Tracklist:
#1 Stereo Express - Monfrague (Extended Version)
#2 Fahlberg - Above Clouds (Orgiginal Mix)
#3 Fejká - Jubal (Extended Version)
#4 Adam Ten, Mita Gami - Always Fresh (Baime´s ACAB Version)
#5 Ivory (IT) - Rain (Original Mix)
#6 Fahlberg - The Light (Original Mix)
#7 Jacques Greene - Night Service (Fort Romeau Remix)
#8 Captain Mustache - Andromeda (Kiko Remix)
#9 Sebastian Leger - Extassy (Original Mix)
#10 Mia Mendi - Simulated Reality (Henri Bergmann Remix)
#11 Stas Underhill - Inversion (Original Mix)
#12 Collé, ariaano - Hollywood (Original Mix)

Morning Serenade

Recorded Sunday 11th of June at Sisyphos' Hammahalle

HammaHalle

Am 16.07.2023 wurde ich zum koMM_unity - MiM Soli-Rave ins @menschmeier_berlin eingeladen. Dort wurde an dem Tag eine Veranstaltung organisiert und durchgeführt von den Menschen im Meier, wovon alle Erlöse dem  Meier zu Gute kommen, weil Kohle braucht unser geliebtes Haus dringend.

Ich war den Nachmittag über beim Open-Air im Hof als "von der Meier Presse als Feier Fresse" auf den Beinen, und habe Menschen ein paar Fragen zum Mensch Meier gestellt. Genießt die kleine musikalisch untermalte Reise durch die Meierei, mit kleinen Anekdoten und Geschichten aus der Vergangenheit, Bezugsetzungen zur Gegenwart, Blinzelblicke in die Zukunft und Lustiges aus der Abstellkammer. 

Und wer jetzt Lust verspürt, das Mensch Meier zu unterstützen: Do it! 

Credits zur Sprachwerkstatt compilation with recordings from: 
koMM_unity - MiM Soli-Rave @ Mensch Meier, 16.07.2023 

Tracks used in this production: 
Liebkose & Kabel Trace feat. Moussi Bang: Lass Mich Tanzen
Walker & Royce feat. VNSSA - WORD
Kant - Shake Down
Liebkose - Arbeitsverweigerung (Snippet)
Franca - The Burning Three
Aretha Franklin - Bridge Over Troubled Water

Mensch Meier koMM_unity Rave Sprachwerkstatt 2023

Ein kleines ReRec der Morgendliche Sektdusche im Matschbad.
Ein wilder Morgenritt von Powerhouse zu Trance und ab in die oberen Hemisphären des Nachtwald Floors auf dem Zugvögel Festival 2023

Zugvøgel Festival 2023 - Crémant Clément , Nachtwald : morgendliche Sektdusche

Fischfingers@WhatAFeministSoundsLike - 8. März 2023

Es gibt eine norddeutsche Sage, die besagt (besagt mit langem "aaaaa"), dass jeden Monat, wenn der silberne Vollmond dem Horizont über dem Meer entsteigt ein penetranter Geruch von fauligem Fisch und gekochten Kartoffeln über die Dünen weht und die Leute aus ihrem wohlverdienten Schlaf reißt. Nun möchte man meinen, dass dies bei den Leuten eher Unmut auslösen sollte, doch weit gefehlt. Erstens ist man im hohen Norden den Geruch von Fisch und Kartoffeln eh gewohnt und zweitens verkündet dieser Geruch allmonatlich die Ankunft des großen DJ Aalmann (@fredaric). Niemand weiß, wo er herkommt, niemand weiß, wo er am nächsten Morgen hingeht, sicher ist nur, dass er seit Jahrhunderten die Fischer*innen in den Küstendörfern einmal im Monat mit seiner wunderbaren Musik beglückt um sie für kurze Zeit die Strapazen der Fischerei vergessen zu lassen. Nun werden manche sagen, dass da ja heutzutage gar niemand mehr wirklich vom Fischfang lebt, aber Kapitalismus ist auch anstrengend und kalt ist es da oben auch, lasst den Leuten also doch bitte diese eine von Musik erfüllte Nacht. Neid ist vor allem echt unangebracht, weil ihr kommt diesen Monat auch in den Genuss der lieblichen Klänge des DJ Aalmann, es gibt also echt keinen Grund so missgünstig zu sein. Also hört jetzt bitte auf damit und hört euch stattdessen lieber das Set an, da haben wir alle mehr von.

