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Victoria Hanna

Victoria Hanna

Aleph Bet / Hoshana 
22 Letters 
Orayta 
Sheharhoret 
Ani Yeshena 
Kala Dekalya 
Hayoshevet Baganim 
Sha'arei Tziyon 
Yonati 
Asher Yatzar 

Jewish Monkeys

High Words

Oy Brigitte 
Jm Fever 
Post Midlife Dance 
Alte Kacker 
Titina 
Pupik 
High Words 
I Wonder 
Romania 

Mania Regressia

Caravan Petrol 

Caravan Petrol / I want control / Nissan Patrol
Remote control / Caraca-racara… / Caravan Petrol

Oy isn’t it an oily planet? /Money feeds the oily expectations of the oil-consuming nations / Leads to global exploitation / I used to be a motherfucker, not knowing what to do in life/I was looking for sensation / In the army of salvation/ But they didn’t have a clue/If only they would see/ How clean the world could be/If they just exchanged the oil for solar energy / Wouldn’t it be nice? / If I went to paradise / Leaving earth a better place /Unspoiled by human race /

I used to be a motherfucker /Not knowing what to do in life / I was living in disguise / And was hiding from my wife / Desperately wandering in the desert/Trying to purify some water/ But instead I met the daughter / Of the Sheik who owned the well / Well well well well! Fatima Morgana / I showed her my banana / We listened to Santana / This desert is Nirvana / Fatima Morgana /Was licking my banana / Erupting a Fontana / Her Papa was in oil / oyoyoyoyoy Oil /I start to like the goil

He needed the sheik’s water/ But instead I fucked his daughter / Now the sheik he wants to slaughter / Everyone who fucks his girl / A little defloration /That was such a big sensation / Had to take her for my wife / To escape her Papa’s knife / Kni kni kni kni kni knife / The best chance of my life!

(instrumental intermezzo)

If only it could be / That the oil belonged to me / I would sell this whole Nirvana / And end my misery / Be rich eternally / Fuck solar energy / And all humanity / If only they could see / That the king of oil is me / And my oily queen is Fati.. Fatima Morgana/ Ala ala ala / I want her Papa’s car / I’m going to be a star/ I don’t give a shit about pollution / Only the petrol distribution / Is the only right solution / Stop this eco-revolution

Black but Sweet 

What is the woman and you will see, a nice black woman they call Didi / When she presses sweet lips to mine / I said Mammy kiss Pappy all the time

She is black and only and that is all / She is black and only and that is all / When men meet her, they bound to fall / Until her Mammy doesn’t sleep, oh Lord

What is the woman and you will see / A nice black woman they call Didi / when she presses sweet lips to mine / I said Mammy kiss Pappy all the time / Didi is that bright of my heart / I felt so funny with her to part / The people in the country of Caroline / can tell how Didi loves Houdini

Young boy think that they fight for me / Don’t put yourself into difficulties / For it is for this positive fact / The sweetest women in the world of luck / Don’t you mind when you get up old / It’s for never mute, keep cost in your soul / With your black baby you are born to stay / You cannot leave her and go away

I said Didi, I’m going away / But no longer I cannot stay / Mammy as it is, for this is fact / Sweet Houdini soon is coming back

Luba Lubaviczer 

Petrosilia / Che Guevara
Rojte Paprika / Mata Hari
Superwomen / Metaplastik
Mamographia

LUBA LUBAVICZER

Krimme Fiess / Groisse Zitzkalach / Ciciollina
Mania Regressia / Pizda Kurva
Kama Sutra / Pseudo Palavra

LUBA LUBAVICZER

Luba, Luba, Luba, Luba!! / Dayne Oygn hobn sech arayngedrayt in mayne Nishume/ Und ich bin im / Ganzn meshigge gewordn / Oy oy oy oy

(English):
Luba, Luba, Luba, Luba!! / Your eyes crashed into my soul/and I became totally crazy/Oy oy oy oy

Papirossen / Hare Krishna
Cucarracia / Hiper Histeria
Noch a zingale / Semi Conductor / Toda la Noce

LUBA LUBAVICZER

Alte Kretshme / Poco poco
Trichomonas / Sensationell
Psychotherapia / Hysterectomy / Apoplexia

LUBA LUBAVICZER

Luba, Luba, Luba, Luba!! / As du kishst mech, brennt a fayer in mir / Oy oy oy oy

(ENGLISH): When you kiss me, a fire burns in me/ Oy oy oy oy
Schoyn avek der Nechten / Noch nisht du der Morgen /Es is noch du a bissale Haynt / Ster ihn nisht mit Sorgen

(English):
Yesterday is already gone / Tomorrow is still not there /There is still a little bit of Today / Don’t disturb it with sorrows

Johnny is the Goy for Me 

“Johnny is the goy for me” /This is what she said to me …

“Tall and blond / His eyes are blue / He fucks like hell /Doesn’t smell” / Oy, vey Jossl can’t you see?/ “Day and night / I think of him/ He rides a horse / He goes to the gym” /This is what she said to me …

DaDai…

“Johnny is the goy for me” / So I said “Nuuu? Why not a Jew?”

