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John Murry – A Short History of Decay (2017)

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320 kbps / 101 MB / RG / DF

Some artists become legends. They become household names. Most people will know at least one or two of their songs. For whatever reason their mainstream success transcends commercialism, and they end up transforming popular culture and by extension, culture at large. These artists’ names become adjectives. Dylan-esque. Beatles-esque.

Australian enfant terrible Nick Cave may not have quite reached that stage, but he’s close. Most music lovers will immediately understand it when you call something ‘Nick Cave-esque”.

Of course, the adjective itself can quickly become a crutch for lazy reviewers, and all too often for artists as well. So it’s a pleasant surprise to hear a release that can be called Nick Cave-esque but still very much marches to its own beat.

John Murry’s life story in itself is the stuff of legends. From an unhappy, over-medicated childhood to drug addiction, musical success, and another fall into addiction and even prison, his life story reads like a book. He also was adopted into William Faulkner’s family at birth (a cousin of his mother). John certainly need not look far for inspiration.

A Short History of Decay is an album that resulted from a chance meeting with Cowboy Junkies guitarist Michael Timmins. Recorded over a five day period with an emphasis on off-the-cuff creativity, the album is a strong statement by an iconoclastic artist, backed by a tight group of excellent musicians.

This is a sonically adventurous release, frantic and understated at the same time, with cavernous piano, telephone vocals, sudden volleys of fuzzed-out guitar, and the backup vocals of Cait O’Riordan ( the Pogues, Elvis Costello) .

Silver or Lead starts off with a sombre piano, joined by minimal drums and bass. The song walks a tightrope between sombre dirge and a more hopeful sing-along chorus while remaining solidly entrenched in Murry’s trademark melancholy.

Under a Darker Moon is a personal favourite, grinding and sputtering along happily on a solid bed of bone-dry drums and psychotic guitars. Wrong Man reminds me of Nebraskaera Bruce Springsteen and is one of the strongest cuts on the album. Murry’s vocals on this song give me a mental picture of the world’s loneliest monk, preaching to the buzzards and rattlesnakes in the Mohave Desert, right before the fiery ball in the sky claims his sanity.

Another mid-tempo rocker is Defacing Sunday Bulletins, with Murry’s spine-tingling telephone vocals steering the sonic mayhem with steady if slightly trembling, hand. Miss Magdalene is an achingly beautiful acoustic song reminiscent of Leonard Cohen at his most morose.

Originally an Afghan Wigs tune, What Jail is Like is a guitar-driven ballad with sad piano, tribal drums, and some of that good old-fashioned backwards guitar. The lyrics take on extra poignancy in light of Murry’s life story.

A Short History of Decay is a gripping album, sonically adventurous, by an artist who’s paid his dues, came out a stronger man and an iconoclastic artist who made a career out of transforming tragedy and hardship into stark beauty.


Metallica - Metallica (1991/2008) FLAC (tracks)

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Metallica - Metallica (1991/2008) FLAC (tracks)
Artist: Metallica | Album: Metallica | Released: 1991 (Remaster 2008) | Genre: Thrash Metal, Metal | Country: USA | Duration: 01:02:40

Rocqawali – Sufi Spirit (2017)

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RocqawaliAs soon as Ejaz Sher Ali opens Sufi Spirit with his winding, rising voice, one thing is clear: this is no ordinary rock and roll album. The thumping bass that follows says it’s going to be more than just freeform mysticism, too. Based in Denmark, with members who have roots in Pakistan and Iran, Rocqawali mixes the traditional qawali style of Sufi devotional music with western rock to create entrancing jams with a spiritual lift on the group’s hypnotic debut album.
Opening track “Ill Allah” sets a sublime tone, and though there are a few wince-worthy seconds of overprocessing on Ali’s voice early on, the rest of the song more than makes up for them, filling the track with light, love, and a drive that carries through the whole album. The momentum here…

136 MB  320 ** FLAC

…is fierce, fed by not only voice and bass but by versatile drumming and dual guitarists, a quintet always in motion.

