&B #world music #singer-songwriter

Over the past several years, Laura Love has become quite acclaimed in the Northwest music scene as an unparalleled vocalist, bassist, and songwriter. Love's style is a synthesis of inner-city funk and folk-ish sensibility. One of the most difficult tasks for a musician is to find an apt label for her music; folk/funk, African/Appalachian, and House/Celtic have been bandied about for Laura Love. Whatever you choose to call it, Love's original music is at once fresh, def, and rooted in tradition. Although a popular headliner in her own right, she has opened for John Lee Hooker, Lyle Lovett, Bo Diddley, Karla Bonoff, and Elayne Boosler and been invited to perform at a number of folk and eclectic music festivals. Born in Lincoln, Nebraska, Laura Love began her career at the age of 16, singing jazz and pop standards at the Nebraska State Penitentiary. Since then, Love has played in a blues-grunge outfit, in a duo, trio, and in the funny feminist foursome, Venus Envy. Love has released three albums: Menstrual Hut (1989), Z Therapy (1990), and Pangaea (1993), all on her own label, Octoroon Biography. Shum Ticky followed in 1998 and Fourteen Days arrived in 2000 on Zoe Records.  From: https://www.allmusic.com/artist/laura-love-mn0000116761/biography

Singer-songwriter Laura Love isn't yet a household name, but she's done pretty well for an African-American woman who grew up in abject poverty in Nebraska - a place where other black faces like hers were few and far between. She's got her own flavor of music she calls folk-funk, and has sold more than 200,000 records over the span of her short and very independent career. Her latest creative blast is a combination memoir and CD of songs inspired by the trials during her young life, You Ain't Got No Easter Clothes. Love's life story isn't an easy one, but her words and music convey a wry wit and deep sense of joy and humor. Almost all of the songs on the You Ain't Got No Easter Clothes CD were composed at the same time she wrote her memoir. The book reveals Love's often shocking struggle against adversity - her mother's mental illness, the family's deep poverty, her stays in foster homes and other setbacks. But instead of hitting back, Love's words and music recall the gratitude, joy and sense of humor that characterize her outlook on life.  From: https://www.npr.org/2004/08/26/3871856/laura-love-two-for-easter 

Wednesday, September 14, 2022

Sunanda Sharma - Patake


 #Sunanda Sharma #Indian music #Indian folk pop #bhangra music #Punjabi folk #world music

Bhangra is a type of traditional folk dance of Punjab. It is done in the season of harvesting. Bhangra is especially associated with the vernal Vaisakhi festival. In a typical performance, several dancers execute vigorous kicks, leaps, and bends of the body - often with upraised, thrusting arm or shoulder movements - to the accompaniment of short songs called boliyan and, most significantly, to the beat of a dhol (double-headed drum). Struck with a heavy beater on one end and with a lighter stick on the other, the dhol imbues the music with a syncopated (accents on the weak beats), swinging rhythmic character that has generally remained the hallmark of bhangra music. An energetic Punjabi dance, bhangra originated with Punjab farmers as a cultural and communal celebration; its modern-day evolution has allowed bhangra to retain its traditional Punjabi roots, while broadening its reach to include integration into popular music and DJing, group-based competitions, and even exercise and dance programs in schools and studios.  From: https://en.wikipedia.org/wiki/Bhangra_(dance)

Sunanda Sharma is one of the most talented singers in the Punjabi music industry. She was born in Gurdaspur, Punjab, India. She is a playback singer as well as an actor. Sunanda started her career by singing cover songs during her college days and uploading them on Youtube. One of her videos caught the eye of many people and that’s how she came into the limelight. One of her songs, Jaani Tera Naa, which was released in 2017, is one of the most viewed songs of hers and brought her the fame and success she had always dreamt of. Sharma has also won many awards for her fabulous talent. Her acting career began when she starred in Sajjan Singh Rangroot opposite Diljit Dosanjh and Yograj Singh. Some of the most popular Sunanda Sharma songs that you cannot miss are Baarish Ki Jaaye, Duji Vaar Pyar, Mummy Nu Pasand, Tere Naal Nachna, Chori Chori, Poster Lagwa Do, and the list goes on.  From: https://fantiger.com/artist/sunanda-sharma