“All the day / You count and pray / You promise the moon/And come too soon” / Oy, vey, Jossl, can’t you see?/ “You bring no check / Got hair on the back / You snore at night / Mama was right”/ Jossl, you’re no joy for her

DaDai…

(Intermezzo):
Jossl is no joy for her / For Johnny Goy she’s just a toy

I jumped from a tree / I broke my knee / I rode a bike / Even fucked a dike / Nothing’s good enough for her/ But now I found my Suzy Jane / She can’t do Tshulent / But never complains / For Sue I’m not a lousy Jew / For Sue I’m like a Johnny too

DaDai…

So Nice 

Louis was a financial fart/Spent all his money eating tart / It made him fat and stopped his heart/ Financial fart was not so smart

Everything’s so nice / Oy, it’s just so nice / Isn’t it paradise? / Some people eat just rice

Terry was a terrorist/ Couldn’t handle his father’s fist / The people thought that he’s a joke / Some of them went up in smoke

Everything’s so nice / Oy, it’s just so nice / Isn’t it paradise? / Some people eat just rice

Everything’s so great/ Just enjoy your fate / Everything’s so great/ Just enjoy your fate/daidaidai…

Jezebel she couldn’t smell/ Her father’s breath was responsible / When he touched her in the loo/ She lost her other senses too

Everything’s so nice/ Oy, it’s just so nice / Isn’t it paradise? / Some people eat just rice

Everything’s so great/ Just enjoy your fate / Everything’s so great/Just enjoy your fate/daidaidai…

Geraldine had a spleen/Everything had to be clean/She was never satisfied/ ’Cause the shit came from inside /…From inside… from inside…from inside…

Everything’s so great/Just enjoy your fate / daidaidai…
Everything’s so great/Just enjoy your fate/daidaidai…

Don’t you mind your enemies /Enemas and bumble bees/ Love your neighbor, kiss your wife/ You will probably meet them in the afterlife

Everything’s so nice/ Oy, it’s just so nice / Isn’t it paradise? / Some people eat just rice

Misirlou 

(Yiddish)
Vayt in dem midbar / Fun heyser zin farbrent/ Hob ikh amol a meydele dort gekent / Misirilou heyst zi/ Yeder dort veyst zi gut/ Kh’vel di printsesn mer shoyn fargesn nit.

Far in the Desert/ Burnt by the hot sun /I once knew a girl / Misirilou was her name / Everybody there knew her / I will already not forget the princess

(Yiddish)
Shtil, ovent kil, Un ikh fil az ikh vil mayn gefil /Far ir oysgisn un zi zol visn nor, Az nor zi lib ikh, Mayn lebn gikh ir, yo /

Silence, cool evening, And I feel / That I will my feeling
Spill out in front of her / And she should know / That only her I love / My life I give to her

(Yiddish)
Her, s’iz mir shver, Mit a trer zog ikh dir un ikh shver / Midber printsesn, kh’ken nit fargesn dikh / Kum hayl mayn benkshaft, nor di kenst hayln mikh /

Listen, it is difficult / With a tear, I tell you / And I swear
Desert princess, I cannot forget you / Come heal my longing / Only you can heal me

(Yiddish)
Misirilou mayne, meydale fun orient, Di oygn dayne hobn mayn harts farbrent / Mayn harts vert kranker, in chulem sey ikh dikh/ ants far mir shlanke /Drey zikh geshvind gikh. Midber printsesn, kh’ken nit fargesn dikh / Kum heyl mayn benkshaft, nor di kenst heyln mikh / Mayn mizrakh, blum misirilou

My Misirilou, girl from the orient / Your eyes have burnt my heart / My hearts gets sicker / In my dreams I see you / Dance in front of me, my beautiful / Turn around even quicker(Desert princess, I cannot forget you / Come heal my longing / Only you can heal me

My eastern flower, Misirilou

Heat, Meat, Beautiful Feet 

Sitting in my back yard /Everyone’s here / Trying to get the fire start / Listening to my friends fart / Uzi gets stoned / Moishe likes beer / Uzi’s wife wished he had Moishe’s career/ Mama is excited – I’m feeling so alone / Watching my dogs – chewing on a bone/ My lips are swollen and my head is numb / The sun is boiling /I had too much rum

Meat, heat – beautiful feet / Oy, a mechaye – what more do I need?
Meat, heat – beautiful feet / Oy a mechaye – is it guilt, is it greed?

It couldn’t be much better / There’s pressure in my chest / Everyone is boring / The dogs are depressed

Never wanted to become one of those / Why are the kids always pulling my nose?
The drinks are warm / The girls are lame / The guys are laughing, I am getting insane/ Life is too long / And it’s mostly cruel / My prostata is burning /I wish I had a pool/

Meat, heat – beautiful feet / Oy, a mechaye – what more do I need /
Meat, heat – beautiful feet / Oy, a mechaye – is it guilt, is it greed?

Meat, heat – beautiful feet / Oy, a mechaye – what more do I need?

Meat, heat – beautiful feet / Oy, a mechaye – is it guilt, is it greed?

I wonder why the women that I love / Always have to live with the men I hate/
Maybe a fancy house is enough / To make them believe that these shmocks are great/ I’m asking for a hand, doing me a favor / But she’s always busy with her pussy-shaver/ I should’ve sticked to my family’s taboo – / “Never mar ry a woman uglier than you”

Meat, heat – beautiful feet / Oy, a mechaye – what more do I need?

Meat, heat – beautiful feet / Oy, a mechaye – is it guilt, is it greed?

