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Repress!

Compilation of 80s Turkish-Swiss band Café Türk, featuring selected works from their discography as well as previously unreleased recordings!

Café Türk's unrestrained sonic palette explores new wave, psych, disco and reggae with influences from Anatolia and Azerbaijan.2xLP includes a 4-page booklet with extensive liner notes and photos.

Café Türk are an inimitable Turkish-Swiss band formed in the 1980s, whose genre-bending sonic palette draws from Anatolia, the Caucasus and Western Europe. The group’s frantic trajectory connects Switzerland and the Turkish city of Kars with a background story as rich and unexpected as their sound. After three decades since they disbanded, Zel Zele Records have collaborated with Turkish crate-digger Grup Ses to give the music of Café Türk a new lease of life. This eponym compilation features original album tracks, singles and previously unreleased takes that trace the outline of the group’s history. From the rolling disco of the group’s debut recording “Haydi Yallah”; to the previously unreleased kosmiche of “Yıldızlar”, “Ali Baba From Istanbul”s Azeri grooves and German language vocals, to the psyched-out interpretation of Causaccian folk tune “Şamil”, Café Türk showcases the endless stream of ideas the band had during their time together between 1983 and 1989. Tracks come with an unrestrained spirit, weaving in the crackling energy of new wave, rock, disco and reggae with influences from Turkey and Azerbaijan.

This fascination in pulling different worlds together goes right back to the formative days of Metin Demiral, founder of Café Türk. Metin grew up in Kars, a provincial town in the Northeastern part of Turkey. Kars was once known for its multicultural communities; where you could hear locals speaking a range of languages, from Turkish to Azeri, Russian and Kurdish. In 1983 Café Türk won a contest set for Turkish groups based in Europe, organised by the label Türküola, home to Turkish stars like Cem Karaca, Selda Bağcan and Barış Manço. The resultant recording sessions gave birth to his new band and debut LP, Pizza Funghi. But Metin turned down Türküola’s offer to put the record out and instead self-pressed 1000 copies on his own Sound Concept label - driving as far as Berlin to sell them face-to-face to record shops. The record was picked up by a member of the German city of Nuremburg’s Cultural Department and soon Café Türk were invited to play for the local workers’ unions, many of whom represented immigrants from Turkey. These events only grew in popularity, the group ultimately spending five years touring similar shows in Europe, alongside more conventional tours and festivals. Metin had hoped to bring his new record to audiences in Turkey again, however, he found it impossible to get any of his songs played on state-sponsored radio, something he attributed to the infamously strict supervisory board of TRT, Turkey’s state-funded broadcaster. TRT tended to not accept songs that blended both western and traditional Turkish music in order to avoid “degenerating” Turkish folk music. Cafe Türk tried to fight this conservative mindset, but progressively resigned themselves to the political restrictions of the time

«Dodu Ekspresi» heisst der legendäre Zug, welcher in Ankara, der Hauptstadt der Türkei, startet und nach 26 Stunden, 1001 Meilen, einer Nacht und einem Tag, die östlichste Stadt Anatoliens, KARS an der türkisch-armenischen Grenze erreicht. Sogar Orhan Pamuk der Nobelpreisträger verfällt der Magie dieser Stadt und schreibt den Roman: KAR! Nun spielt Café Türk die Musik dazu! Die Schönheit und den Zauber der Landschaft. Die Einsamkeit geprägt voller Melancholie prägen die neuen Songs auf diesem brandneuen Album. Musikalisch unternahmen sie wie der Zug eine Reise durch die schier endlosen Steppen Anatoliens. Eine Fahrt in einer vom Mond erhellten, kalten Winternacht, unter einem dunkelblauen Himmel voller Sterne. Wie die Szenerie, die an jedem Bahnof sich stetig ändert, verwandeln sich auch die Songs. Lied für Lied, Schritt für Schritt nähert sich auch die Musik dem Bahnhof von Kars. Die Stadt, wo Metin aufgewachsen ist Kars, wo jede Ecke nach Geschichte riecht und jeder Stein seine eigene Story erzählt:die endlosen Tränen tausender verlorener Seelen. Nun scheint wieder die Sonne! Dodu Ekspresi ist angekommen! Herzlich willkommen! HO_GELDYNYZ!

Café Türk, an inimitable Turkish-Swiss band formed in the 1980s, whose genre-bending sonic palette draws from Anatolia, the Caucasus, and western Europe. The group's frantic trajectory connects the Swiss town of Schaffhausen and the Turkish city of Kars, eastern Anatolian city of Turkey with a background story as rich and unexpected as their sound.

