excellent work, I remember hearing some of these a few years agao, good to hear again...

@kinetix_music: very much appreciated, thank you

Mulatu Astatke - Yekitir Tezeta

Nils Petter Molvaer

Sometimes

From the movie Solamente Nero, Antonio Bido, 1978
A short segment of the soundtrack composed by Stelvio Cipriani and peformed by Goblin.
Orgasmo Sonore, Revisiting Obscure Film Movie, 2011

Incubi Ricorrenti (Stelvio Cipriani & Goblin) by Orgasmo Sonore

Another track taken from the score of the movie "La Ragazza Fuori Strada". 
This one is very funky, with excellent drum and bass sections.

Piero Umiliani - Tra La Gente

SAN SALVADOR - Live

ENREGISTRÉ EN CONCERT À SEDIERES EN AOÛT 2016
SONORISATION : RAPHAËL DURAND
PRISE DE SON, MIXAGE ET MASTERING : DAVID MASCUNANT
DIRECTION ARTISTIQUE, COMPOSITIONS, ARRANGEMENTS : GABRIEL DURIF

Avec
THIBAULT CHAUMEIL ........................VOIX ET TOM BASS
EVA DURIF .....................................VOIX ET MAINS
GABRIEL DURIF ............................VOIX ET TAMBOURIN
MARION LHERBEIL ..........................VOIX ET TOM BASS
LAURE NONIQUE DESVERGNES ................VOIX ET MAINS
SYLVESTRE NONIQUE DESVERGNES .....................VOIX,
CYMBALES DE DÉFILÉ MINIATURE ET GROSSE CAISSE

La Grande Folie

Le Tiki Lounge / Exotic Cocktail Bar
26 bis, rue de la Fontaine au Roi 75011 Paris 
T. 01.55.28.57.72 / mar - sam : 18:00 > 02:00

http://tiki-lounge.fr/

*

teo usuelli - piacere sequence

Akalé Wubé songs available for streaming

Nebyat (Live in Paris)

The Dybbuk Quartet provide the final part of the Evans Triptych with Gétatchèw Mèkurya and Naftule Brandwein also in the mix.

a remastered superior version is available here:
http://blank-slate-records.bandcamp.com/

Amharicity-The Dybbuk Quartet

Order CD/LP/DL: https://goo.gl/WygZtR
Digital: https://IDOL.lnk.to/Laylet_El_Booree 
Release Date: April 5th, 2019

Fusing the rhythms and invocations of the ancient Saharan Banga ritual with an electrical storm of contemporary sonics, Ifriqiyya Electrique’s second album both grips and awakens.

In Tunisian, Banga means "huge volume” and one cannot think of a more apt description of Laylet el Booree than that.

Maximalist & relentless. Blood, sweat & trance.

In the West, music performances and audiences are widely cut from the same cloth. There is a secure dividing line between the stage and the hall, the audience and the performer. But profoundly different experiences can be found on the southern side of the Mediterranean Sea, deep in the Tunisian desert, where the group Ifriqiyya Electrique was born and has performed the most. Several years ago, two of the musicians who make up the five-piece Ifriqiyya Electrique - Gianna Greco and François R. Cambuzat - ventured to the Djerid desert of Tunisia to investigate and confront the religious ritual of the Banga, a ritual of legendary intensity indigenous to the region. The musical duo’s background is in the underground post-punk scene of continental Europe, as members of Putan Club and as collaborators with the venerable Lydia Lunch. But they are also voracious travellers and seekers of global sonics that are at least partially hidden from the western gaze. Previous trips to the Uyghur region of China and the Kurdish regions of Turkey had in part prepared them for the musical immersion they would undertake in Djerid. Their original intention was not to join in the ritual but rather to research how this unique ceremony delivered “pure elevation” to its participants. This state of elevation or trance, is something that they had experienced in their own music, and they were searching for instructive parallels and new perspectives.

