A festival with you and Hecq and Plaster..! Sound good..? I like the idea anyway. Bravo !

Experimental

A previously unreleased Helios song that is on our (Unseen's) benefit album to help Japanese relief efforts, "For Nihon", which is available at http://www.unseen-music.com/shop

100% of the profits from the sale of the record will go toward a relief fund set up by the Japan Society.

Helios - Sing The Same Song Twice

By This River (Brian Eno Cover)

Debut EP out on May 4th via Beating Drum / Tsunami-Addiction

Out now:
iTunes: http://smarturl.it/yelliyelli_ep
Label shop : http://shop.beatingdrumrecords.com/

When Yelli Yelli was a young girl, her mother would often play her recordings of traditional Kabyle music. The songs seemed so mysterious, sung as they were, in a language that she couldn’t understand. But the music captivated her child-like imagination, bound together in a twin dance of melody and rhythm, the songs seemed to bring the voice of a whole people to her ear, planting a seed in her that would later bring her to explore the musical and cultural trace of her own origins. 

The years passed and the child grew up but she never forgot the voices of Kabylie that her mother had played her. Having recorded two Folk albums under the name of Milkymee and looking for new musical routes to take, she met songwriter and producer Piers Faccini and decided to delve, with his guidance, into the secret sounds of her childhood memories. 
And lo and behold, the branch bore fruit and out sprung the true voice of the child her grandfather used to call, Yelli Yelli or “young girl” in Kabyle. 

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http://yelliyelli.com/
https://www.facebook.com/yelliyellimusic


Yelli Yelli - Yemma (From debut EP - out now)

This track comes from Adagio for the Blue, released on November 9th 2015.

Rhododendron – Trigg & Gusset

Aguas Claras

Tiré de l'album de Yelli Yelli "Terre de mon poème" produit par @piers-faccini (04.03.16 - Beating Drum / T-A)

iTunes: http://hyperurl.co/yelliyelliLP
CD/LP: http://shop.beatingdrumrecords.com

“Ce premier disque se présente comme un devoir de mémoire en musique, une psycho-généalogie en double croche… On trouve dans cette musique non conforme la grande vitalité et la richesse du métissage, du voyage, mais aussi du déracinement.”
Didier Varrod (France Inter)