Ausdrucksstarke Gesänge in freien Versen, begleitet von gleitenden Violinen, gehämmertem Santouri, Gitarre und Oud - die hybriden Klänge des Mittelmeerraums zu Beginn des 20. Jahrhunderts. ,Aman Aman" rufen die Sänger auf diesen Aufnahmen, deren Stimmen auf 78-U/min-Schallplatten aus den Jahren 1911 bis 1935 verewigt sind. Der Ausdruck bedeutet in etwa ,Gnade" und ist ein Ausdruck der Verzweiflung, aber auch der Freude und Bewunderung. Auf vielen dieser Platten wird die ganze Bandbreite dieser Emotionen auf einmal vermittelt. Einige dieser Künstler sind Legenden, andere sind in Vergessenheit geraten. Fast die Hälfte sind Sängerinnen, die einen großen Teil der Tradition des Cafe Aman ausmachen, aber in zeitgenössischen Veröffentlichungen nicht so stark vertreten sind. Alle waren von den Konflikten betroffen, die zur Kleinasiatischen Katastrophe von 1923 führten, sowie von den Zwangsmigrationen zwischen Griechenland und der Türkei davor und danach. Ihre Werke spiegeln diese Reisen wider - erschütternde Gedichte über den Verlust der Liebe und der Heimat, begleitet von einigen der besten Musiker der damaligen Zeit. Nach jahrelanger intensiver Recherche hören wir die präzisen, einfühlsamen und überwältigend kraftvollen Stimmen von Künstlern wie Antonis ,Dalgas" Diamantidis, Sofrouniou und Stellakis Perpiniadis, zusammen mit aufschlussreichen Aufnahmen von weitgehend unbekannten Musikern, deren Werke hier zum ersten Mal veröffentlicht werden. Die LP wurde von Jordan McLeod im Osiris Studio sorgfältig remastered und restauriert und enthält detaillierte historische und diskografische Anmerkungen von Stavros Kourousis sowie poetische Übersetzungen der Texte von Tony Klein. Gepresst auf hochwertigem Vinyl bei Smashed Plastic in Chicago und gemeinsam mit dem großartigen Label Olvido Records veröffentlicht.

Svarta Havet's sophomore album out in February via Svart Records Hailing from Turku, Finland, SVARTA HAVET are set to release their sophomore album Månen ska lysa din väg for the European market via Svart Records on February 27th, 2026. Originally released by the US based Prosthetic Records in May 2025, Månen ska lysa din väg casts a critical eye over the negative effects of Western colonialism, capital greed and convenience at the cost of sustainability, presenting a rallying cry for change whilst never losing sight of the light that this world has to offer. Formed in 2018, SVARTA HAVET is a self-described dyster (gloomy) post-hardcore group born from the Finnish DIY punk and hardcore scene, with the members bonding over a shared affinity for punk music and community-first ideals with a focus on antifascist, feminist, trans and queer politics.

Where their 2021 debut full-length, JORD/VATTEN, served as an introduction to SVARTA HAVET’s amalgam sound of post-metal, hardcore punk and black metal, Månen ska lysa din väg is a deftly woven together panorama of their respective influences and a captivatingly urgent political and compassionately personal case for humanity’s course correction. With communities residing at the heart of their purpose, on a localised and a broad scale, SVARTA HAVET are not ones to lay idle in their hopes of a better world. 2026 will continue to see the band both touring their home country and beyond, as well as being deeply involved in organizing gigs and events through the collectively-run venue, Kirjakahvila ("Book Cafe") – a queer feminist, anti-capitalist DIY community space in Finland. In addition to hosting local acts, the group’s tireless efforts to support international bands will continue to see SVARTA HAVET helping to foster a vibrant underground scene in the process. SVARTA HAVET is: Lotta (she/her) - vocals Joakim (he/him) - guitar Anders (he/him) - bass Jara (she/her) - drums

Previously Unreleased Recording. Limited to 1200 copies on transparent cherry vinyl. Tip-on jacket, Download code. Insert featuring LP sized original art by Grungie O'Muck. Includes the original recording of Richard Tucker's "Are You Leaving For The Country", later covered by Karen Dalton, and the only song co-written by Karen & Richard, "Sleeping In The Garden". "Richard, Cam & Bert seem to have grasped The Great Harmony. That is, ensemble singing that is at once sweet, precise, funky and a bit sardonic..." -Mike Jahn / New York Times (1970) "For a few years in the late sixties and early seventies Richard Cam & Bert ruled MacDougal St. walking a fine line between the increasingly commercialized demands created by groups like Crosby Stills and Nash and the fierce integrity of earlier folk performers, the generation to which Richard belonged. They managed this with great aplomb, producing original tunes of great integrity and obvious folkloric origins, as well as those which expressed the anarchic omnipresent psychedelia of the moment. They also never abandoned the idea of including some traditional material in their performances. But for the usual random application of luck they could have been very big." - Grungie O'Muck / Artist, Bluesman, Cover artist for their first album and contributor to this one. Richard Tucker, Campbell Bruce, and Bert Lee coalesced as a trio in the spring of 1968, and by the end of that year had become regular performers at fabled Greenwich Village nightspots - The Gaslight, The Bag I'm In, Cafe Feenjon, among others. But mostly they were street singers, busking regularly in Central Park. Their only LP, Limited Edition, was released in 1970, and sold mainly at gigs and on the street. Somewhere in The Stars compiles earlier, previously unreleased recordings, when all three members were signed with Peer-Southern Music publishers as writers and began using their studio to make demos and experiment musically. Beautifully recorded by house engineer Charlie Mack (supervised by Jimmy Ienner), the demos capture a back room casualness and rustic, homespun quality. For me, listening to their songs and harmonies is like entering a world you always hoped existed but had never experienced. Some of the songs were re-recorded the following year for Limited Edition, but many are heard here for the first time. Among them is the original demo for Richard Tucker's song, "Are You Leaving For The Country", which Karen Dalton covered on her seminal 1971 release, In My Own Time. Richard and Karen were husband and wife for much of the 1960s, performing as a duo (initially as a trio with Tim Hardin), and navigating their time on the Village scene while alternating living in a small mining town outside Boulder, Co. before splitting up in 1967. Also making its debut, is the only song Richard and Karen ever wrote together, the haunting "Sleeping In The Garden". Also contains two epic songs by Cam "One Of These First Nights", and "Stockholm") not on their LP, but staples of their live performances, and noted in a gig review by The New York Times, and in a column by future A&R hero, Karin Berg, who was an early champion. Another rarity is the only cover of "Sweet Mama" by Fred Neil we've ever heard. Campell Bruce came to New York in 1967 as lead singer with a band from Washington, DC, The Natty Bumpo. They'd recently signed a record deal with Phillips, but were falling apart. Cam landed in the Village with an acoustic guitar and first started playing and singing in the basket houses, and shortly thereafter at The Gaslight, as the "Cam Bruce Trio" (which included Collin Walcott). After opening for Mose Allison, Cam's hero, the trio went their separate ways, and Cam returned to regular solo gigs at The Flamenco, and the basket houses on Bleecker. Richard and Cam met up on that scene and quickly found a musical kinship as well as becoming best pals. Bert Lee arrived in New York as a runaway the following winter, and began playing and sleeping wherever he could. His sometime accompanist, Ron Price, introduced Bert to Richard and Cam just as Bert's own songs were garnering attention from publishers. According to Bert, "I arrived on the New York scene during a time of great change, and it was the notion of change that influenced me. All around me I saw there were two sorts of songwriters, on the one hand dedicated to the traditions that had inspired them, folk, jazz, the American songbook. On the other hand were songwriters influenced by the wave of experimentation that The Beatles were the perfect example of. Mixing genres, writing lyrics that weren't just about ordinary love and loss. Richard Tucker was a country blues player, with a relaxed and melodic approach to the craft. Cam wrote something more akin to soul songs, with a hint of jazz in the changes. I was writing tunes that sometimes drew on classical structures with a tendency toward what I suppose would be known as prog-rock. But I was rather adamant about not being pinned down stylistically, and so I would write, for example, a song based on some complex classical chord structure, and then go right ahead and write a simple folk song, like Evelyn. Our band was popular locally, and it was this variety that made it distinct." Delmore is excited to present this unearthed treasure, fifteen years in the making. In the words of Richard Tucker, "Tap on your knee, roll on the floor; if you aint free, what's it all for?" "The trio's singing, playing, and writing have all withstood the test of time. Believe me, because I was there. In 1969 R,C&B, myself, Charles John Quarto, David Bromberg, Ron Price, and Keith Sykes were just a few of that year's crop of song-slingers. We were young turks back then, out on the prowl in New York's Greenwich Village for record deals, gigs, and beautiful young women to sleep with and maybe even write a song about. I've lost the names and numbers of those lovelies and I'm not sure what happened to Ron Price, but Richard, Cam, and Bert are back! - Loudon Wainwright lll

