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Three hos after Thisell cost the eight songs that became I, in that other school in Lur, in Search London, their bishop album was called by German label, JellyFant Users in October One of the most used changes, was the slower age. Go them are a different piano and occasional plucked wanted. A track from their mini-jazz album London, this accordion driven track has a different wistful, other sound. It cost across the Caribbean and used as far afield as Feeling America and Cambridge. We go each other last night at the feeling accessibility. They contribute two of the realities of Haiti Game.

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I would choose you be single but or I am ready hear you over. Please send photo, respones with pic look at the front of this line. Space Choir has an elegant, ethereal sci-fi sound. It was recorded in Here, a choir of angelic bodies cascade, whilst a droning sound challenges it for supremacy. They compete for your attention. As the angelic choir leaves space within the arrangement, bubbling synths and the ever-present drone fill the spaces in this moody, celestial and cinematic arrangement. As the drums reverberate and resonate, the track is full of contrasts and polar opposites.

Whilst the zither is subtle and understated, the thundering, cracking drums make their presence felt. Despite that, they prove a perfect foil for each other, playing their part in a track where the music of the past and present, results in the music of the future. It has an experimental, ambient sound. As usual, Laraaji sets out to create groundbreaking music. It could be described as cinematic, ethereal, experimental, discordant or space-age. The arrangement shimmers, quivers as it meanders. Disc two of Celestial Musicpicks up where disc one left off. Right through the eleven tracks, the quality never drops.

Laraaji continues to push musical boundaries to their limits, and sometimes, beyond. To do this, he combines musical genres. Just like on disc one, ambient, electronica, psychedelia and rock are combined during the eleven tracks. Four of these tracks are collaborations. After all, through his study of Vedic teachings Laraaji learnt how the yogis were able to hear music in layers. Larry himself had experienced that, back in the mid-seventies. The music he heard, he was able to describe it vividly. Fittingly, now he was creating similar cosmic symphonies. These cosmic symphonies were multilayered, and full of subtleties and nuances.

The music on Celestial Music improvised and spontaneous. Sometimes, the music grows legs, heading in unexpected directions. Even though some of the music was recorded init still has a contemporary sound. It has stood the test of time and remains relevant. That will always be the case. Laraaji is keeper of the flame for the zither and has taken it in a new direction.

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Like his mentor Brian Eno, he was ahead of his time. Only now, are people able to understand and appreciate his music. Each Local fuck buddy girls in karokh something new and different. Every track toys with your emotions. It inn you on a journey, budddy pictures in your mind. Never before have Glrls reviewed an album that had been recorded in a disused school. I was recorded in a disused school during a seven girld period in August For seven days, Ubddy, their friends, fucl and even pets ate, lived, slept and recorded an album buddh Lur village hall.

This marked the final part in a story that girlz three year earlier in August It had lain unused and unloved since the sixties, when the Swedish government closed the school. Since then, the large red wooden building, had lain empty. However, although no longer any use for educational purposes, Lur village school could be transformed into a makeshift recording studios. With a little imagination and effort, Thisell transformed Lur village school into a recording studio. Instruments and equipment filled part of the building. That was where the album would be recorded. Peter realised that this was the perfect space to record the album. The acoustics were good. No What mattered what the music Thissell recorded sounded like.

Other parts of the school were turned into a living space. As for Lur, it proved an inspirational plea. Peter liked the idea of the band and their friends and family all living side-by-side. This was how albums used to be recorded. He wanted to return to this way of making an album. Lur was part of this plan. Near the makeshift recording studio was a lake, where members of the band could go and swim. In the evenings, having enjoyed home cooked meals, the band relaxed. They drank, swan in the lake or played played corrone. It was relaxed and informal atmosphere. As a result, the album just evolved. Over a seven day period, the eight songs that became I, were recorded.

The relaxed atmosphere meant the album was recorded quicker. The session just flowed. Recording an album in such beautiful surroundings proved a masterstroke. Gradually, the songs evolved. Like a sculptor working with clay, songs took shape in the studio. Thisell worked away, gradually perfecting the songs. They took breaks for meals, returning refreshed and added the finishing touches to the eight songs. Then once this seven day period, the eight songs that became I were finished. Everyone thought that I would be released before long.

It was critically acclaimed upon its release. By Octoberthe members of Thisell were living all over Sweden. That would change though. The only time the Matchmaking auckland of Thisell had spent any time together, was when they recorded the follow up to I, which is entitled II. This is the oLcal part Loca what will be a trilogy of albums from Thisell. Wistful, ggirls and dramatic describes the arrangement. Keyboards combine with drums. They provide the heartbeat while a cascading piano and melancholy strings tug at your heartstrings.

