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viewing 1 To 6 of 6 items
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BTT 1502CD
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Beyond Welcome! is an album of music that didn't exist before, made by people whose collaboration is altogether rather improbable, developed out of political-performative interventions in public spaces, and created against the backdrop of the recent migration movements to Europe. Beyond Welcome! is about border regimes, jazz, post-punk, electronic Afro-kraut music, the Germans and the non-Germans, about an encounter that goes beyond the "welcome culture", about staying strong without legal papers, about social dances and NATO, about Yoruba gods, about Eurocentrism, about ingenious dilettantes and the impossibilities of even imagining a different world, let alone wanting to push for it. Schwabinggrad Ballett, a political and performance collective that was founded in Hamburg at the beginning of the new millennium, began, in the spring of 2014, to work with Lampedusa activists living in Hamburg - a conglomerate of people from different African countries who fled to Germany prior to the outbreak of war in Libya, and who are still fighting for their right to stay. Raw musical ideas arose from their various performances and political interventions in Vienna, Hamburg, Berlin, Bremen and other cities. These ideas created a framework around agitprop didactic plays and confronted the demonstrators and demonstrations with experimental dance music played on instruments that were mobile enough to be carried on the street - old drum kit parts, analog synthesizers, melodica, xylophone, congas, a nineties sampler or the Böhmat, a Brechtian organ machine from the '70s. Much like Schwabinggrad Ballett's debut in 2006 (STAUB 061CD/LP), this album was created in a commune-like camp atmosphere that brings to mind the marathon sessions in Sun Ra's Sun Studio in New York or Can in their studio in Weilerswist. In the winter of 2015/16, Schwabinggrad and Arrivati, a performance group that arose from the Lampedusa movement, rented a converted barn in Gut Reichenow in Brandenburg. After seven days and nights, 16 songs were finished, ten of which made it onto Beyond Welcome!. Three further tracks were recorded at the Art Blakey Studio in St. Pauli, Hamburg. Schwabinggrad Ballett and Arrivati are: Dieudonné Eboth, Jeano Elong, Ted Gaier, Charalambos Ganotis, Sylvie Kretzschmar, Latoya Manly-Spain, Heiko Marn, Heike Nöth, Peter Ott, Liz Rech, Christine Schulz, Oumar Traore, Margarita Tsomou, Christoph Twickel, Asuquo Udo and numerous other people who took part in their interventions, performances and concerts over the last years.
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LP
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BTT 1501LP
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LP version. Beyond Welcome! is an album of music that didn't exist before, made by people whose collaboration is altogether rather improbable, developed out of political-performative interventions in public spaces, and created against the backdrop of the recent migration movements to Europe. Beyond Welcome! is about border regimes, jazz, post-punk, electronic Afro-kraut music, the Germans and the non-Germans, about an encounter that goes beyond the "welcome culture", about staying strong without legal papers, about social dances and NATO, about Yoruba gods, about Eurocentrism, about ingenious dilettantes and the impossibilities of even imagining a different world, let alone wanting to push for it. Schwabinggrad Ballett, a political and performance collective that was founded in Hamburg at the beginning of the new millennium, began, in the spring of 2014, to work with Lampedusa activists living in Hamburg - a conglomerate of people from different African countries who fled to Germany prior to the outbreak of war in Libya, and who are still fighting for their right to stay. Raw musical ideas arose from their various performances and political interventions in Vienna, Hamburg, Berlin, Bremen and other cities. These ideas created a framework around agitprop didactic plays and confronted the demonstrators and demonstrations with experimental dance music played on instruments that were mobile enough to be carried on the street - old drum kit parts, analog synthesizers, melodica, xylophone, congas, a nineties sampler or the Böhmat, a Brechtian organ machine from the '70s. Much like Schwabinggrad Ballett's debut in 2006 (STAUB 061CD/LP), this album was created in a commune-like camp atmosphere that brings to mind the marathon sessions in Sun Ra's Sun Studio in New York or Can in their studio in Weilerswist. In the winter of 2015/16, Schwabinggrad and Arrivati, a performance group that arose from the Lampedusa movement, rented a converted barn in Gut Reichenow in Brandenburg. After seven days and nights, 16 songs were finished, ten of which made it onto Beyond Welcome!. Three further tracks were recorded at the Art Blakey Studio in St. Pauli, Hamburg. Schwabinggrad Ballett and Arrivati are: Dieudonné Eboth, Jeano Elong, Ted Gaier, Charalambos Ganotis, Sylvie Kretzschmar, Latoya Manly-Spain, Heiko Marn, Heike Nöth, Peter Ott, Liz Rech, Christine Schulz, Oumar Traore, Margarita Tsomou, Christoph Twickel, Asuquo Udo and numerous other people who took part in their interventions, performances and concerts over the last years.
