• Ultra Vague Recordings – Uvarious Artists Vol.1 (2011)

    12. Mai. 2011, 10:20 von FudoKazuki


    Style: Live Electronics, Trip-Hop, Indie-Folk
    Date: 10 May 2011
    Label: Ultra Vague Recordings
    Website: http://facebook.com/uvrecordings

    ..every track is a page in my life (might be in yours to). I’m talking about ups and downs, love and losses and what it takes to love sometimes. I’m very proud of every single track. We are on a same boat if you feel the same. This is my most private compilation.

    I would like to express my gratitude to all the bands, who took part in this compilation and shared theirs outstanding music with Ultra Vague Recordings followers all around the globe.

    R.I.P. Maria Navrotskaya (Twiggy Pop)


    Track list:

    1 Sivan Levy – It Musn’t Be Love 2:32

    2 Echo Gardens – Wait For More 3:10

    3 IMMAGO – Mother Penguin 3:08

    4 Tango Tempo – Flying Stone & Violet Dress 4:08

    5 Half Dub Theory – Think Aloud 4:07

    6 Mamanet – One Day 6:50

    7 NIMB – You And Me 2:57

    8 Rekevin – Peter 4:16

    9 Pur:Pur – Make Love To Me 3:73

    10 So July – Something Else(piano version) 2:49

    11 Frost Nova – Acoustic Good Luck 3:58

    12 Каракуль – Видел сон 3:25

    13 CherryVata – Mountainz’N'Space 4:35

    14 twiggy pop – Norway Fjords 3:18

    15 Fudo Kazuki – Real Virtuality 3:03

    16 KARIZZA – Молоко 3:19

    17 New Edge – Fairyland 4:44

    18 Diamos Roll – Triple Strike (live edit) 5:44

    19 Blicq – Civil Pulse 3:46

    Каждый трек это отдельная история в моей жизни и в жизни, я надеюсь, твоей)) я говорю о взлетах и падениях, о любви и потерях, о том, чего нам стоит любовь порой. Я горжусь и люблю каждый трек в этом сборнике. Если ты в той же лодке, то у нас много общего.
    Должен сказать, что этот сборник только первая ласточка от UVR. Название Uvarious Arists VOL.1 говорит само за себя. Это первый сборник из серии UVR и это мой самый интимный сборник музыки на данный момент.

    Кроме артистов из бывшего союза на сборнике присутствуют исполнители из Израиля, Швеции и Чехии.

    Спасибо всем музыкантам принявшим участие в моем проекте!

    Трек Twiggy Pop любезно предоставлен Романом Гаврилюком (ex-Twiggy Pop)
    R.I.P. Мария Навроцкая




  • Rekevin + Frost Nova @ Sullivan Room, Kiev

    2. Mär. 2011, 23:47 von FudoKazuki

    [ENG] Ultra Vague Recordings (UVR) presents:

    the best Russian Trip-Hop band Rekevin with the only show in Kiev!

    When: 22 April
    Where: Sullivan Room
    Event: http://last.fm/event/1860220+Rekevin+-+Frost+Nova

    [RUS] Ultra Vague Recordings (UVR) представляет:

    Впервые в Киеве!
    Единственный концерт в Украине!

    22 апреля Rekevin не только впервые посетит столицу Украины с единственным концертом, но и презентуют третий альбом!

    photo by Maria Ionova-Gribina

    - «Европейское качество звука подкрепляется потрясающей красотой самой музыки. Сложно поверить, что они из Москвы, а не Бристоля».

    У московская группы Rekevin за плечами два полноценных альбома, выступления на крупных фестивалях: Stereoleto, Koktebel Jazz Festival, Усадьба Джаз; участие в премии Артемия Троицкого Степной волк, выступления на радио Серебряный дождь, на каналах О2тв, А1.

    Откроют выступление Frost Nova их трек Second Attention с конца прошлого года в ротации на радиостанциях Украины, России и Соединенных Штатов Америки.