Suddenly everyone’s a little bit stressed / The neighbor’s daughter is practically undressed But I will stick to the rules of the game /’ Cause “EDIPUSSY” is my second name

Banana Boat vs. Hava Nagila 

Day oh, Day oh / Daylight come and we wanna go home / Day is the day is the day is the day is the day is the day oh ho hou / Daylight come and we wanna go home
Announcer: Wait a second. Why do you wanna go home yet? / You want a peace in the Middle East??
The two Jews: Don’t they say, make love not war
The Arab: Leave our land, and we won’t break your jaw
The two Jews: They killed us in Europe, we need real estate
The Arab: You gave us the Nakba, now go get your fate
The two Jews: For 2000 years we are longing for Jerusalem
The Arab: Al-Quds is ours, Al-Aqsa won’t fall
The two Jews: For 2000 years we are longing for the Promised Land
The Arab: Since Muhammad we had the upper hand
The two Jews: For 2000 years we are longing for Zion,
The Arab: We don’t have a chance but we fight like a lion
The two Jews: We are the chosen, the people of God
The Arab: We’re blessed by Allah!!! Eternal Jihad

Day oh, Day oh / Daylight come and we wanna go home / day it’s the day oh… / Daylight come and we wanna to go home
Announcer: Actually, Why don’t we live in peace and harmony / like in Harry Belafonte’s Banana Boat / Look there is a Russian, an Indian, an African, an American

I work all night and I drink all rum / Daylight come and we wanna go home. / Come Mr. Tallyman, tally me banana /
Daylight come…

A beautiful bunch, a ripe banana / Daylight come… / Hide the deadly black tarantula/ Daylight come…
day it’s the day oh… / Daylight come and we wanna to go home

It’s six foot, seven foot, eight foot, bunch! / Daylight come…
Daylight come and we wanna go home
Announcer: Did you see? / They are singing and dancing together /In fuck’n peace and harmony, Like in Harry Belafonte’s Banana Boat

Let’s take the Banana Boat to the fuck’n Middle East

You, You and You 

I am so desperate / I cannot separate / Just don’t know what to do / It’s not my fault,
That you confuse me / And you – you confuse me too

Is it possible ?/ You think there’s someone else / And it tears my heart in two / You must believe it / For me there’s only one / And that’s you, you and you

You got to choose / You just have to decide / You got to choose / Which one of us is right, is right, is right

You say you love me/ But you don’t trust me / You say I have to decide / I would do anything /But my love for you / I can never divide / You don’t believe me / You misconceive me / What do you think I do? / I am not ambivalent / There’s no equivalent / To either one of you
You got to choose / You just have to decide / You got to choose / Which one of us is right, is right, is right

Misty psychics, psychiatrists and my cleaning woman, too /They do all agree / Unequivocally / That I am crazy about you / In my diary / In my testament / And my shopping list too / This one and only line / I never redefine / Just says you, you and you

You got to choose / You just have to decide / You got to choose / Which one of us is right, is right, is right

If I must choose / There’s no doubt what to do / If I must choose / My choice is you, you and you

Add It Up 

Why can’t I get just one kiss? / Why can’t I get just one kiss? / Believe me there’s something I wouldn’t miss, but I look at your pants and I need a kiss.

Why can’t I get just one screw? / Why can’t I get just one screw? / Believe me I know what to do, but something won’t let me make love to you.

Why can’t I get just one fuck? / Why can’t I get just one fuck? / I guess it’s got something to do with luck, but I’ve waited my whole life for just one…

Day after day I get angry and I will say / that the day is in my sight, when I’ll take a bow / And say good night.

Oh ma ma ma ma ma Mom / Have you kept an eye, an eye on your son / I know you’ve got problems/ You’re not the only one, when your sugar left / he left you on the run.

Oh ma ma ma ma ma Maminyu
Take a good look what your boy has done / He’s walking around like he’s number one / He went downtown and got him a gun.

Don’t shoot shoot shoot that thing at me / Don’t shoot shoot shoot that thing at me / You know you’ve got my sympathy, but / don’t shoot shoot shoot that thing at me.

Oh ma ma ma ma ma ma Mother / I would love to love you lover / The city’s restless, it’s ready to pounce / Here in your bedroom ounce for ounce.
Oh ma ma ma ma ma ma ma Maminyu / I would love to love you lover / The city’s restless, it’s ready to pounce. / Here in your bedroom ounce for ounce.

I am giving you decisions to make, things to lose, things to take / Just as he’s about ready to cut it up, / I said “wait a minute honey, I am gonna add it up”
Add it up Add it up Add it up…

Day after day I get angry and I will say / that the day is in my sight, when I’ll take a bow / And say good night.

Live Music

Rumania @ Vienna Accordion Festival 
Johnny is the Goy for me @ Nachtleben Frankfurt 
Heat, Meat, Beautiful Feet @ Furth 
Add It Up @ Vienna Accordion Festival 
Hit me with your Rhythm Stick @ Furth 
Luba @ Fuerth 
Papirosen @ Vienna Accordion Festival 
Titina @ Fürth 

Parallel Persia

Tehran-Based Sound Artist Sote Unveils Mind-Rattling New Album On Diagonal Records

Is this the past or is it the future? With Tehran-based electronic music composer Ata Ebtekar, aka Sote, it is hard to tell. Fact is, he has been honing his craft for three decades and counting, an explorer, a [...]

