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.
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Why are burkas actually blue? It all started out with that question, back in 2002.
A trip to Afghanistan, a workshop at the "Institute of Learning Music". By invitation of Goethe- Institut,
Frank Fenstermacher and Kurt Dahlke from seminal German Postpunk-band Fehlfarben and a certain frank and
drummer Saskia von Klitzing (Fehlfarben, FM Einheit, chicks on speed) embarked to teach the basics of pop music.
But almost no one wanted to learn drums - except for the only woman who happened to be present, Nargis.
A few drum beats later, they were born: Afghanistan's first girl band, Burka Band.
With Klitzing, Fenstermacher and Dahlke as midwives.
In 2003, singer Nargis made her way to Freiburg - where she was amused by how instead of the burqa,
the primacy of light clothing prevailed in advertising and on magazine covers. "That was a bit of a culture shock,"
she recounts with a laugh, "from Burkaland to Freiburg!" Inspired by this impression, the second single of Burka Band,
"No Burka!" was written together with Saskia von Klitzing and Frank Fenstermacher:
"Naked boys and girls are selling news and cars and toys", Nargis observes before a traditional
Afghan recording kicks in. In 2004, both tracks were released on Gudrun Gut's label Monika Enterprise in Berlin,
together with a "Burka Blue" remix by Barbara Morgenstern and a "No Burka!" remix by a certain frank.
Mieke Miami is the new indie pop star from Berlin's periphery. Born in Hamburg and moved to Brandenburg via Berlin, where she was already declared one of the most important newcomers of 2021 by Tipberlin. Musically, the formidable multi-instrumentalist, songwriter and singer - we forgot producer - moves somewhere between folk, pop, acid jazz, soul and funk. As if Roisin Murphy had formed a band together with Joni Mitchell and ESG. 'Montecarlo Magic', the follow- up to her debut album 'In The Forest' (2016, Solar Kollektiv) may no longer darken through the forest, but there is truly no compulsion to light either. It is more of a special, positive swing that radiates inwards and outwards, a state that seems to be an inner retreat and a journey at the same time: Florida, California and Brandenburg all nestle very close together there.
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.
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Ready for take-off with the Brazilian psychedelic quartet Os Barbapapas;
São Paulo meets Berlin – contemporary interplanetary diplomacy at its best.
The result is a wondrous trip propelling us into outer space, to a lyrically
unmanned space station where instrumental needles pierce the membrane of our
planetary horizon, making way for a holistic psychedelic experience of our world.
Our tour guides are Barbara Mucciollo (Drums, Percussion), Selva Rubens (Electric Guitar),
Fernando Lima (Percussion, Drums) and Tomás Oliveira (Glass Harp, Bass),
who is also responsible for production and mix. In times like these,
producing a record like DooWooDooWoo is not a trivial thing at all, especially in Brazil,
where Covid struck hard. The four artists had to improvise: since the initial plan to record
an album in a studio was made impossible, the already drafted songs where postponed in favor of a new concept.
Everyone recorded ideas for themselves, to which the others would contribute their tracks later,
eventually building the 13 track-long interstellar journey that is the album.
Collective improvisation chronologically untangled.
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Life? A long narrow path. Anything else? Yes: people and music. That's it, but still.
It couldn't get any more narrow than for Ozan Ata Canani. The young Ata was a prodigy on the bağlama,
the Anatolian long- necked lute. So good that the great Aşik Mahzuni Şerif took him on tour.
At that time Ata was just thirteen. Ata's father was suspicious and forbade him to play music.
In the late seventies, the young adult Ata wrote the first song cycle of Anatolian music in German.
He wanted to arrive, live in Germany and communicate with the majority society.
He wanted to make audible what was going wrong. The lament was only eclipsed by Ata's infectious optimism.
His music is a journey that takes its listeners along. He was obviously ahead of his time, because no
one wanted to publish these songs. They found no lobby.
In the Corona summer of 2020, the recordings were finally completed after more than forty years.
Timeless songs whose wishes have still not been fulfilled. Make the best of it and play it in your stadyadium.
Always in the name of humanity.
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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.