Monday, September 12, 2022

Kula Shaker - Temple of Everlasting Light


#Kula Shaker #psychedelic rock #neo-psychedelia #raga rock #post-Britpop #psychedelic revival #world music #1990s

Kula Shaker are a British rock band who emerged from the post-britpop era. Named after the ninth century emperor of the same name, their 1996 debut album ‘K’ showcased a different approach than their contemporaries, with a sound inspired by 1960s psychedelic rock and world music and lyrics influenced by Hindu spiritualism. After a brief hiatus from 1999 to 2006, they reformed and are still active today.  From: https://tvtropes.org/pmwiki/pmwiki.php/Music/KulaShaker

In Does Rock ‘N’ Roll Kill Braincells?!, we quiz an artist on their own career to see how much they can remember – and find out if the booze, loud music and/or tour sweeties has knocked the knowledge out of them. This week: Kula Shaker frontman Crispian Mills takes the ultimate test

Which band codenamed their seventh album “Kula Shaker demos” to prevent it from leaking?
“The Arsewipes?”
WRONG. It was Radiohead. According to bassist Colin Greenwood, to stop their 2007 record ‘In Rainbows’ being stolen, on the master they’d “write a name which probably nobody would listen to if we lost it; ‘Eagles: Greatest Hits’, ‘Kula Shaker demos’, ‘Phil Collins hip-hop covers”…
“Radiohead are the most overrated band in the universe. I think those guys believe their own myth, and that’s why their albums are so dull and self-important. That’s not me being offended – I genuinely think they’re boring.”
Did you cross paths much with Radiohead?
“We would never cross paths with the gods – we’re just mere mortals! [Laughs] They played opposite us when we played Glastonbury [in 1997], so all The Guardian readers were at Radiohead and then everyone else was at our gig, so it felt a bit more real. But my answer was right: it was The Arsewipes!”

You wrote and directed the 2018 comedy horror film Slaughterhouse Rulez. What is the school’s motto in the film?
“Per Caedes Ad Astra – Through Slaughter to Immortality.”
CORRECT. “The movie ‘If’ was a massive influence on Slaughterhouse Rulez and that was filmed at Charterhouse, a posh public school in the 1960s. A famous Indian saint said around that time that all formal education was like an abattoir for the mind, and you were sending your children to the slaughterhouse because there was no spiritual knowledge in schools. It was a powerful statement that stayed with me all those years until we came to pick the name for the public school.”
You hail from a filmmaking dynasty – you’re the son of actor Hayley Mills and director John Boulting. Were you ever starstruck by any big names as a child?
“The first time I met Harrison Ford he was dressed as Indiana Jones. My mum had worked with Steven Spielberg and was friends with his first wife Amy Irving, and surprised me by taking me to the set of The Last Crusade. I was frozen – all I could do was stare at his boots!”

In 2018, whose psychedelic-influenced album did Liam Gallagher brand as “shit Kula Shaker”?
“No idea. Who was it?”
WRONG. He said of his brother Noel’s High Flying Birds record, ‘Who Built the Moon?’: “It sounds like a shit Kula Shaker.”
“[Laughs] That’s very funny!”
Noel Gallagher used to champion Kula Shaker in the 1990s and you even played Oasis’ blockbuster 1996 Knebworth gigs…
“Being part of Knebworth was like being part of an event rather than a great concert. You can’t see anybody, but you get to say I was there. We didn’t really hang out with Oasis. There was definitely a sense of competition, and they saw us coming and Noel’s approach was probably: ‘Keep your enemies close’. We were rivals and they were at the top. They had the crown and were measuring themselves against the people making waves.”

In 2016, a reformed Kula Shaker made a return to playing live in Leighton Buzzard, Bedfordshire, under which pseudonym?
“Was it The Garcons?”
CORRECT. “On the blackboard outside the pub, it said: ‘Live tonight – Kula Shaker. All the pizza you can eat!’ [Laughs] It was a very auspicious return! But it was great because we gave up trying to play the game, nobody in the industry gave a shit when we reformed, and we spent years making records and building it up again ourselves. It was a total reset that had to be done for our spiritual core.”

