#aksak maboul

[cherrylng]

100 Albums to understand Muse - Part 1 [STYLE Series #004 - Muse (August 2010)]

The members of Muse started as a band in the heyday of Britpop, but their strongest influences were the US alternative scene, as well as the Grebo music scene such as Ned's Atomic Dustbin. Their musical interests broadened, especially Matthew's, as he travelled and met people in different countries, and he dabbled in tango, flamenco and even Italian folk music. Muse were, of course, greatly influenced by the greats of the rock world, including Queen, but they also greedily embraced classical music such as Chopin and Rachmaninoff. Here we introduce some of their influences and the artists they were involved with. These are 100 discs for a deeper enjoyment of Muse's world, and you'd be remiss if you didn't listen to them!

Text by Sumi Imai (I), Masataka Oguchi (K), Junya Shimofusa (J), Akiko Mima (M/board selection), Hisashi Murakami (H), Tomoo Yamaguchi (T), Shiho Yamashita (S)

AC/DC Back In Black (1980) The sixth album from Australia's greatest treasure, AC/DC. The riff of the classic ‘Back in Black’ on this album is one of the first phrases that every boy who picks up a guitar learns. A great rock basic, so to speak. Of course, the [guitar] prince is no exception [to this]. He performed a cover of the song here and there at the Australian festival Big Day Out. -J

ADAM LAMBERT For Your Entertainment (2009) Adam Lambert was born and raised in the US, and his dramatic vocals are a feature of his US TV show ‘American Idol’. His major-label debut featured songwriting contributions from Lady Gaga, Pink, Weezer's Reeves, Darkness' Justin and many other well-known names. Matthew also contributed a song called ‘Soaked’ to the album. -H

ANDRÉS SEGOVIA The Art Of Segovia (2002) Matthew once travelled to Spain to study flamenco guitar, but it was Francisco Talega of ‘Memories of the Alhambra’ fame, born in Spain, who laid the foundations for classical guitar in the 20th century. This is a collection of masterpieces by Andrés Segovia, the master who took up many of Talega's works and popularised the classical guitar. -S

AKSAK MABOUL Un Peu De L'âme Des Bandits (1980) Belgian avant-garde progressive band. The band's diverse style is characterised by the use of piano and strings in tangos, contemporary-style suites and fast-moving punk, all of which make full use of the high skills of the band members. The band's wonderfully chaotic sound, where materialism and realism collide, is too good to be described as ‘only known to those in the know’. -M

Translator's Note: I'll be putting whole albums of the selected albums listed on this article. I'm of the belief that the best way to enjoy an album is to listen to it from start to end, so that we can understand the influences far better. Also, I'm doing this because I want to mess with YouTube's algorithm and leave it very confused on what it's supposed to recommend to me in the near future.

[radiophd]

aqsak maboul -- palmiers en pots

[jt1674]

[burlveneer-music]

Aksak Maboul - Une aventure de VV (Songspiel) (Made to Measure Vol. 48)

In the wake of their acclaimed comeback album 'Figures' (2020), Aksak Maboul took a playful sideways step to create this total work, a 63-minute, continuous suite of fifteen pieces, which could be described as an experimental audio play. The thread running through 'Une aventure de VV (Songspiel)' is Véronique Vincent’s text, an enigmatic philosophical-poetical tale unfolding through monologues and dialogues, spoken and sung by a series of characters, played by Alig Fodder, Laetitia Sadier, Audrey & Benjamin from Aquaserge, Don The Tiger, Blaine L. Reininger, and the members of Aksak Maboul’s current live band: Faustine Hollander, Lucien Fraipont & Erik Heestermans. The music was written & arranged by Marc Hollander and features his characteristic genre-hopping tendencies: strands of electronica, pop, jazz, collage, techno, ambient, improv, krautrock, contemporary classical & systems music are merrily woven together, in the inimitable Aksak Maboul style. The album’s subtitle, 'Songspiel', highlights its theatrical/musical aspect: the work pays oblique homage to the those experimental radio plays that once emerged from the creative workshops of the BBC, the RTF and the RAI, and especially to those German Hörspiels which, at their best, might combine spoken word, instrumental or electronic music, songs and sonic research. Une aventure de VV also modestly alludes to certain stage works written by adventurous composers during the first half of the 20th century, which embraced singing, spoken dialogues and elements inspired by popular music. Those composers sometimes invented genre names to describe their pieces: fantaisie lyrique, mimodrama, or... songspiel).