This is quite a unique release , as expected with genre-defying label Subsound Records. From a mystical frontier where the East meets the West comes a psychedelic wonder called The Cyclist Conspiracy This musical collective consisting of ten men and women creates unique sonic escapism for the soul that embark any listener onto a long-haul voyage without further ado. New album "Mashallah Plan" is a psychedelic tapestry that blends infuences from various parts of the world into a seamless unique "desert" rock experience - a monumental psychedelic piece set in the landscapes of Northern Africa and the Middle East bolstered by some magnifcent choral work and powerful riffs. The Cyclist Conspiracy, The (Anti) World Orchestra is the musical output of The Little Brothers dedicated to The Mysteries of The Last Age. Started as an informal project within the Society For The Development Of Alchemical Studies "Vasko Popa" in 2014, it is now a musical troupe consisting of ten male and female souls. The orchestra draws infuences from various parts of the world while trying to avoid superfcial, "new age" eclecticism and direct its creative efforts towards the synthesis of the given elements. Whether it's the Byzantine Empire or secret nomadic paths of the desert, the smokey cafe crowded with manges and frivolous women, or the steppe with the sky for shaman only, psychedelic or turkce rock, Middle or Far East, the journeys the cyclists taking are never the quest for the heart of this world. Sometimes they appeared as a symbolic quest for Constantinople, the heart of The Cycling of Byzantium, but they are always the quest for the heart of the only true light Agape. The Cyclist Conspiracy have played numerous concerts in Serbia and neighboring countries, whether as headliners, support for other bands (Acid Mothers Temple, King Dude, Hayvanlar Alemi), or a part of festival lineups (Haywire Festival (RO), INdirekt (CRO), Zelenkovac Jazz Festival (BH), The Music of the Secret Society that Owns Belgrade (SR)). Their new album "Mashallah Plan" is a psychedelic tapestry that blends infuences from various parts of the world into a seamless unique "desert" rock experience - a monumental psychedelic piece set in the landscapes of Northern Africa and the Middle East bolstered by some magnifcent choral work and powerful riffs.The band comments: "Mashallah Plan" is a story about a spiritual journey on a bicycle. This simple device reveals its profound symbolism only through the path of most resistance and thus represents a perfect esoteric vehicle for The Dark Age we are living through".

A new compilation explores the far reaches of the post-punk, experimental and electronic landscape in Switzerland on Senza Decoro: Liebe & Anarchia in Switzerland 1980-1990 curated by producer / DJ Mehmet Aslan.

Shapes of Rhythm is proud to present the self-titled debut LP of Turkish psychedelic pop from MLDVA & Çınar Timur. This record is a celebration of the classic music and culture typically of the 70s and 80s, but which also leans into western jazz funk and soul jazz moments. If you're into the Turkish music legends of the 70s and 80s such as Barış Manço and more recently Altın Gün or Derya Yıldırım & Grup Şimşek, you've come to the right place.

