Infinite Late Junction by BRITify.com - 12

Witchdoctor's Son

Magwaza (feat. John Tchicai, Dudu Pukwana, Alfredo do Nascimento, Luez "Chuim" Carlos De Sequaira & Mohamed Al-Jabry)

The innovative, radical soul of Guadeloupe explored across thirty years of contemporary gwoka music.

* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *

As Guadeloupean vocalist and composer Marie-Line Dahomay writes in her liner notes to the compilation, gwoka is more than a style of music, it is “a way of living and thinking.”

Rooted in the social, musical and ritual practices of enslaved African people and their descendants on Guadeloupe, gwoka has always sought to express the spirit of independence and resistance authentic to the island.

Building on its traditional call-and-response form and the ideas of pivotal figures like Gérard Lockel and Christian Laviso, modern gwoka evolved throughout the second half of the twentieth century to include funk, jazz and electronic influences.

Defined by its propensity for innovation and experimentation, this compilation charts the most radical changes to modern gwoka, capturing a sensory riot of traditional répertoires, rhythms and makè techniques fused with a rich seam of genre-defying experimentation.

Whether heard in the deeply cosmic, spiritual music of Dao, Freydy Doressamy and Gaoulé Mizik, or the jazz funk inflections of Gui Konket and Horizon, the music here is united by the feeling of santiman ka, crucial not only to gwoka music but the identity of Guadeloupe at large.

As co-curator Cédric Lassonde writes: “What unifies these selections is the depth of the compositions, the experimentation around the santiman ka, and the spirit of resistance and liberation against slavery, be it modern or ancestral. With a thirst for innovation typical of the island’s creole culture, the ka spirit is deeply rooted in collective history and in a quest for identity.”

Co-curator Brandon Hocura continues: “The creative energy of these musicians is powerful and demonstrates a universal pursuit of resistance, freedom and identity. Their voices are distinct, but the chorus rises high and carries their message far across the sea.”

Released on double LP, L’Esprit Ka: New Directions in Gwoka Music from Guadeloupe 1981-2010 is the first compilation of its kind to bring the sound of modern gwoka to a wider audience, with many of the musicians features still active today.

Presented with typical attention to detail, the release features a specially commissioned essay by Guadeloupean musician Marie-Line Dahomey, and extensive liner notes from Cédric Lassonde and Séance Centre’s Brandon Hocura. 

True to the hybrid nature of the music, the compilation seeks not to provide a definitive sound, but express the variety of contemporary forms gwoka has grown to take. Just as Guadeloupean trailblazers Kassav fused gwoka with funk and cadence to create zouk, so did the musicians on this collection push gwoka in new directions rarely heard beyond its shores.

In the words of Gérard Lockel, “gwoka is the soul of Guadeloupe”.

Lèspri Ka : New Directions in Gwo Ka Music from Guadeloupe 1981-201

Horizon - Ti Malo

STRIKE

Here I Am

Marina Herlop - Pripyat
Label: PAN
Cat.No. PAN 128
Format: DL
Release Date: 20 May 2022
Purchase: pan.lnk.to/Pripyat

Marina Herlop is often described as a pianist, a lingering remnant of her classical training. But what strikes the listener on Herlop’s breakout track miu is the intricate trickery of her voice, tracing rhythmical clusters around the subtlest of musical beds, in a technique inspired by Carnatic music of Southern India. 

miu, the opening track of Herlop’s new studio album Pripyat, was among the first songs that the young Catalan artist made on a computer, after two albums - 2016’s Nanook and 2018’s Babasha - that brought spectral elegance to the sound of piano and voice. This spirit of adventure continues into Pripyat, Herlop’s first full album produced on a computer, and her most intensely emotional work to date. 

Listening to Pripyat you can feel the emotional toil and creative endeavour that went into the record. Fans of Nanook and Babasha will recognise the combination of melancholic piano and elegant vocal lines that is found on Pripyat tracks like abans abans. But Pripyat has a far fuller, almost chaotic sound when compared to Herlop’s previous work, with the addition of electronic drums, electric bass lines and a wealth of sublime production effects. 

