Yallah

Yallah (Freedom for Salaheddine)

Too Much Slivovitz

LYRICS:
Marcin 'Duże Pe' Matuszewski

COMPOSITION:
Milan Djuric

INSTRUMENTAL SOLOS & IMPROVISATIONS:
Bart Pałyga, Milos Nikolic

VOCALS & INSTRUMENTS:
Marcin 'Duże Pe' Matuszewski - MC'ing, vocals
Jolanta Kossakowska - vocals
Milan Djuric - beats, synths, fx
Bart Pałyga - electric saz
Wojciech Lubertowicz - darbuka
Milos Nikolic - trumpets

ARRANGEMENT & MIX:
Milan Djuric

MASTERING:
Milan Djuric

ShazaLaKazoo & Masala Soundsystem - Kolo Terrorista

Bubamara Brass Band - Jasna Dance - Kosta Kostov Remix

ShazaLaKazoo - Sol

http://shazalakazoo.com
http://balkanbeats.eu/shazalakazoo-metanational/

“Have you played at the Guča Trumpet Festival?” they keep asking us everywhere we go. Well, last year we finally did it. Actually, we played each and every night at one of the many makeshift bars set up in ordinary houses and yards during the festival week. This kept us quite busy but we still had more than enough time to listen to various brass bands: you simply cannot avoid them in such a tiny overcrowded village. At any given moment, we could hear at least two Serbian bands playing nearby at the same time. And guess what? One of the most curious things we observed there was the fact that roughly every fourth or fifth track played there was not Serbian, Romany or even hailing from the Balkans at all! These tunes came from somewhere else. They were a diverse mix of well-known hits from across the world.

However, not all foreign hits make their way into a Serbian brass band repertoire. This is reserved for the greatest of the greatest hits, for those which entered the World People’s Music Hall of Fame, those which became the pristine evergreen unspoiled by the music industry of today. We all know these tunes. We’ve known them all our life. These are the melodies which are deeply rooted in their geographic and ethnic origin yet they are so international and global that they are no longer just Russian, Mexican, Jewish, Greek, Peruvian, French, American, Serbian or Egyptian tunes. In fact, they could correspond with similar ease with any kind of worldwide audience anywhere. They make the world music heritage which operates on a metanational level independent of their national lyrics.

Well, this album is our take on those metanational tunes. Performed by the traditional Serbian-style brass, they are set to ShazaLaKazoo’s electronic dance rhythms, basslines and synths. This is our homage to the true music of the people.

ShazaLaKazoo - Habanera (feat. Roma Sijam)

ShazaLaKazoo - El Condor Pasa

Their Routes (Remixes)

Ballad Of Mr E (ShazaLaKazoo Remix) - Gypsy Hill

100 år av Längtan RADIO VERSION (BalkanBeats SoundSystem RMX)

100 år av längtan Remixes X4

100 år av längtan

DOWNLOAD

100 år av Längtan RADIO VERSION - BALKANBEATS SOUNDSYSTEM RMX

Zica Memo (03:19)

Milan Djuric - programming
Uros Petkovic - programming
DJ Chernobyl - programming
Suppa Fla - vocals
Romano Duruli - brassband

ShazaLaKazoo - Zica Memo (feat. Chernobyl & Suppa Fla)

www.shazalakazoo.com

Vocals, lyrics - Aimilia Varanaki
EWI, Moog, programming - Milan Djuric
Programming, mix, mastering - Uros Petkovic
Trumpets, valve trombone - Milos Nikolic
Tuba samples - Jonatan Ahlbom

ΚΡΑΣΙ

Φερε της το κρασι , φερε της το κρασι 
Φερε της το κρασι , φερε της το κρασι 

Κορη συνετη το παιζει ντυνεται σεμνη
Μα οταν τ’αστρα πεφτουνε γεννιεται απ’την αρχη
Και με κρασι και με κουβεντα κανει παντα προκοπη
Και ολ’οι μαγκες που γουσταρει κανουν παντα τουμπεκι

Με’στην αγορα γυρνα με χαρη περιση
Και δοκιμαζει παντα αφοβα οτι της προσφερθει
Ειναι μαγκιορα χουβαρδου γυναικα πανερωτικη
Και στη ζωη της παντα κανει μονο ‘τι γουσταρει αυτη

Και κοβει και ραβει ζωες ξετιναζει μονο με μια κουπα κρασι
Βαλ’της μια ακομα φιλα τη στο στομα και θα εχεις μια ωραια ζωη
Και κοβει και ραβει ζωες ξετιναζει μονο με μια κουπα κρασι
Βαλ’της μια ακομα φιλα τη στο στομα και θα εχεις μια ωραια ζωη


Φερε της το κρασι , φερε της το κρασι
Φερε της το κρασι , φερε της το κρασι

ShazaLaKazoo - Krasi

People often think of the Balkans as a crossroads. With their busy trade and cultural routes, the Balkans have been linking the East with the West, the North with the South throughout the centuries. Now can you imagine someone setting up a tent in the midst of that bustling roundabout, in a place where all those roads converge in a swirling mix? Can you imagine, out of the blue, a tent with a wild illegal wedding party inside springing up in the middle of that crossroads, a jamming makeshift shelter which blocks the traffic until the break of dawn? Well, the loud music that would be played beneath the tent cover – this is the sound of the ShazaLaKazoo.

A fusion like a thorough merger of all those intersecting routes above, the ShazaLaKazoo sound is a cross-breed of electronic rhythms and basslines that might come from anywhere in the West or the North, and melodies of vocals, trumpets, violins, and electronic clarinet which could come from the East or the South. The sound of ShazaLaKazoo is a crossroads in which western beats meet Balkan tunes, a place where Oriental and Latin American percussion meet Greek vocals. This unique musical blend they simply call “the Folkstep”.

ShazaLaKazoo has five full-length studio albums: “Speaking Balkanian” (2010), “Karton City Boom” (2011), “Monobrow” (2014), “Metanational” (2016) and "Chorba" (2024), as well as numerous EPs, singles and remixes.

ShazaLaKazoo - Krasi

ShazaLaKazoo

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