MLDVA were formed in Krakow, Poland in 2013 as a DJ and production outfit. Under the influence of Greek and Turkish folk and psych-rock music they began to transform into a band, taking up instruments including the Saz which is one of the most recognisable trademarks of the Turkish sound. Two years later in 2015 they invited Turkish instrumentalist Çınar Timur to join them and this completes the line up on their debut. This electric album is packed with excellently-recorded expansive tracks which are full of energy, psychedelic deep grooves, hard-hitting breakbeats and everything else you'd expect with classic Turkish sounds.

The instrumental double-header of Neşat Erkaş' Zülüf Dökülmüş Yüze, moving into the time-honoured traditional Kozan Dağıis the perfect opening track. The introduction is an overture of sorts with two minutes of Çınar Timur's pondering guitar. This tees up the record perfectly before heading into a break-beat driven workout with the band matching Çınar's evocative and energetic riffing. The result is a tight sound and a heavy groove that sets the tone for what's to come.

With the band unveiled, Sarı Çizmeli Mehmet Ağa, written by Barış Manço (a legend in Turkish popular music), hits a relaxed, deeper and more psychedelic groove, dominated by Wojciech Długosz's dreamy Rhodes piano, set against choppy wah-wah guitar licks that characterize that classic electric Turkish pop sound. We're introduced to Ulaş Çıbuk's vocals for the first time, telling the historic tale of a charitable village lord Mehmet Ağa from 19c Anatolia known for his generosity. He shared his fortune with people inneed and as a result, died penniless. This track also features the unique sound of Çınar's Mictrotonal electric guitar.

Bir Adım Öte is MLDVA & Çınar Timur's magnificent mellow moment, marking the halfway point in their debut. The group shows that it's not all about the frenetic in a nod to western Soul-Jazz constructs. They showcase restraint, emotion and that joy in repetition of a wonderful guitar refrain. Not content with holding this down, Wojciech Długosz's Rhodes solo steps into a world that's US-influenced Soul jazzand is a lesson in reduction and feeling. Çınar Timur then takes a solo turn, keeping it western-influenced with an on the spot improvisation. When the three minutes of solos are over, we're brought back out of thedream and towards the East again.

Adımız Miskindir Bizim kicks off like a hip hop/funk crossover tune, until the chord changes muscle in, to remind you where you are in the world. As with other tracks on the debut, the tune is marked by recurring motifs, this time from Çınar's microtonal electric guitar. We've more solo Rhodes action, thist ime busier and more urgent. The lyrics–originally written by Yunus Emre – criticizevalues such as holding grudges that destroy ideas of love, friendship and peace among people which causes hostility. Adımız Miskindir Bizim concludes with an uplifting vocal vamp which switches it up unlike any of thetracks on the LP.

In Fesupanallah– made most popular by Erkin Koray – Ulaş Çıbuk sings about the simple subject ofbeing patient with never ending problems in life, and trying to find a solution for them. This cut takes a rhythmical side-step to the rest of the album. The kick drum maps out a solid four-four, but the vocals and guitar lines move around it to impose Fesupanallah as being the record's most traditionally Turkish-sounding cut.

The album's closing track Ölüm Allah'ın Emri (another Manço classic) was recorded live in the band's more familiar surroundings of Krakow's Cheder Cafe during 2020's Jewish Culture Festival. The lyrics tell the tale of someone who has accepted death but cannot accept the separation that comes with it. We open with a dreamy, psychedelic mood before progressing into a heavy-riffing rock feeling with probing synths. Ulaş delivers his vocals over the top of a stripped back, shuffling groove. As the track progresses towards a frenetic conclusion, drummer Szymon Piotrowski cuts loose, combining with Grzegorz Dąbek's synth lines.

MLDVA & Çınar Timur's debut LP is not the sound of a band starting out. Taking time to hone their craft and let influences across the global spectrum of music mature, this is the result of years of jamming, gigging and collaborating. Now, after prestigious festival appearances and their place on Saz Power – an essential modern Turkish music compilation – they're making a lasting contribution to a rich, time-honored culture. MLDVA & Çınar Timur releases Friday 30 June 2023 on limited edition vinyl LP and digital download/streaming services on Shapes of Rhythm. Global distribution by Kudos Records.

Repress!

Using an old door, 17 strings, chopsticks and combining them with phasers, echo units and amplification, the new device was to become his signature sound, mixing Irish folk influences with Asian and North African sounds in a mesmerising and soulful new way that brought him to the attention of the leading improvisers of his day - Alice Coltrane, Ravi Shankar, Don Cherry and more.

A logical follow up to AllChival's recent reissue of Stano's debut LP, Michael O'Shea's self titled LP was originally released on Wire's Dome Imprint in 1982.

The background to the album is as interesting and inspiring as the artist who created it - born in Northern Ireland but raised in the Republic, O'Shea was keen to travel and escape the troubles of his home.

Wandering throughout Europe and the Middle East, O'Shea found himself living and working as a relief aid in Bangladesh in the mid Seventies where he learned to play sitar while recovering from a bout of hepatitis. A later period spent busking in France accompanied on zelochord by Algerian musician Kris Hosylan Harp led to O'Shea's idea of combining both instruments as a homebuilt instrument - Mo Chara (Irish for "My Friend").

He later described the process on the back of the LP himself saying:

"Having sold my sitar in Germany and being desperate for money to travel to Turkey, I conceived of the idea of combining both sitar and zelochord. The first Mo Cara was born, taken from the middle of a door, which was rescued from a skip in Munchen"

A combination of dulcimer, zelochord and sitar, O Shea would play it with a pair of chopsticks, striking the strings softly using Irish folk rhythms mixed with the rich, nostalgic sounds of of the many Asian artists he'd encountered on his travels.

