Nikos Theologitis / Stamatis Theologitis / Giannis Theologitis / Antoni Robert
The notion of folk culture has definitely been transformed through the course of the centuries. More particularly, tradition and its authenticity and spontaneity in the context of orality seem somehow to have been mutilated and reconstructed, as soon as globalization and multiculturalism became one of the dominant discourses during the 21st century. Folk songs haven’t been an exclusion in this particular case, as revivalism and folklorism have emerged as a devastating force in the production of folk music. In “Amorgos Soundscape” by Antoni Robert, a paradox occurs: One could say that these folk songs are seen through the eyes of a foreign visitor and the recording could be seen as an exotic sound diary of a trip on a Greek Island. On the other hand, Antoni Robert’s recordings of the Theologitis’ family of musicians reveal an impressive approach on the concept of orality and its proud survival in the Greek folk culture.
Antoni Robert talks about Amorgos Soundscape:
“This is my fourth soundscape, but it is of a totally different nature with respect to the previous ones. Initially, I just wanted to proceed in a similar way that I did for the St Petersburg one, but once on the island, I realized that this idea was not adequate. St Petersbourg is a noisy place, while Amorgos it is not. Generally speaking, the island soundtrack is the wind and the sea. And at once the title “Wind on Water” came to my mind, but unfortunately, that title was already used by Fripp & Eno. But it was adequate indeed. I had the chance to listen to some goats also; the island is the hometown for a huge quantity of goats. So I was wondering about those simple things when it happened. It was dinner time, and we went to the small town of Tholaria looking for a taverna, and we found the Panorama Tavern. We started dining and at a given moment the musicians appeared and started to play great music from the islands. I recorded two complete sets, in two unforgettable nights. More than four hours of live performance. And I was said they do it every night. Once at home, while listening to that music I understood that it would have been inadequate to edit bits of it in order to build something more personal. The main feeling was a deep respect for the work of those musicians, and so the best thing to do was to choose two or three songs and use them as they were performed, in spite of the recording problems and the noise of the taverna clients. The only things I’ve added are the intro and the links between songs because wind and sea had to be there anyway. The results are a real soundscape of a dinner at Panorama Tavern, with the music played by three real artists. Stamatis Theologitis plays the violin and sings, Giannis Theologitis plays Laouto and sings, and the great Nikos Theologitis, 90 years old at the moment of the recording, and the owner of the tavern sings, claps hands, dances and explains jokes whenever he wants. I don’t know if I will reach that age. Probably not. But if I ever I’m 90 years old I want to be like Nikos. A happy man full of energy and passion. So this soundscape is a respectful tribute to The Theologitis Trio. It is their record. The rock band is The Cave Children, from Athens, included because our stay there coincided with a 4 days rock festival, and it was a part of the soundtrack too.”
released July 30, 2017
Recorded in July 2016
Processed in September 2016
Nikos Theologitis: voice and clapping hands
Stamatis Theologitis: violin and voice
Giannis Theologitis: laouto and voice
Antoni Robert: production, field recordings, and effects
Photography: Antoni Robert
Downbeat is a project that mutates, changes with the time, transforms itself with life, without limits and without borders. Their second album takes the sound a step further towards experimentation. Downbeat look at their interior and connect themselves with genres they always got inspired from: Dub, Dubtronica, Jazz and Fusion.
“Introspección” is the beating of their heart, each heartbeat navigated by a different state of mind. Looking at oneself is like a magical journey within, guided by the mystical power of the ancestral plants.
The dub sounds are present throughout the album with atmospheric musical landscapes. This is not the typical dub album, trying to look like its coming out from an island … this is the dub of the mountain … the dub of the Andes … the dub of the Aconcagua … the dub of Las Heras. That’s why it’s hard, dark, cold and different. That is why it has power, hypnotism, strength and a sound of its own.
Let us navigate within ourselves, with the heart pulsating on each beat. Heavy Dub, experimental Dub, dedicated to the universe and its infinite power. A triangle for all to travel (SOUND-LIGHT-SHAPE)!
Siberian cohesive post-industrial creative association POSEV presents the second compilation of tracks from its members and their sympathizers. All tracks are exclusive to this release and have never been presented before.
Our music is always the part of us, our personalities, and our lives. It describes the perception and exploration of the world. We make music because we have something to say and we must talk. We make music because we can’t but do it. Thus, our legacy is given to the world.
Our creation is a self-decrypting manifesto for ones who want to feel the other side of synthesizer music and look beyond the rhythm and sounds. We are too far from any scenes to imitate them. We’re too original to meet someone’s standards. We don’t do what others want to hear from us. We do what we want to hear ourselves.
Our first release of 2017 and the second one on the label by the Russian social anthropologist and ethnomusicologist Sergey Gabbasov and his project Dubrajah is coming your way. You already know his release from year 2014 entitled “Enkang”, though which we discovered the artist’s ability to fuse a deep digital dub style with organic sounds, traditional African melodies and chants from the people of Maasai, Datooga, Hadza, Pemba and Zanzibar tribes.
The new album entitled “Reprise” uses the same musical recipe, but with different ingredients. It was recorded last year in Russia, Nepal and India and includes 8 new tracks by the Russian artist. By this album Dubrajah delivers his returning to the start and principal point of his researches – to Asia. Using sampled sounds from India, Sri Lanka, Thailand and Mongolia, we are led into a magnificent dub journey through Asia. New sounds and vibrations, new destinations and inspirations!