What time does the watch on the single cover of Kula Shaker’s ‘Govinda’ say?
“It’s 10 to 10.”
CORRECT. “One of the greatest experiences of being in Kula Shaker is singing ‘Govinda’ because it’s a magical chant that exists outside of space and time. It’s a sacred mantra. When you see our audience – a mass of humanity – engaged in transcendental congregational chanting, it’s overwhelming. That’s why I’d much rather be in Kula Shaker than The Arsewipes [Laughs].”

From: https://www.nme.com/features/music-interviews/kula-shaker-crispian-mills-robbie-williams-radiohead-90s-3252289

Tuesday, September 6, 2022

Vodun - Mawu


 #Vodun #heavy metal #hard rock #psychedelic metal #stoner metal #ritualistic doom metal #occult rock #traditional West African music #afrobeat #music video

Amidst the rushing screams of Mother Earth; the pounding drums of Ouidah; the markets of Lomé and the open heart of Erzulie, there exists Vodun. Born of only three comes the embodiment of crushing noise intertwined with enrapturing harmonies... heavy, weird, soulful... yes, we are expectant of the abnormal and so should you be.  From: https://vodun.bandcamp.com/

From Kiss’s hard rock kabuki to Slipknot’s masks, metal has always loved a gimmick. Factor in bands like Alestrom (pirates), Battlelore (Hobbits) and Gwar (hell knows) and it can often feel as if no schtick has been left unexplored. In 2016, the latest band to go high concept is Vôdûn. A UK-based trio who play lucid thrash spiked with tribal drums while daubed in warpaint, they’re primarily inspired by west African vodou.
“It’s about taking on the spirits we embody, that warrior element, and helping us to be truly in the moment,” explains frontwoman Chantal Brown, formerly of cowl-sporting arkestra Chrome Hoof and, before that, oddball nine-piece Do Me Bad Things. “It’s about entertainment value, too, but our interest in vodou runs deeper than that.”
Brown discovered the religion through fellow Hoof singer Lola Olafisoye. “She’s a spiritual practitioner, and she’d share all these books she had on west African history,” says Brown. It proved a powerful inspiration to a group wanting to write heavy music steeped in spirituality and feminism. “It had feminist undertones: a lot of the gods and priests were female,” Brown continues. “People have tried to demonize it for centuries. It was the culture of a people who have been oppressed, killed off and enslaved. There’s more to it than sticking pins in dolls.”
Vôdûn’s aesthetic could easily be seen as contrived but it undeniably sets Vôdûn apart from other heavy British bands. Musically, they cut through the current trend for floppy-fringed emo-metal in the vein of Bring Me The Horizon. By contrast, Vôdûn’s debut album, Possession, sounds like Slayer doing Black Box’s Ride On Time and their shows are more like acid raves than metal gigs. A similarly rave-y sense of abandon is key to their music, and Brown sees links with her own musical heritage: “I come from a gospel background; being possessed is like catching the holy ghost, or speaking in tongues.”  From: https://www.theguardian.com/music/2016/jul/15/west-african-vodou-meets-hard-rock-in-metal-trio-vodun

Tuesday, August 23, 2022

Toni Childs - The Woman's Boat


 #Toni Childs #alternative rock #folk rock #world music #contemporary folk rock #pop rock #art pop #singer-songwriter #1990s

After the less successful critical and commercial fortunes of her second record, House of Hope, Toni Childs jumped labels from A&M to Geffen for her third release, The Woman's Boat, in 1994. She also enlisted a new producer in David Botrill, with whom Childs shares production credits. Recorded at Peter Gabriel's Real World Studios, The Woman's Boat features an impressive array of musicians including David Rhodes, Robert Fripp and Trey Gunn. The album itself is an ambitious song-cycle exploring the female perspectives from the heartbeats of the opening track "Womb" through the ten-minute confessional epic "Death," which closes the record. In between, there's the sonic rush of "Welcome to the World," which gracefully juxtaposes a mother's expression of fear and optimism to her unborn child, and the ominous tone of "Predator" expressing the darker side of human nature. The music edges Childs deeper into world music territory with its exotic instrumentation and rhythms. The Woman's Boat is a rich, complex and rewarding listen.  From: https://www.allmusic.com/album/the-womans-boat-mw0000113374

Sunday, August 21, 2022

BraAgas - Asentada En Mi Ventana


 #BraAgas #Balkan folk #medieval #Scandinavian folk #world music #Sephardic folk #traditional #period instruments #Czech Republic 

