[engl] The Love is the lovechild of Bob Belmans who after a lifetime in the dark finally takes his place in the spotlight. Like a Shaggy Roy Orbison he seduces you with his silky voice to take you then with him to the dark caverns of nasty garage-rock and deranged 60s soul. Bob Belmans was writing songs anonymously for years in his garden house, just keeping them to himself, until he felt like the time had come out and let the world hear about it. He gathered experienced forces of the Belgian underground around him with a history in bands like El Guapo Stuntteam, The Sha-la-lees, The Sore Losers and JFJ. They went to the mountains and came back two days later with ten songs about love and life, all recorded in one tumultuous weekend. No overdubs, no backing tracks, just catching the honesty and raw energy of the songs, as real as it gets. Being influenced by all things Motown, 70’s New York cool and that classic early rock and roll sound, it all comes together in a guitar driven, straightforward modern day garagerock record. Expect excitement, expect a mess, expect realness, but it won’t be boring and that’s a promise.

[engl] The Sha-La-Lee’s are a belgian/dutch Proto punk/ Garage rock and roll band with former members of El Guapo Stuntteam, the Sore Losers, the Kik and Powervice. Way beyond their teens, close to being deaf, backpains and receding hairlines they are still too dumb to quit... A new album will be released end of May '23 containing 13 songs about the usual shit , love, frustation ,tragedy and lies. Link Wray, The Sonics, Oblivians, Roky Erickson, The Deadly Snakes,Chuck Berry MC5 and Reigning Sound are some of the bands the Sha-La-Lee’s have stolen from. Everything would be said in a nutshell if there wasn't more to it than that. The Sha- La-Lee’s is the logical step after 30 years of experience in the music business. Everyone knows these kitsch films, man/woman from the village goes out into the big world, does business, feels empty, comes back and finds happiness. Even if this image conveyed is wrong, there is an important narrative in it. Happiness needs direct contact. And that's how it is in rock 'n' roll. Big stages help the ego, but they never convey the real idea of rock 'n' roll. Perhaps this thought was the inspiration behind the founding of the Sha-La-Lee’s. The smell of cigarette smoke at the concert, a beer bottle to your lips instead of a half-crushed plastic cup. Conversations after the show with like-minded people instead of the same small business talks in the locked backstage area. It's a guess, but one that's suggested by the sound of the album. This rough form of writing songs, paired with 30 years of band, stage and whatever experience, makes old garage punk hearts swarm. "Garbage Dreams" has something timeless about it, a sound that doesn't pander to anyone, that's what it is - garage punk the way I love it.

[engl] Berlin City Riot Punk vs London based HC/Streetpunk. 10 Song 10", 300er Auflage.

[engl] Cancer’ is a rough, melodic rock album emanating the member’s background in hardcore and metal while the band treads new paths towards a more vulnerable expression. An approach that is a natural consequence of the dissolvement, illness and struggle that have marked the band these last years - a struggle which has now resulted in a strong and honest record about survival ‘Cancer’ is produced by Jacob Bredahl and Riverhead, recorded by Tommy Hansen, Tue Madsen and Jacob Bredahl, mastered by Brad Boatright with artwork by Liz Curso. ‘Cancer’ is released on LP/CS/Digital via Sounds of Subterrania April 28th 2023.

[engl] Special Version handmade limited on 50 copies!

[engl] Johnny Notebook is back. In tow the 28th Century Mates. Having emerged from the remnants of the bands Dean Dirg, Toyotas, Metric Eyes and Tetallica, the synth-punk duo Johnny Notebook, rooted in Düsseldorf, Wuppertal and Madrid, releases all their pent-up energy onto society after almost three years. The result is the energetic, driving sound of the new long player Johnny Notebook and the 28th Century Mates. It is played with the proven mixture of the danceable beats of the Roland TR505 drum composer, the catchy cadences of the PolyKorg800 synthesizer, recurring hooklines and a ruthlessly nasal, but no less melodious voice. Influences from genre gods like Devo, Screamers and Aviador Dro are still the unmistakable foundation of Johnny Notebook. 28th Century Mates is also enriched by repeated Italo-Disco elements, for example in the form of overlaying synthesizer melodies through to shorter keyboard solos, which makes the sound a bit more positive and light-lived than on previous Johnny Notebook releases. Lyrically, many of the songs address the sometimes absurd interactions between digital and analog reality and oscillate between nostalgia, sarcasm and fatalism, without sounding even remotely melancholy

[engl] The Tacks‘ self-titled album immediately shines with the band‘s inherent wonderful sound of melancholic joy in darkness in general. The mix of goth, dark wave, post punk and the best of 80s college radio can confidently be subsumed under Dark Punk - if you need something like pigeonholes for it. Glassy guitars, an enchanting voice, bubbling basses and driving melodies to a catchy beat - that‘s The Tacks from Christchurch, NZ.