The genre blend is no one-trick pony; while “Ill Allah” soars on cries of joy, “Ranjha” is a different kind of dizzying, a slow, smoldering spin aided by hand drums and quick guitar scales. The colors on “Kohi Jadu” are rich and deep, creating a slower, more velvety soundscape. It’s a starlit, 11-minute-long massage for the soul, moving in gentle, cleansing waves. Low-key though it is, the track is a highlight of the album.

On “Alaap”, the ecstasy is in full swing as the whole group improvises. Ali switches it up between legato and staccato in his wordless vocalizations, and guitars and synths go wild. It’s one of the album’s shorter songs, and one of the most unstructured, letting us feel the band’s raw and very substantial chemistry.

Unquestionably the climax of the album, “Dhamaal” is an arrangement of the popular qawali typically known as “Dama Dam Mast Qalandar”, a hymn famous throughout India and Pakistan, and here performed with the feverish energy it deserves and a cheerful bassline that anchors the rapid beats. It’s really the grand finale to the album; final track “Dil Mein” is a sweet, subdued denouement that serves as an extended epilogue. It’s a ghazal, a poem of unconditional and sacred love tinged with a hint of melancholy, and the song is beautiful for all its empty space.

In fusing together rock and qawali, the members of Rocqawali show an immense amount of respect for both forms, for the grit and emotion that can explode from an electric guitar as well as for the complex melodies of rapturous, long-standing Sufi traditions. As different as each style’s origin may be, they are united in the universal purpose of music: expression. In that aim, the group is in total harmony, and they are palpably excited to reach that goal together, in a unity that takes them far. Rocqawali is a group in full bliss, and it’s infectious, especially in Ali’s masterfully controlled voice, letting his whole heart shine. Sufi Spirit is an album to bask in, warm and brilliant from start to finish.

Yoko Ono – Approximately Infinite Universe (2017)

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320 kbps / 185 MB / RG / DF

There’s a fury at the core of Yoko Ono’s 1973 rock opus Approximately Infinite Universe that was not apparent on previously recorded efforts. Ono has always been a master of turning pain and sadness into art, but here, there’s a clenched-fist intensity that sets it apart in her deep, unparalleled catalogue. Ono is angry. She proved that one can carry a boundless love for humanity and still be furious – furious at male/female relationships, at war, at your partner. Meanwhile, on a sonic level, Ono ups the ante on the more centered rock-n-roll sounds she approached with 1971’s Fly. The album is one of the most traditional-sounding rock chapters in Ono’s sprawling catalogue. There are moments here that absolutely rival Jersey legends the E Street Band ever dared tread. Approximately Infinite Universe is an essential and progressive piece of Ono’s output, both in the advancements she made as a songwriter/conceptualist, and as a solidified statement of her staunch feminist role within the very male-dominated mainstream rock ghetto of the mid-1970’s.

Yoko Ono – Fly (2017)

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320 kbps / 217 MB / RG / DF

What you hear on Fly is Yoko Ono’s disarming combination of opacity and visceral, personal transparency in full bloom. It’s one of the most unbridled, most captivating soul albums ever made. And that’s right where she wants you: vulnerable, wide open to any-and-everything, ready to have your world tipped onto its head. She’s a master of spinning your head around. First, you get the Bar Band from Hell of “Midsummer New York” to kick things off. It’s about the last thing you’d expect from Ono coming off Plastic Ono Band. But here you are, listening to Ono channeling Elvis. Why am I all of a sudden bopping along to it? At 16-minute-plus, the tranced-out, motorik-inspired boogie “Mind Train” is rough-and-ready for your next basement get down. Movement and perspiration required. Then, we have the absolutely gutting blues of “Don’t Worry, Kyoko (Mummy’s Only Looking For Her Hand in The Snow).” Full of ache and raw emotion, the song is a love note, a plea for forgiveness, to her estranged daughter Kyoko shot across the universe on a flaming arrow. Ono follows this stampede of emotion with the self-referential torch song “Mrs. Lennon,” a wounded song that gets right into the Universal Loneliness. And so here you are. You’re devastated. You’re exhausted. You’re exhilarated. And you’re only 1/4 of the way up the mountain that is Fly. Dig deep, traveler, it’s worth the climb.