http://YelliYelli.com
http://Facebook.com/yelliyellimusic

YELLI YELLI est le nouveau projet d’Emi Hanak aka Milkymee. L’album “Terre de mon poème” chante une identité renforcée dans l’exil. Une identité du futur ?
Née d’une mère Kabyle et d’un père aux origines tchèques et chtis, Emi Hanak porte un métissage complexe qu’elle n’aura de cesse de frotter à des mondes encore plus étrangers pour espérer un jour appréhender le sien. De la Suède au Japon, en passant par l’Amérique du Nord, Emi Hanak s’exile et trace ce questionnement en chansons douces, ou plus rageuses. Avec son projet Milkymee, elle enregistre plusieurs albums qu’elle balade sur la scène internationale. Elle écrit aussi la musique du film Domaine, avec Béatrice Dalle.
Plus tard, en quête d’un regard extérieur qui pourrait l’aider à cartographier son héritage et son itinérance, Emi approche Piers Faccini avec en tête le projet de reprendre des chansons Kabyles. La rencontre va cependant agir comme un révélateur. Car après avoir partagé une première session, ils réalisent que l’écriture de chansons originales va beaucoup mieux servir l’intention du projet Yelli-Yelli. Le LP Terre de mon poème rassemble les chansons nées de cette rencontre.
Tout comme Piers Faccini, Emi Hanak est enfant de migrants et n’appartient plus vraiment à un territoire. D’instinct, ces artistes font alors le choix de s’ouvrir davantage afin de construire eux-mêmes leur identité. Leur musique exprime cet ADN mélangé, riche de la mémoire tendre qu’ils vouent aux anciens et de tout ce qui les a rendus moins étrangers au Monde. Même si ils parlent de racines, les textes de l’album sont ceux d’une jeune femme bien inscrite dans son siècle, à l’aise avec son bagage bigarré. Et Faccini apporte à ce manifeste intime de l’identité des mélodies et des arrangements qui soulignent à merveille les sentiments troublés, puis la force puisée dans ce beau métissage assumé.
Emi Hanak a écrit la plupart des textes, sur des compositions de Piers Faccini - lequel assure également la réalisation pour son label Beating Drum. Sur l’album, les guitares électriques se mélangent aux bourdons hypnotiques dans le mariage improbable du rock indé avec un folk du Maghreb. Les chansons passent sans complexes des ballades posées au groove d’une transe qu’on aurait allumée au son de surf-guitars rockabilly. Nous sommes bien en 2016 ! Enfin pour assurer la base rythmique de l’ensemble, Faccini a fait appel à Simone Prattico, le batteur virtuose qui l’accompagne depuis de nombreux projets.
Infusée d’une poésie soutenue par la scansion et la répétition que l’on trouve dans la poésie Kabyle, la voix d’Emi Hanak donne à son chant les impulsions d’une danse, parfois d’une transe lente aux accents chamaniques. Côté compositions, Faccini a dessiné pour cet album l’unité mélodique et rythmique d’une histoire qui évite tous les pièges du lyrisme et de la nostalgie. Fou de sons, Piers excelle à tisser l’atmosphère qui installe l’univers de chaque chanson, comme par exemple la subtile introduction à Yemma, ou le titre Algérie. A d’autres endroits, il lance des cadences entêtantes (No one ever returns, Achnou), sublime des chœurs (Azzad, They grin), et signe le superbe titre Land and country, aussi inoubliable et à sa place pour clôturer l’album que l’est Terre de mon poème, écrit par Emi pour introduire le songe fondateur de YELLI-YELLI.

Yelli Yelli - Achnou (Album Terre de mon poème)

From the album With Voices available January 18, 2019 from Western Vinyl.

Bandcamp https://machinefabriek.bandcamp.com/album/with-voices-2
iTunes hyperurl.co/806yif
Spotify http://open.spotify.com/album/3dDRn42zqNUv4vITI2Z3CU
WV http://westernvinyl.com/shop/wv185

With Voices is the newest recording by Dutch composer Rutger Zuydervelt under the moniker Machinefabriek. True to its title, the album’s eight pieces exhibit Zuydervelt’s use of cassette recorders, tone generators, radios, synths, and other hifi curio to construct bewildering aural architecture around vocal contributions from Peter Broderick, Marissa Nadler, Richard Youngs, Chantal Acda, Terence Hannum (of Locrian) and others. These human voices are featured as musical instruments rather than mere vehicles of lyrical content, resulting in a sub-linguistic mosaic of primordially stirring moods.

The initial spark of With Voices was kindled while Zuydervelt was in Taipei creating music for a dance company. In the final days of his trip, a dancer named Wei-Yun Chen caught Zuydervelt’s ear with an instagram video featuring a voice that turned out to be Wei-Yun’s own (she would end up on the album’s seventh movement, a piece that features dissected bits of Taiwanese poetry amid low-pitched murmurs and whispering fogbanks of static). The encounter stirred Zuydervelt to create a single 35 minute soundscape upon which each vocalist on With Voices was encouraged to improvise, be it talking, reading, singing, or wordless, guttural intoning. Such vocal smatterings were then used to determine how the other tonal elements should be arranged, dictating where each musical passage would ultimately lead. “The idea was for everyone to just do what came naturally” he recalls, “the element of unpredictability was important to me.” 

Indicative of this approach “III” (the tracks are simply titled with Roman numerals) slowly winds like ivy through staccato phrases spoken by Zuydervelt’s peer Peter Broderick, whose micro-incantations skip along mechanically only to telescope into monastic grandeur at the track’s midpoint; the vibrations of vocal cords are often stretched to a seismic hum to form the heavy implements in Zuydervelt’s toolkit. On “V”, tape recordings of Berlin electronic artist Zero Years Kid (aka Joachim Badenhorst) sputter with their own apparent intelligence like a faulty AI attempting to interpret reels of human speech in some ruinous library of the distant future. Finally, a siren-like Marissa Nadler leads the suite to its lullabic endpoint with overlapping wisps of harmony devoid of accompaniment ending the album on an angelic note.  

