martes, 28 de mayo de 2019

William Ryan Fritch Deceptive Cadence: Music For Film Volume I & II



Two CD set. 2019 release from film composer and multi-instrumentalist William Ryan Fritch. Most of those familiar with Fritch, know only of his albums as a singer songwriter or genre-elusive multi-instrumentalist, which truly represent a small fraction of the depth and range of his work. Deceptive Cadence... gathers the most remarkable and memorable pieces from Fritch's vast catalog of film compositions. Rather than filling up two volumes with half assembled film cues and fragmented themes, Fritch has gone to great lengths with Deceptive Cadence... to make sure both volumes tell a story, build theme, and create a satisfying full album experience as good as any movie they may have come from. While this music once graced a particular film, show, or commercial, it has all been reimagined, reworked and made whole in post-production to complete the epic narrative of Deceptive Cadence

https://williamryanfritch.bandcamp.com/album/deceptive-cadence-music-for-film-volume-i-ii


Disco: 1

  1. Reshuffle the Deck
  2. Silent River
  3. Sinews
  4. Lauren's Love
  5. Imagined Worlds
  6. Our Thirsting World
  7. Spilt
  8. A Tangle of Birds
  9. The Weight of What's Unsaid
  10. To Ache for What's Never Been
  11. Abandoned Space
  12. Same River
  13. Mending What We've Cleft
  14. Exit Wounds
  15. A Renewed Sense
  16. Sirens and Cicadas
  17. Emergent
  18. Interlaced
  19. With Each Sweet Submersion
  20. Processional
  21. Incrementalism
  22. Hopeless Romantic
  23. Visible Wear
  24. Till Fresh Earth
  25. Scraping the Dregs

Disco: 2

  1. Gut Level
  2. Fractured
  3. All the Feels
  4. Lionize
  5. Unwittingly
  6. Sanguine
  7. Implosion
  8. Fatalist
  9. Ricochet
  10. Familiar Patterns
  11. The Red Underneath
  12. Sleight of Hand
  13. Time Curves So Subtly
  14. Dumbstruck
  15. Separation
  16. In a Senseless Ether
  17. Spectral Chatter
  18. Children in Wartime
  19. Oh Great Inaction
  20. When Tragedy Coheres


sábado, 25 de mayo de 2019

Paper Wings-Clementine (019) [USA]






Sus palabras: "‘ Woods and Fields "es la primera canción de nuestro próximo álbum, Clementine, y es una de las primeras canciones que Emily y yo escribimos juntas. Esta pista presenta nuestra versión clásica del canto a dúo y se basa en las raíces y tradiciones de la música antigua. A medida que revelamos lentamente nuevas facetas de nuestro sonido a lo largo del álbum, preservamos nuestra interpretación esencial de las raíces populares rurales. Clementine es una colección de canciones sobre el amor, el anhelo, la autorreflexión y la búsqueda de simpatía en la naturaleza. "Woods and Fields" representa esto bien, y es una instantánea de nuestra voz colectiva ". - Wilhelmina Frankzerda de Paper Wings



Tracks:
• 01. The Beginning 00:33
• 02. Woods and Fields 02:47
• 03. Sister 03:18
• 04. Troubled Soul 03:54
• 05. Ribbon of Gold 02:56
• 06. Ashby 03:03
• 07. Dusty Eyes 02:42
• 08. As I Walk Down 04:03
• 09. Winter Storm 03:35
• 10. Miss My Darlin' So 03:10
• 11. The Lonely One 04:44
• 12. Good Man 01:54
• 13. Clementine 04:26


lunes, 13 de mayo de 2019

Aziz Sahmaoui & University of Gnawa - Poetic Trance (2019)

La reunión tuvo lugar en el Café Zimmer, número 1 place du Châtelet en París. En una tranquila habitación trasera de este espacio con forma de templo, forrado de terciopelo, Aziz Sahmaoui y sus rizos marrones emitían un aire tan tranquilo como el Sena que fluía pacíficamente cerca.