[engl] Have you ever wondered what would happen if you start mixing the catchy melodies of ABBA and the sex appeal of Roxette with the heavenly guitar playing of the Marked Men and the attitude of Pippi Longstocking? Well, you should have done that once. Because now Sekunderna's debut album comes as a complete surprise and hits you unprepared in the pit of your stomach and in your heart. This can be dangerous, you are not that young anymore! 12 Power Pop Punk Rock songs with the very best sing-along recipe from Umeå.

[engl] Two new garage punk killers from your favorite Danish punk band. In the old fashioned way, two monsters of songs smash everything that gets in their way.

[engl] What do the new Dun Field Three record and a trip to the open sea have in common? You never know what’s coming next. And that’s exactly how you want it. “His Royal Fishness” drives you into post-punky-rocky waters, whips you through, only to glide along again clearly and gently, almost melancholically. Always with a wise feeling that the next abyss is already opening up beneath you. So “Supersurprise” is not only the name of the first song, with this EP you are surprised throughout. And that’s great!

[engl] In Germany, there is a word called Gram, which is not so common anymore and describes a persistent, gnawing sorrow. In my quest to put into words the music of "Undreams," the second album from the Stockholm-based three-piece band, this word kept coming to mind. Fascinatingly frozen by the fragile beauty in which the songs are written, the minimalist, unfiltered rawness captivates me and yet always reflects the sound of this brokenness on one's own being like a mirror. "Undreams" comes seven years after the debut album "Cradle of Snake". These seven years have done the band more than good. The dark sound of their songs has nothing in common with the adolescent melancholy of some contemporaries. It is not egocentric or even narcissistic, but and forgive me this word, because it is equally uncommon in this context, caring. He wraps you gently like your favorite blanket on a gray autumn day, gives you soft, flickering light on a nightly walk, he comforts quietly, knowing full well that danger is not banished by a hum, he says the world is not a good place, but we have it in our hands, as long as we stick together, to change that. It may sound presumptuous, but "Undreams" showcases all the skills Mia, Tess and Frankie have acquired over the years in their bands and solo projects. It is an album drawn by life experience, dark, but also powerful, thunderous, energetic. "Undreams" is an album of three women who face life in all its facets. It was recorded, like the previous one, by Stefan Brändström at The Dustward Studio in Stockholm. Snake wanted to get as close as possible to the atmosphere of the rehearsal room and make the album a reflection of what the band heard and felt during rehearsals. "With the power of 'Me Too' in our hearts, we've been working through the album process since the wave in 2017. We think it's a darker album, but also with a glimmer of hope. We've found that we can be strong together, share difficult experiences and use them to make ourselves heard. We address teenage angst, the fear of getting older, love, grief, and the struggle to put the shame and guilt where it belongs."

[engl] SAVAK is a Brooklyn-based post-punk band formed in 2015 by singers/guitarists/songwriters Sohrab Habibion and Michael Jaworski. Drummer Matt Schulz has been the other constant member over the course of 5 LPs, an EP, and multiple 7” singles. To round out their recordings and live performances, SAVAK has welcomed a variety of bass players and other musician-friends on horns, strings and keyboards. From the onset, Habibion and Jaworski's intent has been to give each other space to bring in ideas and to support the other songwriter in the process. Setting aside any notion or formality of there being one “lead singer,” they’ve taken a shared approach, setting aside their egos for the benefit of the song. The band extends this ethos to everything it does, typically taking turns singing songs at shows and sharing an equal number of contributions to each recording. SAVAK’s 5th full-length album, Human Error / Human Delight, will be out April 15th, 2022 on the band’s newly-minted record label, Peculiar Works Music. Like more than a few albums coming out these days, this is the band’s “pandemic record,” which happened to suit the dual-songwriter approach quite well, as Habibion and Jaworski wrote and recorded separately, isolated in quarantine, sharing files back and forth. Whenever the coast seemed clear, they met up with Schulz to add drums and various overdubs. The completed tracks were then handed off to long-time SAVAK producer, and occasional bass player, Geoff Sanoff, for mixing. The album was initially conceived as two separate EP releases, with songs falling under one thematic umbrella or another. Human Error tracks deal with frailty, shared struggles, humility, and self improvement. Human Delight celebrates togetherness, understanding, joy and even hints at transcendence.