In these moments, like much of With Voices, warm-blooded arteries seem to have grown around bits of well-designed artifice to form something warmly alien, soberly futuristic, and inherently satisfying. More than simply an album of collaborative features, With Voices is a mutating collage of modern minimalism that challenges as often as it comforts. There is an alchemical, metallurgical quality that arises from Zuydervelt’s unique way of merging humanness with abstraction, harshness with beauty, and unintelligibility with familiarity on what may be the most affecting Machinefabriek release to date.

Machinefabriek - "VIII (with Marissa Nadler)"

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Biomigrant is the musical project of producer and multi-instrumentalist Michael Alfred Wagner. In 2014, as part of a journey of musical exploration, he crossed Central America en bicycle, arriving to Colombia where he currently lives. As part of the Llorona Records tribute to the gaita flute master Manuel Antonio “Toño” García, Biomigrant put together a compilation of remixes of a piece made with the field recordings of Toño singing. El Buho, Quixosis, Lascivio Bohemia, Joaquín Cornejo, RLHBSLCN, Marcelo Bergés and Steffen Ki present beautiful and different takes of “La Muerte” giving us a broad picture of latin american electronic and world downtempo landscape.

I arrived to the house of the maestro Toño García in San Jacinto in May of 2014. I had just arrived to Colombia, finishing a bicycle journey that began in Guatemala. In Panama a traveling couple told me of Mr. García, and in Bogotá a friend put me in touch so I could visit him. I made it to San Jacinto, an iconic village of the Colombian Caribbean, and I spent various nights camping along the edge of the lake, in the mornings taking classes with Toño. I received my first Gaitas from him, while he showed me songs and told mi stories of his wanderings, struggles, successes, and loves.

Manuel Antonio ‘Toño’ García joined the Gaiteros de San Jacinto after the death of Mañe Mendoza, returning to a legacy that he had left behind for years to dedicate himself to agricultural work. Winner of a Latin Grammy for the album ‘Un Fuego de Sangre Pura’, along with a generation of the group that included his student Fredys Arrieta, el maestro sill lives in his house in San Jacinto where to this day he receives visits from a endless stream of students and lovers of Gaita music, sharing with them his music and wisdom.

There here taught me the song ‘Conmigo Nadie Se Meta’, written by Nando Coba. ‘La Muerte’ is a re-interpretation of that melody, with the voice of Toño and the gaita of Fredys. It was originally published en 2016 as part of ‘Aldea Mundial’, an audiovisual project (album and documentary) released with the chilean label Regional.

I am very grateful for the 7 tremendous artists and friends from Latin America and Europe for their remixes which offer a tribute to a great musician, person, and teacher. We are part of an emerging scene that looks to create a meeting grounds between electronica and traditional folk music, and the least we can do is try to give something back to those who have maintained the essence of rural musics.

All funds generated by this work will be given to Toño Garcia (who recently celebrated his 90th birthday) and his family as assistance that we hope will help to care for his health and upkeep in San Jacinto. Thank you to all who have contributed to this project and especially to Thomas Bosq for setting it all in motion. Michael - Biomigrant

Produced by Michael Alfred Wagner - Biomigrant
Gaitas- Fredys Arrieta
Voice- Toño Garcia
Alegre drum- Loui Peña
Maraca- Owen Chamorro
Mastering - Rob Small
Artwork - Patricia AlSur 
credits
released January 24, 2020

Producido por Michael Alfred Wagner - Biomigrant
Gaitas: Fredys Arrieta
Voz: Toño Garcia
Tambor Alegre: Loui Peña
Maracon: Owen Chamorro
Masterizado por: Rob Small
Arte por: Patricia AlSur

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