Matador: “It is better to listen to it with headphones”
Matador is Santiago Bogacz, who does all the guitar playing and singing you hear on his latest album that came out late last year, which is eerie and spacious and haunting and really beautiful.
“It is better to listen to it with headphones.”
TATRAN: Tel Aviv psychedelic instrumental power-trio previews new album with bizarre (and excellent) new music video
I have no idea what’s going on in TATRAN‘s latest music video, and I think that’s OK. From the jarring dancing to the masked people who look like Miyazaki extras, there’s a lot going on, and it’s all soundtracked to experimental and jazzy instrumental post-rock.
The video is for “Eyes,” the latest single from the group’s upcoming album ‘No Sides,’ out June 2nd.
From the press release:
“The latest video from Israel’s Tatran is a pulsating visual experience. Created for their latest single “Eyes”, which is also featured on the upcoming album. The work takes place in an ancient bell cave in Israel. As strange figures marvel with each frame, showcasing unique and eye catching abstractions. The lack of identity given to these characters allows them to move with fluidity, while being consumed by the distinctive space.
An incredibly tight production, the video progresses with quick pace mirroring with the unparalleled high notes and melody of the bass, and the deep low lines courtesy of the guitar. The result is a mesmerizing display of creativity that is difficult to ignore. As the video concludes, members of the obtuse pack join a deity, who utilizes a supernatural dance to communicate sweet vibrations to her troops.”
Boomarm Nation: Portland label releases experimental global sound system music
Boomarm Nation is a Portland, OR-based label that releases experimental sound system music from around the world on vinyl, cassette, and digital. A recent highlight for me is the fuzzy, furious remix of Mali tehardent musician Aghali Ag Amoumine off January’s ‘Family Album 2017’ compilation.
“Blessings to all the people of the world. May we unite aside our differences and together find peace and strength amongst the tyrants. 2017 – We ready.”
Pastacas: Estonian “Lo-fi Folk-(nohik-)punk-electronica”
Ramo Teder is a 46-year-old dreamer and multi-instrumentalist from Viljandi, a small town in southern Estonia. He currently lives in Teijo, Finland, in the middle of a large national park filled with lakes, forests, and historical villages. Consequently, the presence of nature is felt so clearly in every song of his musical project Pastacas. This pastoral vibe, however, doesn’t reach the listener’s ears untouched: traditional music and nursery rhymes are decomposed and represented in a new and unexpected form.
The music of Pastacas feels like a complex and mystic journey into a place both familiar and unknown. The title of his last album, ‘Pohlad’, is Estonian for lingonberries. Each song is a short and immersive experience into old and fascinating Baltic tales. Guitars and mandolins are matched with old folk Estonian instruments such as the hiiu kannel, a particular four-stringed bowed lyre. Electronic beats and the repetition, inversion, and decomposition of both his instruments and his voice, though, push his music towards a surprising direction.
Teder himself defines his work as “Lo-fi Folk-(nohik-)punk-electronica”, where nohik means “nerd” in Estonian. It’s a playful definition because this sort of futuristic approach to pastoral and folk music is not easy to label. What’s sure is that experimental music is rarely as emotional and homely as it is here. The same emotion relives in the skinny and heartfelt characters he draws for the artworks of his albums, and in the contemplative live shows, where he recreates his music by playing and looping all of the instruments he uses on the records, bringing the audience to the cold yet inviting forests he calls home.
‘Sampieri & GMC’: blissed-out psychedelic free folk from Argentina
I’ve recently discovered the wonderful Pakapi Records, an Argentina-based label that focuses on promoting South American artists. The standout for me so far is this 2015 collaboration between Sebastian Sampieri (Sampieri) and Guillermo M. Cerredo (GMC). ‘Sampieri & GMC,’ when you’re in the right mindset, is a blissed-out collage of psychedelic free folk.