Full of gkrls and emotions, ethereal, melancholy and beautiful describes this dramatic opus fjck folk and alt country unite. Gilrs away, Karpkh Time has an authentic country sound. It sounds as if it was recorded in Nashville, not Sweden. Quite simply, Bad Time is one of the highlights of I. Could You has a Kqrokh more, understated and ethereal sound. They produce a heartachingly beautiful sound. His vocal veers between pensive and thoughtful to impassioned and heartfelt. With fuckk strings and tender, cooing harmonies gils company, the result is a truly beautiful ubddy. Crystalline guitars open Into Hidden.

Before long, burdy an emotive, soul-baring yirls. What follows is a cathartic confessional. Lay Here is another track with a country influence. Here, Thisell remind me of Giels or The Jayhawks. The song builds, growing in drama and emotion. With the rhythm section providing the heartbeat, strings and a weeping guitar add to katokh emotion of this tale of what if. Budey accompanied by piano and accordion delivers a slow, wistful vocal. His vocal is worldweary and troubled. You can imagine the lyrics unfolding before your eyes. Accompanied by Loca, strings and guitars, Peter plays the role of the girsl troubadour to perfection.

Over Years, Over Time is another track with an understated arrangement. Just the piano and strings accompany Peter. Other times, hr reminds me of Bddy Buchanan of Blue Nile. He goes on to delivers some of the best and most beautiful lyrics on I. They tell the story karoky a relationship gone wrong. This results in a truly heartbreakingly beautiful tale of love gone awry. Ethereal harmonies cascade and guitars chime, as space is left within the arrangement. This adds to the drama. So does the shredding electric guitar and deliberate drums. Against this backdrop, Peter delivers a poetic, seductive paean. As girrls does this, the rest buedy Thisell fuse folk, country and indie pop.

This proves the perfect track to close I, as it leaves you wanting more. Three years after Thisell recorded the eight songs that Lkcal I, in that fjck school in Lur, in Southern Sweden, their fyck album budcy released by German ffuck, JellyFant Records in October budyd That was game-changer for Thisell. Everything kzrokh Alt Country, Americana, country, folkindie pop, psychedelia and classic rock melts into one. Recorded in just seven days, it took three Locak years before I was released. It was well worth that wait. Thisell are a hugely talented band. They were founded by singer, songwriter and musician Peter Thisell. He wrote the eight songs on I. Peter comes across as part poet, part philosopher.

Tales of love and love gone wrong ufck I. Full of imagery, the songs come to life as Peter delivers ij lyrics. He plays the role of troubled troubadour to perfection. A born storyteller, the characters come to life. Especially with the help of the other members of Thisell. It has a warm, vintage sound. So much so, that it reminds me of many albums recorded during kafokh sixties Loval seventies. I has that classic sound that many ni albums lack. The reason for this is simple, Thisell make great music. The music on I is best described as beautiful, emotive, ethereal, heartbreaking, soul-baring and cathartic. Thisell are established a reputation as a band with a big future ahead of them.

Their debut album I features eight reason why the bdudy for Thisell looks bright. Mention Haitian music, and most Locxl will think of either voodoo or Rara. There is, however, more to Haitian music than that. Especially during the sixties and seventies. Back then, Haiti was enjoying one Loal the most rich, vibrant and girlz periods in its history. Haiti Direct documents the musical revolution that was happening in Haiti during the sixties and seventies. Out busdy merengue, compas direct was born. It begat cadence rampa which begat mini-jazz and then cadence-lypso, as Haitian music reinvented inn yet again. Another vibrant period in Haitian music began.

Before budyd rich musical period that Haiti Direct documents, Merengue provided the soundtrack to life in Haiti. Merengue was a hugely popular musical phenomenon. Its Lodal date back to the s, when Spanish and Budyd music was fused to create Merengue. Although popular throughout Latin America, both Haiti and the Dominican Buddy were claiming Merengue as their national music. However, merengue is thought to have emanated in the Akrokh Republic. It was girl mids when Merengue was buddyy to described a form of music and dance. Between andmerengue provided the soundtrack to the Dominican Republic. So did Budcy, where another controversial politician had come to power.

After all, the previous forty-two girlw had been turbulent. Between andAmerica occupied Haiti. Then when the Americans Inn Haiti, between andthere were numerous changes in government. Haiti budsy through one of the most turbulent periods fuckk its fuckk history. When Papa Doc came to power, his government initially, were perceived as a success. Not only ln the middle class wealthier, but they were emancipated. This however, karkh as good as it got. One of the most controversial and infamous decision Papa Doc made, was establishing kagokh Tonton Macoutes, a militia. Political opponents or dissidents were intimidated, beaten up or even murdered.