Pero cuando aterrizó por primera vez en sus orillas en 1983, nuestro sujeto perdió la orientación, pensando que había llegado al país de los ángeles rubios, con quienes respetan la puntuación y tienen becerros increíbles ... "Sin embargo, puede haberse desilusionado si no habia musica

Desde su infancia en Marrakech, Aziz Sahmaoui aún recuerda el olor de Targa, el distrito del río y de la plaza Jemaâ El Fna, que le ofrecieron numerosos juegos: una variedad de bailes, canciones y olas de energía. En lugar de los rumores de los coches, Aziz Sahmaoui estaba rodeado de bendires, lutares y guembris; rápidamente contrajo el sentido del ritmo: “¡Eso suena! Es una bendición. Te alcanza de la misma manera que la verdad. No vengo de una familia de músicos, pero en Marrakech todos son rítmicos. Lo que me importaba era entender cómo hacer hablar a estos instrumentos ”, recuerda con una sonrisa. Sostenido por las noches de festividades, por el trance de Gnawa que ahora anima, profanamente aunque sagrada habitado, Aziz Sahmaoui absorbe y luego revela los secretos de la verdadera ciencia y el poder del trance. En los conciertos, es efusivo y festivo, desencadenando cuerpos y ululación en el público antes del final del primer estribillo.

Después de un período inicial de incertidumbre, Aziz Sahmaoui descubrió un verdadero continente de ritmos en París, ofreciendo su propia Orquesta Nacional de Barbès, el buque insignia de una revolución musical que fusionó la herencia tagnauí con el resplandor del jazz, reggae, funk, rock, raï, chaâbi, y reggae. Llevando sus exploraciones experimentales al límite con Sixun o el Sindicato Zawinul, Aziz Sahmaoui volvió a lo que él llama "sus instintos" en 2010 al fundar la Universidad de Gnawa, una universidad gratuita que inmediatamente inscribió a los músicos senegaleses Alune Wade (bajo), Hervé Samb. (guitarra) y Cheick Diallo (kora) como ingenieros de un sonido universal.

Producido por el audaz pionero Martin Meissonnier (Fela, King Sunny Ade, Khaled, Manu Dibango, Papa Wemba ...) y grabado en vivo con sentido de riesgo y aventura, Poetic Trance revela un lenguaje musical maduro, brillante y ponderado. “Musicalmente, queríamos encontrar un equilibrio entre África, Europa y el resto del mundo. Con Poetic Trance, creo que hemos tenido éxito: es pop, es disco, es rock y reggae y, de repente, los sonidos de kora, n’goni, guembri y karkabous se entrelazan ... ¡Qué felicidad! Hoy los grandes maestros Gnawa, los maâlems, mis amigos, estamos muy orgullosos de nosotros: hemos podido renovar el género sin distorsionarlo, y muchos han seguido el ejemplo ".

Aziz Sahmaoui está presente en el mundo: se expresa con la elegancia de un príncipe y el tono del narrador. Manejando las palabras, así como su laúd griot (bardo), de quien es inseparable, el músico admite un parentesco particular: "Es cierto que en el país [Marruecos], durante las noches de música que podría facilitar, cantamos de personas. , su belleza, de su nombre y linaje ".

Este soñador se introdujo en la poesía a través de la infinita riqueza de la literatura árabe, en particular gracias a las colecciones de Mu’allaqāt, las largas odas épicas preislámicas consideradas dignas de ser bordadas con hilo de oro y luego suspendidas en la Kaaba en La Meca. “La literatura es la introducción más formidable al descubrimiento mundial. Su magia viene de la nada, pero surge de nosotros ... "Aziz Sahmaoui declara suavemente. Es un hombre que ha inducido a Claude Nougaro, Nass El-Ghiwane y los proverbios bereberes, sin discriminar entre ellos, al panteón de sus inspiraciones. Para todo esto se desprende de la buena palabra: “la poesía tiene el poder de la elevación, es la escritura del cielo en la Tierra. Cuando una palabra resuena, cuando suena sin arrugas, sin estirarse o sin aplastar, encuentra su lugar en una arquitectura poderosa. Pero el poeta también debe cantar sobre las injusticias: denunciar las fracturas entre pueblos, a lo largo de las fronteras o en el lenguaje de la imposición ".