“This new lysergic adventure is a blunt split plagued by experimental music, sampledelia, electronic and acoustic sounds, synthesizing a cross of folcklore, tribal mantras to pure electronic and a narcotic and descriptive shared collage.”
‘Sampieri & GMC’/Pakapi Records: Bandcamp Facebook
‘Tanzania’: a revision of one of Kink Gong’s best experimental field recordings
Kink Gong (Laurent Jeanneau) is an artist who records ethnic minority music, mostly in Southeast Asia, and recomposes the original recordings into experimental soundscapes. ‘Tanzania,’ released two years ago via Discrepant, a London-based label that aims to “deconstruct, distort and re-assemble the lore of (un)popular music,” brings Jeanneau to the namesake country and offers reinterpretations of the field recordings he made there in the late ’90s.
From Laurent Jeanneau via Bandcamp:
”December 1999, Tanzania. I had an appointment with James Stephenson an American friend from the 90s in NYC, he used to skip the American winter every year to be with the Hadzas bushmen and other Tanzanians tribes in Tanzania. Whilst there, James and I lost completely track of time and did not give a shit about what day Christmas was, or New Years for that matter- with the majority of the planet knowing they were heading into the 21st Century.At some point end of December or early January 2000(?) we asked a group of
At some point end of December or early January 2000(?) we asked a group of Hadzas we were hanging out with, “what’s the date today?” None understood the question but one Hadza who had been sent to school in the early 70s answered that we must be in 1975! Tanzania in 1999/2000, this intense trip away from all the millennium bullshit celebrations. I gathered all kinds of sounds, not only music, that expresses proximity and that was the first time I decided I was going to remix those raw recordings into a decent soundscape. It was also the first time I was pleased with the result- to go into a direction of redefining world music, away from the commercial clichés. This has been the direction I’ve taken and focused on ever since with the recomposing of my Asian recordings.”
Tanzania in 1999/2000, this intense trip away from all the millennium bullshit celebrations. I gathered all kinds of sounds, not only music, that expresses proximity and that was the first time I decided I was going to remix those raw recordings into a decent soundscape. It was also the first time I was pleased with the result- to go into a direction of redefining world music, away from the commercial clichés. This has been the direction I’ve taken and focused on ever since with the recomposing of my Asian recordings.”
Auntie Flo: for fans of Four Tet and Gorillaz
Auntie Flo is Brian d’Souza, a UK artist who’s been praised by The Guardian for his insightful and educational fusion of electronic and world influences. Check out his diverse body of work here.
I had never heard d’Souza’s music before, but after hearing “The Soniferous Garden,” it feels like I’ve been waiting for this kind of mixture ever since this website began – something that immediately hits you but then reveals more texture and color on repeated listens.
“Produced and arranged over an intense, collaborative two day session at the Santuri studio as part of the Ugandan Bayimba arts festival in Kampala in September 2015, the project draws on Senegalese Sabar drumming, the plaintive notes of the Adungu (a Ugandan 10 string harp) and the vocals of Gio Kiyingi, underpinned by d’Souza’s arrangements and drum programming for two tracks clocking in at a healthy quarter of an hour each.
The title ‘The Soniferous Garden’ is taken from the writings of Canadian composer and environmentalist R Murray Schafer, a concept he defines as ‘a garden or place of acoustic delights’ – an aural space of retreat from the oppressive overabundance of acoustic information that characterizes the modern industrial world.
The two compositions are a response to this idea – drawing the listener into meandering, ever-evolving themes that weave in and out of a rhythmic base that is equal parts traditional percussion and electronic production.
The title track showcases the virtuoso Adungu playing of erstwhile Burnt Friedman collaborator Hakim Kiwanuka, and vocals from regular Highlife World Series contributor Giovanni Kremer Kiyingi whilst Rainfall on red earth (inspired by the vivid colours of the landscape around the studio) pushes the talking drum of Mama N’Dieck Seck Thiam to the fore.”