    В Минске группа открывала выступление Parov Stelar band, а в украинской столице выступила на на одном из крупнейших фестивалей электронной музыки Global Gathering 2010.
    В феврале 2011 стартовал тур в поддержку нового альбома под названием Deadline.

    клуб Sullivan Room

    Встреча на last.fm:

    Встреча на Facebook:

    Встреча Вконтакте:

    (c) 2011 uvr promo group
  • Soon Coming: Radio Babel / Watcha Clan's Nu Album

    24. Jan. 2011, 9:43 von ladodoclem

    Soon Coming: Radio Babel / Watcha Clan's Nu Album

    Hi there, here's some good news for 2011!
    Nu Watcha Clan's Album "Radio Babel" will be available soon:
    -14th Feb: France+Worldwide on digital.
    -18th March in Europe.

    For those who wanna taste a bit of this new sound, here's a teaser:
    On Soundcloud: http://thurly.net/0q81
    On Mixcloud: http://thurly.net/0q82

    and also many gigs this spring in France, Germany, Austria, Czech, Hungary, Uk... , all the tour dates here: http://www.myspace.com/watchaclan

    and here's an "avant gout" in live, with the track Hasnaduro :

    Spread the word.
    Peace From Marseille!!!
  • The Music of Bhaktapur

    15. Dez. 2010, 16:51 von obscurefisher

    The Newar town of Bhaktapur near the eastern rim of the Kathmandu Valley has preserved a number of musical traditions originating from the heyday of Newar culture during the rule of the Malla kings (13th - 18th centuries). A survey conducted in the 1980s identified 220 music and dance groups. Contemporary pressures are likely to mean that many of these orally transmitted traditions will be lost within the next generation. The people of Bhaktapur group themselves into 86 different castes - many of them performing on specific instruments and having specific musical functions during town rituals and auspicious lunar phases.

    All music making is connected with the cult of the Lord of Music and Dance, Nåsa˙dya˙, who receives blood sacrifices during music apprenticeships and an invocation at the beginning and end of every music performance. These musical offerings are called 'dya˙lhåygu', 'calling the god'. By playing dya˙lhåygu, musicians activate the divine energy represented by the numerous gods and goddesses of Bhaktapur. Dya˙lhåygu is played either during elaborate musical processions or with group singing and ensemble music in front of temples and shrines. During processions, specially carved stones at street crossings, holy trees, a river, a temple or simply a framed hole in a brick wall (a flight lane for divine energy), may indicate a change of musical pattern. Thus, the urban landscape of the town can be perceived as a musical score.

    Without actually seeing a procession, Newar people can tell from the sounds, which musician castes are involved, if they are going to or coming from an offering, what kinds of gods are involved, etc. During major rituals, the entire town becomes a stage vibrating with music and dance.


    Dhimaybåjå is an ensemble of two to six cylindrical drums played together with two different pairs of cymbals, by farmers, brick-layers, carpenters and oil-pressers during ritual processions and private life-cycle events. The main function of this music - besides connecting the musicians with the source of inspiration - is, to create a joyous atmosphere where people are inspired to jump in front of the drums and dance. Large quantities of rice-beer tend to be consumed during such occasions. The repertoire is taught orally, with the help of drumming syllables meant to represent the sound of the drum. It is not uncommon for teachers to use spicy texts referring to sexual practices instead of neutral drumming syllables. With this in mind, young dhimay apprentices tend to learn the complex compositions in a short time. Newari language is rich in monosyllables, easily alluding to something else than the intended meaning: an endless source of fun!