Is this the past or is it the future? With Tehran-based electronic music composer Ata Ebtekar, aka Sote, it is hard to tell. Fact is, he has been honing his craft for three decades and counting, an explorer, a scientist, a sound artist in an ever-changing sonic environment. He "composes music with a deeply-held conviction that rules and formulas should be deconstructed and rethought", as he "alters musical modal codes from their original tonality and rhythmic tradition to achieve vivid synthetic soundscapes." 

Sote's musical vision is acutely experimental in form, yet eerily organic in nature and constantly in motion. You might remember his CTM-commissioned album "Sacred Horror In Design" released on Opal Tapes in 2017, which had us wondering, what exactly we had just listened to. And trust us, his latest album is likely to keep you guessing, with musical surprises lurking at every twist, turn and flourish. Preceded by the standalone single Artificial Neutrality, Sote recently unveiled his mind-rattling new full-length on Oscar Powell's Diagonal Records, entitled "Parallel Persia".

Created in early 2018, "Parallel Persia" features an electro-acoustic "series of compositional structures", combining "various synthesis techniques with Iranian acoustic instruments [Arash Boulouri (santour) & Pouya Damadi (tar)] that are pushed beyond ordinary operation." Or in the words of Sote himself, these are "snapshots of an apocryphal Iran [...] presented via sonic schematics for a synthetic 'Meta-Persian' experience," an experience that could be taking place "in our present-day life or maybe somewhere else somehow differently in a parallel world..." We'll let you decide.

You can stream/buy "Parallel Persia" in full on Bandcamp and make sure to check out the magnificent visuals to album track "Brass Tacks" by Pedram Sadegh-Beyki below.

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Suphanburi Soul

Bangkok’s Zudrangma Records Presents Crucial Compilation Of Rarities By The First Lady Of Lae

All the way from Bangkok comes a fantastic new compilation, featuring a selection of rare and "crucial cuts" by Kwanjit Sripajan, aka "The First Lady of Lae Music". Lae is a vocal genre that is generally performed [...]

All the way from Bangkok comes a fantastic new compilation, featuring a selection of rare and "crucial cuts" by Kwanjit Sripajan, aka "The First Lady of Lae Music". Lae is a vocal genre that is generally performed at initiation ceremonies for monks and focusses on the teachings of Buddha as well as communicating traditional values and "exhorting listeners to a righteous life."

Born to a farming family in 1947 in the Suphanburi region of central Thailand, Kwanjit Sriprajan's road to music was a windy one, seeing as her father opposed her pursuing a career in music. It was actually her younger sister who received training in the plang puen baan tradition. But Kwanjit found ways to observe singing techniques and receive valuable tips along the way.

When she heard of a competition taking place on a Bangkok radio station in 1966, she managed to participate and actually won, providing her with an opportunity to perform and record with a local band, which led to her connecting with key producers from the era (Jiew Pijit and Porn Pirom). 

"Recognising her talent and unique vocal delivery, [Porn Pirom] arranged a series of recordings for [Kwanjit] to perform on. He assembled a band of different players from military and police groups, who created an uneven mix of traditional arrangements coupled with elements of R&B and latin percussion. Such flourishes were not so surprising for luk thung, but less common for lae, which tended to be played on Thai percussion and wind instruments."

These recording sessions were eventually released on an LP ("Sin Haa") as well as four EPs and although "they weren't big hits commercially, they were hugely popular with the religious community" and "spread her notoriety as a performer and artist." Kwanjit continued to perform with different groups and self-release her music, until she became pregnant in 1973 and returned to Suphanburi, where today "she runs a centre from her house for anyone who wishes to come and learn about the music and culture for themselves."

"Suphanburi Soul: Kwanjit Sriprajan - The First Lady Of Lae Music" introduces listeners to eleven tracks from her storied career, compiled by Nattapon Siangsukon, aka Maft Sai, and Chris Menist of Paradise Bangkok.  

You can stream/buy the full release via the Bandcamp page of Thai record store and label Zudrangma Records and watch her perform live at the Paradise Bangkok fifth anniversary party in 2014 below.

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Hana Mash Hu Al Yaman

A-WA Drop Thought-Provoking Precursor To Forthcoming Second Full-Length

We first covered the Yemenite sisters back in 2016, when they teamed up with Loco Hot on APE Records. That was after they released their breakout single "Habib Galbi" (which has so far amassed over 12 million views [...]

We first covered the Yemenite sisters back in 2016, when they teamed up with Loco Hot on APE Records. That was after they released their breakout single "Habib Galbi" (which has so far amassed over 12 million views on YouTube) and followed that up with their eponymous debut album. Blending traditional Yemenite folk with urban beats and electronic soundscapes, Tair, Liron and Tagel Haim have made quite a name for themselves across the globe, as they confidently continue to propagate their role as strong and modern women in the rather conservative Middle East. 

Just recently A-WA released their new single "Hana Mash Hu Al Yaman", based on the real-life experience of their great-grandmother, who fled her home in Yemen in 1949 during what is today known as "Operation Magic Carpet" and immigrated to Israel to escape persecution and violence. However, upon arrival in Israel, said Yemenite Jews were placed in camps and regularly discriminated against. The lyrics of "Hana Mash Hu Al Yaman" reflect these early tensions and struggles:

"Where will I stake a home? (You have a tent for now) / Or at least a small shack (along with four other families) / And here I will raise a family (Don't let them take your daughter) / I'll find myself a job with an income (either in cleaning or working the earth) / And I will learn the language (Lose the accent) / With time I'll feel like I belong (Here is not Yemen)."