Aziz Sahmaoui está presente en el mundo: se expresa con la elegancia de un príncipe y el tono del narrador. Manejando las palabras, así como su laúd griot (bardo), de quien es inseparable, el músico admite un parentesco particular: "Es cierto que en el país [Marruecos], durante las noches de música que podría facilitar, cantamos de personas. , su belleza, de su nombre y linaje ".

Este soñador se introdujo en la poesía a través de la infinita riqueza de la literatura árabe, en particular gracias a las colecciones de Mu’allaqāt, las largas odas épicas preislámicas consideradas dignas de ser bordadas con hilo de oro y luego suspendidas en la Kaaba en La Meca. “La literatura es la introducción más formidable al descubrimiento mundial. Su magia viene de la nada, pero surge de nosotros ... "Aziz Sahmaoui declara suavemente. Es un hombre que ha inducido a Claude Nougaro, Nass El-Ghiwane y los proverbios bereberes, sin discriminar entre ellos, al panteón de sus inspiraciones. Para todo esto se desprende de la buena palabra: “la poesía tiene el poder de la elevación, es la escritura del cielo en la Tierra. Cuando una palabra resuena, cuando suena sin arrugas, sin estirarse o sin aplastar, encuentra su lugar en una arquitectura poderosa. Pero el poeta también debe cantar sobre las injusticias: denunciar las fracturas entre pueblos, a lo largo de las fronteras o en el lenguaje de la imposición ".

Gracias a una brillante maestría vocal, Aziz Sahmaoui y la Universidad de Gnawa pueden cantar en Tamazight, Wolof o Mina sobre la resistencia de las víctimas de la guerra ("Coquelicots" - Amapolas), amor ("Nouria"), fraternidad ("Entre Voisins" - Entre vecinos. Cada uno declara un profundo apego a su cultura africana en "Janna", este paraíso. “Con mi música, quiero ayudar a suavizar la amargura, a construir puentes entre África y Europa. Es una forma de ampliar nuestro círculo, que nunca se cierra: ¡ven y únete! "De hecho, como se afirma en el clásico de Gnawa" Gang Sound of M'birika "en Poetic Trance:" La gente ha venido en masa, de todas partes, por estas festividades y por esta celebración: vivir la experiencia como una terapia liberadora de cuerpos y mentes ".


01 – Janna Ifrikia
02 – La peur (Nogcha)
03 – Nouria
04 – Entre Voisins
05 – Gang Sound of Mbirika
06 – Coquelicots
07 – Soudani Ya Yémma
08 – Absence
09 – Sotanbi


martes, 7 de mayo de 2019

El Mejor Nuevo Flamenco (2002)






151 kbps+covers

domingo, 5 de mayo de 2019

Mdou Moctar ‎– Ilana: The Creator (2019)



Mdou Moctar immediately stands out as one of the most innovative artists in contemporary Saharan music. His unconventional interpretations of Tuareg guitar and have pushed him to the forefront of a crowded scene. Back home, he's celebrated for his original compositions and verbose poetry, an original creator in a genre defined by cover bands. In the exterior, where Saharan rock has become one of the continents biggest musical exports, he's earned a name for himself with his guitar moves. Mdou shreds with a relentless and frenetic energy that puts his contemporaries to shame.

Mdou Moctar hails from a small village in central Niger in a remote region steeped in religious tradition. Growing up in an area where secular music was all but prohibited, he taught himself to play on a homemade guitar cobbled together out of wood. It was years before he found a “real” guitar and taught himself to play in secret. His immediately became a star amongst the village youth. In a surprising turn, his songs began to win over local religious leaders with their lyrics of respect, honor, and tradition.