It was a pan cultural sound standing at an unusual crossroads of folk, traditional, rock, progressive, jazz, electronic and post-punk worlds without hesitation.

Perfecting the instrument on the streets, there were further spells spent busking in the underground stations and cafes of London's West End and Covent Garden during the heady days of the 1970s when they were full of eccentric street entertainers, jazz improvisers and musical pioneers.

His work with Rick Wakeman never saw the light of day but O'Shea's contact with the world of post-punk London ensured his name would live on.

Introduced to Wire's Bruce Gilbert and Graham Lewis via cartoonist Tom Johnston, O'Shea eventually acquiesced to an open invite to record at their studio. Turning up unannounced in the summer of 1981 the LP was recorded in a day in the legendary Blackwing Studios and released on Dome the year after.

The first side features the fifteen minute masterpiece "No Journeys End" with the B side featuring more input from Wire in processing the Mo Chara sound.

Lewis himself said years later of the forgotten masterpiece: 'I always said it was the best job we ever did.'

After an aborted LP with The The's Matt Johnson the following year, O'Shea quietly disappeared from the formal recording world and his brief but unique contribution to the music world came to a sad end in 1991 when O'Shea was struck by a post van and died a few days later in hospital in London.

This repress on All City's AllChival imprint has been remastered and reissued with the approval of both Dome and his surviving siblings.

Second Editions presents a new collaborative work by Marja Ahti and Judith Hamann.

After their distinguished duet ‘Portals’ for Cafe Oto's Takuroku label, ‘A coincidence is perfect, intimate attunement’ is a wonderful sophomore collaborative work pieced together over two years of changing seasons, ideas, moods, and feelings. The release is formed from a shifting field of sound correspondence that pivots on moments of coincidence, of a tuning in.

What are we opening ourselves to when we tune in to sound? How can one be truly open to a sound? How can the activity of recording move beyond notions of capture and release into more generative frames? Rather than a tool purposed for preservation or ‘conservation’ of memory, of time and place, can recording sound instead form new vibrant or vibratory spaces of attunement?

‘A coincidence..’ is an LP length composition of multiple interlocking parts, created through exchange, alignment, unpredictability: the title borrowed from poet Fanny Howe falling right into place, a flock of birds in flight, pitches matched and moved across different geographies and temporal frames. Marja & Judith have created an intuitive, lyrical longform piece that considers the idea of attunement itself as, in some sense, the smallest form of measure or denominator connecting their respective practices: across field recording, just intonation, electronic sonorities and instrumental bodies. ‘A coincidence..’ reflects a sense of a willingness to tune in to impulses given, or gifted to the other, a position that embraces an intimate synchronicity.

Recordings & correspondances between 2020-2022. Mixed by Marja Ahti & Judith Hamann. Mastered and cut by Anne Taegert at Dubplates & Mastering in Berlin, 2022. Title quotation from Night Philosophy by Fanny Howe, Divided Publishing, 2020. Photogrpahy by Joshua Bonnetta. Thanks to Nino Bulling, Niko-Matti Ahti and leo. The work was supported by Kone Foundation, Akademie Schloss Solitude and NEUSTART KULTUR.

Marja Ahti (b. 1981) is a Swedish-Finnish composer and sound artist based in Turku, Finland. Ahti works with field recordings and other acoustic sound material combined with synthesizers and electronic feedback in order to find the space where these sounds start to communicate. She makes music that rides on waves of slowly warping harmonies and mutating textures – rough edged, yet precise compositions, rich in detail. Ahti has presented her music in many different contexts around Europe, in Japan and the United States. She is currently active in the duo Ahti & Ahti with her partner Niko-Matti Ahti and in the artist/organizer collective Himera.

Judith Hamann is a cellist and performer/composer from Narrm/Melbourne in so-called Australia, currently based in Berlin. Their work encompasses performance, improvisation, electro-acoustic composition, field recording, electronics, site specific generative work, and micro-tonal systems in a deeply considered process based approach to creative practice. Currently Judith’s work is focused on an examination of expressions and manifestations of 'shaking’ in solo performance practice, a collection of works for cello and humming, as well as ongoing research surrounding ‘collapse’ as a generative imaginary surface, and the ‘de-mastering’ of bodies (human and non-human) in European settler-colonial heritage instrumental practice and pedagogy. Judith likes working with and thinking-with other artists which sometimes includes people like Joshua Bonnetta, Dennis Cooper, Charles Curtis, Golden Fur (with James Rushford and Sam Dunscombe), Lori Goldston, the Harmonic Space Orchestra, Sarah Hennies, Yvette Janine Jackson, and Anike Joyce Sadiq.

Combining disco pulse with Turkish/Kurdish music and the energy of Marseille"s multi-cultural hipness, Biensüre brings a cool edge to the musical landscape of the mediterranean city and the dancefloors of the world. The group"s music, inspired by the personal stories of its singer, Kurdish Hakan Toprak, speaks of impossible loves, friendship and exile and is wraped up in an unmistakable groove. The eponymous album is the group"s first release, written, composed and produced by the four musicians and it is composed of seven groove-infused tracks that will please all global music lovers. Marseille in one of the coolest cities in France: The cafés, the terraces, the clubs, the Mediterranean sea and the mountains not far, make for a perfect setting for the wildly creative rebellious youth to express their art in a world of perpetual change. This is the setting in which Biensüre was born. Biensüre"s influences are varied and transcend generations and borders. Ranging from the Anatolian pop scene of the 70s and 80s with key figures like Erkin Koray and Baris Manço to 70s Jazz, Disco and early electro, their music is at the intersection of several musical continents.