    Navabåjå is an ensemble of nine different drums which are played in succession by a solo drummer with the accompaniment of four different pairs of cymbals, shawms,fipple flutes and natural trumpets. The first navabåjå ensemble was founded by King Bhupatindra Malla of Bhaktapur (r. 1696-1722),who attempted to combine all possible sources of musical sound for the praise of his favourite goddess, Taleju. At the time, there already existed a large number of so-called dåphå groups which were attached to specific gods and their shrines. The dåphå-singers are people from the neighbourhood who gather near the shrine of their local deity during auspicious lunar phases, in order to sing in praise of the gods with the accompaniment of the double-headed drum lålåkh∞. Bhupatindra Malla himself composed and sang many dåphå songs which are still performed today by the farmers of Bhaktapur. The six most important among these dåphå groups were bestowed with an additional set of navabåjå instruments. They were also given land to finance performances, maintain the instruments, rewrite the song manuscripts and supply a regular salary in kind (grains) for the accompanying shawm-players, etc. These enlarged dåphå groups were named 'navadåphå‘. After the Malla kings were overthrown by an ancestor of the present ruling dynasty, the state of Nepal gradually disowned all these music groups. Without their financial basis, they are now unable to maintain their annual performance cycle. The younger generation lost interest in learning these demanding traditions. They turn to Indian film music and commercial Nepali popular genres.

    Navadåphå performance usually includes an instrumental invocation and pairs of dåphå songs interspersed with three rounds of navabåjå drumming. At the conclusion a large decorative brass lamp stand is lit with mustard oil and cotton wicks in every little lamp, the flames representing the spiritual fire of devotion burning in the hearts of the musicians. It would take approximately four hours to play the entire navabåjå repertoire. In all these pieces, the solo drum plays the major and technically most demanding part and is accompanied by cymbals and melody instruments. The part of the solo drummer can be compared to that of a decathlon athlete, as he has to master all different playing techniques of the nine drums and know the entire repertoire by heart.

    The nine drums are always played in the following succession: dh∆, kvatå˙, dh∆cå, dhimaycå, nåykh∞cå, pachimå, dhalak, kvakh∞cå, nagarå. Occasionally, two drums can share one of the pieces. This happens during the final navabåjå piece, where the pair of kettledrums nagarå alternates with the double-headed pachimå. During one piece, the rhythmic structure may change several times. There is little scope for improvisation: The drummer may alter the number of repetitions of a pattern and he sometimes invents so-called bvutå˙, decorative variants of existing patterns.

    The accompanying shawms and fipple flutes are played almost in unison by two members of the tailor-musician caste (Jugi), with each player playing his embellished version of the melody - the total effect being a continuum rather than a precise melody. During the heyday of Newar culture, the navabåjå drummer used to be accompanied by four shawm-players. These tailor-Musicians are descendants of itinerant Kånphata Yogis who were allowed to settle in the Newar towns and live in public buildings attached to shrines as landless tailors and players of shawms. After confiscation of all land endowments to music groups, the Jugis stopped playing at shrines and this repertoire is now almost entirely lost. Nowadays Jugis make a living as part-time musicians playing marriage music in Indian style brass bands using Western instrumentsand wearing flashy uniforms. Their old shawms have left Nepal with the tourist trade. 

    for musical examples visit Masterdrummers of Nepal

    text written by Gert-Matthias Wegner
  • Watcha Clan presents "Live on Radio Babel"

    7. Dez. 2010, 16:58 von ladodoclem

    Nu Watcha Clan's Album is Coming!

    Radio Babel Out spring 2011 on Piranha Musik, watch this!

    We'll be back on tour in spring 2011!
    stay in touch on Twitter, Facebook ...
    spread the word, the clan is back!

    peace, salam, shalom...
  • Festivals in Tunisia

    15. Jul. 2009, 12:54 von simbad38

    Matmata Festival - Matmata (March)

    Festival Oriljazz (abril)

    Festival "Tozeur, the Oriental, the African" (April)

    International spring festival - Sbeitla (April)

    Arab poetry festival - Tozeur - (April)

    Carthage Jazz festival - Gammarth (April)

    Tozeur’s International Oasis Festival - Tozeur (December)

    Techno House festival - Gammarth (December)

    Dar Sebastian celebrates opera festival - lyrical festival -(December)

    Caravana Latina” Festival - Tozeur (December)

    Traditional Saharan festival - Douz (December)
  • Jazz Chellah festival encourages musical dialogue

    17. Jun. 2009, 4:09 von simbad38

    For five days, the Jazz au Chellah festival drew lovers of the free-form musical style to the Moroccan capital. Event organisers hope the event serves as a vehicle for dialogue between cultures.

