MUSIC OF THE DAY (11 SEPTEMBER 2016)  75 Dollar Bill - Beni Said (2016)  https://www.facebook.com/neo.psychedelic.music/  https://www.facebook.com/neo.psychedelic.music/photos/a.659632127425448.1073741828.659622414093086/1104669292921727/?type=3

Nice Hendrix-y Frusciante-y hammer on pull off trills.

As we say from the lands of my ancestors: أقوى نوع

06 20 16

recorded March 2013 at Real Farm, Møn
mix Bjørn Gjessing, master John Fomsgaard
written by Martin Stender & Girls in airports
www.girlsinairports.net
facebook.com/girlsinairports

Sunshine On Fish Skin

Thomas de Pourquery "Supersonic" sextet
"PLAY SUN RA" 1st album out january 2014
Quark Records/L'Autre Distribution
Thomas de POURQUERY - alto & soprano saxophones, lead vocals
Laurent BARDAINNE - tenor & barytone saxophones, percussions, vocals
Fabrice MARTINEZ - trumpet, flugelhorn, tuba, vocals
Arnaud ROULIN - keyboards, piano CP 70, vocals
Frederick Galiay - bass , electronics, vocals
Edward PERRAUD - drums, electronics, vocals

Supersonic -LOVE IN OUTER SPACE-

One of 26 tracks available on the <a href="http://georiot.co/3TgR">Strut Africa</a> sampler on iTunes.

Taken from the album <i>Inspiration Information</i> by Mulatu Astatke & The Heliocentrics, "Esketa Dance" is one of the songs included on our Strut Africa collection, which also features music from legends including Ebo Taylor, Orchestre Poly-Rythmo, Tony Allen, and more. 

For a limited time, the original albums on which these songs appear are also available for at a special discounted rate. Happy holidays from the Strut crew!

More from Strut:
<a href="http://www.strut-records.com">Home Page</a>
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<a href="http://www.youtube.com/user/strutrecords">YouTube</a>
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Inspiration Information 3

Dewel

Mulatu Astatke & The Heliocentrics - Esketa Dance (Strut Africa)

Dodo (Ruben Valdez remix)

Mulatu Astatke - Mascaram Setaba

A calming tune, made last night using 1/2 inch tape, in my studio in Hope Mill

Whisky Story Time

Late Night Tales: Belle and Sebastian, Vol. 2

Yèkèrmo Sèw (A Man of Experience and Wisdom)

When I Was Young

From the album "WOOD/METAL/PLASTIC/PATTERN/RHYTHM/ROCK"
available from Thin Wrist Recordings
http://www.thinwrist.com/

75 Dollar Bill - Beni Said

The first 2016 release from Schnarff Schnarff, Mario 1-2 will be available on their debut album "The evil that we do..." due out in September 2016.  

www.facebook.com/schnarffschnarff
www.twitter.com/schnarffbeys 
www.schnarffschnarff.com 

Myles' lyrics:

MARIO 1-2
You bring the light into my darkened life,
You shine a light onto my shadowed life!
================
Excuse my short attention span 
but the string is pulling tight,
One more stretch and
I'll swear I'll lose it,
The swinging brick inside my chest 
Is racing back and forth,
Pendulum again again again! 
==================
We reprise, music of strife, 
you despise, any prospects for wives! 
==================
As time rolls over time 
(I'm getting closer to an existing light) 
Shapes in a white room,
Wiped down, and packaged up
(I'm getting closer to an existing light)
Don't forget my name! 

END END END
≠≠≠≠≠≠≠≠≠≠≠≠≠≠≠≠≠≠≠≠≠≠≠≠≠≠≠≠

Mario 1-2

Under Your Skin is from Anna Rose's EP STRAYS IN THE CUT, available on June 17, 2016. 

Strays In The Cut

Under Your Skin

The Brackets - Nothing To Write Home About EP

Written, recorded, produced, mixed and mastered by The Brackets 

01 Intro
02 Different Kind
03 Matchmaker
04 This Could Be You
05 Don't Think About It
06 Nothing To Write Home About

Nothing To Write Home About E

Matchmaker

Akalé Wubé songs available for streaming

Jawa Jawa (remixed)

Emahoy Tsegue Maryam Guebrou - The Homeless Wanderer

I remember the first time I read W.E.B. DuBois eclectic masterpiece The Souls of Black Folk. The way in which this Weberian scholar flowed from personal account to prose to sociological analysis to music and even political intervention has had a lasting impact on my own work as a cultural anthropologist. It made me understand that as scholars we must use different means in order to give expression to the totality of the lived experience: There is only so much in an academic text.

The experience of alienation has always been at the heart of my scholarly and artistic practice. I have used academic writing, lecturing, theatre performance and electronic improvisation to understand and represent it as a theoretical concept, postcolonial condition and lived experience. I believe, some issues need to be told like a story, some analyzed in most abstract terms and others need to be sung like a gospel. The medium changes the message.

In this sense, I guess, I’m a singing cultural anthropologist.

For some time now I have been engaged in the use of dystopian themes and sounds to paint a sonic picture of structural racism and whiteness of our present. But recently I have grown weary of this Ballardian idea of Future Now and the resulting phantasmagorian aesthetics myself and others have been invested in. The widespread availability of Digital Audio Workstations, sequencers, loopers and delay pedals has lead us into a futuristic cul de sac best described by Mark Fisher as the very absence of future.

Likewise, I am most skeptical of the “naturalist” countermovement, the return of folk. Especially in Germany, I am convinced there is no such thing as an innocent or progressive folk musical expression as it is always connected to the idea of the homeland (“Heimat”) which in turn produces the colony. It seems to me, the current zeitgeist is stuck between a “museum of a dystopian future” and a “museum of an idealized past”, but I wanted to sing about the present.

So, I involuntarily returned to pop music in its two-folded meaning of something popular and addressing not an essentialist notion of “Volk” or its woke cousin “communities”, but society as a whole.

I entered the studio just with a few lo-fi sounding melodies and rhythms from my circuit bent CASIO synthesizer. I had no clue what the finished product would sound like. But as soon as Markus started drumming, in a way strangely reminding me of CAN’s Ethnographic Forgery Series, my uptight sounds were suddenly embedded within a warmer global sound spectrum. The alien at home and abroad and the strange overlapped: We were seeing one and the same sound differently but were gently held together by Tobias’ producing.

Making music is about building coalitions. It’s about suggesting an articulation of styles, sounds and people, that hasn’t materialized, yet, but may help us in the current crisis: I wanted Amon Düül II to send their drug induced archangel thunderbird to rescue the refugees, that had tried to escape the police by climbing up a tree in Munich in 2016. I wanted Sun Ra to taunt far-right protesters in Chemnitz in 2018. And I wanted to mourn the loss of a former kebab shop cum discotheque that served as proof that there is such a thing as a minoritarian universalism.

SCHLAND IS THE PLACE FOR ME is a pop album featuring songs of alienation, not only as a tragic experience, but as a pop-cultural promise. Maybe Bill Callahan sung it best, “I am Star Wars today, I am no longer English grey”. I want those who suffer from alienation to stand in alliance with those who seek alienation, and vice-versa. A coalition, that tolerates the possibility that we are moved by the same groove for contrary reasons.

75 Dollar Bill - Beni Said

Thin Wrist Recordings

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