[engl] Antigen: Fast anarcho/crust punk from Prague (Czech Republic). This is their follow up to the critically acclaimed debut album Dust and ashes (2020). Think La Fraction and Burning kitchen! Socialstyrelsen: The most promising band from Sweden right now. The harsh vocals, the piercing guitars and the thundering d-beat drumming combined makes this release stand out from the rest. Think Protestera and Massmord and you have sort of an idea on what to expect.

[engl] C. S. Lewis once said that he believed in a God as he believed that the Sun had risen. Not only because he had seen the literal light, but because of it, he was able to see everything else. Seeing is believing, and so is hearing, “Glory is Coming!” Brothers and Sisters no matter what your faith or belief is, Dog House and Bone Records in France has issued another rare LP pressing of original 45rpm records from the vast archives of Bayourod. Chicago again plays a prominent role in musical history, as the foundation of organized gospel music is born here under the tutelage of Thomas Andrew Dorsey. Dorsey is widely known as the Father of gospel music, as he composed and performed many of our most celebrated gospel songs including, “(There’ll be) Peace in the Valley (for me).” Arriving in Chicago in 1919, in the midst of the great migration of Southern Blacks, Dorsey coined the phrase “gospel songs” in the early 1920’s. He assembled the first gospel choir at Ebenezer Baptist Church on South Indiana Ave in 1931 which still stands to this day. Bo Diddley and many others learned music here. Again, Black Americans give us a uniquely American style of religious song, with its roots in the tradition of Folk music and early blues and jazz. So many of our great singers started in the Church before turning to secular music, learning to play and sing beautifully in the only venue that mattered to so many; the house of God. For those of you who may not have had experienced the absolute harmony and joy of a full gospel Church, you may walk out with your faith and or belief in a God somewhere- regardless of how you walked in. Believe me, you will be moved to tears by a choir of voices like you may never hear at any professional concert. You will hear multiple instrumentalists on piano, Hammond B3, organ and drums. You will hear joy. You will hear love. You will be told by a stranger that, yes, everything will be alright. By the grace of the other worshipers you will be hugged and feel the joy of being with your fellow man. You will brush away pain, sorrow and doubt in this moment. You will indeed believe that love and music really is the answer. In this instant you will not worry about anything. You will not worry about anyone. You are free with body and soul. You are free to thank Jesus. You are free to believe. Music heals broken hearts. Hearing it can make you want to live. Whatever it is, God’s got it. Two of the sides on this uplifting compilation come from the Reverend Charlie Jackson. Born in McComb, Mississippi Jackson preached his brand of guitar evangelism, a genre born in the late 1920’s. Others spreading the Lords word with the guitar at the time were Arkansas born Sister Rosetta Tharpe and New Orleans own Elder Utah Smith. Smith’s style of preaching, singing, and guitar playing is widely influential and incredibly moving. Reverend Jackson was a protégé of Smiths. Smiths’ spectacle of playing and preaching was so influential in fact, that young players like Guitar Slim and Ernie K-Doe emulated it. Both those amazing pioneers of the blues and rock and roll saw Smith perform in tent revivals across the South. Smith inspired Reverend Jackson to “sit down on the guitar,” playing it above his head and with his teeth at times. They frequently traveled, preached, and performed together giving sermons in rural churches, many with no electricity having to power the voice of God, their guitars, with a portable generator. Also, in addition to sides by the Sunset Travelers formed on the streets of Memphis in 1950 featuring O.V. Right, and the Gospelaires from Dayton, Ohio who preached the word with rollicking harmonies, we present a side by what may be Chicago’s most famous and “God’s greatest hit makers,” the Staple Singers. This record was recorded for Epic records in 1967, “It’s Been a Change,” features Pops Staples profound guitar playing on this “protest” record. The Staple Singers cut a slew of these kinds of message songs in the late 1960’s. Pops Staples was born in 1915 in Winona, Mississippi and was playing the blues at an early age. By 1937 he was featured in the spiritual group the Golden Trumpets. In 1941 Pops and his wife moved to Chicago, started a family and by 1953 cut their first side, “These are They,” for his own Royal Record Company. Another single led to a recording contract with Vee-Jay records which lasted from 1956 to 1962. “Uncloudy Day,” released on Vee-Jay would be the Staple Singers breakthrough. Mavis Staples is still very much a force as a singer and is still performing live. Gospel music and this collection can be best summed up by Pops Staples himself who said, “This music was born from soulful voices, social activism, religious conviction and carries a message that moves you.”

