AS REVIVAL, AS MODERN: ANKARA ECHOES MES TE DY BOTEVE DHE PLOT MELANKOLI ANATOLIANE

Tamam thuhet: muzika underground mbijeton pikerisht sepse nuk ka nevoje per shkelqim apo volume, por per shpirt...

Dihet tashme debolesa qe kam per muziken turke (Baba Zula, Mercan Dede, Altin Gun, Lalalar, Gaye Su Akyol, Ayyuka, Satellites, Anatolian Gipsy, Anatolian FM, Nikbinler...). Ndersa kam perfolur me shume grupe apo muzikante nga Stambolli, jo me pak te zote jane ata qe vijne nga kryeqyteti; rivalitet i shendetshem ky nga Ankara!

Ankara Echoes jane me shume nje ritual live i kapur ne shirit. Bio-ja e tyre e ben te qarte: fryma e rock-ut te viteve ‘70 nuk eshte reference estetike, por metode, kitare bass, vokal bariton pa filter. 

Ja, zeri eshte i thelle dhe melankolik. Edhe nese nuk e kupton turqishten, ndjesia e izolimit dhe e rebelimit ndihet ne cdo varg. Linjat e basit jane "shtylla kurrizore" e kengeve te tyre, hipnotike dhe ritmike. 

Ne levizje muzika e tyre mbeshtjell dhe te ben te paqesh me ambjentin perreth, natyren (gjethe apo materie e bardhe qe bie nga pemet ne slo-motion...). 

Instrumentet nuk jane te “perpunuara”, jane te pranishem fizikisht, vokali i Mertkan Erkan nuk kerkon perfeksion, por intensitet, elementet folk nuk jane dekor, por rrenje qe dalin ne siperfaqe ne menyre te crregullt. 

Groove i mbyllur, atmosfere e dendur, sikur dicka duhet te shpertheje por nuk ndodh kurre. Ritme hipnotike, te zhveshur: perserites, pothuaj ritualike. Ketu ndihet me shume ideja e “jehone nga e kaluara”, fragmente folk qe rikthehen si kujtime te deformuara brenda nje konteksti modern.

Nuk bejne revival, vetem riaktivizojne! Rrenje nga rock-u i te 70-ave + anatolian psych + produksion i papaster; dicka qe tingellon e vjeter dhe e lodhur, por njekohesisht aktuale.

Ankara Echoes nuk jane lineare ne muzike, nuk jane te balancuar; dhe pikerisht prandaj funksionojne. Nje band qe nuk rikrijon te kaluaren, por e shtyn ate drejt nje prezente te crregullt dhe te gjalle.

Drejt e ne maje te listes sime per tani!

GOAT [WORLD MUSIC, 2012] // SWEDISH TRAVELLING SHAMANS IN THEIR AFRO-PSYCH-KRAUT-VOODOO SPACE

Be catapulted with the mysterious Swedish voodoo-psych outfit onto the world stage with its mixture of wah-fuzz riffing, energetically chanted vocals and mystical polyrhythms, with colourful and hyper-kinetic live rituals to match;

syncopated rhythms of afrobeat ('Golden Dawn'), evoking a freedom of spirit that snakes its hips in defiance against the anguished shrieks of their ancestors...

A very original primal sense at play!

GASLAMP KILLER - 'NO BLOOD IN BONE, BY POPPY FAMILY'

Marie now walks, her life is sleep.
She never looks above her feet.
She never smiles, nor does she speak.

When Joey died, Marie went mad
She'd given him what life she had
She'd helped him fight and shared his pain
Her very blood was in his veins

But there's no
But there's no
But there's no
There's no blood in bone...

 

 

LINDA PERHACS [PARALLELOGRAMS, 1970] - FOR THOSE WHO LISTEN TO MUSIC TOO EARLY OR TOO LATE

“Paper Mountain Man” was about someone I loved very much, but the pain he cause me when he decided on so many other ladies as excruciating. I never felt such pain, but I'm also grateful to him, because that pain was so awful that I knew I was either going to die or climb upward in spiritual strength to survive. And that was the beginning of my strong spiritual climb.

“Dolphin” was the first song I wrote for the album. It was inspired by many diving trips in Baja, California and long, solitary walks on empty beaches.

“Call of the River” This song was also a result of time I had spent on the Olympic Peninsula.

“Hey Who Really Cares?” was used as the theme song for the TV series Matt Lincoln that ran for three years. The studio called me one evening and asked me to do a song for their new show and gave me a short version of the subject over the phone, and asked me to have it ready for them the next day!

“Moons and Cattails” has drums from all over the world as could only be played by Shelley Mann and Milt Holland (both major percussionists of the time).

"Morning Colors” has two separate flute tracks that surprisingly fit together perfectly.

“Porcelain Baked Over Cast Iron Wedding” was about the disgust I felt about the cost of weddings around me in Beverly Hills; the shallowness of the love and the fact that the concentration was on the display of grandeur rather than the vows that should have been the focus. One girl in my office spent a year planning her wedding, and I never heard her mention the guy! I knew the cost was breaking her whole family, and I just wrote the song because it was disturbing me.

“Delicious” A young ladies dream of perfect love!

[Linda Perhacs in an interview, describing some of her songs in the album...]