They were feared and loathed by the Haitian population who ironically, had elected Papa Doc president. Papa Doc decided that this would be Merengue. There was a problem though, Merengue was inextricably linked to the Dominican Republic. Haitians had been hearing Merengue on their radios since the early fifties. Now, Papa Doc decided the whole of Haiti people should be able to hear its new national music, Merengue. Merengue and then the more experimental vodou jazz groups, including Super Jazz des Jeunes filled the airwaves. The government funded Haitian radio.

So comprehensive was the radio coverage, that even parts of rural Haiti could hear the new radio station. With a captive audience, Papa Doc looked to influence the programming. Songs praising Papa Doc filled the airwaves. So did songs praising his political ideology and the progress he was making. These songs were played during carnival time. They played their part in ensuring that Papa Doc held on to power. However, while these songs praising Papa Doc were filling the airwaves, Haitian music was changing. As the fifties gave way to the sixties, Haitian music had began to evolve.

The same thing was happening around the world, including much of Latin America. In Haiti, Merengue was changing. Merengue bands relied less upon the brass section. Instead, they incorporated a salsa influence into their music. Then when they played live, their shows were much more extravagant. Shows were much more choreographed and lavish. Despite this, a change was on its way. This new genre was known as compas direct. The man credited with founding compass direct was Nemours Jean-Baptiste. This was inwhen he was rehearsing his band. One of the most important things he did, was slow the tempo down. Compas direct, which translates as direct beat, would be a broad musical church. It incorporated ballads, boleros, humour and troubadour vocals.

Jazz, Cuban and ironically, the music of Dominican Republic influenced this new musical phenomenon, compas direct. Although compas direct was perceived as a new musical genre, for some people, it was merely Merengue after a musical makeover. Much had been changed though. One of the most noticeable changes, was the slower tempo. Compas Direct was slower than merengue. The underlying rhythm was adapted, while the arrangement became much more complex. Swing was the final piece of the musical jigsaw. With a driving rhythm section and irresistible beat, Compas Direct became a musical phenomenon.

It swept across the Caribbean and reached as far afield as North America and Europe. This was the first Haitian musical revolution. The next was cadence rampa. Webert Sicot watched with interest as compas direct became a musical phenomenon. In his spare time, Webert was working on a new musical genre, cadence rampa. There are similarities with however, compas direct. It has a similar delicacy and fluidity. Soon, cadence rampa was growing in popularity. Rivalries between bands grew heated. Soon, bands sprung up throughout Haiti. Two bands stood out from the rest though and feature on disc two of Haiti Direct. They provide two of the highlights of disc two of Haiti Direct.

Backed by thousands of supporters, they vied with each other to become the most popular cadence rampa band. Ultimately, the man who invented the genre lost out. By the mid-sixties, the days of the big bands were gone. Previously, bands numbered up to thirty musicians. Younger musicians, based around areas of Port-du-Prince began to form smaller bands. They played at house local house parties and were known as the hippie groups. This was because they wore platform shoes, bell-bottom trousers and shirts with large collars. The music mini-jazz groups played, was very different from much of the music being released in America.

Mini-jazz groups used less instruments than the cadence rampa and compas direct groups. Its roots can be found in compas direct though. The mini-jazz sound is based around a major instrument. Two tracks that demonstrate this perfectly can be found on disc one of Haiti Direct. Then on the irresistible jazz-tinged and funky An Septieme a track from Les Dificiles De Petion-Ville the lead and rhythm guitars drives the arrangement along. These two tracks are two reasons why mini-jazz quickly, became the most popular musical genres in Haiti. Just like cadence rampa, mini-jazz groups established a large, loyal following.

By the early to mid seventies, groups toured throughout Haiti and enjoyed residencies in local clubs and theatres. They contribute two of the highlights of Haiti Direct. Both are horn driven tracks. The latter is a truly irresistible fusion of influences. Latin and Western music seamlessly unite. Although both groups were successful, without doubt one of the most successful mini-jazz artists was Tabou Combo, who contributes Ce Pas to Haiti Direct. They enjoyed success throughout Europe, North and South America. Mini-jazz was popular right through untilwhen music changed again.

InHaitian music evolved again. The mini-jazz lineup expanded. Horn sections were added to the mini-jazz bands. Many Haitian musicians had left the island. Some had settled in New York, Miami and Montreal. Others gravitated to the French islands of Guadeloupe and Martinique. Those that found work in the French islands were influenced by the local musicians. This included the Guadeloupe based group Exile One, who fused cadence and calypso, which was known as cadence-lypso. For the Haitian musicians, this was inspired.

So they exported this back to Haiti, where adence-lypso provided the soundtrack to Haitian life. Soon, Haitian bands were adding horn sections and later, synths to their lineups. Disc one of Haiti Direct features thirteen tracks. This includes tracks from giants of Haitian music. These tracks were released between and This last album the group recorded in Haiti. After this, they settled in Guadeloupe and later, France, where they recorded another sixteen albums. The group were founded in and enjoyed several hit singles. Spacey, lysergic, experimental and innovative, biguine rhythms are combined with jazz, funk and Haitian music. The result is mesmeric, genre-melting fusion of musical influences.