[engl] „A really wonderful compilation of some of the hardest, most pounding a righteous soul ever recorded, geared to be a sort of unofficial soundtrack to the Black Panther movement of the late 60s and early 70s! It’s a proud mix of both longstanding hard soul and funk favorites and more obscure cuts alike, including “The Revolution Will Not Be Televised” by Gil Scott-Heron, “Heritage Of A Black Man” by Sam Dees, “Panther” by the Last Poets, “Right On” by Sons Of Slum, “Be Black” by Grady Tate, “You’re The Man” by Marvin Gaye, “Ghetto Reality” by James Brown, “Ghetto Child” by Curtis Mayfield, “Won’t Bleed Me” by Melvin Van Peebles, “Do You Remember Malcolm” by Miriam Makeeba” and lots more. 19 cuts in all — with a really nice booklet of photos, notes, an essay, biographical details and more, complete in both English and German. A really hard, really tight batch of great songs — and a huge treat to have rounded up on one set!“

[engl] The meaning of “Kanawa” is so simple. We see our children trying to cross the ocean all the time. I said that many of our children die in the ocean and some of them while crossing the Sahara. Some climb over the wires across the borders and they have gotten shot. We have asked them not to leave and instead stay home. But I ask them why do they leave their country? Why do they decide to go? They said that they leave because of the family situation or problems, poverty, and unemployment. We told them if ever they are to leave, they should privilege legal ways. They should abide by laws vigorously when they are to emigrate. That’s better than hiding in boats or adopting other illegal means. I ask them to stay and work in their country. So that we can help each other find a solution to this problem. I call on the UN and African leaders so that we can coordinate our efforts to find a solution, to create jobs for them so that young people stop leaving. This song is about that message and I chose it as the title of my album because I like it. My choice is because it is very meaningful and it is something we see on a daily basis. I chose it in order to alert and sensitize everybody about this question of illegal immigration. To sensitize our brothers and sisters. It is a message. That’s why I chose it as the title of my album so that everybody can learn from it and also so that there is a reduction in the number of people emigrating. To sensitize them so that some can stay home and grow the land. Leaving is not the only solution. That’s my message.

[engl] Nahawa Doumbia is one of Mali's defining vocalists of the last four decades. Her work journeys through progressive stages of musical evolution and sonic vogues, making it hard to summarize or even comprehend. She's played a part in popular music since the late ‘70s, as her version of Wassoulou music developed from vocals-and-guitar duo into full-scale touring bands packing a bombastic, electrified punch. As Doumbia puts it, "My music has changed multiple times to this day…The more I progressed in my musical career, the more instruments I have had accompany my songs." ?La Grande Cantatrice Malienne Vol 1 looks back to the beginning of Doumbia’s long career, when her voice was remarkably strong yet still developing. This was before she added bass and percussion, and finally the electric guitar and synths for which she became known in recent years.? She'd been singing traditional music since her early teens in Bougouni. Doumbia performed with cultural troupes throughout her youth and gained the notice of Radio Mali officials who entered her in a Radio France International contest, Découverte 81 á Dakar, which she won. Whether she knew it or not, as a young lady from a town many hours from Mali’s capital Bamako, she was destined for a worldwide touring career at the vanguard of Malian popular music. ?Released in 1981 by the excellent Côte d’Ivoire-based AS Records, the singer was barely 20 years old when it was recorded. She was accompanied by her future husband N’Gou Bagayoko on acoustic guitar, whose style echoes the nimble runs of traditional kamele n’goni players. The stark simplicity of this highly intimate recording—the audible room acoustics, the occasionally in-the-red vocals—do not obscure the mature strength of her voice. On Vol 1 Doumbia performs her songs with the tenacity and hunger of a young artist on the cusp. "When I think about it, first, I am reminded of how long ago it was. It's one of the albums that I love most because it reminds me of my youth. I was so young and my voice was light and joyful. I still listen to some of those songs today. I am really proud of that first album because that’s where it all began. It shows me how far I’ve come in my personal and artistic life; it gives me the courage I need to keep going forward, and makes me appreciate all the years of dedication and hard work I put into my musical career. "?These early songs are rhythmically built around Bagayoko's sensitive guitar, as his fingers brush the fretboard and gently outline the melodies. Although this record predates the singer’s use of percussion, the driving skeletal didadi rhythm is apparent in the songs. Later albums like Vol 3 further prioritize her hometown didadi beat and the result made her famous.