Added to this production expertise are songs of incredible grace and poise. Kadish is a spectral torch song rendered in emotional 3D by Herlop’s gorgeous voice; ubunto has a feeling of deep longing and lingering sorrow; and shaolin mantis is like a pop song refracted through disorienting production effects and percussive vocal cut ups. Pripyat is the perfect combination of computer production trickery and intimate emotional release. 

Songs composed, produced and performed by Marina Herlop. 
Mix: James Ginzburg 
Mastering: Joker 
Mix and mastering of 'miu (choir version)': Borja Ruiz 
Ukulele and ending synth in 'shaolin mantis': Adri González 
Electric guitar in ‘lyssof’:Òscar Garrobé 
Electric bass in ‘ubuntu’ and ‘miu’: Òscar Garrobé

shaolin mantis

Meanwhile, in Hour 2 it's Perera Elsewhere and she tells us;
'Elsewhere can be a really moody & abstract place of musical refuge but there is definitely also a dancefloor there...this mix tries to incorporate all of that.  In the end, the darkness of the dancefloor are a way of escaping the illusion that we call reality. At least it was for me having grown up in grimey London....doomed folk need doom folk and skanking dance music. '

Check out the Solid Steel website <a href="http://www.solidsteel.net">here</a> 
and you can follow Solid Steel on <a href="http://www.facebook.com/pages/Solid-Steel/175027509192663">Facebook</a> and the brand new <a href="https://twitter.com/SolidSteelRadio">Twitter</a> feed.

PART 3 +  4  -	Perera Elsewhere  https://soundcloud.com/perera-elsewhere	https://twitter.com/pereraelsewhere	
				
Perc & Einstürzende Neubauten	_	Liebesdub	_	Submit
Machine Drum	_	Rise n Fall ( Poirer Rmx)	_	Ninja Tune
Barrio Lindo	_	Garza Bruja	_	Project Mooncircle
Thelem	_	Forces of Nature	_	Artikal Music
Ruffhouse	_	Foot	_	Ingredients Records
Genotype	_	Above Politics	_	Exit Records
D-Bridge	_	The Dim Light	_	Exit Records
Owiny Sigoma Band	_	Sunken Wrecks	_	Brownswood
She's Drunk	_	Mash Mash	_	unreleased
Wen	_	Signal	_	Keysound
Dj Deeon	_	Da Bomb	_	Dancemania
Twwth	_	Naomi XX	_	Signal Life
Ishan Sound	_	Clash of The Titans (Hodge Rmx)	_	Peng Sound
Kalbata	_	Man God	_	Moonshine
Gantz	_	Second Nature	_	System
Mo Kolours	_	Mike Black	_	One Handed
Perera Elsewhere	_	Bizarre (Kyson Remix)	_	Friends of Friends
Brian Eno & Jon Hassell	_	Rising Thermal 14° 16' N; 32° 28' E	_	E.G.Records

Solid Steel Radio Show 30/5/2014 Part 3 + 4 - Perera Elsewhere

Change: The Remixes

Critical (Lauren Flax Remix)

info text:::

