Terekke & Calypso Steve
SSFB radio #21 with guests Terekke (L.I.E.S. records) & Red Light Records’ Calypso Steve.
In everyday life Shane Burmania has the grateful task as event programmer for The Rest is Noise, a concert series for the weird and wonderful in the Muziekgebouw aan ‘t IJ. He also curates programs in contemporary music for the Korzo Theatre in The Hague. Shane has a soft spot for any music with hints of cosmic, futuristic and transcendental sounds. Here are Shane’s picks for April. Sit back and enjoy.
Some 16 years ago, a jazz drummer and ethnomusicology student was so taken by the broad Ghanaian musical vibration he experienced during his scholarship that it would eventually set him on an extraordinary path – away from academics and towards cassette culture. Luke Cohlen sat down with Brian Shimkovitz, better known as Awesome Tapes From Africa, the blog-turned-label that has been putting out quality reissues from cassette to vinyl since 2011.
Last week, we published an article exploring the concept of noise. Just days later, we received news that the electronic music world has lost one of its noise icons. Mika Vainio was an experimental Finnish producer and founder of Pan Sonic whose work made noteworthy contributions to the genres of glitch, noise, drone and techno. A day after Vainio’s passing, Rogér Rogér puts pen to paper, keeping this experimental pioneer’s legacy alive with a playlist.
The definition of noise seems simple enough. Loud. Disruptive to the senses. Basically a sound that is deemed unpleasant and undesirable. But what if I tell you, quite the contrary, that noise is essential and intrinsic to music? This series of articles will not strive for a definitive outcome to this premise, but will rather seek to present a history on the phenomenon and the various views surrounding this acoustic mystery. In the end it’s up to you to decide whether our subject matter is a menace or a blessing to our acoustic spectrum.
For a long time I have been fascinated by Turkish psychedelic and rock music. The first time I heard the music of Barış Manço, Cem Karaca, Moğollar and Erkin Koray, the expressive, melancholic vocals played against funky basslines, spirited percussion and fuzzy guitars, accompanied by traditional Turkish instruments such as the bağlama or the zurna, were a marriage that sounded very organic to my ears. Also known as Anadolu rock, or Anatolian rock, this music appeared to be the lovechild of Turkey’s rich musical heritage and the global explosion of pop music of the late 50s. The elements of a pop song fused with Turkish folk melodies and instrumentation – that’s Anatolian rock in a nutshell.