[engl] We are always sitting on a handful of unreleased songs that didn’t make their way to albums. Listening back to these gems we decided to launch a new series entitled Big Crown Vaults and the first volume features the music of Lee Fields & the Expressions. These tunes were cut during the Special Night & It Rains Love sessions. When you hear these tracks you can imagine how difficult some of these decisions were in the first place to leave them off the albums. An absolute standout is “Regenerate,” a song that finds Lee in the country soul realm, a style that Mr Fields, a North Carolina native, flourishes in. A drum break starts the song and then drops into a chorus where El Michels, Paul & Big Bill Schalda belt out the earworm chorus. Lee sings an encouraging tune about finding your way out of a low point in a relationship while The Expressions lay down an airtight groove. “Thinking About You” takes it back to the dance floors with what will surely be a hit at Soul parties around the globe. An uptempo drum break opens the song and Lee launches into a tale about the unbreakable bond with his significant other and how they keep each strong through moments of hardship and pain. People who have seen Lee perform live in the last decade might have been lucky enough to hear his rendition of Little Carl Carlton’s “Two Timer”. For those of you who haven’t heard it, Big Crown Vaults has got you covered. A faithful version of the song showcases Lee’s gorgeous voice and the Expression's unwavering groove. Another treat on here is the fuzzed out funk banger “Do You Know” where Fields uses his platform to address some of our societal woes in a “Make The World” style. A deeper from the vaults number is “Out To Get You”, an instrumental that Lee never laid down vocals to. Even as just a rhythm track it stands as a testament to The Expressions musical prowess, the band that created 5 studio albums with Lee Fields which will go down in history as stone classics.

[engl] The rags-to-riches chronicle of Penny Penny’s life would be remarkable if he had only released his smash debut Shaka Bundu and packed houses for a few years. But the inimitable South African singer and dancer known for his trademark top ponytail and emphatic anthems was no one-hit wonder. In the aftermath of Shaka Bundu’s nationwide explosion, far beyond his country the album resonated with ever bigger audiences. He performed up and down the continent, building fanbases in more than a dozen countries. So his sophomore album Yogo Yogo—released in 1996—solidified Penny Penny’s standing in pop music nationally and provided new energy to his pan-African stadium-filling adventures. “I was very busy between Shaka Bundu and Yogo Yogo. Shows every week, local and outside the country. There was no relaxing from 1995 until 1999.” The album also reflects the era in which it emerged. If Shaka Bundu arrived triumphantly amid newfound political freedom in South Africa with the end of Apartheid and Nelson Mandela’s election, Yogo Yogo was a next level expression for the maturing artist. He wanted to get a message out. Composed with Joe Shirimani, who also produced the album, the sound and compositional style echoes the earlier recording but the topical nature of the lyrics became more deliberate, more didactic. In the song “Ingani” Penny proclaims, we are all one people even though we may speak different languages, we are all Nguni—a larger historical grouping that includes many of the ethnic groups in modern South Africa. “Kulani Kulani,” which means grow up, urges young people to say no to drugs and yes to education. Ama Owners, referring to the public transport drivers involved in violent rumbles, asks the nation’s drivers to relax because we need them for our safe arrival. Penny’s success as a Xitsonga artist should not be under-estimated in the context of popular music at the time in South Africa. “When I started with my own style and image, first time in Shangaan we had artist like me,” Penny explains. “Our music was traditional before. But I brought a mix of rock and disco and it became the bomb. Every star won’t be popular without your own style.” It took them eight days to finish album, writing the songs in the studio. Penny says, “The songs just happened. Joe is very good at listening and producing, he has lots of patience. When he played the keyboard I would sing, standing behind him once he finished the rhythm, I would sing it all in one take, non-stop. We were not using computers to record, we were singing live. And we pressed the music on cassette and vinyl—not CD—back then." Fast-forward to 2020, Penny Penny is deep in the political game and appears on television 6 times a week as the star of his own reality TV show, “Papa Penny Ahee!”. He is setting up an avocado farm and provides fifty families in his region with food every month via his charitable foundation. Penny still plays huge shows around South Africa and will appear at some Europe’s biggest festivals in 2021.

