Author Archive
[by Ken Hunt, London] In 2000 Česká Televize (Czech Television) celebrated Egon Bondy’s life and times with the documentary Fišer alias Bondy. The poet-lyricist, writer, philosopher and political commentator’s achievements could have filled a whole series of television programmes. One of Czechoslovakia’s most prominent and prolific men-of-letters, he railed against his homeland’s politicians and politics throughout his life. Outside his homeland however, he was primarily known as the era-defining lyricist for Czechoslovakia’s best-known beat group, The Plastic People of the Universe.
20. 4. 2007 |
read more...
Rachid Taha, Diwan 2 (La Voix des Lilas; Barclay/Universal, 2006)
Last time, with album Tekitoi two years ago, Rachid Taha was Alter, this time, with second Diwan, he is foremost Different, thus basically not Indifferent, conditionally more rootsy, rough, acoustic, with less electricity and electronicity, not only in comparison with regular author albums, but also with first Diwan (1998), which has in common with Rachid’s nondivanic opus at least sound, which pretty radically changed with Tekitoi (not necessarily for worse, not necessarily for better, only elsewhere), all the while producer remains the very same Steve Hillage (yet the sound engineer did change)
9. 12. 2006 |
read more...
Bush Hall, Shepherd’s Bush, London 6 October 2006
[by Ken Hunt, London] Bush Hall’s entrance on the Uxbridge Road doesn’t prepare you for what you find inside. Rather like the Tardis in BBC television’s Dr. Who, the interior is so much bigger than you are prepared for. The album artwork for Burlesque, Bellowhead’s début long-player (as opposed to their recorded début, E.P.Onymous and you’ve guessed what size that was), shows the interior of a balconied hall. Bush Hall felt a little like a bleached out echo of the Burlesque photo shoot. Maybe it helped Bellowhead’s decision to launch Burlesque there. It worked in ways that, if such a thing exists, unfaithful replicas of the cover artwork seldom do.
The octet musters an impressive instrumentation.
30. 10. 2006 |
read more...
Rudolstadt, Germany, 7-9 July 2006
[by Ken Hunt, London] Much has changed. Much remains the same since 1991, the year of the Rudolstadt’s first capitalist-swine-era folk festival. Post-reunification investment, the festival’s monetary and publicity injections and the media coverage generated by the festival have contributed to the town’s tell-tale affluence, so evident when comparing photographs of then with now. What looked shabby, potholed or ramshackle in 1991 has largely vanished. Shops now merely nod to yesteryear with displays of the odd Ostalgie board game, GDR-era children’s storybook favourites or accounts of ‘wie wir waren’ (the way we were) as Barbra von Streisand sang in the old film hit.
The 2006
8. 8. 2006 |
read more...
July 2006
How was the Ostrava concert, compared to the other gigs you did with Värttinä?
Ostrava concert was great. Audience knew the band and they were ready from the first minute. People were singing and dancing whit us, so whatelse can you ask.
I never heard your recordings, but I suspect they are very different from Värttinä’s: blues, soul, English? So, what are the things you have in common, which led to your production job?
Common thing is music, singing. I’m specialised in different kind of vocal sounds and techniques and that is the reason Värttinä asked me to produce the Miero album. And after that they thought that i might be good choice to take Mari’s place for awhile. If m
22. 7. 2006 |
read more...
His playing is everchanging and full twists like an imaginary landscape. No wonder, the chamamé accordion style is a “mestizo music”, rooted both in European polkas and Guaraní Indians culture. When Spasiuk played at Womex in 2001, many people wondered: “This music makes me dance, but also opens the gates of imagination. I never thought you can do this with an accordion!” This hard to define spirit is fully captured on Spasiuk’s last CD, Tarefero de mis pagos, produced by Ben Mandelson. I talked to Chango at the BBC World Music Awards Ceremony in Gateshead in January 2005, where he performed as a winner in the Newcomers category.
Chamamé is often explained as meeting of two cultures: Indian and European. I
25. 1. 2005 |
read more...
Your “Secrets of the Rocks ” booklet is really very secretive. You mention places like R…, G.., and E., For the foreign travellers to Greece, could you explain what these places mean to you? And are there still some deserted islands in Aegean or Ionian seas?
Kristi- In my first album, back in 1986, there was a song that was speaking about one secret beach near Athens, where no cars could arrive. People had to climb for one hour inside a rocky pine forest in order to reach this natural sea paradise, where there were no umbrellas, no bars and lights and of course no… bathing suits. Few people knew Ramnunda then. But that song of mine became a radio hit. And next summer, the beach was filled with people. Unfortunately some of them would leave their garbage there
9. 5. 2004 |
read more...
The real “problem” is that for the last 50 years bands have been getting smaller and smaller in size till now you have 1 DJ spinning records through very loud PAs. This is all very modern but it means that it is harder for live musicians to “learn” an audience, and vice-versa. Also, as radio & TV has got worse or at least more limited over the last few years (with a few notable exceptions), this does not help… So people have to keep playing, and doing interesting things
9. 11. 2001 |
read more...
Czech music on the turn of century
(written in 2001)
If you want to hear some genuine Czech world music, listen to Antonin Dvorak or Leos Janacek. These guys knew well how important are the folk tunes for the healthy musical growth and development. But elaborating folk melodies into symphonic setting and bringing them into monumental opera houses inevitably prompts the overkill effect. The folk music looses its spark and appeal, the young generation searches for undiscovered pleasures until somebody reinvents the old time dances and ballads and brings them back into spotlight. The great folk revival that naturally evolved in Ireland, later caught a fire in Scandinavia and now is bearing its fruits in Spain and Hungary, has still a long time to go in the Czech lands
8. 10. 2001 |
read more...
« Later articles