In 2008, Mdou traveled to Nigeria to record his debut album of spacey autotune, drum machine, and synthesizer. The album became a viral hit on the mp3 networks of West Africa, and was later released on the compilation “Music from Saharan Cellphones.” In 2013, he released “Afelan,” compiled from field recordings of his performances recorded in his village. Then he shifted gears, producing and starring the first Tuareg language film, a remake of Prince's Purple Rain (“Rain the Color Blue with a Little Red in it”). Finally, in 2017, he created a solo folk album, “Sousoume Tamachek,” a mellow blissed out recording evoking the calm desert soundscape. Without a band present, he played every instrument on the record. "I am a very curious person and I want to push Tuareg music far,” he says.

A long time coming, “Ilana” is Mdou's first true studio album with a live band. Recorded in Detroit at the tail end of a US tour by engineer Chris Koltay (the two met after bonding over ZZ Top's “Tres Hombres”), the band lived in the studio for a week, playing into the early hours. Mdou was accompanied by an all-star band: Ahmoudou Madassane's (Les Filles de Illighadad) lighting fast rhythm guitar, Aboubacar Mazawadje's machine gun drums, and Michael Coltun's structured low-end bass. The album was driven by lots of spontaneity – Mdou's preferred method of creation – jumping into action whenever inspiration struck. The resulting tracks were brought back to Niger to add final production: additional guitar solos, overdubs of traditional percussion, and a general ambiance of Agadez wedding vibes.

The result is Mdou's most ambitious record to date. “Ilana” takes the tradition laid out by the founders into hyperdrive, pushing Tuareg guitar into an ever louder and blistering direction. In contrast to the polished style of the typical “world music” fare, Mdou trades in unrelenting grit and has no qualms about going full shred. From the spaghetti western licks of “Tarhatazed,” the raw wedding burner “Ilana,” to the atmospheric Julie Cruise-ish ballad "Tumastin,” Mdou's new album seems at home amongst some of the great seminal Western records. But Mdou disagrees with the classification. Mdou grew up listening to the Tuareg guitar greats, and it was only in the past few years on tour that he was introduced to the genre. "I don't know what rock is exactly, I have no idea,” he says, I only know how to play in my style."

For Mdou, this style is to draw on both modern and traditional sources and combine elements into new forms. In “Ilana” Mdou reaches back into Tuareg folklore for inspiration, riffing on the hypnotic loops of takamba griots, or borrowing vocal patterns from polyphonic nomad songs, and combining them with his signature guitar. You can hear the effect in tracks like “Kamane Tarhanin,” where a call and response lyric lifts up over a traditional vocal hum before breaking into a wailing solo with tapping techniques learned from watching Youtube videos of Eddie Van Halen.

There is an urgency in Mdou's music, and the fury of the tracks are matched by their poignant messages. The title track “Ilana” is a commentary on uranium exploitation by France in Niger: “Our benefits are only dust / And our heritage is taken by the people of France / occupying the valley of our ancestors.” Other times, he delves into the complexities of love, but always with delicate poetics: “Oh my love, think of my look when I walked toward the evening / Tears fell from my face, from the tears that fell green trees grew / And love rested in the shade.”

As Mdou travels the world, he divides his time between two places, alternating from lavish weddings in Agadez to sold out concerts in Berlin nightclubs. It offers a unique perspective, but also means that he needs to address different audiences. At home, his compositions send a message to his people. Abroad, his music is an opportunity to be heard and represent his people on a world stage.

For the cover art, Mdou conceptualized a Saharan bird flying over the desert. “This bird is my symbol because he resembles my artistic look. I wear a turban in two colors. The jewelry in its beak is the symbol of Agadez.” It's a poignant idea, as the bird flies off over the desert, it carries its home wherever it goes. It's not so different than what Mdou hopes he can do with his music. "I'm just an ambassador, like a messenger of music, telling what is happening in my world.” “Ilana” is an invitation to listen, at a time when a message could not be needed more.

