Archive for the ‘ GENDERS ’ Category

CANDOMBE

The group Canbombe proposes to take you on a hypothetical trip through Cuba, Brazil until Buenos Aires to rediscover the traditional latin-american culture.
The music, which is composed and arranged by Silvio Zalambani, is inspired by many characteristic styles of these countries, of which it underlines their european and above all common african origin.

The “Grupo Candombe” started in 2000 as a research project about the traditional latin-american music, after being inspired by a presentation of Ernesto Cardenal’s book “Quetzalcòatl”, ex Minister of Nicaragua.
The group has performed in different theatres, clubs and festivals. In 2002 the project was proposed in Brazil.

The group has just released two recordings: the first CD “Grupo Candombe” was released in 2001 (and reprinted in 2004) and presented at the Alighieri Theatre of Ravenna and then the live concert was broadcasted by RAI Radio3-Suite directed from Rome; the second CD “Grupo Candombe 2″ was released in 2005 and it was presented on RAI Radio1, during the program ” Brasil”.

For 2010 they’re working on a new albun with the argentine singer Sandra Rehder; many collaborations are also planned with other international artists like brazilian Mario Féres (pianist and singer), Lulla Oliveira(multi-instrumental composer and “Pae de Santo” of afrobrazilian Candomblé), Diana Horta Popoff (singer, flutist-pianist and composer), and argentine Lucas Guinot (pianist and composer) and Lucrecia Longarini (singer).

THE SECRET ACCOUSTIC PROJECT – the video

The soft Slow Slide by The Secret Acoustic Project featuring various shots of street art taken around Dublin.

DJANGO A LA CREOLE

One of the consequences of the flooding of New Orleans in 2005, was the exodus of its population, including musicians who lived in the most affected. The city was in crisis and its reconstruction would take a long time, not only by the pace of construction, but the return of investors in local show business. One of the artists who then left the city was Evan Chirstopher who moved to Paris in search of job opportunities.
Clarinetist Californian had been living and performing in the city since 1984. and adopted the style of Creloe, quite characteristic of the city, assuming for itself the role of ambassador of this style, Which the most expressive name is Sidney Bechet,
In fact, in his discography, which contains only three titles, one can see its impeccable virtuosity and precision of execution of the music.
In the latest project, now back to New Orleans, Evan pays tribute to the gypsy guitarist Django Heinherdt.
The latter, fusing Gypsy Swing with New Orleans grooves and rhythms of “le monde Créole” released their debut CD, Django à la Créole (Fremeaux & Associates) at the 2008 French Quarter Festival in New Orleans.

MASTERS OF REALITY

Both improvisation and rhythm have always been major components of the unmistakable Masters of Reality sound. But on their fifth release for Mascot Records, ‘Pine/Cross Dover’ (which was released August 24, 2009), the group pits the finer elements of the Mahavishnu Orchestra and Public Image Limited against each other. The end result? A Masters of Reality album that rocks, rolls, and grooves like one devilish son of a gun.

“I did a rock n’ roll record this time – I was able to exorcise a lot of different styles of music that are really important in my life,” explains longtime Masters leader Chris Goss. “And not just Led Zeppelin, Cream, the Beatles, or Black Sabbath. It’s a lot of everything on this record. But proud to say, not one acoustic guitar – it’s all electric and very rhythm oriented.” And the album’s origins can be pinpointed to a simple question. “It was in 2008 that Ed van Zijl, who is the head of the label, wrote and said, ‘Do you feel like doing another record?’ So after a long period of recording it finally is done and I’m proud of it.”

Joining Goss (who supplies vocals, guitar, and keyboards) was long-time band mate John Leamy on drums, as well as a host of special guests, including Eagles of Death Metal bassist Brian O’Connor and guitarist Dave Catching, Merle Jagger guitarist Mark Christian, background singers Shawnee Smith and Missi Pile, as well as former Queens of the Stone Age guitarist Brendon McNichol.

The outcome is the first-ever Masters of Reality album to feature long-and-winding free-form instrumentals. “The first one is called ‘Johnny’s Dream,’ which is a little nod to John McLaughlin,” explains Goss. “Because I’ve been listening to a lot of Mahavishnu in the last year. It’s music that’s been doing it for me lately. Pretty much improvised except for a melody figure that gets repeated. The last song on the record is called ‘Alfalfa,’ and it’s a twelve-minute improvisation. It was the four of us – Mark, Brendon, myself, and John. We’d never been in the same room before, and the twelve minutes that’s ‘Alfalfa,’ you’ll hear it. Honestly, it’s been a dream of my whole life to play music like that, the way it came out. There was no sketchbook, no plan whatsoever – we just plugged in and played, and what happens in that twelve minutes is a dream come true for me.”