Follow dj aalmann

die 37. flausette von dj aalmann

Aquarium Sunrise (03.09.2023)

Mein Mitschnitt von unserer diesjährigen Spätsommerparti auf der Schaumburg. Schöner hätte der Sommerabschluss nicht sein können!
PartiKlub <3

Noa @ Spätsommerparti (Schaumburg)

Tarmac-Crew Party @ Endlos

....what a mess! can someone clean that up ? but not too clean please, coz we like it dirty

thanks to K&K events for this evening aaaand : big thanks to @djmusik1 for a huge inspiration and some bangers delivered!! <3 and thanks @space-bum for mastering. feel the punch from underneath

🐽Riesenschweinerei🐽 @ Saustall Schwerte

A collection of Cuban music.

So it is probably worth saying a few words about Arsenio Rodríguez.

He was born in 1911 in a small, rural village in the province of Matanzas. He was one of fifteen children. His mother was a housewife, his father farm labourer.

Their roots were in the Congo Basin. So they belonged to one of the ethnic groups that were enslaved to Cuba. Like the Yoruba or Lucumí from Nigeria and Benin, the Kongo or Bantu from Angola and DR Congo; the Carabalí and Abakuá from Nigeria and Cameroon and also the Arará from Benin and Togo.

Their language, but especially their rhythms, were formative for Cuban music.

In the drum cycles of the Yoruba for example, each Orisha, each of the many deities of the great pantheon, had its own rhythm. All rhythms that were intended to be danced to.

Many of these African rhythms are said to be highly complex, and syncopation is often found.

Perhaps one could say that syncopations are the rhythms of the intermediate beats.

If you want to hear an example I can recommend my favourite version of ‘El Carretero’ by Guillermo Portabales.

However, the special way of playing the guitar, as heard, originated in another melting pot of cultures - in Andalusia. It was only from there that it found its way to Cuba via the Canary Islands in the 16th century. There, it left its mark on the guajira. The music that was often played by farm labourers when Arsenio was growing up.

It was there that Arsenio was hit on the head by a mule's hoof when he was seven years old. He was very heavy injured. The wounds healed badly and he lost his sight.

During this time, this meant that he was deprived of any chance of a self-determined life. He was taken in by a carpenter. He showed him his first instruments so that he could perhaps at least make a living from music. Arsenio was particularly interested in one, the ‘tres’.

A small guitar only strung with three double strings and tuned in a minor chord at the time. The ones I held in my hand today in Cuba, however, were made from normal guitar bodies with three double strings tuned to a major C chord, just as Arsenio later tuned his.

His talent was immediately apparent. But he not only played amazingly well, he also composed captivatingly. He quickly formed his own bands, arranged them and began to perform regularly. They called him El Cieguito Maravilloso, the marvellous little blind.

When the family's house was destroyed by a hurricane, the family had to move to Havana. And it was there that he founded the Conjunto, in 1940.

Completely unusual at the time, the band consisted of ten musicians. Arsenio composed, arranged, sang and played tres. His cousin took the second voice. Then there was a second guitar, double bass, bonga and five other instruments that had never been heard before in a Cuban orchestra.

The warm, earthy conga, which integrated the complex African rhythms. Three trumpets, so that they sounded like a choir. The dignified piano with its European history but now also the stylistic elements of the newly emerging jazz. And finally my favourite instrument: the cowbell.

It is said that the tres first came to life thanks to Arsenio and his style of playing characterises the way the tres is used today. Arsenio composed over 200 pieces in his lifetime. More of them made it into today's standard repertoire than from any other Cuban musician. By fusing European melodies, African rhythms and Jazz elements, he created his own style of music and played a key role in shaping what we now understand as Cuban Son.

And the composition of his band created the origins of Cuban Big Band music, what later became Salsa.

And all just because of a cowbell.

cienfuegos

bloedsche

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