Reminiscent of the song "America" from the musical "West Side Story", the catchy single is led by the sisters' melodic chants, while driven by intricate rhythms and a beat produced by Tamir Muskat (Balkan Beat Box) that is clearly purposed for the dancefloor. The companion music video, which you can watch below, was shot in the streets of Tel Aviv and directed in collaboration Omer Ben-David. It features an array of powerful dance moves as well as a modern take on popular looks of the time. 

After "Mudbira" (unveiled earlier this year), "Hana Mash Hu Al Yaman" is the second promising precursor to A-WA's forthcoming full-length "Bayti Fi Rasi" (transl. My House Is My Head), to be released on May 31st (S-Curve/BMG). Preceding the album release the siblings will be on tour in Germany (see below). Check here for more dates. 

May 23rd Leipzig, Werk 2
May 24th Hannover, World Music Festival
May 25th Berlin, Gretchen Club

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Terrouzi

Mauritania's Ahmedou Ahmed Lowla Releases Extremely Limited Edition Tour Cassette

After two weeks in Turkey, our hearts bleed Arabesque. So it may not come as surprise that we have developed somewhat of a soft spot for songs in a minor key and melodies dealing with unfulfilled love and the likes. [...]

After two weeks in Turkey, our hearts bleed Arabesque. So it may not come as surprise that we have developed somewhat of a soft spot for songs in a minor key and melodies dealing with unfulfilled love and the likes. Under any other circumstances we most likely would have filed away Ahmedou Ahmed Lowla's instrumental electronic keyboard flourishes as 'kitch'. But that would have been a mistake. 

Ahmedou Ahmed Lowla is one of the Saharan country's biggest stars. Born into a musical family (his father being a renowned tidnit [four-stringed lute] player) he is today considered one of Mauritania's premiere keyboard performers, whose music can be heard "blaring from taxi caps and cassette shops across the country". As a regular at lavish weddings in the capital city of Nouakchott, Ahmedou Ahmed Lowla made a name for himself with his indubitable energy and "evocative theatrics, accentuating notes by playing with his elbows, or tapping the keyboard with his head".

On "Terrouzi" he combines classical Mauritatian music, aka WZN, with an abundance of outernational styles as he presents a future vision of the sounds he grew up with, from "90s slow jam R&B, to bass-heavy boom bap and minimal trap, [...] hypnotic and tranced out". There would seem to be no method to his musical madness, which makes his plastic sounds all the more intriguing and no doubt engaging. Head over to Bandcamp for the extremely limited cassette accompanying his recent tour of Europe, organised by Planet Rock. And for more insights, head over to Sahel Sounds

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Echoes Of Japan

The Minyo Crusaders Combine Traditional Japanese Folk Songs With A Plethora Of Global Styles

Well here's for a little something off the beaten path. All the way from Japan comes this big band that is quite unlike anything we've ever heard. The Minyo Crusaders just recently released their debut album on UK [...]

Well here's for a little something off the beaten path. All the way from Japan comes this big band that is quite unlike anything we've ever heard. The Minyo Crusaders just recently released their debut album on UK imprint Mais Um and we highly recommend you give it a listen. Led by guitarist Katsumi Tanaka, the 10-piece successfully reworks Japanese folk songs, also known as min'yō, with Latin, African, Caribbean and Asian rhythms, from cumbia, to Ethiopian jazz, Thai pop, Afro funk and reggae.

As Tanaka puts it, "for Japanese people, min'yō is both the closest and most distant folk music. We may not feel it in our daily urban lives, yet the melodies, the style of singing and the rhythm of the taiko drums are engrained in our DNA.” In the wake of the 2011 Tohoku earthquake, he began researching Japanese roots music and was drawn to mid-late 20th century acts the likes of Hibari Misora, Chiemi Eri and the Tokyo Cuban Boys. "I was captivated by their eccentric arrangements and how they mixed min'yō with Latin and jazz,” he recounts. Min'yō was originally sung by fishermen (Kushimoto Bushi; Mamurogawa Ondo), coal miners (Tanko Bushi) and sumo wrestlers (Sumo Jinku), dealing with topics of a now forgotten Japan.“As a traditional performing art, min'yō is considered highbrow, yet these are mainly songs for working, dancing or drinking - we want to return them to their literal meaning as ‘songs of the people’,” he adds.

Intending to revive this style and combine it with world music, Tanaka decided to form a band and slowly but surely the Minyo Crusaders came into being. Their debut effort "Echoes of Japan" is out now. It is about "bringing 'highbrow' min'yō back to it's 'lowlife' roots" as well as to the global stage for it to be heard by a wider public and most importantly "everyday people". And one thing is for sure: You've got to hear this! 