BraAgas is an all female quartet created in 2007 after the split-up of the band Psalteria. The first two albums were hard to define genre-wise. “The first album called No.1 was a mix of everything – medieval and folk songs as well,” says Katka Göttlich. The four members of BraAgas have been playing for a long time. In addition to the previously mentioned Psalteria, the musicians played in other bands. “Our experiences from other bands have merged here – for me and Karla it was the Psalteria band, for Beta it was Gothart. Michaela had been sometimes the guest in different groups (e.g. Krless) before BraAgas originated,” says Göttlich. The four musicians play mostly ethnic instruments and historical replicas. Many guests helped them at the studio and there were also some electronic elements. Thanks to the electronics, a new modern sound was developed for Tapas, which was produced by David Göttlich and Petr Koláček. Tapas includes songs from various parts of Europe, including Spanish, Balkan, Nordic and Italian sources, originally dating back to anywhere within a thousand years time span, interpreted in a very modern way.  Current members include: Katerina Göttlichova on lead vocal, cittern, guitar, bagpipes, shawms; Alzbeta Josefy on vocal, davul, darbuka, duf, riq; Karla Braunova on vocal, flutes, recorders, clarinet, shawms, chalumeaux, and bagpipes; and Michala Hrbkova on vocal, fiddle, cittern.  From: https://worldmusiccentral.org/2017/01/09/artist-profiles-braagas/

Friday, August 5, 2022

Sophie B. Hawkins - Damn I Wish I Was Your Lover


#Sophie B. Hawkins #alternative rock #pop rock #world music #R&B #jazz rock #afrobeat #singer-songwriter #multi-instrumentalist #1990s

A proudly idiosyncratic singer and songwriter who embraces an eclectic range of musical influences and isn't afraid to be nakedly confessional in her music, Sophie B. Hawkins enjoyed unexpected commercial success with her debut album, but since then has opted to follow her muse rather than a major label's marketing department. Born in New York City in 1967, Hawkins grew up in a family that valued art and creativity but was troubled by alcoholism, and as a child she aspired to be an English teacher. At the age of 14, Hawkins became fascinated with African music and began studying percussion, becoming a student of celebrated African musician Babatunde Olatunji. As Hawkins became more accomplished, she branched out into jazz and became proficient on marimba and vibraphone as well as drums. After finishing high school, Hawkins enrolled in the Manhattan School of Music, and in addition to world music and jazz, she began dipping her toes into rock and pop music, playing trap drums with a band called the Pink Men and a handful of other groups. Hawkins took up singing and writing songs, and recorded a demo tape that made its way to Roxy Music frontman Bryan Ferry, who hired her to play percussion and sing backup in his road band for two months. Hawkins took odd jobs and sang on commercial jingles to support herself until her demo came to the attention of an A&R man at Columbia Records, who signed Hawkins to a record deal. Hawkins' first album, 1992's Tongues and Tails, suggested the breadth of her influences, with jazz, R&B, pop, rock, and African music informing the 11 tunes. One of the songs, "Damn, I Wish I Was Your Lover," became a major hit single, and Tongues and Tails became a commercial and critical success.  From: https://www.allmusic.com/artist/sophie-b-hawkins-mn0000754055/biography

Saturday, July 30, 2022

Dead Can Dance - Children Of The Sun


 #Dead Can Dance #Lisa Gerrard #Brendan Perry #neoclassical #darkwave #world music #ambient pop #art rock #avant garde #gothic rock #worldbeat #neo-medieval

Dead Can Dance have been included in a wide variety of musical subgenres within rock. Due to their name, image, and electronic-drum-driven ethereal sound, many defined the band as part of the dark, gothic style when they began to achieve notice in the early 1980s. Indeed, the media have called the work of Dead Can Dance everything from “world music” to “unclassifiable.” Brendan Perry and Lisa Gerrard, the core of Dead Can Dance, have said their creations come from pure inspiration. “No two people ever make the same music naturally, not if they’re really honest with their music,” Perry told Ann Marie Aubin in Strobe. “What we try to do is draw very deep inside us, in regions that are normally connected with the subconscious - a willful immersion in trance-like states and improvisation, then bring down a whole gamut of influences we don’t really have conscious control over.” Perry and Gerrard met in 1980 in Melbourne, Australia. They decided to name their project Dead Can Dance after a ritual mask from New Guinea. “The mask, though once a living part of a tree, is dead,” Perry explained. “Nevertheless, it has, through the artistry of its maker, been imbued with a life force of its own.”  From: https://www.encyclopedia.com/education/news-wires-white-papers-and-books/dead-can-dance 