[engl] The Queen of the Ahoko It makes sense that Antoinette Konan’s eponymous album features nothing more than her ahoko on the cover. The deceptively simple traditional percussion instrument transformed Ivory Coast’s Baoulé music scene when Konan deployed it against a roaring electrified backdrop of synth, bass guitar and drum machines. Released in 1986, the album is a veritable UFO of instrumental force and contemporary pop sensibility landing in a boiling pot of diverse, creative characters inhabiting Abidjan, Ivory Coast (Côte d’Ivoire). Known as the “Queen of the Ahoko” among Ivorians, Konan single-handedly put the central-Ivorian instrument on the map when she gave it a 20th-century re-introduction. The three-piece wooden idiophone is handmade from a thin, ribbed, flexible stick, against which a smaller chunk of wood is rhythmically scraped. A hollow nutshell held in the non-scraping hand amplifies and manipulates the resulting overtones. Despite the ahoko's diminutive appearance, Konan and her powerful voice have remained at the forefront of Ivorian music for decades now, in an extremely diverse country—approximately 70 indigenous languages—with a competitive, internationally-recognized music industry. Music plays an important role in Baoulé cultural life, heard and seen in festivities, funerals and more. They are the largest ethnic group in Côte d’Ivoire and descend from Akan peoples who migrated from present-day central Ghana. Baoulé vocal music is characterized by polyphony, melodies built on parallel thirds and call-and-response. All of this can be heard in Konan’s music. In 1976, she got her start with Ivory Coast’s National Television Orchestra (ORTI), backing major Ivorian stars on Podium, a program featuring youth culture hero Roger Fulgence Kassy. By 1980 she was playing in Musicaria, visionary Ivorian bandleader Boncana Maïga’s group. With Maïga, she expanded her creative horizons and learned new approaches. She also worked with influential producer Jimmy Hyacinthe’s band. His artistic agency in Treichville—Abidjan’s music industry epicenter at the time—further inspired Konan. She would hang out there after school. Konan had a difficult time balancing school and music but enrolled in a music program at INA (National Institute of Arts, where she later also taught classes) and was able to both travel for concerts overseas and study music. Meanwhile, she managed to work with some of Abidjan’s key arrangers and music-makers. Music manager Amedé Koko Tanoh, who was also involved in the agency where Konan socialized, provided the original impetus for her to learn the ahoko in 1981 as a way to distinguish herself from other artists. He took her to study with a professional ahoko player, an old woman who began to teach Konan. But she soon brushed the young lady off and wouldn’t teach her any more. Konan continued on her own until her mother asked where she got the instrument. It turned out her mother knew how to play also, so Konan began to study with her mom. She taped her mom’s ahoko playing so she could practice back at university. During this early period, Konan borrowed clothes because she could not afford performance attire. Despite some ridicule she persevered. Music impresario George Tahi Benson, one of her key mentors, told her, “It’s good to dress the way you do. But what if you instead make the difference by promoting the local cloth, the Baoulé cloth.” She again got some negative feedback when she changed to traditional gowns. But it became her trademark look and gradually became trendy among Ivorians all over the country. Konan’s fingerprints are all over Antoinette Konan, she says, as it was meant to be a highly personal recording. She wanted to portray the suffering, injustice, frustrations, humiliations, personal career struggles, experience of child birth and poverty she sees in society. Taking on the producer role for the first time, Konan was the architect of her dancefloor-ready neo-traditional sound. But crucial to the recording was arranger Bamba Moussa Yang. A creative and versatile musical mind who was known for his work with legendary Ivorian singer Ernesto Djedje, Konan met him in 1986 after she had already released two albums. Yang brought a touch that matched Konan’s expectations, she says, because he knew her work so well. As she reflects on her long career today, Konan remembers Yang as her favorite arranger. Over the years Konan’s popularity grew to the upper echelons of Ivorian society: Ivory Coast’s first president Felix Houphouet Boigny’s would regularly invite Konan to perform at official ceremonies with foreign dignitaries. Through her charity and advocacy work on behalf of female musicians, Konan is still a force in the country’s music community. You can see her performing or speaking on television and around the country all the time—yet she still maintains several entrepreneurial projects in the farming sector. Konan has recorded more than 15 albums so far and plans more recordings soon.