Minyo Crusaders are:
Freddie Tsukamoto (vocals) 
Meg (vocals, melodica)
Katsumi Tanaka (guitar)
DADDY U (bass)
Moe (keyboards)
Sono (timbales)
Mutsumi Kobayashi (bongos)
Yamauchi Stephan (trumpet)
Koichiro Osawa (sax)
Irochi (congas)

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Strange Heat

Berlin/Potsdam-based Nine-Piece Wanubalé Releases Blazing Two-Tracker On Agogo Records

Hailing from Berlin/Postdam, the young nine-piece collective Wanubalé (Swahili for "Brothers") just released its debut EP "Strange Heat" on Agogo Records and is now set to perform live in Berlin tomorrow (Thursday [...]

Hailing from Berlin/Postdam, the young nine-piece collective Wanubalé (Swahili for "Brothers") just released its debut EP "Strange Heat" on Agogo Records and is now set to perform live in Berlin tomorrow (Thursday May 9th, 2019) at XJAZZ

Drawing inspiration from jazz and club culture, Wanubalé bring an amazing energy to the stage, as they meld jazz, neo soul, funk and electronic influences into a cohesive and absolutely ecstatic whole. With all nine members in their early twenties, some fresh out of high school, you might be prone to expect less, but don't be fooled. They are great musicians and more than able to flip the switch in an instant. Their carefully structured arrangements are intricate, but hardly boastful, while each and every track is a team effort. 

You might find yourself reminded of acts the likes of Snarky Puppy, Fat Freddy's Drop, Hiatus Kaiyote or Nubiyan Twist, but at the end of the day, Wanubalé are all about doing their own instrumental thing, without relying on vocals. With an album in the making, the brand new two-track EP "Strange Heat" is a testament to their ability and a serious groover that you can stream/buy on Bandcamp. Watch the studio session to a previous track called "Something Green" below, which was recorded at the Jazz Institut Berlin studios back in 2017. 

You can also catch Wanubalé live at Gretchen in Berlin for Fête de la Musique on June 21st. 

Wanubalé are
Gabriel Rosenbach (trumpet, flugelhorn)
Niko Zeidler (tenor/alto saxophone, flute)
Anton Kowalski (bari saxophone)
Jonathan Steffen (trombone)
Max Feig (guitar)
Moses Yoofee Vester (keys)
Moritz Schmolke (bass)
Heinrich Eiszmann (drums)
Philip Schilz (drums) 

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Szolnok

Daniel Weltlinger’s New Album Tells A Story About A Violin, A Story For The Ages

Yesterday marked release day for Australian-born and Berlin-based violinist Daniel Weltlinger and his brand new album. On “Szolnok” Daniel tells the amazing and true story of his grandfather’s violin, on his [...]

Yesterday marked release day for Australian-born and Berlin-based violinist Daniel Weltlinger and his brand new album. On “Szolnok” Daniel tells the amazing and true story of his grandfather’s violin, on his grandfather’s violin. Playing that same instrument from the eponymous Hungarian town (a name written on the label inside the violin itself), which his grandfather, Zoltan Fyszman, carried with him to the far reaches of the globe through the turmoil of world history, Daniel now embarks on a musical journey through time and across the continents:

“First from Hungary on foot to France between 1920-1922, then across Morocco and to Australia, where he died in 1998 as ‘Zoltan Fishman’ at the age of 96. Until the very end he was still playing his violin. His grandson [Daniel] inherited the violin from him, and brought it back to Europe on October the 11th, 2017. Two days later he inadvertently performed the German national anthem on the violin together with a Turkish ensemble at Schloss Bellevue as part of a concert for the Federal President.”

The album can be seen as a timeline, beginning from the instrument’s origins in Szolnok up to the present day in Berlin, where the violin now resides. Composed mainly of original material, “Szolnok” blends jazz, classical, folk and improvised music, as Daniel is accompanied by his quartet, namely Uri Gincel on piano, Mathias Ruppnig on drums and Paul Kleber on bass. "My reasoning for choosing Uri, Mathias and Paul to create this quartet has to do with their truly open sense of sound, which to me is when musicians can play outside of a conventional style of music and have the creative freedom to do whatever they hear and want in the moment that fits, which is exactly what these guys are capable of.”

For Daniel, the dream of starting a jazz quartet under his own name in Europe to record and perform his original music and ideas had been a long time coming. It just so happened that said violin and one of his grandfather’s old set lists provided the proverbial spark and the musical story began to take shape in Daniel’s mind.

A 2017 workshop with renowned Indian violinist L. Subramaniam inspired the pizzicato album opener, reminiscent of an old clock. Track two, “Ernő”, is dedicated to his grandfather’s brother, who fell victim to the Spanish flu in 2018. “1921” is a jazzy track with a dark and brooding Hungarian-Romanian bass line and eerie violin tremoli, alluding to his grandfather’s passage from Hungary to France. French chansonist Henri Alibert’s “Bonjour, Bonsoir, Adieu Marseille” represents Zoltan’s time in the south of France, working in café orchestras. Anna Marly’s magical “Le chant des partisans” and Weltlinger’s “North Africa” reference Zoltan’s escape to the African continent, where he settled in Casablanca after the war and met his future wife, whom he serenaded with the "Barcarolle" from Jacques Offenbach’s “Hoffmann’s Tales”. “Mr. Fishman” then is dedicated to Zoltan’s time in Australia, his “twilight years”, and incorporates field recordings of birds and insects, followed by “La Famille” and “Tranquille à Sydney”; peace at last. Finally, “2018” embodies the philosophy behind this album of “time, survival and continuity”, as it slowly leads listeners to Berlin, where the album concludes with Manuel María Ponce’s “Estrellita”, which we unveiled a few weeks back.