    The Jazz au Chellah festival closed in a blaze of glory on Monday (June 15th), with leading Scandinavian group JazzKamikaze and Finnish trio PLOP thrilling the audience in the capital city.

    Over five days, hundreds of music-lovers came to enjoy the evening concerts as part of the event, which has become one of Rabat's premier annual attractions. It draws fans both young and old from towns across Morocco. The 1,000-seat Chellah stadium could not hold all the fans of this musical style, which has captivated urban Moroccans for decades.

    Rabat is not the only place where this style of music is celebrated – Tangier and Casablanca will also welcome jazz musicians of various kinds later this year.

    The festival is the longest-established and has built itself a world reputation over the years. Organised by the European Commission Delegation to Morocco, in partnership with the culture ministry, the event celebrated its fourteenth year in 2009. From June 11th-15th, the event brought together some 40 artists from 14 European countries, who met up with Moroccan musicians of all kinds.

    Based on the principle of interaction between European and Moroccan cultures, "Jazz au Chellah" capitalises on the freedom of jazz to lay the foundations for a culture of dialogue, the organisers said.

    The festival's artistic director and musician Majid Bekkas Bekkas said that the watchword this year was cross-pollination between artists, to help sweep away prejudice. "It’s better for us to forget our received ideas and take a generous dose of Chellah Jazz to go far beyond conventions and fashions, and instead to discover a new way of sharing music," he said.

    Bruno Dethomas, head of the EC delegation in Morocco, said it is possible through musical dialogue to achieve greater closeness between peoples and to counter prejudice.

    Each evening's concert drew a large audience. The opening event was headlined by legendary Spanish-Cuban pianist Omar Sosa, known for his synthesis of jazz and the musical outpourings of the Afro-Cuban diaspora.

    A strong presence by Amazigh cultural figures was the biggest innovation this year, with artists such as percussionist Khalid El Berkaoui and Driss El Maaloumi.

    The number of young people drawn to the performances was notable.

    "Over the past four years I've become used to this annual event," said 17-year-old Nassim, who attended with his mother and three of his friends. "It's a real opportunity for young people, especially as the tickets are so affordable for students. It's a good thing the festival comes after the baccalaureate examinations."
  • World Sacred Music Festival opens in Fez

    31. Mai. 2009, 3:41 von simbad38

    The 15th edition of the World Sacred Music Festival opens on Friday (May 29th) in Morocco's spiritual capital of Fez, MAP reported. Music and dance performances include Moroccan Sufi chants, Pakistani qawwali, American gospel and soul, Egyptian madhi, Christian saeta, Iranian percussion, Indian gwalior chants and Turkish dervishes. The festival, which will run through June 6th, also offers conferences, art exhibits and a city-wide fair.
  • Successful Carthage Festival comes to a close

    15. Mai. 2009, 23:48 von simbad38

    The 44th Carthage International Festival came to an end on Sunday. Reactions from organisers and fans have been positive, with large audiences turning out for a wide variety of Tunisian, Arab and Western music.

    The 44th annual Carthage International Festival ended Sunday (August 17th), bringing to a close what organisers are calling the most successful event in years in terms of attendance.

    "I think that the Tunisian performances were what attracted the audience," said 45-year-old Najib Belaid. "This may be because of the scheduling, and the festival manager was able to find out the secret of a successful recipe in Carthage."

    This year's festivities opened with a Tunisian performance entitled "Gathering and Gaiety" in which director Bechir Idrissi addressed different aspects of Tunisian culture and tradition, as well as youth-related issues.

    A number of Arab singing stars took part in this year's Carthage Festival, such as Majida El Roumi and Najwa Karam from Lebanon; Hani Shaker and Angham from Egypt; Latifa Arfaoui, Saber Rebai and Amina Fakhet from Tunisia and Kazem al-Saher from Iraq.

    The closing performance, also Tunisian, was entitled Ya Leil Ya Qamar (O night, O moon!) by Tunisian musician Mohammed Garfi, who presented lyrics and mouwashahat (terza rima) which sang of love and homeland.