All tracks recorded in Jaisalmer (India), Sauraha (Nepal) and Moscow (Russia) in March/November 2016. Photography by Sergey Gabbasov.
Ivan Black has reinvented himself with this new full-length album, in Somnium Hypnotic displays his well known style of high level ambient perfectly fusioned with an oriental touch. Occasionally, there are major revelations in contemporary music, do not miss this one.
Safir Nòu (Antonio Firinu) is a composer, guitarist and accordionist.
The music collected in the album Groundless could be identified as “total music”, influenced by different styles and genres, from world music to post-rock to jazz. The sounds and the melodies bring the listener to an ethereal and hypnotic dimension, which is the “groundless” dimension indeed.
Bjorn Jordan is a musician who already know, being a member of Phobos 3. Here with Matteo Pinna at the drums gives us the new single of Ish The sign, a very interesting project that takes us between esoteric mysteries, Tool and good writing at the edge of wet forests on the edge of the sea . You will be impressed by the power of images to what is Bjorn, or a modern shaman, who leads us where he wants, where there is peace.
Russian Canon is the first CD of the Moscow based Fake Cats Project. The title certainly doesn’t mean our seventeen pieces form the Russian Canon, rather we are in search of it.
We try to avoid Russian cliches, but sometimes play with them. There are no folk songs accompanied by bayan (the Russian Accordion) though you will hear Kiriill Makushin playing bayan. We don’t play typical Russian rock, though Alexey Borisov is a luminary of Russian rock himself, of the bands Nochnoi Prospect and Tsentr. This is not an album of the Russian intelligentsia, singing their sad, simple songs around the kitchen table, though some fragments were recorded by Igor Levshin in Alexey’s kitchen.
Our Russian Canon is not confined to national culture: we use the Turkish saz and Latin percussion. Our electric guitars certainly do not originate from Russia, and Konstantin Sukhan’s trumpet is more akin to Free Jazz rather than any Russian tradition.
Any overlaps with industrial music or krautrock are sometimes coincidental and sometimes deliberate. Since there is a Russian tradition of fierce speculation on philosophy or revolution at the kitchen table, we use for our sound not cast iron rails, but a buffet filled with utensils, bottles, glasses and a trash bin. We’ve also added the creaks of rusty swings, screams, laughter and the songs of ordinary people in the Moscow streets. We include both the sane and insane, because no Russian Canon can go without a touch of insanity.
Linear Obsessional is delighted to present this album of two recent pieces by the legendary British folk/blues/world/avant garde guitarist Mike Cooper.
“Forbidden Delta Planet Blues” is a long form work built from over lapping loops and featuring some beautiful Hawaiian style slide guitar.
“The Pain Was Bad, But The Tuna Good” is a spellbinding live solo performance recorded at London’s 100 Years Gallery. A solo for a steel resonator guitar (and some voice) which explores all the nuances of the instrument’s considerable cultural baggage, with breathtaking extended technique (bowing, electric fan) and a fascinating stream of invention- it lives up to Cooper’s science fiction/trad interface admirably.
Pueblo Nuevo Netlabel se complace en presentar su disco conmemorativo “Di algo… Pueblo Nuevo 10° Aniversario“, un compilado realizado con 100 mensajes llegados de distintas partes del mundo, a través de una convocatoria abierta que invitaba a enviar grabaciones de máximo 100 segundos de duración. ¡Muchas gracias a todos los participantes!
Pueblo Nuevo Netlabel is pleased to introduce its commemorative album “Di algo… Pueblo Nuevo 10° Aniversario” (Say something … Pueblo Nuevo 10th Anniversary), a compilation made with 100 messages arrived from around the world, through an open call that invited to submit recordings of max 100 seconds long. Many thanks to all the contributors.
«The brand-new Crossworlds recording – “Day and Night” – exchanges ethnography for a family setting. Mikryukov informs us that: “The LP was conceived as a present for my daughter. Initially it was to be published on vinyl, with the two sides given over to daytime and nocturnal themes. Everything was recorded over the course of two years, from February 2013 to February 2015. The album contains both our own, original material and some lyrics by Lesya Ukrainka. The result is a fairly strange, yet organic mixture of folk, academic music, downtempo tendencies, and experimental elements.”»
Bears are at the top of the food chain. They will eat almost anything: grass, leaves, wild berries, nuts, seeds, fruits, bulbs, tubers, beetles, termite nests, worms, ants, rodents, squirrels, foxes and other small animals.
BITCHO é um projecto performativo/musical centrado numa figura ambígua meio ancestral com um híbrido folk.
Parte da reflexão sobre o hoje e dá corpo ao animal feminino. É um projecto que se encontra em constante mutação nos seus vários âmbitos o sonoro, o textual, o performático, o imagético, jogando com uma multiplicidade de influências.
Bomba é a recolha de alguns dos temas que são trabalhados ao vivo com uma forte componente visual. Foi concebido por Susana Chiocca, em colaboração com Sílvio Almeida.
SousLePont are characterised by their unusual instrumentation (trombone, marimba & accordion) and their original repertoire which is mainly written for couple dances, but it doesn’t end there!
Recorded and mixed at Studios La Buissonne by Nicolas Baillard and Gérard de Haro between december 2014 and march 2015.
Graphism : Rob Taylor