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Александр Шепс и Мерлин Керро

Александр Шепс и Мерлин Керро

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SkaZka Orchestra/ СкаЗка Оркестра. This is a real gem, a CD that combines Russian folk music, klezmer, ska, and Gypsy swing in the best possible fashion.
The SkaZka Orchestra was formed by Artur Gorlatschov and Valentin Butt who had moved to Berlin from the (then) Soviet Union. They started assembling an orchestra which now comprises several members including Elena Shams on drums, Flo Metzger on double bass, Andrej Ugoljew on trombone, and Johannes Bohmer on trumpet.
‘Kalamburage’ is their second CD, which has thirteen tracks, and although the band is based in Berlin, the vocals are primarily in Russian. This is a CD that virtually defies anyone not to dance; it is certainly the most energetic music since Gogol Bordello that is based largely around Russian folk music.
Opening with the delightful ‘Nikifor’, this band betray their jazz roots, with a loping bass line, and some excellent brass which is a real pleasure to the ears. Tracks like ‘Avtoban’ have slightly punkier roots, being sung at a breakneck pace, and with accordion and brass section very much to the fore, this is music that bridges both cultures and generations.
Strangely enough, the shortest track on the album, the thirty four second long ‘Intro’ is the eighth track on the album, the only reason I can see for this is that it introduces the monumental ‘Bormental’, which is a traditional Russian dance number played on trumpet and accordion, and featuring the shouted “Hai” at the appropriate points. This is a track that made me want to leave my seat straight away, it’s that infectious.
What helps this band tremendously is the musical talent of all the members, several of whom still work within the Berlin Philarmoniker, and in theatre productions. Certainly for me tracks like ‘Modest’ and ‘Kleyster Dance’ really hit the spot. This might be only their second album, but SkaZka are already creating a storm over in Germany, hopefully with tracks as good as this, it won’t be long before the U.K. opens its arms to them. Certainly one of the best CDs I’ve heard this year so far.
author: Nick Browne
http://www.whisperinandhollerin.com/reviews/review.asp?id=9853
Видел я в аквариуме рыбу- чемодан
С огромными глазами на лице.
В руках она держала пол- бутылки вина
И думала о страшном конце.
Рыба, рыба, рыба чемодан
Страшная жирная рыба чемодан.
А раньше в жизни было всё просто как в кино
Возможно было спрыгнуть и плотно лечь на дно.
Теперь в лицо не смотрят, а пялятся в экран,
А на экране корчит рожи рыба чемодан.
Рыба, рыба, рыба чемодан
Страшная жирная рыба чемодан.
Die fast schon legendären Russen aus Berlin haben schon so manchen Club der Stadt in einen wahren Tanztempel verwandelt. Grundsätzlich schweißgetränkt, ehrlich und gutgelaunt erzählen sie ihre verrückten Märchen. Wilder Klezmer Sound trifft den Punk, elektronische Grooves vermischen sich mit Melodien aus dem Balkan. Ein Genuss fürs Ohr und Auge.
Pressetext (Englisch)
„ skaZka Orchestra presents a wild explosion of ska, klezmer and jazz with
a shot of Russian melancholy. Skazka (Russian for fairy tale) is on a mission to tell quirky
stories from all over the world. With double-bass, accordion, sax, drums and voices they bring the Russian soul to life, fusing together original and traditional melodies and modern rythms.
For the last five years skaZka Orchestra has been ripening in Berlin, a city bursting at its seams with a melting pot music scene, where musicians from East and West meet and let their creativity loose. Capturing the finest Russian dance-philosophy... May the vodka flow and the crowds go wild!”
Pressetext (Russisch)
Забудьте все то, что раньше было принято считать сказкой! То, о чем рассказывают
ребята –сказочники из группы SkaZka Orchestra больше нигде не услышишь . Они удачно
миксуют традиции с многогранными экспериментами, которые сами еще не

SkaZka Orchestra/ СкаЗка Оркестра

MOVING SHADOW: ONLINE ☊ MSX FM

HIGH ON FIRE. Heavy riffs since 1998
solo bla-bla-bla improvaising in A blues
It was the late, great novelist and caffeine enthusiast Honoré de Balzac (1799-1850) who said, “Power is not revealed by striking hard or often, but by striking true.” And yet High On Fire have managed to do all three. Since the Oakland power trio’s inception in 1998 they’ve released six earth-splitting albums, each seemingly more unstoppable than the last. Forever haunting the halls of the Iommic Temple—the band’s own philosophical monument to Black Sabbath riff master Tony Iommi—High On Fire have become legends in their own time. As bong-huffing genre music rises and falls around them like so much windborne detritus, guitarist/vocalist Matt Pike, drummer Des Kensel and bassist Jeff Matz comprise the all-seeing eye of a perpetual riff-storm, always looking toward a future in which The End is always near.
After unleashing one of the most momentous debuts in the history of heavy music with 2000’s The Art Of Self-Defense, High On Fire doubled down in 2002 with the absolutely punishing Surrounded By Thieves, an album that even notoriously finicky music website Pitchfork rated an 8.8 out of 10. “Surrounded By Thieves pushes drones to its limits, with a crushing wall of bass tones guaranteed to alter heart rhythms and weaken building infrastructures,” they gushed, before adding the obvious disclaimer: “If you’ve never experienced street drugs, it’s a safe bet you probably won't enjoy this album.”
And the hits just kept on coming: High On Fire’s 2005 album, Blessed Black Wings, was named one of the top 50 albums of the 21st century by prominent UK music weekly Kerrang! In 2007, the band’s Death Is This Communion ranked # 3 on Revolver magazine’s year-end list, while landing the # 4 spot in Total Guitar. That same year, Matt Pike was named one of rock’s “New Guitar Gods” by Rolling Stone.
Fast forward to 2012 and High On Fire’s new album, De Vermis Mysteriis. Produced by Converge guitarist Kurt Ballou at God City Studios in Salem, MA, the record marks the next devastating chapter in High On Fire’s gloriously unhinged metal saga. “It’s a fuckin’ awesome album,” Pike enthuses. “I think it’s kind of a cross between the experimentation of Death Is This Communion and the driving darkness of Blessed Black Wings. There’s plenty of thrashy stuff, but there’s also a lot of Sabbathy doom-type stuff.”
“We didn’t try to plan it all out this time,” he adds. “We kind of waited ’til we were on the spot and had to do something. We had the basic skeletons of the songs—we were prepared—but there was a lot of improvisation. There’s a lot of soul on this one, and it’s got a rollercoaster kind of feel.”
The album’s title (translation: “The Mysteries of the Worm,”) is a nod to a fictional grimoire conceived by the late, great Psycho author Robert Bloch in 1935 and later incorporated into horror master H.P. Lovecraft’s renowned Cthulu Mythos. “It’s a concept record, a little bit,” Pike offers. “I got this idea about Jesus Christ and the Immaculate Conception: What if Jesus had a twin who died at birth to give Jesus his life? And then what if the twin became a time traveler right then? He lives his life only going forward until he finds this scroll from an ancient Chinese alchemist who derived a serum out of the black lotus—which is actually in Robert E. Howard’s ‘Conan’ stories—and then he starts traveling back in time. He can see the past through his ancestors’ eyes, but his enemies can kill him if they kill the ancestor that he’s seeing through at the time. Basically, he keeps waking up in other people’s bodies at bad times. It’s kinda like that old TV show Quantum Leap. Kurt actually pointed that out to me after I told him the idea. But whatever—time travel is a killer concept.”
“Most people won’t even get it, so I’m explaining it now—once,” he concludes. “After this, I’m done telling the story to people. So p

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