ACIDCONGA » Angel

Dos Lágrimas, Diego el Cigala

Angel — Wed, 02 Jul 2008 11:38:38 +0000

"Diego, is one of the most beautiful voices of today’s flamenco, a sweet caramel voice that pours his heart into everything he sings. Whenever I listen to him , he gives joy to my soul"

Paco de Lucía

After making a genius production along with Bebo Valdez, joining their gypsy and cuban souls and achieving the regain of emotions of many listeners with their record “Lágrimas Negras”, Diego, El Cigala, takes advantege of this trail of inspiration for conceiving again the essence and leads the way to this, his last album, “Dos Lagrimas”.

Interpreting songs from masters such as Armando Manzanero, Rafael Herrera, Carlos Eleta (Historia de un Amor), up to Isolina Carrillo (Dos Gradenias), produced by Ramon Jimenez Salazar for Cigala Music. Diego comes with unrelenting frequency to the rescue call of this patrimony, printing its excellent tearing interpretation with intermittent sparks of joy, giving back to his audience another ode to the lack of love and folklore.

After his friend Isabel Polanco passed away, to who he dedicates this album, and after Tata Güines and Israel Lopez Cachao also passed away, Diego made clear that his singing is the only thing that keeps him going, which saves him. And this is reflected in his songs, for this ‘cantaor’ doesn’t chooses his songs or doesn’t sing songs in vain, this great interpreter does not act when he sings; he pursues and finds songs which make him release his soul and that’s what makes him a unique artist.

This is Acidconga’s album of the week…

Direktlink zum Video auf Youtube

On the occasion of Culture Days of Georgia

Angel — Wed, 25 Jun 2008 12:12:37 +0000

"A nation rich in culture, speaks more of itself in other areas"

Gamarjoba´ , Georgian word, which literal meaning is “may you win”, is the initial greeting, and I’d say, introductory to this Caucasus warm-blooded society, which is characterized by his kindness and gentleness. I’ll dare to say that although they belong to the Euro-Asian region (Caucasus), its similarity in character and humanism is too much like the Latin culture. They aren’t called in vain the “Eastern Iberians” . But I will not extend on this subject, because it is a centuries old culture and I’d never end. So focusing only on its music, house’s special, supplemented by an interview with Irakle Andriatze: singer, native from Ozurgeti and a ‘connoisseur’ of this topic.

In 1977 NASA selected a ‘repertoire’ of music to bring into outer space, a sample of the cultural diversity that exists on Earth, starting with Lorenzo Barcelata’s El Cascabel to Bach’s Brandenburg concerto . Of course, something that could not be missed was a sample of the unique Georgian polyphonic singing, adding to the list of the “Voyager Golden Record” the anthem: “Tchakrulo”, festive anthem and excellent example of the complicity and harmonic richness.

Since I got the compilation from Realworld Records (Voices of the World) I was lucky to find that one of its tracks contained a track by a chorus not very known in Georgia, the choir Tsinandali, name from a village in Kajeti. That was the first time I had contact with this music, being held captive by its depth and originality. I had never heard anything similar and never would have thought that after a few years I was going to enter deeper in this culture that at first seemed to me quite eccentric.

Now, having seen two shows of this kind of music and thanks to my interest in everything related to ethnomusicology, (read World Music). I started to notice that this music contained enough elements and soul to make me decide investigate and dive in the subject. There are three key elements that distinguish their authenticity:

First, the complex polyphony of their chants. This, I think has been one of its main suggestions, because despite from the only instrument:vocals, both ,the texture and the harmonic complexity are a wide doorway.
On second instance, I would put its instrumentation, as it has instruments originated in their region. These instruments would remain the panduri and chonguri, both being string instruments and with very similar timbre. Their sound emphasizes their Caucasian identity. Instruments ranging from 3 to 4 strings respectively, perfect complements to make the choral singing something more complex and more timbrality. We must not overlook its percussion that has a lot character, is not very complex but is a great aid to supplement their traditional dances.
And the third element that makes this music one of the few with its own identity, is its mystical character. Given its high diversity of emotional range and representative diversity, I do not want to underestimate its festive role and its ludic features . But for me it is important to focus on its mystic strength, which I think is very distinctive. If one goes to the regions of Samegrelo and Kajeti, will find such spiritually loaded songs, that I would relate it with monastic music but not necessarily have any relationship.