Dead Can Dance combine elements of European folk music - particularly music from the Middle Ages and the Renaissance - with ambient pop and worldbeat flourishes, touching on everything from Gaelic folk and Gregorian chant to avant-garde pop and darkwave. Originating in Australia, the group relocated to London in the early 1980s and signed with 4AD, for which they released a string of acclaimed albums, including the popular 1991 compilation A Passage in Time, which introduced the project's distinctive medieval art-pop to the United States before ceasing operations in 1998. They reunited in 2005 for a short tour, and officially re-formed in 2012 and issued their 12th studio LP, Anastasis, with Dionysus arriving six years later. Over the course of their career, Dead Can Dance have featured a multitude of members, but two musicians have remained at the core of the band - guitarist Brendan Perry and vocalist Lisa Gerrard. Perry had previously been the lead vocalist and bassist for the Australian-based punk band the Scavengers, a group that was never able to land a recording contract. In 1979, the band changed its name to the Marching Girls, but still wasn't able to get a contract. The following year, Perry left the group and began experimenting with electronic music, particularly tape loops and rhythms. In 1981, Perry formed Dead Can Dance with Lisa Gerrard, Paul Erikson, and Simon Monroe. By 1982, Perry and Gerrard decided to relocate to London; Erikson and Monroe decided to stay in Australia. Within a year, Dead Can Dance had signed a record deal with 4AD. In the spring of 1984, they released their eponymous debut album, comprised of songs the pair had written in the previous four years. By the end of the year, the group had contributed two tracks to It'll End in Tears, the first album by This Mortal Coil, and had released an EP called Garden of the Arcane Delights. In 1985, Dead Can Dance released their second album, Spleen and Ideal. The album helped build their European cult following, peaking at number two on the U.K. indie charts. For the next two years, Dead Can Dance were relatively quiet, releasing only two new songs in 1986, both which appeared on the 4AD compilation Lonely Is an Eyesore. Within the Realm of a Dying Sun, the group's third album, appeared in 1986. In 1988, the band released its fourth album, The Serpent's Egg, and wrote the score for the Agustí Villaronga film El Niño de la Luna, which also featured Lisa Gerrard in her acting debut.  From: https://www.allmusic.com/artist/dead-can-dance-mn0000225948/biography  

Tuesday, July 26, 2022

Faun - Walpurgisnacht


 #Faun #pagan folk #darkwave #neo-medieval #folk rock #neofolk #European folk #traditional #world music #German #music video