There is a purpose behind ambient music: it is utility music. Brian Eno made that clear once and for all with ‘Music for Airports’ – the utilitarian nature of this music can already be found in the title. But way before that, in 1920, Erik Satie composed ‘Musique d’ameublement’ – furniture music. Satie created true background music as a reaction against the misuse of classical music as a carpet of sound. The purpose of his furniture music was also to bridge the awkward gaps in conversation in social situations. In turn, Eno’s airport music is meant to serve as background music while sounding interesting enough for listeners to become absorbed. If we go by Eno’s definition, the music on T.Raumschmiere’s new album is not ambient. Although – or in fact, because – each individual track on this album immediately and effortlessly generates atmospheres, it is impossible not to be drawn in. T.Raumschmiere sucks the listener into the perceptible endlessness of his pulsating sounds, even though the music does not actually expect anything from the listener. It is not demanding, it does not sound lofty or ethereal. It is in constant movement and evolution while sounding grounded at the same time. The tracks are not weightless; they have body.
A darkly beating pulse works like a machine through the surging pads of ‘Dampfer.’ Synths drone languidly on ‘Anker.’ T.Raumschmiere deftly manages to avoid succumbing to the kitsch that often arises from these kinds of sounds. ‘Grotznogg’ has an inner stillness within the rustling and scattered clattering and clanging. ‘Zwischenstopp’ provides the perfect soundtrack for a submarine ride, complete with depth sounder and an undercurrent of anxiety. The track ‘007’ is a post-industrial masterpiece – warm, heavy, and latently threatening. And the list goes on.
Clearly a new meaning of the term ambient is needed to describe the music on this album more accurately. It is music that never sounds deliberate yet at the same time is so compelling, which might have something to do with the fact that Shitkatapult label founder Marco Haas aka T.Raumschmiere is the one behind it. As T.Raumschmiere, Haas produces a sound with influences ranging from bass music and
punk rock to industrial; the names of his records speak best for themselves: Monstertruckdriver, Sick Like Me, I Tank U… everyone knows what the deal is here. It is only logical that his new album is just called ‘T.Raumschmiere.’ This record is certainly an excellent lubricant for dreams.
Haas is known for his take-no-prisoners approach to his live sets, which feature distorted beats, grueling basses, and steep descents. Now for the flipside, the negative image of the sound that made T.Raumschmiere famous, the sound that has allowed us to get closer to the understanding of this magic ambient music. The shadow of T.Raumschmiere does not come in with massive beats and basses, yet it
is so imposing and so dark that it seems within our grasp.
In addition to his duties as label manager, musician, and DJ, Haas has also worked as a producer for other artists such as Dieter Meier, Fraktus, Barbara Morgenstern, Das Bierbeben, and Ofrin over the past
few years. The new album by Shrubbn!!, his collaboration with Ulli Bomans, will be released on
Shitkatapult.

T.Raumschmiere

Sleeping Pills And Habits

Behind the Glass (with Anika)

Shackleton With Anika - Endless Memento / Regression / Wading Through the Underworld

Shackleton With Anika - Hinter der Vitrine

I'm Not Afraid (feat. Anika)

I'm Not Afraid (feat. Anika) (Edit)

In Through The Light (Heatsick Remix) is taken from the Hidden Song EP by Delia Gonzalez, out worldwide November 7, 2017.

Preorder here: http://smarturl.it/HiddenSongEP

Delia Gonzalez – In Through The Light (Heatsick Remix)

The Desecration of Desire

Ancestor Boy

Vous et nous (feat. Bonnie Banane)

Boiler Room w/ Beak, Anika & Jaakko

[Broadcasted on 22nd February 2013]

Tracklist & video at boilerroom.tv


Beak LIVE in the Boiler Room

ANIKA
(INVADA / SACRED BONES / STONES THROW / LIQUID MILK)

Live / DJ Bookings: 
EU & UK // Kirmes * Powerline Agency | ck [at] powerline-agency [dot] com
US // Michael * Heavy Trip | michael [at] heavy-trip [dot] com
MGMT: Feli * Wolfypiehands | wolfypiehands [at] googlemail [dot] com

Anika a.k.a Annika Henderson (D/GB) is a hybrid artist. The former journalist made a name for herself in the electronic music scene, with her experimental sound collages, confrontational texts and unique way of performing live solo. Her breakthrough came in 2010 with the release of the cult-hit, experimental LP, ‚Anika‘ (Stones Throw /Invada), which she recorded with Geoff Barrow and band Beak> in Bristol, a wholey unplanned affair, which began Anika's journey into the music, film, poetry and arts scenes. Her most known song remains ‚I Go To Sleep‘, a cover of ‚The Kinks‘ 1965 classic.

Critical (Lauren Flax Remix)

Anika

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