Conrad Schnitzler was a legendary electronic music composer who passed away in 2011. Four years beforehand, he collaborated with a young fellow German musician called Bernhard Wöstheinrich, who was well over 30 years his junior. The collaboration produced one hour-long track which builds, grinds, throbs and swells in a way that is abrasive, yet pleasant.
This has to be one of the most depressing pieces of music I’ve heard in a while, and it’s perfect for post turkey day, while most of us are high off of tryptophan. matryoshka (small ‘m’ done intentionally) are a Japanese post-rock band based out of Tokyo, and they make music that is painfully delicate. You can check out the album this track comes from on their Bandcamp site, hosted by Virgin Babylon Records.
Cambodia’ first guitar rock band was one which could have held its own in France or even the United States during the early 1960s. There’s quite an amazing story to go along with this release, courtesy of the Mol Kamach and Baksey Cham Krong Bandcamp page here:
For the first time two single records of Baksey Cham Krong – the first Cambodian guitar band – are officially being reissued in an identical version. Between surf music and ballad, these two records released in 1963 and 1964 are an invitation to rediscover the effervescent Khmer musical scene of the 1960s.
The early 1960s are often described as the “golden age” of Cambodia, with a flourishing economy and a strong cultural development. As the country had just won its independence, the King Norodom Sihanouk – who had been a singer himself (see below) – encouraged dynamism and creativity in all aspects of cultural life.
In 1959, in the midst of this artistic turmoil, Mol Kamach and his brothers created a band: the Baksey Cham Krong (also spelled Bakseis Cham Krung) named after a temple of the Angkor site. The teenagers were influenced by the latest hits they had listened on the radio. For the music, Kagnol got his inspiration from the rock n’ roll of the Ventures and the Shadows while Kamach took over the vocal techniques of crooners such as Paul Anka. The lyrics were either in French (as for the song Ne penser qu’à toi) or in Khmer. The song Pleine Lune became a hit and revealed Kagnol’s musical genius at playing guitar and Kamach’s delicate voice. From their beginnings on the capital’s high school stages to their first broadcasts on national radio, the success of the Baksey Cham Krong was very quick. At the end of the decade the band already split, the brothers getting back to activities that conformed more with their parents’ expectations.
A few years later, in April 1975, the arrival of the Khmer Rouge in Phnom Penh put an end to this musical development and started the darkest era of Cambodia’s contemporary history. A quarter of the population was killed in the Khmer Rouge genocide and the majority of artists and intellectuals were exterminated in a sordid will to wipe out any form of culture in the country. Films and music were banned, movie tapes and vinyls were destroyed. Mol Kamach and Mol Kagnol luckily managed to flee the country: one now lives in France, the other in the USA. Both still continue to make music nowadays.
Bearing witness to the past history, the reissue of these two single records of Baksey Cham Krong brings back to us the Cambodian musical scene of the 1960s.
Akuphone, the French label responsible for this release, is definitely in possession of a catalog worth exploring.
Singer and composer Nadah El Shazly apparently began her career in a punk rock band doing Misfits covers. She’s come a long way, creating an eerie work with references to experimental music and musique concrète, with a nod to French composers of the INA-GRM tradition.
If I recall correctly, if was my friend and colleague C-Drik who brought her name to my attention. I am indebted to him.
As far as I know, Rufus Harley is the ONLY jazz bagpiper, but I’d love to be proven wrong, as I have a fondness for both bagpipes and America’s finest genre of music.
Ashwanta Jackson of Atlas Obscura gives a nice portrait of Rufus Harley and his rather unique influence on jazz.
We’ve been trying for some years to find a suitable wiki program which would blend nicely into WordPress, and as of today, it looks like we found one. We’re relaunching A Garden Of Earthly Delights and will turn it into a massive database for good and interesting artists in the fields of music, literature, film, art and other media. If you feel like turning us on to someone new, please feel free to contact us here.
I don’t like the term noir for music unless it fits in a film-like connotation, but there’s something pleasantly dark in this new release by Luís Lapa & Pé de Cabra, two Portuguese jazz heads. The Saul Bass-inspired cover art gives it away, I suppose, but the music is quite deep.
Gamardah Fungus are an experimental groups out of Dnipro, Ukraine, who build a lot of their own instruments. According to the band’s Bandcamp site, “The album was inspired by the spellbinding events, which happened to us in an old abandoned manor in Ukrainian forests.”
This is my first exposure to Gamardah Fungus. I look forward to hearing and sharing more in the future.