Of all the anonymous-authored quotes floating around the interwebs, this is probably my favorite: "Religion is regarded by the common people as true, by the wise as false, and by the rulers as useful." The quote is often attributed to Roman renaissance man, Seneca the Younger, though nobody seems to know when or where he actually said it, which means someone probably just stuck that quote onto him to give it more legitimacy. I guess the quote being the truest thing ever simply didn’t make it legitimate enough. What’s kind of funny about people attributing this quote to a Roman is that anytime I see the quote, I immediately think of the Roman Empire. When Rome started out, religion was generally an unorganized series of beliefs and rituals that greatly differed from tiny region to tiny region. A region often had a patron/patroness god/goddess such as Athena for Athens. Today this ancient form of religion is known as “Paganism.” However, when the city of Rome became the huge Roman Empire, there were many different peoples with many different beliefs and cults all living under one government. For a while, the government’s official policy was that anyone could believe what they wanted, as long as they paid their taxes. Actually, there was a fairly new religion called Christianity which was banned for a while. But eventually Christianity was legalized, made the official religion of Rome, and Pagans were heavily persecuted. Because Roman culture was based on Greek culture, and the Greeks love irony. And buttsex. So in an act that has forever solidified itself with the above quote, the Roman leaders used religion as a way of uniting the multicultural empire. It made sense. It’s pretty hard to have unity when you have a nation full of Latins, Greeks, Germans, Celts, Arabs, Jews, Turks, Iberians, and so on, all believing vastly different things. The Roman Empire needed to be united under the worship of one imaginary friend, as opposed to a diverse tapestry of imaginary friends. So this is the part most of us are familiar with. Christians in power began persecuting Pagans in an attempt to stomp out the old religions, a practice that continued well after the empire had fallen, and there were new kingdoms in its place. One of the methods of stomping out both the religion and culture of Paganism, besides a genocide here and there, was the Christianization of Pagan holidays. The Celtic holiday of Samhain became the Catholic holiday of All Hallows’ Eve, now known as Halloween. Ostara became Easter. For those of you wondering what painting eggs has to do with the return of Jesus, it symbolized the return of Spring, which is what Ostara was about. One of the Pagan holidays was May Day, which is the day after Walpurgisnact, and finally here we are!
Yes, dear readers, the Musik Video I’m reviewing today is about Walpurgisnacht. And the reason that massive introduction was needed is because the holiday, the Video, and the band that made it, are all proof that cultural Paganism is alive and well, despite two thousand years of attempts at Christianization. But first, one last history lesson. May Day, a secular version of which is still largely celebrated, was all about welcoming Summer. The Germanic Pagans celebrated the night before by lighting a bonfire, and dancing around a Maypole which symbolized a big throbbing Schwanz. Yeah, my elementary school teachers left that part out when my class did the Maypole dance. So how does one Christify a holiday like this? Well, the Catholic Church decided that April 30th - May 1st would be a time to celebrate Saint Walpurga, an English missionary that is credited with bringing Christianity to Deutschland. What followed next was perhaps the most awesome discretion in the history of religion. The night before May Day, known as Walpurgisnacht (Walpurgis Night), eventually became a haunted night where witches allegedly gather in Germany to hold rituals and, I assume, do various witchy things. Basically, Saint Walpurga’s night became Germany’s Satanic Halloween. To add yet another insult, The Church of Satan now celebrates Walpurgisnacht as one of its unholy holidays. Ouch. So now with all that being said, on to the Musik.
“Walpurgisnacht” is performed by German Pagan Folk band Faun, and it’s awesome. Seriously, with all the babbling I just did, it should be obvious that I love this topic, and Faun did a sweet job of honoring such a cool holiday. Faun’s “Walpurgisnacht” paints a really beautiful picture of German Pagans coming out to celebrate. Faun’s ode to Witchcraft is definitely more about the pre-Christian Pagan celebrations as opposed to Satanism. However, the Video actually bridges the past with the present. It starts out with some scenery porn showing the band travelling through the forest to the Maypole. When they get there, there are sexy Frauen wearing while silk, and prancing around the Maypole/Schwanz. After some more prancing, the girls light a bonfire, and as the flames grow higher, they smear dirt on their skin while looks of ecstasy appear on their faces. Yeah, the forest isn’t the only eye candy in this Video. But it’s at this point that things really get good if you’re a humungous nerd like me. The shots now alternate between the band singing around a bonfire in the darkness of night, and people dressed as fauns dancing around said bonfire, and waving incense. The shot then cuts to the sky to reveal three moons, and the Triple Moon Goddess of Wicca. After a close-up of the fauns, the shot then goes to show two moons with Wicca’s Horned God. It’s at this point that my head just fucken explodes all over the walls. Yeah, I pretty much marked out like mad the first time I saw this. I totally love Wiccan mythology. Yes, I know its ancient origins go back to the sixties, but who cares? The imagery and stories of Wicca are awesome. And we so rarely see any representation of its mythology in the media. So yeah, I was super excited to see the Triple Moon Goddess and Horned God here. What’s even better is that the Video then goes on to do things that reference other less known aspects of Wicca. The Horned God throws a type of spiritual rope up to the Triple Moon Goddess and pulls her down from the moon onto earth. This is a reference to a ritual called “Drawing Down the Goddess,” in which Wiccans summon the goddess to come down and possess the body of the High Priestess. I kind of have mixed feelings here. On the one hand, the fact that people believe in literally existing gods is one of the reasons I’m a card-carrying misanthrope. On the other hand, I can’t help but enjoy it from a pure entertainment standpoint. It’s cool mythology, and perhaps the people who worship these gods are a part of the mythology too. After the goddess is brought to earth, she and the god slowly walk towards each other, while a priestess holds a rope. She ties their wrists together, which is a reference to the Wiccan handfasting. And probably the bondage that will occur later that night. The Horny God, amirite?
“Walpurgisnacht” mixes good Musik, interesting stories, and pretty visuals to make a great Video. I also can’t stress enough just how good it is that Faun, who has songs in many different languages, chose the German language for this song. A lot of European bands sing in English in order to reach a wider audience at the expense of quality. English is fine, but die schreckliche deutsche Sprache is an art language. Depending on how one uses German, it can sound brutally violent, soft and sweet, heartbreakingly sad, or seductively sexy. Eisblume manages to do the latter three in “Leben ist Schön.” German is naturally dramatic, which makes it perfect for Musik and movies. “Walpurgisnacht” would have been a good song in the language of Shakespeare, but not nearly as good as it is in the language of Lindemann.
From: http://eisenkreuzleben.blogspot.com/2015/01/walpurgisnacht-faun.html