Mahamadou "Mdou Moctar" Souleymane - guitar, vocals
Ahmoudou Madassane - rhythm guitar, backing vocals
Michael Coltun - bass guitar
Mazawadje Aboubacar Ibrahim - drums
--
Aroudaini Daniel - djembe (track 4)
Cem Misirlioglu - drum programming (track 9)



1.Kamane Tarhanin 05:08
2.Asshet Akal 04:50
3.Inizgam 01:24
4.Anna 04:32
5.Takamba 02:49
6.Tarhatazed 07:27
7.Wiwasharnine 03:37
8.Ilana 04:45
9.Tumastin 04:21

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Meav Ni Mhaolchatha - The calling (2013)



Méav gives much of the credit for her love of classical and traditional music to the early influences of her very musical family. In addition, she attended an Irish language school in Dublin where she was exposed regularly to traditional Irish music in Gaelic.

Although Méav received a law degree from the world-renowned Trinity College in Dublin, it did not take long for her to realize her destiny was in music, not law. "Music is part of what I am," Méav says. She did her post-grad work in arts administration, working for an organization called Music Network, which was responsible for arranging tours of classical, jazz and traditional music throughout Ireland. At the same time, she realized that her singing was taking over as her number one interest. "Gradually it came to me that this is what I should be doing all the time," she said.

By 1998, her astonishing vocal clarity and breathtaking range had already caught the attention of producer/composer David Downes, earning his respect and admiration. Little did either one of them know that their lives would change forever with their collaboration on a special project in 2004 called "Celtic Woman."
Méav's fanbase exploded with the airing of "Celtic Woman" on PBS in the United States, and she has been especially appreciative of the loyalty and support of all her fans, both old and new.

After two years of touring with the group, Méav left to resume her solo career. With the success of her first US solo shows last December in NY and NH, Méav promises to come back again to the US to grace her fans with her enchanting performances.

In 2009, Méav was invited to perform the song "Where the Sunbeams Play" for Disney's "Tinkerbell and the Lost Treasure." March of 2010 marked Méav's Carnegie Hall debut with the NY Pops Orchestra conducted by Steven Reineke. Méav with the world renouned Les Rhapsodes Choir also headlined the Quebec Celtic Festival in September.

In spite of all the well-deserved success and acclaim, by far Méav's greatest achievement to date came when she and her husband Tom celebrated the birth of their children Anna in 2005, and Catherine in the summer of 2009.


 1. The First Time Ever I Saw Your Face
2. The Calling
3. Light Flight
4. Listen, Listen
5. The Songline To Home
6. Wayfaring Stranger
7. Sovay
8. Shenandoah
9. Once You Were My Lover
10. Glimmering Girl
11. Glasgow's Burning
12. Black Is The Colour


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miércoles, 1 de mayo de 2019

Wu Mengmeng: The Art of the Chinese Guzheng (2019)



El guzheng es el instrumento tradicional chino más reconocido, tanto por su apariencia como por su sonido. A lo largo de su larga historia, las técnicas de juego han evolucionado junto con el propio instrumento, influenciado por la cultura regional y la música popular. Algunos estilos también han sido desarrollados por maestros guzheng individuales. Este álbum muestra algunas técnicas importantes y ramas de diferentes estilos, incluidos los estilos Chaochou, Shanxi, Shandong Daban, Jiangnan, Zhejiang y Henan Bantou Qu. Este álbum es una extensión del álbum The Art of Chinese Harp de Xiao Ying, que ha sido un éxito de ventas desde su lanzamiento en 2004. Para este nuevo álbum, se presenta al joven intérprete de guzheng Wu Mengmeng. Su pasión por el instrumento y las emociones que saca del espectáculo de música en cada pieza.





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