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CD
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BTT 1332CD
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Piho Hupo is a free jazz unit operating out of Hamburg/Berlin. A union of the piano trio, Hosho, with the sax trio Deep Space X, that creates music which can (and does) go in many directions at any moment. The new CD release on Hamburg's Buback record label shows how eclectic Piho Hupo's music can be. The members' activities outside of Piho Hupo are many, which contributes to its diversity. Among these groups are: Hunger, Andromeda Mega Express Orchestra, Princessin Hans, Onom Agemo & The Disco Jumpers, Powerdove, Gorge Trio, Os Besouros, Trip Wire, Tisch 5, as well as several ad hoc groups. Rolf Pinitska (saxophones, voice), Jörg Hochapfel (piano, electronics), John Hughes (contrabass), Chad Popple (drums, vibraphone, table).
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BTT 1282CD
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Mary Ocher was born on November 10, 1986 in Moscow, Russia. Ocher moved to Tel Aviv at the tender age of four and to Berlin at 20. She has been playing with various media, be it with words, sound, color or movement since mastering the craft of songwriting at the age of 11. Disillusioned by the mainstream music industry, she set her mind on accomplishing everything DIY. With her first band, Mary And The Baby Cheeses, she released five limited edition independent releases. The band toured all over Europe, in the underground circles, but that wasn't enough for young Ocher. War Songs was the first label release, which came out on the Berlin-based label Haute Areal on March 11th, 2011, followed by a 7'' EP. Both received incredibly wonderful reviews. Other than being a stunning musician, Mary makes film, visual art, documentaries, music videos, art installations and poetry. She has become an integral part of the upcoming international Berlin cream. In 2011, she was discovered by King Khan at a karaoke bar in Berlin, and he immediately invited her to record at his legendary Moon Studios. The album took over a year to finish, and in the meantime, she has launched the new-tribalism act Your Government with an incredible drummer duo, and toured along the German best-selling author Sibylle Berg, for her novel Vielen Dank fuer Das Leben. Mary Ocher continues to bewilder audiences with her powerful performances and incredible, out-of-this-world voice. Her wild outfits have also caused quite a stir on the scene. She currently resides in Berlin and is preparing for world domination.
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CD
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BTT 078CD
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2013 repress. Wo Die Rammelwolle Fliegt was the first full-length LP of Adolf Noise (after the two EPs Wunden, S. Beine offen [1996] and Deine Remie sind Schweine [2001]). Music and language are so fondly combined on it by the alter ego of DJ Koze, that it really warms the heart. A relaxed audio, sound and music collage with surprises without end, DJ, musician and remixer Adolf Noise alias DJ Koze alias Stefan Kozalla lives and works in Hamburg. He became well-known with the band Fischmob. Readers of the pop culture magazine SPEX voted him the "Best DJ Of The Year" from 1999-2004, same as INTRO music mag's readers from 2000-2003. From 2003 onwards, he's been regularly releasing material on Kompakt label Cologne and did remixes for the likes of Chicks On Speed, Blumfeld, Die Fastastichen Vier, Hildegard Knef and Tocotronic.
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BTT 117CD
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Couper Decaler is one of the most important contemporary forms of African pop music. It began around 2003 in a Paris diaspora. On the fringe of the French mainstream, a group of young Ivorians, known as the Jet Set, created an unprecedented hype that quickly led to fame and success as it ping-ponged between Paris and Abidjan. Their performances were flamboyant -- turning up at the Ivorian clubs in the Paris suburbs with bundles of money that they would throw to the audience during the show. Musically, the shows revolved around sloppily thrown-together drum computer beats. The main beat, a fast, triplet rhythm on top of a 4/4 bass drum, is borrowed (though slightly altered) from the Congo. Refusing to be recognized as being in any way politically motivated, the lyrics concerned themselves with the singer's fame and success and their assumedly glamorous life-style. There are some people who say that the party culture propagated by Couper Decaler helped prevent much worse bloodshed during the smoldering domestic political conflicts of the first half of the 2000s. The singers on this CD -- Skelly, Gadouku La Star, Gotta Lalman and Shaggy Sharoof -- represent different generations of Couper Decaler. In the last years, they, and others, have continued to develop theatrical stage performances and new dance styles, the so-called "concepts." Couper Decaler has long been a defining musical and trendsetting influence for the Ivorian youth, even if the older generations complain about the artificial (read: electronic and not hand-played) character of the music. And then there are the obscene and licentious lyrics and stage performances. The tracks on this CD are the results of different collaborations, and the product of an exchange between Ivorian singers, producers and European musicians. The songs came into being between April 2010 and May 2011 at first in Abidjan, later in Berlin and Hamburg and during the Donau Festival in Krems, Austria. The Gintersdorfer/Klaßen Group, who have been researching dance, performance and theater phenomena from Côte d'Ivoire since 2005, had the initial idea for this experiment to bring Couper Decaler singers and producers together with musicians such as Melissa Logan (Chicks On Speed), Nadine Jessen, Ted Gaier, Jacques Palminger, Carsten "Erobique" Meyer, and later, Timor Litzenberger and Mense Reents. New Black documents the different phases and stages of these collaborations -- from classic Decaler combined with European electronic music, to Couper Decaler beats enriched using European production methods and notions of sound, right up to dubstep-oriented beats with Couper Decaler vocals.
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