Faun is a German band formed in Munich in 1998, who have been labeled as Pagan folk (as they often refer to themselves), neofolk, darkwave, Celtic folk, medieval music or, more recently, folk rock. The fact is that the Bavarian sextet presents a range of very original and diverse compositions, ranging from melancholic ballads to more festive songs. Most of these characteristics are the result of the use of ancient musical instruments such as the Celtic harp, the nyckelharpa, the hurdy-gurdy, the cittern, bagpipe and many others. In addition, the songs are sung in several languages, including the band members’ native German, Latin, Hungarian and ancient Scandinavian languages. The name “Faun” refers to the deity of Roman mythology, Faunus, the Pan of the Greeks, which refers to the band members’ reverence for nature and its creatures.  From: https://mythologica.com.br/en/features/faun-german-pagan-folk/

Saturday, July 9, 2022

Tautumeitas - Raganu Nakts


 #Tautumeitas #Latvian folk #world music #traditional folk #Eastern European folk #music video

Tautumeitas - Raganu Nakts

Hey all, I'm wondering if anyone can offer info about this song. I've read a google translation, so I have a vague idea of what the lyrics mean. I'm curious about the history of the group and some background on where they are conceptually coming from. The percussion is also really interesting and I'm curious of the instrumentation? Are they traditional latvian instruments/rhythms? (Sounds similar to japanese taiko drumming.) I am a descendant of Latvians displaced after WW2. I'm not fluent in this beautiful language yet, I apologise, I will get there. In the mean time, I'm trying to develop cultural appreciation and understanding through music. I've become a bit infatuated with this song and I'd love to know more.

Firstly - original Latvian (mostly older dialect) lyrics from the folk song that they are using as a basis for their track can be found here - https://genius.com/Tautumeitas-raganu-nakts-lyrics
As with most folk songs, there is no good (proper, well understandable) translation possible for this song. It's basically a short snippets of explanation supported by repeating chants ("līgo, līgo" - phrase being chanted during the "Jāņi" celebration - Latvian national summer solstice festival with long history). General idea throughout the song is that there is "Jāņi" being celebrated that night, and girls are taunting all the evil spirits and daring them to try to come in their farmstead, which is protected by old-Latvian protective signs, and they are singing that nothing bad will happen to them. I must explain that this is a common theme throughout many Latvian folk-songs, especially the ones dedicated to "Jāņi" celebrations - you see, it's an old folk belief that during the "Jāņi" night Latvians feel the most united and strongest, and are even daring the evil spirits. So there are a LOT of folk songs and tales with this motive.
P.S. "Tautumeitas" currently is, imho, by far the coolest and most successful folk-music related band, that is singing and playing their own versions of the classic folk songs, making them way more attractive to the younger audience. I highly suggest you to check out their other songs from the latest album - they are all great.