However, not all of ‘Pine/Cross Dover’ is instrumental according to Goss, who picks two of his favorite rhythm-heavy tracks. “There’s a song called ‘Worm in the Silk,’ it’s kind of a dub-bass piece. There’s a nod to Public Image on this record – some of the ways the songs flow are bass and drum oriented like that. That song has a really long psychedelic chant on the end of it. There’s also this song called ‘Rosie’s Presence,’ that swings like ‘Presence’-era Zeppelin.”

About post-rock and Iceland

Múm

Maybe it’s the  midnight sun or even aurora borealis phenomenon, but the fact is, musical scene in Iceland has some good and really creative bands.

Have you ever heard about Múm? First time someone told me about this band, it was classified like a band that make some delicious little noises to our ears.These so called “little noises”  is the band’s musical proposal: experimental music, eletronic effects and remixes.

Also from Iceland, with a similar proposal and coming from the same decade, the Sigur Rós band also uses musical resources like delicate vocals and experimentalism.

But before those two band came up, there was a little eskimo lady trying her luck in the music world, that’s right, Björk.  Eccentric, fresh and full of creativity, we may say that this avant-garde singer had opened up doors to other bands, that, later had drunk up a little in her source.

Well, let us just cut to the chase:

Múm’s Myspace

2a.m.

2 by Robert Astley sparke

2 by Robert Astley Sparke


The band 2 a.m. is the result of the friendship two Brazilians poets Rodrigo Antão and Pedro McCardell, responsible for the composition and production of their debut album. This is not a garage band or shy teenagers playing sweet songs. In spite they have the nactural influence of significant elements of pop-music mostly used in last 40 years, it’s hard to label their music. Crisis is a conceptual album and it sounds extremely actual.

Ok, there’s a lot of bands doing something like this, someone could say. But what distinguishes them, however, is showing in a consistent and mature work, the fine portrait of urban dramas typical of cities in the XXI century, from well-structured lyrics applied to melodies of apparent simplicity.
Loneliness, sadness and suffering, of characters such as call-girl in Wendy, trapped in her labyrinth represented by the infinite room full of mirrors and walls, on the other. Or a lonely and sad man in Gone 4 good, a folk only with voice and guitar, in which the personal emotion flows through Rodrigo’s voice.
The arrangements of some dance tracks confirm the impression that, in times of crisis, dancing is an option of escape, even if the soundtrack speaks of suffering and social dramas. Contradiction ironically showed in Antão and McCardell’s lyrics.

There’s a lot to be listened and you can download the complete album at the 2 a.m. website, and draw your own conclusions.
Nowadays and after concerts in Sao Paulo (Brazil), they are back to London, working hard this summer, preparing another projects and keeping on making music, as they know.

Tara Ferry (Rubber Kiss Goodbye), Antao and McCardell @Oxegen Festival

Tara Ferry (Rubber Kiss Goodbye), Antao and McCardell

THE CLIENTELE

The Clientele formed a long time ago in the backwoods of suburban Hampshire, playing together as kids at school, rehearsing in a thatched cottage remote from any kind of music scene, but hypnotised by the magical strangeness of Galaxie 500 and Felt, and the psych pop of Love and the Zombies. During a pub conversation the band collectively voted that it was OK to be influenced by Surrealist poetry but not OK to have any shouting or blues guitar solos. From that moment on they put their stamp on a kind of eerie, distanced pure pop, stripped to its essentials and recorded quickly to 4 track analogue tape.

These recordings were released as lovingly packaged 7” singles at the tail-end of the 90s, and compiled as the millennium ended into the debut album, ‘Suburban Light’, now hailed as one of the finest records of the decade. From the faded pop art of ‘Suburban Light’ came a move into the fog with the 2nd LP, ‘The Violet Hour’, released in 2003. An attempt to create a deeper, more mysterious sound, it was an archetypal Clientele record: hypnotic, self-enclosed, meticulously creating its own world.

The Clientele re-invented their music with Strange Geometry (2005) and God Save the Clientele (2007); Brian O’Shaughnessy (My Bloody Valentine, Primal Scream) and Mark Nevers produced, and El Records legend Louis Philippe provided typically gorgeous string arrangements. The sound was bigger, brighter, and clearer, MacLean’s ringing, classically-influenced guitar style and James Hornsey’s melodic bass combining to create a different kind of depth and atmosphere for the newly sparkling songs, which now came complete with crossover appeal; incongruously, one of them even featured in the Keanu Reeves / Sandra Bullock weepie, “The Lake House”.

‘Bonfires on the Heath’ is in a sense a return to the Clientele’s roots; the dreamlike suburban landscapes first encountered in the early singles, their trippy sense of menace stronger now. Back in London, they’ve drawn on older traditions of English folk, which exist here side-by-side with the band’s more familiar bossa and pop elements, creating a timeless eeriness. It’s often said the best bands create their own sound; The Clientele have gone one further and created an entire world.
Orson Absence (from myspace)