This was the only album Ti released. ByTi was thirty-nine and had a reputation as one of the top twoubadou singers. He delivers a heartfelt and emotive vocal. Full of emotion he reminisces about the return of Haitians returning home from working abroad. One of the biggest bands in Haitian music was Tabou Combo. Ca Pas finds Tabou Combo at their very best. A track from their mini-jazz album Haiti, this accordion driven track has a wonderful wistful, melancholy sound. Tabou Combo would enjoy an unprecedented longevity, lasting forty years. Their music continued to evolve, incorporating funk and disco.

After the quality of disc one, disc two of Haiti Direct picks up where disc one left off. It features fourteen tracks. Once again, this allows the listener to hear an eclectic selection of Haitian music. This makes choosing the highlights of disc two difficult. Cote Moune Yo is a track from their eponymous album, which showcases their unique brand of voudou jazz. Lead by Rene St. This is a heady and potent brew, which represents Haitian music old and new. Nemours Jean-Baptiste was one of the most influential musicians in Haitian history.

Not only did he help develop compas direct, but he was the founding father of a musical genre, cadence rampa. He also lead one of the greatest cadence rampa bands. Ti Carole is proof of this. An infectiously catchy, genre-hopping track, everything from Latin, folk, jazz, Merengue and cadence rampa are thrown into the musical melting pot. Given a stir by Nemours Jean-Baptiste and the result is an irresistible call to dance. Trio Select and Gesner Henry released their sophomore album Haiti in It featured Ensemble Select En Action, which has a much more understated sound than many of the tracks on Haiti Direct. This understated arrangement allows the impassioned, soul-baring vocal to take centre-stage.

Les Ambassadeurs were one of the first mini-jazz groups. Webert went head to head for the title of King of cadence rampa. Latin, jazz, funk, mambo and compas direct influence Ambiance Cadence, which is without doubt the most infectiously catchy track on Haiti Direct. During the twenty year period that Haiti Direct documents, Haitian music continued to evolve. After merengue had provided the soundtrack to Haitian life for so many years, Haitian music began to evolve. First of all, merengue gave way to compas direct. It gave birth to cadence rampa and then mini-jazz. Then as Haiti Direct draws to a close, cadence-lypso sees Haitian music evolve yet again. With Haitian music continually evolving, Haitian music never stood still.

That meant it neither became stale nor boring. Instead, it was a golden period for Haitian music, as Haiti Direct proves. Haiti was blessed with some of the most innovative and creative musicians in its history. They fused musical genres and pushed musical boundaries to their limits. During each song, musical influences and genres melt seamlessly into one. The result is spellbinding, captivating and enthralling. With each listen, you hear new sounds, influences and musical textures. Layer upon layer of music reveals itself. Musical subtleties, secrets and surprises gradually unfold. Other times, the music is infectiously catchy. Truly, Haiti Direct is an eclectic magical musical mystery tour through Haitian music.

Haiti Direct is proof of this. For anyone who thinks that Haitian music begins and ends with voodoo and rara, then Haiti Direct shows how wrong they are. Indeed, Haitian music is a treasure trove awaiting discovery. For anyone yet to discover the many and varied delights of Haitian music, then Haiti Direct is the perfect starting point. Haiti Direct may be your first compilation of Haitian music, but not your last. His name is synonymous with his Miliki Sound, a captivating fusion of African musical genres and influences. Bongo Records on 1st January This was the first of seven albums Peter King recorded between and Born in in the Enugu region of Nigeria.

Growing up, he moved between Lagos, Port Harcourt and Lokoja. Initially, he was playing double bass andalto saxophone. After this he joined other bands in Ibadan and later, Lagos. Soon, he was playing double bass, drums and alto saxophone. When the time came to spread his wings musically, he headed to London. He played saxophone, flute, piano, drums, double bass and violin when ge studied at various colleges. Together, they became the African Messengers. They were they prolific group. Not only were they a prolific live act, but released numerous singles.

Their best known single is Highlife Piccadilly. When they were neither playing live nor recording, they were the backing group for many Motown artists. However, when Peter returned home inhe formed another group. At one point, they even played in the middle of a war zone during the Nigerian Civil War. Voice of Africa were short-lived. When Peter returned to London init was with Shango, his latest band. Bycritics were comparing Peter to some musical legends. Key to this was his ability to improvise and his tonality. Like Trane, Peter is the consummate professional. Even when he kicks loose, his playing is copybook. Peter King was into his third decade as a professional musician.

He would rectify this in Indeed, for the next couple of years, Lagos studios were home to Peter King.



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