From: https://www.reddit.com/r/latvia/comments/gf3k8w/tautumeitas_raganu_nakts_info/

Tautumeitas is a Latvian folk/world music band formed in 2015. The band consists of six women vocalists/instrumentalists. Their album 'Songs From Auleja', released in 2019, introduced the world to sixteen songs from the Latvian village of Auleja. These songs, based on recordings found in archives, were also unfamiliar to most Latvians. In fact, it is this repertoire of songs that brought Tautumeitas together in the first place. The traditional form of a cappella multipart singing on this album, known as bolsi, is linked with specific times of the year or special celebrations. The texts tell about various natural phenomena as well as events and activities in people’s lives. These multipart songs were traditionally sung outdoors, the singers actively interacting with the environment.  From: https://www.lmic.lv/en/musicians/-tautumeitas-4619#!/


Planxty - The Rambling Siuler


 #Planxty #Christy Moore #Andy Irvine #Irish folk #world music #Celtic folk #traditional #1970s

Veritable supergroup of Irish traditionalists that helped spark an Celtic folk renaissance in the 1970s. Along with groups like the Bothy Band, Planxty helped to usher in a new era for modern Celtic music. While their sound remained rooted to traditional music, the band's virtuosic musicianship and high-energy delivery reflected modern influences, while their unique vocal harmonies and instrumental counterpoint were unprecedented in Irish music. The founding members of Planxty - Christy Moore, Donal Lunny, Liam O'Flynn, and Andy Irvine - initially came together to provide instrumental accompaniment for Irish singer/songwriter Christy Moore's 1973 album, Prosperous. The sessions proved so inspiring that the musicians agreed to continue working together. With the release of their debut single, "Cliffs of Dooneen," the new band attracted international attention. An equally memorable, self-titled album, affectionately known as the "Black Album," followed shortly afterwards. Despite its success, Planxty was plagued by a series of personnel changes. Following the release of the band's second album, The Well Below the Valley, Lunny departed for the Bothy Band and was replaced by Johnny Moynihan, who had previously played with Irvine in Sweeney's Men. Moore followed after the release of the band's third album, Cold Blow and the Rainy Night to resume his solo career, and was replaced by singer/songwriter Paul Brady. The loss of Moore and Lunny was devastating and, shortly after releasing their fifth album, The Woman I Loved So Well, Planxty disbanded in 1981.  From: https://www.allmusic.com/artist/planxty-mn0000852842/biography

The Rambling Sailor
It was Cecil Sharp's opinion that early broadsides were about a soldier. There is an argument that the original was an Irish, particularly Ulster song, according to Sam Henry, the greatest collector of Ulster folk songs. The Irish song was called The Rambling Suiler (suiler translated as beggarman, which, indeed, still provides a metaphor for movement, fluidity and lack of fixity). Another suggestion is that ‘The Rambling Suiler' refers to the amorous encounters of James V of Scotland, who roamed his kingdom in disguise and may have written the song about himself or had it written about him. Whether of Gaelic origin, and whomsoever the subject, the anglicised versions of this song are many, using different place names. Nevertheless, the key points are well illustrated. Detaching himself from authority and beoming mobile earns the subject his liberty as an English man. As was frequently the case, 'rambling' was a metaphor for sexual liberty or libertinism. The story of the woman who went to sea inverts several aspects of 'The Rambling Sailor'. Instead of being universalised by being given a name which could apply to any English man - a young man, the son of John - the woman is particularised - Rebecca Young of Gravesend. She is loyal to the memory of her 'true love', a pressed seaman who had drowned, and it was to honour him that she went to sea. She too, drowned, but was undaunted, and in death 'anchored', rather than mobile.  From: https://www.lancaster.ac.uk/fass/projects/english_folk/EFS/Ramblingsailor.html   

Sunday, June 26, 2022

DakhaBrakha - NPR Music Tiny Desk Concert


 #DakhaBrakha #folk #Ukrainian folk #world music #Eastern European folk #folk rock #cabaret #NPR #live music video

The Ukrainian band DakhaBrakha calls itself "ethno-chaos." Over the past decade, this Ukrainian-folk-meets-punk group has brought their music to audiences around the world. They recently kicked off a U.S. tour - just weeks after Russia invaded their country. For years, DakhaBrakha have called themselves "ambassadors of free Ukraine." Their shows have been punctuated with cries of "Stop Putin!" and "No war!" Now, they hear those demands reflected and amplified around the world. This quartet's name means "give/take" in old Ukrainian - and that's exactly what they do. Cabaret, jazz, rock and hip-hop are all part of the band's DNA. But they also explore all kinds of old Ukrainian folk styles, fed through the prism of the 21st century.  From: https://www.npr.org/2022/04/20/1091770301/ukrainian-band-dakhabrakha-delivers-an-urgent-message-to-u-s-audiences