Perhaps my fave remix, though I need to sink into the EP, this sounds heavy though :)

Ream Daranoi - Fai Yen

"This album wrote itself. It was time for a change in life, and music followed. Like it should be, drums came first to set the tempo and style. Then friends just laid keys, samples and most importantly (and for the first time for me) - lyrics. So true and honest. Still it's hard for me to believe how easy it was to just let it happen. Thank you, loved ones, for just showing up at the right moment." -- Eyal Talmudi //


"There was magic around the recoding of this album. From laying down Roy's first massive drum takes, the studio filled up with energy, vibrating straight to Talmudi's abstract and beautiful saxophone melodies.
We created a very dynamic and high end set up in Kicha Studios, Tel Aviv; it was a pleasure for the guest musicians on the album, who jumped right in the sessions and gave an amazing input.
I feel that the album is intensive and comforting, made by good friends together yet still full of real and happy loneliness." -- Rejoicer //
credits
releases 24 October 2014

Saxophone, Clarinet & Flute - Eyal Talmudi

Drums & Percussion - Roy Chen

Synths - Rejoicer

Featuring -

Vocals & Lyrics - KerenDun, Shai Tzabari, Miss Red & Maya Dunietz

Cuts - DJ Werd & DJ Mesh

Synths - Omri Mor , Asaf Talmudi , Moshe Levi , Werd

Percussion - Roni Ivrin

Produced & Mixed by Rejoicer

Additional mix by Nomok

Mastering by Asaf Shay

Design by Eilon Bergman

Photos by Michael Topyol

Executive Producer - Osbourne "Ease" Green 

Eyal Talmudi + Roy Chen - Saved My Eyes From Tears - 02 Saved My Eyes From Tears Feat. Shay Tzabari

there are many kinds of love

you should have lied

Lloyd Miller - Gol-e Gandom

Lest We Forget What We Came Here To Do released on Naim Records on the 25th September 2015.

Order Now: https://sonsofkemet.bandcamp.com/

In Memory Of Samir Awad was written to commemorate a Palestinian teen killed by Israeli forces as he fled their gunfire in 2013. 

After the blistering success of their debut album 'Burn' in 2013, Sons of Kemet return with their highly anticipated follow up 'Lest We Forget What We Came Here To Do.' 'Burn' is a hard act to follow - not only did it garner the band fans such as Gilles Peterson (who included the album in his Worldwide Awards shortlist) and stunning reviews, including The Arts Desk (who pronounced it Album Of The Year) and The Quietus, but they also scooped the MOBO Best Jazz Award. The bar has indeed been set high for the second album, but yet again Sons of Kemet have surpassed themselves, delivering an album stuffed to the rafters with the euphoric, danceable grooves and riffs that made 'Burn' such an unprecedented success and audiences go crazy.

www.naimlabel.com

In Memory of Samir Awad

Sons of Kemet - In Memory Of Samir Awad

MDOU MOCTAR - TAHOULTINE

The Lounge Lizards -  Voice of Chunk - Voice Of Chunk

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.

Schland Is The Place For Me

Fehler Kuti: Mayday Mayday

Acoustic Live Session on "Pure FM" 

Melanie De Biasio & Pascal N Paulus

The Flow on Pure FM

Deeds Not Words (Surly Remix)

'High priestess of psychedelic Arabic jazz’
Yazz Ahmed is a multi-award winning British-Bahraini trumpet player, composer and producer. She is renowned for her unique vision of psychedelic Arabic jazz and electronic experimentations.

Deeds Not Words (Surly Remix)

Yazz Ahmed

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