[nofatclips]

Histoires de Fous by Aksak Maboul, live at Les Ateliers Claus for Kiosk Radio

[edgarmoser]

aksak maboul - albums 1977 - 2021

[spilladabalia]

Aksak Maboul - Three Epileptic Folk Dances

[sinceileftyoublog]

Laetitia Sadier & Radio Outernational Live Show Review: 3/12, Empty Bottle, Chicago

Laetitia Sadier

BY JORDAN MAINZER

Laetitia Sadier's set Tuesday night at Empty Bottle was a mix of idealism, determination, and empathy. Such a combination exemplifies the connotation of the very title of her first solo album in 7 years, Rooting For Love (Drag City). Like her work with Stereolab, Rooting For Love employs a wide array of instrumentation--guitar, bass, synth, organ, trombone, vibraphone, live and programmed drums, zither, vocals--to present songs that are simple-sounding in execution, but deceptively complex. For every foray into lounge funk, there's an off-kilter psychedelic freak-out; in combination with Sadier's spirituality and collectivism, it makes for an album that you can deeply explore as much as you can vibe to.

Tuesday, Sadier, on stage alone, pointed to her synthesizer and joked, "This is the band...It's the same every night." In a way, playing to recordings and samples seems to occupy its own, different level of difficulty, as you can't as easily improvise your way out of messing up. Thankfully, Sadier not only nailed it, but employed a looper and processed her scraggly guitar playing to build up and tear down her compositions, adding unexpected chaos for those in the crowd who had voraciously consumed the new record. "Protéïformunité" featured washy noise and a drum beat, Sadier immersing herself in the music to the point of dancing, as she sang mantras like "L’objectif est de limoger l’ignorance, d’interrompre le cycle sans fin de la souffrance,” or, "The goal is to remove ignorance, to interrupt the endless cycle of suffering." Again, as with Stereolab, Sadier showed that visionary ideas can sound, simply, pleasant.

Of course, while you wouldn't describe Sadier as a realist, she's also certainly unafraid to confront, and Tuesday, she performed the two most provocative tracks from Rooting For Love. "Don't Forget You're Mine", co-written with Veronique Vincent (of Belgian avant-rock band Aksak Maboul), tells the story of an academic couple whose more-successful husband is threatened by his wife's sudden success to the point where he torments her with psychological and physical abuse. It was here where Sadier warped her beatific guitar playing into something more fuzzy, as if to emphasize the skin-crawling nature of what she was singing about, contrasting the lovely timbre of her voice. On the studio version, she repeats, from the point of view of the abuser, "Get up, babe!" over siren-like instrumentation, like a plea to society to eliminate internal and external toxicity. "Cloud 6", meanwhile, started with chopping and screwing her operatic vocals, her trombone pulsating on the off-beat of the arpeggiated synth line, before turning more clear. Sadier waxed about how the process of fear encapsulates a wholesale turning away from humanity; "How can you be seen and known and loved when you have your armor on," she asked? The song ended with her most frank declaration: "This armor is keeping you from the gifts I've given you / I'm not fucking around / You're halfway dead." In the context of not only Sadier's songs that decry capitalism and war, but the world today in general, "Cloud 6" was a call to wake up.

Radio Outernational's Aaron Shapiro, Kenthaney Redmond, Hunter Diamond, & Wayne Montana

Opening for Sadier was local quintet Radio Outernational, who features three current members of funk-punk heroes The Eternals. While Radio Outernational haven't released any recorded music, they've been playing around town since last year, clear in their chemistry. Flutist and saxophonist Hunter Diamond and flutist Kenthaney Redmond effectively harmonized, one often trailing the other, especially on the songs that employed dual flute. Guitarist Aaron Shapiro offered funky licks rife with swirling wah wahs and prickly stabs. The rhythm section, bassist Wayne Montana and drummer Areif Sless-Kitain, propelled the slinky tunes, providing a bed for the other three players to flourish. Radio Outernational was a wholly appropriate opener for Sadier, as it was almost like they were the physical manifestation of the type of cosmic cooperation she sings and dreams about.

[thxforlistening]

11/22 NOVEMBER NAPS

11/22 NOVEMBER NAPS

[hailwestexas]

whenever someone complains about how good europeans have it and its impossible to find things they like in istanbul im like…. okay you just dont know where to look and if you were in europe you wouldnt be able to find it either because your heart isnt pure

[radiophd]

aksak maboul -- odessa

[jt1674]

[nofatclips]

C'est Charles by Aksak Maboul