“My grandfather loved to serenade people – often with a bottle of Slivovitz, Pernod or Johnny Walker Black close at hand – and his style of playing was heavily influenced by the café orchestras he had worked in as a semi professional musician in France […]. I grew up totally entranced by both him and his violin playing, his smile and that twinkle in his eyes whenever he played is something that remains in my heart forever. He had two violins: the violin from Szolnok that had been his brother’s, as well as a Bohemian violin that my mother bought for him at an auction many years before. These violins were his babies. After he passed away in 1998 I inherited both his violins, but chose to play the Bohemian violin as I actually preferred it out of the two instruments as it has a sweeter tone and is easier to play as opposed to the dark somber tone of the violin from Szolnok. The violin from Szolnok remained in its case with the same strings on it for almost 20 years, before I took it to Europe with me in October 2017,” Daniel recounts.

Szolnok” releases today on DMG Germany/Rectify Records and is a truly remarkable story about moving forward, brought to life by Daniel and his quartet. The Daniel Weltlinger Quartet will be on tour in Germany this May. 

Tour dates:
May 3rd/4th Lindenberg, Dorfkirche
May 8th Berlin, Wabe
May 12th Oderau, Theater am Rand
May 15th Worms, Synagogue
May 16th Koblenz, Kulturfabrik
May 17th Lollar, Studio Kirchberg
May 18th Eltville, Die Salongesellschaft
May 19th Lauenau, Kesselhaus
June 6th Berlin, Zig Zag Jazz Club

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Shik Shak Shok

A 24/7 Webradio Reconnecting Us With The Golden Age Of Arab Music
 

Moving right along, we bring you yet another great initiative from the Mediterranean Basin, aka Shik Shak Shok, a webradio or rather "the first online radio dedicated to fostering golden age of Arab music." Shik [...]

Moving right along, we bring you yet another great initiative from the Mediterranean Basin, aka Shik Shak Shok, a webradio or rather "the first online radio dedicated to fostering golden age of Arab music." Shik Shak Shok is the brainchild of Lebanese-born/Paris-based producer Hadi Zeidan and features an eclectic 24/7 live mix of Arab grooves, including jazz, funk, disco, tarab and of course bellydance. 

Founded in 2018, Shik Shak Shok has also accumulated several worthwhile guest mixes or #ShikTakeovers over the past months by the likes of Khan El Rouh, Dar Disku, Cheb Gero, Disco Arabesquo, Victor Kiswell, Fortuna Records and Toukadime, which you can listen to via SoundCloud. We've decided to feature the latest mix by Rouen-based radio Toukadime, which has been doing a phenomenal job of representing the Maghreb musical heritage in its own right.

You can listen to Toukadime's mix via the SoundCloud player above. Or just head over to WeAreShik.com for a heavy dose of Arabic and neo-Arabic grooves. We're loving it!

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Zamaan Ya Sukkar

Belgium's Radio Martiko Unearth Egyptian Crossover Sounds From The 1960s
 

Belgium's Radio Martiko, reissue label, DJ collective and provider of "global eclectic supersounds", has been on our radar ever since we started this 'greedy' little platform of ours back in 2015 and we already had [...]

Belgium's Radio Martiko, reissue label, DJ collective and provider of "global eclectic supersounds", has been on our radar ever since we started this 'greedy' little platform of ours back in 2015 and we already had the pleasure to share their fabulous 2016-released all-vinyl mixes of hard-to-find Turkish treats and rump-shaking Egyptian rarities. Needless to say, even though the Ghent-based collective has been anything but idle, we haven't reported on them in a while. Last week, while reading up on Egyptian legend Oum Kalthoum/Om Kalsoum, aka "The Rose of the Nile", we chanced upon their 2018-released vinyl/download compilation "Zaaman Ya Sukkar" and felt the strong urge to share, so here goes. 

Radio Martiko have spent the past five years travelling back and forth to Cairo, digging for records. Obviously, the material collected set the tone for this fantastic compilation of Egyptian music from the 60s, featuring remastered original 45s produced by state-run label Sono Cairo and "some forgotten souls of the Egyptian music scene and cinema world." The glamorous and uplifting selection is exotic in many ways. Of course, from a Western point of view, the term 'exotic' relates to music from faraway places, i.e. Oceania, Asia, Africa, Latin America or, last but not least, the Orient. Places that "provided a way for the listeners to wander off to an imaginary paradise and escape from their grey, daily routine."

What we in the West or Central Europe sometimes fail to realise is that for those faraway places mentioned above, the musical West often provided the same type of escape and "you can find examples of composers who approached music in a similar way as their Western counterparts. They created their own imaginary paradise by adopting musical influences from other cultures." Such are the musical crossover examples unearthed by Radio Martiko on "Zaaman Ya Sukkar". "What makes it interesting is that the Egyptian interpretations of the music from other ‘exotic’ countries are very similar in sound, then again very far from the musical traditions of the original country." We absolutely love this selection, but you best listen for yourselves.

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Ofel

Tel Aviv's Hoodna Orchestra Ready Ethiojazzy Studio Album #2

Widely heralded as one Israel's best live bands, Tel Aviv's Hoodna Orchestra is a musical force to be reckoned with. Last Friday, the brassy collective, composed of 11-14 members, officially released its second [...]