VA - Goa Trance Revolution (2013) FLAC (image + .cue)

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VA - Goa Trance Revolution (2013) FLAC (image + .cue)
Artist: VA | Album: Goa Trance Revolution | Label: Goa-Trance.com | Catalog #: GTCCD001 | Released: 2013 | Genre: Trance | Duration: 01:10:00

Scooter - 20 Years Of Hardcore (2013) FLAC (image + .cue)

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Scooter - 20 Years Of Hardcore (2013) FLAC (image + .cue)
Artist: Scooter | Album: 20 Years Of Hardcore (Remastered) | Released: 2013 | Genre: Techno, Trance, House, Dance | Country: Germany | Label: Sheffield Tunes

Valery Gergiev, Mariinsky Orchestra - Tchaikovsky: 1812 Overture (2009) FLAC (tracks + .cue)

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Valery Gergiev, Mariinsky Orchestra - Tchaikovsky: 1812 Overture (2009) FLAC (tracks + .cue)
Artist: Valery Gergiev, Mariinsky Orchestra | Album: Tchaikovsky: 1812 Overture | Released: 2009 | Genre: Classical | Country: Russia | Duration: 01:04:14

Guy Clark – Great American Music Hall San Francisco 1988 (2017)

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320 kbps / 80 MB / RG

Guy Clark, live at the Great American Music hall, San Francisco on 15th October 1988. Although he was never a prolific recording artist, the legendary Guy Clark was one of the most esteemed singer-songwriters of his generation. Originally broadcast on KSAN-FM, this superb live set includes material that spans the length of his career, including several songs from his recently released Old Friends album.

Tracklist:

01. LA Freeway 04:36
02. Homegrown Tomatoes 03:26
03. Texas 1947 03:52
04. The Carpenter 03:43
05. Anyhow I Love You 02:51
06. New Cut Road 04:45
07. Old Friends 03:38
08. All Through Throwin Good Love After Bad 03:40
09. Comes From The Heart 03:47
10. The Indian Cowboy 03:37
11. Desperados Waiting For The Train 05:20
12. Heavy Metal 03:30
13. Let Him Roll 05:18

Evanescence - Greatest Hits (2012) FLAC (image + .cue)

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Evanescence - Greatest Hits (2012) FLAC (image + .cue)
Artist: Evanescence | Album: Greatest Hits | Released: 2012 | Label: Wind-Up Records, EMI Music | Catalog #: 4607147908693 | Genre: Rock, Alternative rock, Gothic Rock | Country: USA | Duration: 02:39:44

Led Zeppelin - Led Zeppelin IV (Deluxe Edition) (1971/2014) FLAC (tracks + .cue)

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Led Zeppelin - Led Zeppelin IV (Deluxe Edition) (1971/2014) FLAC (tracks + .cue)
Artist: Led Zeppelin | Album: Led Zeppelin IV | Label: Atlantic / Rhino / Swan Song | Catalog #: 8122796446 | Released: 2014 | Genre: Rock, Classic Rock, Hard Rock | Country: UK | Duration: 01:23:06

Bob Marley & The Wailers - One Love (The very best of) Special Edition - 2 CD (2001) FLAC (image + .cue)

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Bob Marley & The Wailers - One Love (The very best of) Special Edition - 2 CD (2001) FLAC (image + .cue)
Artist: Bob Marley & The Wailers | Album: One Love (The very best of) Special Edition - 2 CD | Released: 2001 | Genre: Dubstep, Reggae

VA - Cafe Del Mar - Terrace Mix: Compiled By Toni Simonen (2011) FLAC (tracks + .cue)

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VA - Cafe Del Mar - Terrace Mix: Compiled By Toni Simonen (2011) FLAC (tracks + .cue)
Artist: VA | Album: Terrace Mix: Compiled By Toni Simonen | Label: Cafe del Mar Music | Catalog #: 1-2011-94 | Released: 2011 | Genre: Lounge, Chillout, Downtempo | Duration: 02:16:16

Tarkan - Karma (2001) FLAC (image + .cue)

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Tarkan - Karma (2001) FLAC (image + .cue)
Artist: Tarkan | Album: Karma | Released: 2001 | Genre: Pop | Country: Turkey | Duration: 00:44:53

