Ãber warum denn so eilig, mein Freund ¿
Immer mit der Ruhe.. lmmer mit der Ruhe.

01.-04.06.18 - Zu einer Zeit in ... Gardelegen
07.04.18 - Immer mit der Ruhe - Ost-XXX, Leipzig
19.08.17 - Rendezvous im Immerwald - Halle
04.06.17 - Erster Tanz im Immerwald - Halle
26.05.17 - JK, Berlin
23.04.17 - Immer mit der Ruhe - Ost-XXX, Leipzig

AllMusic Favorite Folk Albums of 2013
Acoustic Guitar Magazine Best Albums of 2013
Rolling Stone 'Best Under-the-Radar Albums of 2011'

There are plenty of ways to tie Arborea to the freak folk and new American guitar movements that emerged in the early 21st century. Though the Maine-based husband-and-wife duo of Buck and Shanti Curran presented a halfway point between otherworldly female vocals à la Joanna Newsom and deeply disciplined guitar playing à la Jack Rose, the sum total was something altogether removed. In large part, the Currans belonged more directly to the lineage of musicians who grew out of the late-'50s folk revival, seeking to connect current music to ancient traditions, as opposed to using it as a vehicle for strictly personal expression, without sounding the least bit like revivalists.

Buck Curran served time in the Navy before settling in Norfolk, Virginia and getting a job at local guitar shop Ramblin' Conrad's. The store also acted as a local folk center and booked performances by musicians like Bert Jansch (of Pentangle), Mike Seeger (of the New Lost City Ramblers), and others. Curran mixed sound there, learned to become a luthier, and played in local blues bands. Following the marriage of Buck and Shanti Curran, the two moved to Maine, where they raised two children, and Buck worked building and repairing guitars. After more than a half-decade of marriage, in 2004, Buck purchased a banjo for Shanti, which came in a minor tuning, and the two began to make music together, quickly creating a small repertoire that blended Buck's studied chops with Shanti's haunting voice. They named themselves Arborea and, in 2006, self-released Wayfaring Summer.
The two began to tour extensively, preferring to play house shows and other more musician-oriented venues conducive to intimate performance. Using MySpace, they connected with the national network of bands that had found an audience in the wake of Devendra Banhart and Joanna Newsom's successes, including the Philadelphia label Language of Stone. Their sound broadened to include other instruments, including harmonium (played by Shanti), electric slide guitar, and ukulele. Buck produced a pair of compilation albums. Leaves of Life benefited African charities and featured Devendra Banhart, Alela Diane, and others. We Are All One, in the Sun was a tribute to guitarist Robbie Basho. Arborea, meanwhile, recorded several more albums, including 2006's House of Sticks and 2011's Red Planet, sometimes in collaboration with Espers cellist Helena Espvall. 
 -Jesse Jarnow/All Music Guide


Her stories are capturing, poetic songs, driven by her banjo- and guitar play. 
Magical moments full of sensibility and still powerful and expressional presented. 
The musician ADAYA tells us about the other side of mankind, the hidden treasures of every living being, of bright and dark periods in life.
As a solo artist she travels around the world and fully devoted, writes her own episodes with passion. 
Intense moments, in which ADAYA’s crowd can be part of.
Moments when she does it again and again, bringing them to complete silence, listening under her spell.
 
Longingly she sings in her songs about the mysteries of our time, legends and hidden secrets. 
Her songs «Werewolf», «I Am Born» or «Train To Nowhere» are perfect examples. 
UK-Folk-Radio gives best ratings: «This is high caliber music, both stunning and original in concept and delivery, we’re looking forward to hearing more! ».
ADAYA’s next album will be released in January 2020.

Record label

Contact & Demos: info@akumandra.com

Para aquellas composiciones que se interpretan en tiempo musical moderado, AKUMANDRA surge como espacio de proyección sonora donde los creativos reproducen y difunden sus proyectos para el publico ávido de captación de conceptos vanguardistas que recrean el oído y el animo desde la perspectiva de una posición observadora que se abre en una tienda de resultados originales en la creación musical.

For compositions that are interpreted in moderate musical time, AKUMANDRA surfaces as a projection space for sound in which the artists reproduce and diffuse their projects to a public hungry for the reception of vanguardist concepts. Concepts that recreate hearing and mood from a perspective of a positioned observation opened unto an amalgam of original results in musical creation.

At first, Saraka played on the street, at the station, at the markets, here, there, under your balcony at night or so far away that people thought they disappeared. But suddenly they come back and there are four, five, seven of them and they say they played in the worst and best bars, for weddings, in Italian Gelateria, at Lisbon Castle, in squats of any kind, suspended in a Vagabond Tower, in Berlin techno clubs,...
In 6 years Saraka has grown from three to eight musicians, from covers to compositions, from acoustic-screaming to amplified-psychadelic, from the street to large stages, passing by 3 self-produced albums, many lives and many lives.
The result is today a music inspired by Afro-Latin grooves, mixing reverberant guitar riffs, warm-wet wind melodies and bass lines that sweat the trance and invite you to dance.

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