Blanc Sceol - 'Orbit' [excerpt]

circu grond F

10 serpents nouent son âme.

New EP on Bandcamp : https://fhauna.bandcamp.com/album/ruudms-vol-1

ruudms

Ruudm_1 (raturr)

Steve Beresford Mandhira De Saram – 'Ma Petite Heffalump' [excerpt]

Narcissism

Keep Silent

Track from album: Gary Gwadera - "Far, far in Chicago. Footberk Suite"
POINTLESS GEOMETRY 2024 / POINT#60
Pre-order date: 11.11.2024 / Release date: 21.11.2024

https://pointless-geometry.bandcamp.com
Limited edition of 100 copies / C-43 cassette
The material is also released in an audio-video version on VHS cassette. The visual side was created by Darek Pietraszewski (Copy Corpo).

Music composed, performed, recorded, edited and mixed by Piotr Gwadera
Recorded in Łódź, August/September 2024
https://www.instagram.com/gary_gwadera
@gary-gwadera

Mastered by Paweł Cieślak (Hasselhoff Studio) 
Artwork and design by Jakub „ Hakobo” Stępień
https://www.instagram.com/hakobo
Conceptual collaboration – Hanna Szczęśniak (Polish Radio Folk Centre)

The publishing partners are:    
KODY Festival of Traditional and Avant-garde Music
ROZDROŻA Centre for Intercultural Creative Initiatives
Polish Radio Folk Centre

Media patron:  
Dwójka – Polish Radio
℗ 2024 Polish Radio
© all right reserved

“It’s nothing else but a Chicago-style oberek!’ – that was my first thought when I heard the compilation ‘Bangs & Works’, an album that introduced the footwork style to a global audience. At first I was drawn by the triple, syncopated rhythm, based on the iconic sounds of the Roland TR-808 drum machine. My musical explorations have long been centering around triple rhythms of rural Poland. The clash of this archaic, distinctly Polish form with the freedom of the underground, electronic sound from the Black suburbs of Chicago seemed to aesthetically hit the perfect spot. As an anthropologist - dreamer, I also imagined that the presence of a triple rhythm in Chicago – the largest hub of the Polish diaspora in the USA – was not a coincidence. It was a result of a meeting between our native musical tradition and the musical sensitivity of the Black community in the United States. I must admit that this hypothesis was, and still is, purely my musical dream, unsupported by any scientific evidence. However, regardless of the actual roots of this fascinating phenomenon known as footwork, it is hard not to notice certain correlations between footwork and the Polish oberek tradition. This is in both cases music rather meant for dancing than for listening. It’s supposed to present a certain musical and rhythmic challenge to dancers, who can test themselves in a fun-oriented setting, where competition is an integral part. In Polish villages, these are traditional battles of village bands, while in Chicago, they are footwork battles in underground clubs. Both in the oberek and footwork, the most important are a sense of community, energy, and excitement built around dance, accompanied by a characteristic triple pulse.
Therefore, the footberk suite “Far, far in Chicago”, is intended as an imagined musical journey through time and space, where the Polish oberek and Chicago footwork find a common ground in dynamic, triple rhythms. I aim to show that the syncopated rhythm of the mazurka (or of the oberek) can sound just as contemporary and bold as the beats created for Chicago dancers. The composition is meant to be an auditory tribute to both cultures’ dance spirit and their sense of community. It is an attempt to capture the emotions that accompany both footwork dancers and participants of rural dance parties – spaces where music and dance become tools of self-expression.
To connect these two seemingly distant worlds I use a specially designed rhythmic machine. At its heart lies a rural jaz, with build-on Lem-esque pads packed with samples from the TR-808 and TR-909, as well as other electronic sounds."

Keep Silent

Oxymosoon