The Georgian music deserves to be analysed for the richness in itself. I have always felt that music is the most honest and most revealing expression of any individual. Music says many things in the history of a people, their sufferings and glories. Using music as a starting point towards a culture can facilitate their understanding, their vision and feeling, being the music Georgiana an excellent example.

INTERVIEW:

ACIDCONGA: Can you explain, broadly, which elements form a traditional Georgian choral and explain about its technique during an execution?

IRAKLI ANDRIATZE: The chants differ depending on their place of origin. The most common contain 3 voices in polyphonic form. For example, there is a song of the southwestern region: Guria, where they have a very particular technique called ‘Gamkivani’ which is used in a very popular traditional song called “Krimanchuli”. This technique is based on the typical ‘Yodeling’ (as the roosters do). It is based on rapid changes of voice tone registry, making a distinctive sound: melodic and hi-lows. It is needed, lots of practice and experience to conduct this type of singing in specific, since it is chant for say virtuosi, meaning , the technique is very difficult because it has plenty of dynamics.

There is another example in a region called Kakheti, where it is common to have a continuous low base, where 2 soloists sing over this base, sometimes improvising. This in particular case, it is flatter and less joyful. According to the region from where they come, their elements change, and also they use different execution techniques and styles.

AC: Could you say that the polyphonic singing, could be classified into different musical forms, their nomenclature differs in specific songs or how is it that a chant can by identified from each other?

IA: The nomenclature originates from the different situations where they were sung and that is where they get their name. For example: when troops marched to the war they sang a song of farewell, Lashkruli. Or for a newly married couple the typical song of celebration is the Mayruli. There are tragic songs when someone dies or representative songs of triumph and praise as the popular Mravaljamieri. This is how they are differentiated, also specifying the region of origin and something very important: the family who sings them.

To get an outline: Region (eg. Guria or Kakheti) - Style (eg. Guruli, Mayruli, Mravaljamieri or Lashkruli) - and then, variants of interpretation, which depend highly on the family who sings. Starting with the different styles, they can branch to be specific to the occasion, such as Naduri, which was sung by farmers, and this may belong to Lashkruli,…it is a bit complicated.

Not all regions have all styles, for example Odoi is the composition for peasants working in the region Megrulli. There is no Odoi in Guria. Depending on the region are the occasions of song or styles, some coincide some don’t. There are regions that have their unique songs.

Knowing the region of origin and the occasion or situation, then they could diverge into specific songs.

AC: How much does these songs reflect the spirituality of the Georgian people; is there any link between the music and the religious tradition?

IA: Of course it is very spiritual, for example in the songs of farewell when men went out of the city singing, in the texts they talk of God so that he will protect us and give us luck. It’s very steeped in spirituality.

AC: As it is well known, ethnomusicology requires a separate study from the study in a Conservatory, how is a singer of this nature formed ?

IA: One has to grow in this environment, it is natural, since one is small and grows with it. Parents teach the children to train their hearing. The real singers are the people in villages who have never had such musical studies. It is what makes it authentic and what gives it its true essence. I come from Ozurgeti and I do not think there is music written here, it’s not even music written around Choxatauri, or Guria, neither of Kakheti.

AC: Could you name some major figures in this scene, whether composers or philanthropists who have helped the music of Georgia?

IA: Artem Erqomaishvili, Eqromaishili family is very recognized in Guria. Also another family: the Berzenishvili. These two families have always been competing through history. The grandchildren of Artem Erqomaishvili, are still giving classes to chorals, which also have a lot of history. Practically today only these 2 names have followed the family tradition in the Georgian folklore.

Some more questions :

AC: Pop or Underground?

IA: Well! Undergound, jaja

AC: Beatles or Pink Floyd?

IA: Both. A very difficult question. I would say that Pink Floyd. But leave it as a difficult question since I like both.

AC: Bach or Beethoven?

IA: Bach

AC: Instrumental or electronic?

IA: Always instrumental.

AC: Classic or evolutionist (new trends)?

IA: Mmmm, well,well,well. Classical is purer, but I am not against evolutionism.