[engl] Austrian band Shake Stew has become something of a phenomenon. With their premiere at Jazzfestival Saalfelden 2016 and their following debut “The Golden Fang” they seemingly exploded into the scene out of nowhere. Since then their high energy mixture of hypnotic afrobeat and jazz grooves has made them enormously successful not only on home turf but across Europe. Led by rising star bassist Lukas Kranzelbinder they quickly became one of the hottest live acts on the circuit, while the impact of their second album “Rise and Rise again” (featuring Shabaka Hutchings) enabled them to spread their unique sound further afield, including an extensive tour of Canada, Mexico, Morocco and stand out shows at prestigious festivals like Montreal, Rochester and North Sea Jazz Festival. The band has also attracted the attention of Germany’s leading newspaper Die Zeit who, in an unusual move, sent one of its writers to spend 5 days with them to cover the formations summer residence at Jazzclub Unterfahrt; the resulting feature was euphoric in its praise: "What I heard blew me away. Captivating rhythms, melting brass, hypnotic funk-beat-swing-afro-jazz-rock-rhythm-and-something. I was glued to my seat and could barely get up. […] Meanwhile I know that other listeners had similar initiation experiences; something comes from this band that is new and special - and very attractive.” Despite being on the scene for only a short time, German Radio NDR already called them a “Cult Band” and everyone who could witness the septet's two-day residency at Viennese Jazz Club Porgy & Bess earlier this year might understand why: Both evenings sold out, a total of nearly 900 listeners, who crowded into the club to hear the latest sounds of a band whose journey has only just started. Riding on all this success Shake Stew are now releasing their third studio album Gris Gris on 1 November. Not content to do anything by halves (their first single was 19 minutes long), Gris Gris is a double album of what they do best: A high-octane mix of fiery jazz and trance-like groove injections combined with mysterious soundscapes and spiritual free jazz eruptions - or as one Austrian newspaper described them “an intergalactic road movie for the ears!”

[engl] SHAKE STEW is Austria‘s jazz band of the hour. After playing more than 25 gigs during the first months since premiering at Jazzfestival Saalfelden 2016 and selling out their first record „The Golden Fang“ within half a year, the unique septet is conquering the music world with a hypnotic mixture of afrobeat and jazz grooves shaken up by the intense and mysterious soundscapes created with a combination of two drummers and two double bass players! With „Rise And Rise Again“ Shake Stew are releasing their highly anticipated second album in May 2018, which also features Shabaka Hutchings on 2 of the tracks. Everywhere they went so far, the press has been more than enthusiastic, often trying to create new terms and genre-labels to put their live experiences into words and this new release will only further establish their status as one of Europe's most upcoming Jazzbands. Shake Stew brings together seven unconventional musicians, all of them interesting characters of the young Austrian and German jazz scene. They are united with bandleader Kranzelbinder (1988) by the pursuit of new, enhanced sound possibilities and by concepts beyond boundaries of genre, which are by now already considered a guarantee with Kranzelbinder. His own distinct combination of virtuosity, entertainment and uncompromising energy comes out in many of his projects and has meanwhile become a kind of trademark of the hard working musician, composer, and arranger. As the youngest musician so far in the history of the prestigious Jazzfestival Saalfelden, he was chosen to put together a new project for the festivals opening concert in 2016, which is also connected with a 4 day residency. He put together a septet and prepared the festival show for a whole year, before not only recording the debut album “The Golden Fang” within a day of the residency but also playing a concert to remember: Der Standard from Vienna describes the septet’s performance as a „magical opening hour“, to the Kurier Shake Stew sounds „like an intergalactic road movie for the ears.“ The Süddeutsche Zeitung calls the bassist and composer Kranzelbinder a whizz kid and the OÖN added: „The 28-year-old writes fantastic pieces, which optimally feature the exciting instrumentation with its three-part horn section and two basses and drummers“.