Widely heralded as one Israel's best live bands, Tel Aviv's Hoodna Orchestra is a musical force to be reckoned with. Last Friday, the brassy collective, composed of 11-14 members, officially released its second studio album "Ofel" on trusted German imprint Agogo Records and we are absolutely, positively dazed. The album was recorded live in the group's self-built home studio with guitarist and composer Ilan Smilan in charge of the entire production (recording, mixing and mastering). 

Established in 2012, the group has meanwhile become an integral part of the Tel Aviv groove scene. Early on, they focussed mainly on elements from afrobeat and afrofunk, while fusing different musical styles and developing a wall of sound that speaks for itself. Following the release of their 2015 debut album "Let Go", the orchestra went on to launch a new show entitled "The Ethiobeat Orchestra" and ventured even deeper into the "study of East African music and the rich culture of Ethiopian music in particular". Then, in 2017, they dropped their 7" single "Yelben (featuring Tesfaye Negatu)", the "first in a series of collaborations with Ethiopian singers and musicians", and subsequently released "Alem", a collab with singer/poet Demisu Belete. 

"Ofel", meaning darkness in Hebrew, "is a concept album that includes nine instrumental pieces written and arranged by Ilan Smilan," one of which happens to be a brilliant cover of Prodigy's "Breathe". The album further explores the potent combination of African/Ethiopian music, afrobeat and ethiojazz with nuances of rock, funk and Israeli/Mediterranean music. The orchestra expertly employs Ethiopian minor scales, i.e. Anchihoye "associated with religious singing" or "songs of war" and Tezeta, "used to express wishes, dreams and feelings of nostalgia and sentimentality". That and the method of recording on analog equipment makes for an ominously intense atmosphere that will engage listeners from start to finish. Head over to Bandcamp for the full experience and/or check out the video to title track "Ofel" below. 

Hoodna Orchestra are
Elad Gelert (baritone saxophone) 
Rom Shani (alto saxophone) 
Eylon Tushiner (tenor saxophone) 
Uri Selinger (trombone) 
Asaf Oseasohn (trumpet) 
Sefi Zisling (trumpet)
Arthur Krasnobaev (trumpet)
Tomer Zuk  (keyboards)
Amir Sadot (bass guitar) 
Ilan Smilan (electric guitar) 
Matan Asayag (drums) 
Rani Birenbaum (percussion) 
Shahar Ber (percussion) 
Raz Eytan (percussion) 

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Mosawi Swiri

Essaouira's Maalem Houssam Gania Releases Entrancing 6-Track Gnawa Album On Hive Mind
 

Back in 2017 Brighton's Hive Mind Records posthumously released an 8-track album of studio recordings by the late and great Maalem Mahmoud Gania, master singer and guimbri player. Now following in his footsteps, [...]

Back in 2017 Brighton's Hive Mind Records posthumously released an 8-track album of studio recordings by the late and great Maalem Mahmoud Gania, master singer and guimbri player. Now following in his footsteps, 23-year-old Houssam Gania is set to continue his father's legacy and recently released his own 6-track album on the UK imprint.

"Mosawi Swiri" features indigenous sounds from the "Gnawa ceremonial repertoire", including "a number of songs from the Musawiyin Suite, the blue section of the trance ritual durch which they invoke Sidi Musa, the master of the spirits of sea and sky." Accompanied by his brother Hamza Gania, Mohamed Benzaid, Khalid Charbadou and Amine Bassi (on qraqabs), Maalem Houssam Gania plucks his guimbri and contributes his "earthy vocals" to the insitent, recurring grooves. 

This album is somewhat of a beautiful understatement, that doesn't force itself on listeners but rather invites them to revel in its undeniable glow as it slowly unfolds its charm. Head over to Bandcamp to buy/stream "Mosawi Swiri" in full, which is also available on cassette in a very limited edition of 100. If you are looking to hear more from Maalem Houssam Gania, you may also want to check out his 2018 collaboration with UK electronic music producer James Holden in the SoundCloud player above.

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Ploaia

Romanian Artist Cosima Releases Captivating 7" On Pingipung/Future Nuggets

Last Friday, German leftfield record label Pingipung teamed up with Romanian imprint Future Nuggets to present a hot new 7" release by Bucharest-based artist Cosima Opârtan, or simply Cosima, aka one half of [...]

Last Friday, German leftfield record label Pingipung teamed up with Romanian imprint Future Nuggets to present a hot new 7" release by Bucharest-based artist Cosima Opârtan, or simply Cosima, aka one half of proto-manele duo Raze de Soare.

Cosima – a trained architect, sound designer and co-founder of Queer Night (a local LGBTQ+ party series) – dubs her music widow pop, a melancholy blend of contemporary styles beckoning both to the past and the future, as if addressing a distant memory or a beloved person, who is beyond reach. Her voice has an ethereal yet unwavering quality and her music has thoroughly cast a spell on us. 

Lead-single "Ploaia" (Rain) features a catchy beat composed of steel-drums, a menacing bassline and what might be a sitar to accompany Cosima's siren call. "Ploaia" is definitely our favourite of the two tracks, which you can listen to in the clip below. On the flipside is a song called "Mai e și altfel de-a iubi" (There is another way to love), which is more of an electronic pop ballad but also strangely appealing. You can buy/stream the full release on Bandcamp.

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