Thanks to Mary for the pic

Odoia (cancion de trabajo de los campesinos) Región Samegrelo

Direktlink zum Video auf Youtube

Esto es de Kaxeti

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Acharuli - Fusiones con Chonguri y Panduri

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All is yes, The Blessing

Angel — Sun, 15 Jun 2008 14:45:57 +0000

"The endless 70´s car chase will no stop. Fuzz accelerator, harmolodic brakes,go faster pipe. Roof gone. Running on grunge vapour. Swarms of heated notes attack you hair and beard. Involuntary hip hop head nod. Here comes the blessing."

Imagine a combination of Kusturica’s music and music of Tarantino’s films, or Coltrane consuming acid and playing with a punk band in love. A so-called jazz band, whose members call themselves anything but jazz. I compared them with Medeski Martin & Wood’s experiments or with Steven Bernstein’s music from Sex Mob .

They are feeding something unusual to the children in Bristol , where they have Massive Attack or Portishead , whose guitarist is involved in this project. “ The Blessing " bring their first album, inspired in spy films from the 60’s and cars’ persecutions. This way it is becoming the record of the week in Acidconga.

Jim Barr, Clive Deam, Judge Pete and Jake McMurchie form up this assemblage, completely instrumental, being rated 5 stars by BBC Music Magazine . So if you are in those positive moments of mild hysteria and confusion, and want to chill your eccentricities for a few minutes, this can be a good choice.

Direktlink zum Video auf Youtube

Chuck Brown & The Soul Searchers

Angel — Sun, 08 Jun 2008 21:57:55 +0000

Back in the seventies, in a black neighborhood, was a full crowd on the sidewalk shouting, pronouncing the name of James Brown. A mother encouraged her son to approach the famous singer. The boy, cautiously approached, while his mother whispered, ” Tell him what is your favorite song.” James asked him smiling, “Yes, what is your favorite?”And the infant with confidence said, “Bustin ‘loose“. Without holding his laughter James Brown replied, “I am afraid to tell you that‘s not a James Brown song, that’s Chuck Brown’s, my friend!”

This little guy wasn’t all that lost, his mistake was to confuse the godfather of Soul with the godfather of Go-Go. Not very different because both had a load of pace, syncope and groove. Unquestionably, both possessed in their soul in high measure, what is called Funk.

Chuck Brown, the vocalist, guitarist and primary responsible for The Soul Searchers, has remained somehow in the past; which Acidconga will not allow. Taking advantage of recent re-masterings from Vampisoul: Those old LPs from Sussex Records as “We the People” and “Salt of the Earth” are brought to us in a production, to come back on Acidconga´s record of the week.

It is not imprecindible to know whether it is Go-Go, or if it is Funk or Soul. Actually, what matters, is whether this music makes you dance or makes you smile; we are confident that it will.

Direktlink zum Video auf Youtube

Azymuth Remastered

Angel — Sun, 30 Mar 2008 21:29:51 +0000

This pathbreaking brazilian trio known for the opening of the modern fusion of brazilian popular music wave with electronics. Azymuth opens the door to experimentation of new timbres in the repertory, helping and influencing largely to groups such as Zuco 103, Suba, Bossacucanova, Trio Mocotó or Ed Cortes & Antonio Pinto. Asymuth develops its music starting from the seventies and maintaining this essence, despite its sound to evolve and maintain a style of their own, although their originality is something characteristic of the band.

Formed by Jose Roberto Bertrami, piano and main composer, Alex Malheiros, bass, electric guitar and composition and Ivan Conti, battery, call their electric style “samba doido” (crazy samba). A name that does not define the full extent of this musical blend of space-funk and electro-bossa; terms that could never have imagined for the year in which it was recorded (1975). The second record is nothing more than a remix of the songs which make sure they would have liked as the original mix, but did not have the media. This recent production finally conceives that original idea which is a synthesis incursion by adding this new ingredient such as sampling.

An album that besides being pleasant to be heard, simple and full of cadence, it is also a document for lovers of synths and sound manipulations better known as destructive editing, you know, processed sounds. In summary, this album is not backward because it covers the latest technology in music, but neither is a record where we forget the organic and human factor. Perfect for Acidconga´s pretensions.

Direktlink zum Video auf Youtube