The first album of Web Web is very uncut, raw, live and direct. Oracle is the first output of a German Supergroup. Check the musician credits below and you'll get the score. The initial idea was to record a spiritual-jazz type of album, with all its imperfection as far as intonation, sound, influences of tunes... just like from their big jazz-heroes in the 70ies (e.g. Strata East, Black Jazz).

Web Web's idea was to record a jazz jam session while to found and proclaim being a fictive band, a formation, which did not exist, while telling people, it would be a secret jam session recording of the Seventies. The prompt problem they were facing: Oh, we never would be able to play concerts, doing interviews, or placing photos on sleeves or post likeness images online. So they decided to reveal their real identities:

Web Web are: Roberto Di Gioia (Piano, Synth, Percussion), Tony Lakatos (Tenor- and Sopranosaxophone), Christian von Kaphengst (Upright Bass) and Peter Gall (Drums).

Roberto Di Gioia (Mastermind of Web Web): - The four of us set up very close in a big room, so we could hear and feel each other the best way. The music became more intensive, improvisations became more dynamic and it was impulsive .

The album Oracle' was recorded on one day, only first takes were used!

We want to keep the burning spirit and the loose vibe we had during the recording session. And we play concerts the wild and free way we recorded this album. Web Web will be on tour 2018, but playing a few concerts in 2017.
Furthermore, one main decision to blab their real identities was: The second Web Web album is recorded in June (with guests like the famous and unique Gembri-player and multiinstrumentalist and singer Majid Bekkas from Morocco).
Both albums were engineered, recorded and mixed by Jan Krause (Beanfield, Poets Of Rhythm).

Roberto Di Gioia: - Tony was tuning his Soprano too high, and his (overdubbed) tenor way too flat!
My synthesizers were somewhere in between...HA! We exactly had the sound we had in our minds, we had it exactly there were we wanted it: a bit of Sun Ra here, a bit of Horace Tapscott there. On some tunes Tony's soprano just sounds like a trumpet, since due to his weird tuning the soprano develops different frequencies in relation to other instruments.

Oracle' is the first live jazz release on Compost. Produced by Roberto Di Gioia and Michael Reinboth.

Roberto Di Gioia has been working with numerous jazz-legends, such as Woody Shaw, Art Farmer, James Moody, Johnny Griffin, Charlie Rouse, Clifford Jordan, Clark Terry, Roy Ayers, Gregory Porter and many more.

From 1990 to 2008: member Klaus Doldingers Passport. As a pianist he made recordings with Udo Lindenberg (MTV-Unplugged, 2011), Charlie Watts ( Music Of The Rolling Stones , 2005), Console ( Reset The Preset , 2003), The Notwist ( Shrink 1998, Neon Golden , 2002). Since 2007 he is working together with Samon Kawamura and Max Herre as KAHEDI: Max Herre ( Hallo Welt , 2012), Joy Denalane ( Gleisdreieck , 2017), u.v.m...His own group MARSMOBIL (produced by Peter Kruder) will release his fourth studioalbum in winter 2017.

Tony Lakatos originates from the world famous Lakatos-familiy from Budapest, Hungary. His father was a famous violinist, as well as his younger brother Roby. He started playing saxophone when he was 15 years old. Tony studied at the Bela-Bartok-Conservatory in Budapest, and made his degree in 1979. Since then he played on over 350 jazz albums (!!), to name a few: Al Foster, Kirk Lightsey, Randy Brecker, George Mraz, David Witham, Terri Lyne Carrington, Anthony Jackson. Tony was a member of Jasper Van´t Hofs PILI PILI. Since 1993 he is working with the HR Radio-Bigband as a soloist.

Christian von Kaphengst learned the piano at the Peter-Cornelius-Conservatory in Mainz when he was 6 years old. From 1988 to 1995 he studied upright-bass at the - Musikhochschule in Cologne. He was touring with his own Jazzquartett - Cafe du Sport to Pakistan, India, Turkey and West-Africa. Since 1999 he regularly plays with Patti Austin and The New York Voices in Europe. Von Kaphengst played with the greatest musicians, such as Randy Brecker, Nat Adderley, Roy Hargrove, Joe Sample, Charlie Mariano, Katja Ebstein, Xavier Naidoo, Roachford, Yvonne Catterfeld.

Peter Gall won some important German awards already when he was a youngster, like - Jugend Jazzt . He was touring with the famous - Bundesjazzorchester conducted by German jazz legend Peter Herbholzheimer. He studied at the Berlin University Of Fine Arts and at the Jazz Institute Berlin with John Hollenbeck. Gall made a masterclass at the Manhattan School Of Music with John Riley. He has been working with Seamus Blake, Ben Street, Gabriel Rios, Jasmin Tabatabai, Thomas Quasthoff, Peter Fessler.

Multi-instrumentalist UMUT ÇAĞLAR (KONSTRUKT, KARKHANA), former BABA ZULA-drummer FAHRETTIN AYKUT and the Finnish saxophone player / shakuhachi specialist JONE TAKAMAKI join forces in a stunning improvised live set that blends Free Jazz with East-Asian ZEN-sounds.