    Mohammed Garfi also presented a number of Arab poems set to original music, most notably "Watani jabinak" by the late Palestinian poet Mahmoud Darwish, sung by singer Slah Mesbah.

    The performance also featured classical music pieces from Mozart's operas "The Marriage of Figaro" and "The Magic Flute".

    About this blending of western and oriental music, music student Haitem Hdiri told Magharebia: "This is a courageous initiative because it is difficult to blend between the two styles. He also used musical pieces from operas as part of the Carthage Theatre. However, Garfi's music derives from oriental heritage and western opera art."

    Audience members were divided in their assessment of the closing performance. There were some who considered it inferiour to what Garfi has been presenting in terms of music, while others saw in it a good, innovative initiative.

    "I was actually surprised with this performance. It looked as if Garfi was giving a lesson to his students at the university. I didn't see Garfi as I know him in presenting Arab musical decorations. In fact, this performance was not suitable as a conclusion for Carthage," Anisa Youssef said.

    Another attendee, 15-year-old Olfa, disagreed. "I came here especially to enjoy what master Garfi presented. He has us accustomed to quality work, and he didn't disappoint us in this performance," she said.

    Wahid Kouki feels Garfi was correct in selecting the voices, such as Slah Mesbah and Noureddine Beji. "He is a refined artist," Kouki said, "and I'm thirsty for such performances."

    Noureddine Beji, a Tunisian musician, said, "Garfi is a great master and his thoughts are good. His music is wonderful, and he loves difficult things."

    Amani, 25 years old, said, "Carthage is one of the biggest Arab festivals. This edition featured many surprises and good performances. The opening was like a show that displayed Tunisian culture and heritage in all of its aspects. The closing performance was also Tunisian and many beautiful voices took part in it. We also can't forget that the Arab performances also attracted huge audiences, such as Kadhem Saher's performance."

    The next major event to be held at the Roman theatre in Carthage is an Arab and foreign cinema series from August 24th to 31st.
  • Sufi festival in Fez promotes religious tolerance with music, dance

    24. Apr. 2009, 22:36 von simbad38

    The third annual Fez Festival of Sufi Culture, running through Saturday (April 25th), brings together artists and researchers from across the Maghreb and beyond. The organisers, encouraged by successful events in the past two years, say the week-long event provides a platform for expression by artists committed to the spiritual pursuit of artistic and intellectual creativity.

    Artists pay homage to Sufism through poetry, music, and dance. Participants also demonstrate new art forms and cultural projects that foster intercultural dialogue and enhance human lives.

    The primary objective of the event is to spread a positive image of Islam internationally, using the universal language of openness and peace advocated by Sufism. Organisers hope that the festival confirms Morocco's place in building a bridge between the East and the West.

    "Every day gives us a chance to explore a particular country, its spiritual practices, the masters who have lived there, the words which have nurtured it and the arts and culture which express the very essence of its being," said event director Faouzi Skelli, "So we shall go on a journey through Egypt, Syria, Palestine, Turkey, the countries of Africa and Spain."

    As the years go by, the festival attracts more and more visitors, both national and international, keen to experience and learn more about Sufi culture first-hand.

    In one unique feature, public forums allow young people to discover a new world vision based on values of tolerance and community.
    Discussion revolve around the interactions between spiritual values and society or, more broadly, spiritual values and globalisation.

    Audiences also enjoy performances of Sufi chant at the religious soirées. Hamida Nidal, a teacher, said that music lovers are drawn into a universe of spirituality and calm, where peace and serenity reign. "Our world needs such a culture to reject all the obscurantist ideas and to teach our young people about the benefits of tolerance and openness towards other people's cultures. We need a rebirth of this culture which once flourished in Morocco," she said.

    Kaddour Kamini, a teacher of Islamic education, says that this kind of event enables Morocco to establish itself internationally as a place for dialogue between cultures and home to a rich Islam which is open to other religions. Spirituality has the resources needed to change things in a world which is becoming more and more dehumanised, he added.