But after living in, and travelling throughout the Djerid for years, things began to morph. The beginnings of a group began to take form. There was a shift towards direct engagement. Their first "appearance" ended up being in Nefta, in the city of Sidi Marzug. It was terrifying: after all the months of studying, filming, recording and bonding, could Ifriqiyya Electrique actually participate in the Banga ritual? The first ten minutes were in fact distressing, the Banga adepts from the town initially shocked. But eventually the locals recognized a shared music of the spirit and everything rocked together: people sang, danced, went into trances, were healed and the entity that became to be known as Ifriqiyya Electrique passed an unwritten test of inclusion. Remember: Ifriqiyya’s music was never composed for a Western audience in the first place. It was brought to life in real time, on the same streets in which the Banga has been practiced uninterrupted for centuries. Within the ritual there is no leader nor primadonna. It is a collective improvisation. Sufism. A ritualized, social bond where no one stands above anyone else. 

The title of the second album Laylet el Booree translates as the “Night of the Madness.” It refers to the last part of the annual gathering of the adorcist ritual from the Banga of Tozeur – it is the night when the spirits actually take possession of the bodies. Like the ritual itself, the album is wild, frantic, and never caresses the listener’s expectations. But its purpose is also to heal; with sweat, spirituality, electricity and trance being central to the almost overwhelming sensory experience. With the band now joined by new member Fatma Chebbi (on vocals and tchektchekas hand percussion) one senses that the musical and cultural conversation is even deeper this time around. In fact, it doesn’t feel like a speculative conversation at all, but rather something fully formed and undeniable. An emergent ritual in itself.

Laylet El Booree

He Eh Lalla

Ifriqiyya Electrique - He Eh Lalla

Oiseaux-Tempête's first original soundtrack for the second feature film by critically-acclaimed Tunisian director Ala Eddine Slim (Festival de Cannes' 51st Director's Fortnight, BFI London, Viennale, Thessaloniki TIFF, ADF Argentina, Geneva GIFF, Rome Medfilm Festival, Marrakech International Film Festival...).

LP | printed insert poster | PRE-ORDER 
translucent orange vinyl 
SRV494 
CD | 8 page digipack | PRE-ORDER 
SR494 
releases February 14, 2020 
>> https://www.subrosa.net/en/catalogue/soundworks/oiseaux-tempete-tlamess.html
>> https://oiseaux-tempete.bandcamp.com/album/tlamess-sortil-ge-o-s-t

Frédéric D. Oberland : mellotron, analog synths & electric guitar 
Stéphane Pigneul : modular system, analog synths & electric bass 
Mondkopf : analog synths & modular system 
Jean-Michel Pirès : drums & percussion

TLAMESS (Sortilège) 
Tunisia / France 2019 
Directed by Ala Eddine Slim 
Producers: Exit Productions (Ala Eddine Slim, Ali Hassouna & Chawki Knis) & Still Moving (Juliette Lepoutre & Pierre Menahem) 
Distribution: Potemkine (France), Hakka Distribution (Tunisia), Sister Distribution (Switzerland) 
International Sales: Be For Films 
Starring Abdullah Miniawy & Souhir Ben Amara 
Director Of Photography: Amine Messadi 
Art Direction: Malek Gnaoui

Original film score composed & performed by Oiseaux-Tempête during Winter & Spring 2019 
Recorded by Benoît Bel at Mikrokosm Recording Studios and by Oiseaux-Tempête at Magnum Diva 
Edited by Ala Eddine Slim & Oiseaux-Tempête 
Mixed by Jean-Charles Bastion at Mer Noir 
Mastered by Jean-Charles Bastion & Gabriel Séverin 
Published by Alter K. 
Still-frames by Ala Eddine Slim 
Colour grading by Romain Barbot 
Artwork by Mountain

---------------- 
www.oiseaux-tempete.com

Canyons

In addition to being a clarinetist and producer I’m also a PhD researcher studying how SoundCloud shapes the ways electronic musicians learn how to produce. Using a range of methods, my work investigates the social and musical practices of musicians online and offline to understand the connections between social media and how electronic producers, and in particular beat makers, learn how to express themselves musically as both individuals and as part of a wide scene.

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Amharicity-The Dybbuk Quartet

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