The idea for "Myth Of The Drum. Urban Transformation" dates from an art exhibition in Istanbul 2017 where FAHRETTIN AYKUT exhibited an installation called "Urvban Transformation" that combined painting and music, dealing with the relation of humankind and earth which is symbolized through a tree put upside-down.. AYKUT, former drummer in the Turkish group BABA ZULA and these days a well-known architect in Turkey, asked his longtime friend UMUT CAGLAR, multi-instrumentalist in KONSTRUKT and KARKHANA, to join for an actual performance … CAGLAR on his side was in touch with JONE TAKAMAKI who has been a central figure of the Finnish Free Jazz / Avantgarde scene since the 1970s. His album "Universal Mind" (1982) is a sought-after collector's item of European Spiritual Jazz, he was a member of the group ROOMMUSHKLAHN (with RAOUL BJÖRKENHEIM a.o.) and in 1991 he joined the ECM signed Finnish jazz/rock/improv collective KRAKATAU, founded and run by RAOUL BJÖRKENHEIM, and last but not least TAKAMAKI received the first ever Pekka Pöyry Award. Besides being deeply rooted in jazz, he is also a specialist in Japanese shakuhachi and hocchiku flute playing which makes this adhoc-trio so extraordinary: repetitive drumming, shamanistic throat sounds and plenty of string and reed instruments, a constant ebb and flow of sounds and energy … neither pure jazz nor world music but a blend of both, forming a fascinating third! Meditative in its continuously pulsating rhythm, cathartic in the moments of sonic outbursts …

A few months after the Istanbul art fair performance, the trio (augmented to a quartet by ALAN WILKINSON) played 2 showsatLondon's Cafe OTO and gossip has it saying that THURSTON MOORE who attended the show confessed afterwards that he was very touched emotionally.

Credits:

All Music by Fahrettin Aykut/Umut Çağlar/Jone Takamäki.

A Konstrukt Joint.

Jone Takamäki: tenor saxophone, ney, shakuhachi, clarinet.

Umut Çağlar: guimbri, kalimba, gralla, zurna, mey, flutes.

Fahrettin Aykut: electronic percussion; drums, cymbals.

Recorded live at BantMag. Havuz/Bina in Istanbul (October 3rd, 2017) through a Tascam portable recorder.

Produced by Umut Çağlar.

Mastered & cut by Anne Traegert at D&M, Berlin

• Demon Records presents the first reissue of Patrick Gowers’ BAFTA-winning soundtrack
from the BBC TV series ‘Smiley’s People’.
• Based on John le Carré’s sequel to ‘Tinker Tailor Soldier Spy’, the series first aired in
1982 and starred Alec Guinness as British master spy George Smiley and Patrick Stewart
as KGB agent Karla

Nach Dem Sensationellen Erfolg Des Ersten Albums - oracle Im Letzten Jahr, Erscheint Nun Das Zweite Album Der Deutschen Jazz-supergroup Web Web. - dance Of The Demons Ist Ein Furioser Tanz Mit Den Dämonen - Mal Im Positiven Spirit Soul Jazz Rausch Wie Bei - land Of The Arum Flower , Das Mit Seiner Ergreifenden Melodie An Ethopian Jazz Der 60er Jahre Erinnert, Oder Mal Verrückt, Entfesselt Wie Bei - sandia .

Web Web Spielt Nun Mittlerweile Seit 2 Jahren Intensiv Zusammen, Man Hat Duzende Konzerte Absolviert Und Man Spürt Förmlich Die Geschlossenheit, Intensität Und Kraft, Die Sich Als Homogener Organismus Aus Einem Guß Heraus Zu Einem Phantastischen Sound Zusammenbraut.

Als Einen Besonderen Glücksfall Konnte Die Band Den Berühmten Marrokanischen Sänger Und Gembri-spieler Majid Bekkas Gewinnen, Der In Rabat Beheimatet Ist. Tony Lakatos Arbeitete Mit Majid Und Joachim Kühn In Den Letzten Jahren Immer Wieder Zusammen, Ebenso Roberto Digioia In Zusammenhang Mit Klaus Doldinger. Insofern Lag Es Nahe, Diesen Brillianten Musiker Mit Seinen Nordafrikanischen Wurzeln Mit Dem Ungeschliffenen Konzept Von Web Web Zu Verbinden. In - maroc Blues , Einer Soloperformance Von Majid, Hört Man Den Warmen Klangkörper Der Gembri, Einem Kontrabassartig-klingendem Instrument (dreisaitige Langhalslaute), Sowie Auch Majids Wunderbare Stimme, In Der Sich Die Jahrhunderte Alte Tradition Der Berber Widerspiegelt. - safar Zeigt Ebenso Die Große Improvisatorische Klasse Von Web Web, Vor Allem Wie Sie Auf Allen Ebenen In Die Spirituelle Sprache Eintauchen.
Majid Bekkas Ist Einer Der Bedeutendsten Musiker Und Vertreter Der Gnawa-musik, Die In Der Südlichen Sahara Beheimatet Ist. Am Konservatorium Für Musik Und Tanz In Rabat Studierte Er Seit 1975 Klassische Gitarre Und Oud.
Nach Ersten Erfahrungen Mit Eigenen Bands In Den 80er Jahren Gründete Er 1990 Sein Trio Gnaoua Blues Band, In Dem Er Blues Mit Gnawa-musik Verband. In Den Darauffolgenden Jahren Interessierte Er Sich Zunehmends Für Jazz, Trat Schon Bald Mit Größen Wie Archie Shepp, Louis Sclavis, Peter Brötzmann Oder Hamid Drake Auf.

