Ashraf Sharif Khan and Viktor Marek are twins from different continents, separated at birth.
They were brought back together by the large music satellite during one of its few earth rotations
to teach us humans an extra-planetary hip swing.
This swing is performed live with their Beats, Bass and Sitar, leaving behind rows of earthlings*
with their mouths wide open (grinning) - and just as open soles (dancing).
An elusive "Sufistep" (Viktor Marek) somewhere between HipHop,
Acid, Electro and Dub meets a masterful Sitar performance (Ashraf Sharif Khan).
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In the evenings in Manila Bing and his Soul Stompers play old soul
classics from Otis Redding to James Brown for tourists in the city’s many hotels.
At the dead of night, they move on to local bars where they can play their own music.
Like urban culture all around the world, Manila’s urban scene pop-culturally echoes the
influences of the American colonial past. But the influences noticeable in “Rosas Epektos”
take it a step further: 60s soul intermingles with Jamaican beats, psychedelic and kraut rock.
Brezel Göring recorded the album in just a few days in Khavn’s living room on a multitrack tape.
The date on the album cover lists “1969” as the recording year. And although this is in reality not true,
the authenticity of the sound actually gives the illusion that it was produced in the 1960s.
This type of soul music in Tagalog did not exist in the sixties in the Philippines,
yet songs on the album such as “Ruined Heart” and “Island Monkeys” reconnect the future with the past and rewrite it.
Bing Austria Facebook
Complicated times require complex experimental setups: The Filipino musician, poet and filmmaker KHAVN meets Alexander Kluge,
the German philosophical jack-of-all- trades of cultural work. Together, they conceive a music film with the acclaimed German
actress and singer Lilith Stangenberg at its centre. Their film "Orphea" - which celebrated its world premiere at Berlinale 2020 -
deals with the ancient myth of the musician Orpheus, who wants to free his beloved Eurydice from the underworld. Although Orpheus
even succeeds in bewitching a hell hound and the ruler of the underworld himself with the power of his music, he fails in the end.
Eurydice's gaze back to him is finally punished by the gods with death.
Finishing the film production, Khavn and Lilith Stangenberg teamed up with Brezel Göring (Stereo Total) in Berlin to transform
the songs from the film into an album.
Instagram Lilith Stangenberg
Ozan Ata Canani, born in Turkey in 1963 and came to Germany at the age of 12 -
his song 'Deutsche Freunde' refers to a quote by Max Frisch "We called for workers; we
got people instead" reflects the dilemma of the immigrants of that time.
Early on, Ata began to play the Turkish long-necked lute Saz - also called Baglama - a
nd after a short time in Germany he wrote songs with German lyrics. He deals with the
problems and experiences of the guest workers; homesickness, the foreign, exclusion as
well as the working and living conditions.
At the end of the seventies he joins the Turkish band Die Kanaken, in which the Anadolu rock
legend Cem Karaca also was a member. When Karaca returned to Turkey from political asylum in
Germany, the rest of the band performed as Die Kanaken 2.
After many years of silence around Ozan Ata Canani. His song 'Deutsche Freunde' is more up-to-date
than ever in the course of the integration debate, especially among Turkish immigrants, as a
contemporary witness. It gives forgotten but important insights and memories about the background and
causes of the problems of the integration debate.
At the end of 2013 Ata recorded this song for the "Songs of Gastarbeiter Vol. 1" compilation
(Trikont/Indigo) and has been playing live concerts on a regular basis ever since.
Ozan Ata Canani Facebook
In 1985, Macoto Tezka (son of the great manga artist Osamu Tezuka) met musician and TV personality Haruo
Chicada who had made a soundtrack to a movie which didn’t actually exist: The Legend of the Stardust Brothers.
At the time Macoto was just 22 years old, a film-student with many short experimental films under his belt,
but yet to make a feature-debut and of course had the pressure of the TEZUKA name. With Chicada as producer,
Tezka then adapted this “fake soundtrack” into the real movie story of “The Stardust Brothers”.
With inspiration from “Phantom of the Paradise” and “Rocky Horror Picture Show”, Tezuka assembled a cast of
some of Japan’s most famous musicians of the time, including such greats as Kiyohiko Ozaki, ISSAY, Sunplaza Nakano
and Hiroshi Takano, alongside many famous names in Manga. The resulting film “The Legend of the Stardust Brothers”
is the exact definition of a cult film. Despite the huge array of talent on board with a large budget, the film
is totally unknown even to this day in both Japan and worldwide. More than 30 years since its release, The Stardust
Brothers will finally make itself known worldwide with a brand new Director’s Cut and a newly remastered soundtrack on Fun In The Church!
The Legend of the Stardust Brothers on blue ray / DVD
Tau is the 19th letter of the Greek alphabet and the name of the Berlin-based fusion quartet around saxophonist
Phillipp Gropper and drummer and percussionist Moritz Baumgärtner.
In mathematics, however, Tau also refers to the division ratio in the "golden ratio".
Sometimes also called Phi. The letter Tau as a name for the international band is therefore exciting and inspiring in many ways.
All four members are successful protagonists of the young European jazz scene. Since their foundation,
TAU 5 have been constantly developing their sound from the fields of jazz, improv, new music and electronics.
Based on new forms of composition and improvisation concepts between jam and (re-)edit,
TAU researches the specification of a new, collective sound language.
Out of sheer joy of liberated playing, drummer Max Andrzejewski and saxophonist Johannes Schleiermacher
have been meeting regularly since mid-2019 in a Berlin rehearsal room - simply to play away from their fixed ensembles.
It took them only a few training sessions, though, until they realized they had already gained a fixed repertoire again.
From a casual affair, they became a steady duo, which quickly found its own language, its own way of playing and expressing jazz,
post rock and electronic music: TRAINING. In addition to their "main instruments", the two as well work on synthesizers,
vintage echo devices, garage organs or even their own voice.
ZA! are two friends playing more than two instruments (drums, guitar, trumpet, keyboards, voice...).
They play experimental rock mixed electronica, samplers, world music and anything else you can imagine.
They've played all over the World, touring Japan, Australia, USA, many countries in Europe, Brazil, Russia,
Swaziland and festivals all around Europe.