- dance Of The Demons- Wurde Wie Auch - oracle An Einem Wochenende Live In München Eingespielt
Toningenieur Ist Wie Auch Bei - oracle Jan Krause (beanfield, Poets Of Rhythm U.v.m.)
Das Nächste, Dritte Web Web Album Wird Im Winter 2018 Ebendort In München Aufgenommen, Und Es Werden Wíeder Ein Oder Zwei Hochkarätige Gäste Dazu Eingeladen.

Web Web Sind: Roberto Di Gioia (piano, Synth, Percussion), Tony Lakatos (tenor- Und Sopranosaxophone), Christian Von Kaphengst (upright Bass) Und Peter Gall (drums).

Roberto Di Gioia Arbeitete Mit Zahlreichen Jazz-legenden Zusammen, Wie Z.b. Mit Woody Shaw, Art Farmer, James Moody, Johnny Griffin, Charlie Rouse, Clifford Jordan, Clark Terry, Roy Ayers, Gregory Porter U.v.m.
Anfang 1990 Wurde Er Mitglied In Klaus Doldingers Passport.
Als Pianist Machte Er U.a. Aufnahmen Mit Udo Lindenberg (mtv-unplugged,2011), Charlie Watts (- music Of The Rolling Stones , 2005), Console (- reset The Preset , 2003), The Notwist (- shrink 1998, - neon Golden , 2002).
Seit 2007 Arbeitet Er Zusammen Mit Samon Kawamura Und Max Herre Als Kahedi: Max Herre (- hallo Welt , 2012), Joy Denalane (- gleisdreieck , 2017), U.v.m.
Seine Eigene Band Marsmobil (produziert Von Peter Kruder) Wird Im Herbst Ihr 4.studioalbum Veröffentlichen.

Tony Lakatos Stammt Aus Der Berühmten Lakatos-familie Aus Budapest, Ungarn. Sein Vater War Ein Berühmter Geiger, Ebenso Sein Jüngerer Bruder Roby. Er Begann Mit Dem Saxofon-spiel Als Er 15 Jahre Alt War.
Tony Studierte Auf Dem Bela-bartok-konservatorium In Budapest, Machte Seinen Abschluß 1979 Und Spielte Seither Auf Über 350 Jazzproduktionen Weltweit Mit, U.a. Mit Al Foster, Kirk Lightsey, Randy Brecker, George Mraz, David Witham, Terri Lyne Carrington, Anthony Jackson. Tony War Mitglied Der Band Pili Pili Von Jasper Van´t Hof. Seit 1993 Ist Er Solist In Der Hr Radio-bigband.

Christian Von Kaphengst Bekam Mit 6 Jahren Klassischen Klavierunterricht Im Peter-cornelius-konservatorium In Mainz.
Von 1988 Bis 1995 Studierte Er Jazz-kontrabass Sowie Instrumentalpädagogik An Der Musikhochschule In Köln.
Sein Jazzquartett - cafe Du Sport Absolvierte Im Auftrag Des Goethe-instituts Tourneen Nach Pakistan, Indien, Türkei Und Westafrika. Seit 1999 Ist Er Regelmäßig Bassist Von Patti Austin Sowie Der New York Voices Für Europäische Konzerte.
Von Kaphengst Spielte U.a. Mit Randy Brecker, Nat Adderley, Roy Hargrove, Joe Sample, Charlie Mariano, Katja Ebstein, Xavier Naidoo, Roachford, Yvonne Catterfeld.

Peter Gall Gewann Bereits In Jungen Jahren Erste Preise Bei Jugendjazzt Und Tourte Mit Dem Bundesjazzorchester Unter Leitung Von Peter Herbholzheimer. Er Studierte An Der Berliner Universität Der Künste Und Am Jazz Institut Berlin Bei John Hollenbeck. Gall Absolvierte Sein Masterstudium An Der Manhattan School Of Music Bei John Riley.
Er Arbeitete U.a. Mit Kurt Rosenwinkel, Seamus Blake, Ben Street, Gabriel Rios, Jasmin Tabatabai, Thomas Quasthoff, Peter Fessler.

Feedback - Web Web - oracle :

"oracle Ist Nicht Nur Ungemein Packend, Sondern Klingt Auch Absolut International, Bewegt Sich Auf Einer Ebene Mit Leuten Wie Kamasi Washington Oder Shabaka Hutchings." - Jazzthetik

"ein Wirklich Erstaunliches Erstes Album" - Süddeutsche Zeitung

"sun Ra Wäre Stolz Gewesen Auf Web Web Und Ihr Erstes Album Oracle." - Soultrainonline.de

"...the Album Is Engaging And Fascinating In Equal Measures. ... Sonically, The Album Embraces The Various Late 1960s And '70s Jazz Aesthetics Of Modal, Fusion And Spiritual Jazz Soundscapes, But 'oracle' Isn't A Strata East Or Black Jazz Tribute Record. This Is Very Much A Contemporary Affair With Its Richness Emanating From The Group's Varied Musical Tastes And Sensibilities And It Favours An Entire Listening Experience." - Ukvibe.org

"raise A Glass And Toast This Supremely Enjoyable Recording." - Birdistheworm
"oracle Contains 13 Tracks Of Pure Retro Sounding Perfection. This Is Like A Long Forgotten Treasure. It's Certainly An Album Serious Lovers Of The Genre Will Embrace." - Reviewgraveyard
"wonderful Album!!" - Simon Harrison / Basic Soul

"this Is Amazing. Going To Have To Grab A Vinyl Copy For The Collection" - Kev Beadle

"fantastic Record ! Love It ! We Need More Music Like This !!" - Peter Kruder