Red Hot Chili Peppers - By The Way (2002) FLAC (tracks)

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Red Hot Chili Peppers - By The Way (2002) FLAC (tracks)
Artist: Red Hot Chili Peppers | Album: By The Way | Released: 2002 | Genre: Alternative Rock

System Of A Down - Hypnotize (2005) FLAC (image+.cue)

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System Of A Down - Hypnotize (2005) FLAC (image+.cue)
Artist: System Of A Down | Album: Hypnotize | Released: 2005 | Label: Sony Music Japan | Catalog #: SICP-933 | Genre: Metal, Alternative Metal

Bazar Et Bémols

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Bazar et Bémols, C'Est L'Histoire De 3 Compères, Qui Depuis 2007, Près De Paris,
Valse Entre Chanson Française, Swing et Jazz Manouch' Avec 7 Instruments,
Qu'ils Jouent Dans La Rue, Le Metro Ou Sur Scène

Bazar et Bémols, Es La Historia De 3 Amigos, Quien Desde 2007, Al Lado De Paris,
Jugan Entre Cancion Française, Swing y Jazz Manouch', Con 7 Instrumientos
Que Tocan, Dentro La Calle, El Metro O Sobre Las Escenas

Bazar et Bémols, It's The Story Of 3 Friends, Who's Since 2007, NExt To Paris,
PLay Between Française's Song, Swing Or Jazz Manouch' With 7 Instruments,
Which's Playing Into The Street, The Metro Or On Stages



Site Officiel

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Bazar Et Bemols Ep 2011

01 Son Petit Coeur En Miettes
02 Quand On Revient
03 Les Mange-Notes

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Bazar Et Bemols Ep 2013

01 Insomnies
02 Le Ramoneur
03 Son Petit Coeur En Miettes
04 La Vie Buissonière
05 Les Mange-Notes
06 Quand On Revient

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Le Fruit Du Bazar 2015

01 Cuistot
02 Insomnies
03 Les Autochtones
04 Quand On Revient
05 D'Abord Les Copains
06 La Conjuration
07 Ballade En Montagne
08 Son Petit Coeur En Miette
09 Belle Echapée
10 La Vie Buissonière
11 Le Ramoneur
12 Nuit Matinale
13 Les Artisans

CHANTAL MORTE από το blues ξεκινάνε, άγνωστο που καταλήγουν

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Είδα στο discogs πως τοMental Short [Atypeek Music, Animal Biscuit, 2017] των Chantal Morte είχε κυκλοφορήσει σε βινύλιο το 2012. Δεν ξέρω… Εγώ πάντως έχω τώρα μπροστά μου ένα CD σε κάλυμμα 45αριού(!), που περιέχει ακριβώς τα ίδια δέκα έξι tracks, που περιείχε και το LP – οπότε, ίσως, θα ήταν φρονιμότερο να γράψουμε για κάποια επανέκδοση(;). Ξαναλέω… δεν ξέρω. Το  CD πάντως είναι κυκλοφορία του καλοκαιριού και γι’ αυτό θα πούμε, τώρα, ό,τι πούμε…
ajazz%2Bmental.jpg
Γάλλοι είναι οι Chantal Morte (Mika Chantal & Roco Morte) και το άλμπουμ τους βγάζει οπωσδήποτε μια «νταρκίλα», αν και η βάση του είναι το blues! Περίεργα πράγματα… Ναι το blues, το οποίο διαστρέφουν και ορχηστρικά και φωνητικά, προτείνοντας ένα αποστασιοποιημένο μίγμα από θορύβους, ακρότητες και φωνητική διαχείριση από παλαιό Nick Cave, μέχρι… Yell-O-Yell
Τα περισσότερα κομμάτια είναι δικά τους, σε στίχους Giless M. Fakir και Mika Pusse (αποδίδουν οι ίδιοι και σε μερικά μαζί με τον Koonda Holaa), ενώ υπάρχουν και δύο διασκευές – μία στο “Alabama song” των Kurt Weill-Bertold Brecht και μία στο “Maxims” του Serge Gainsbourg.
Εντάξει, ενδιαφέρον υπάρχει… δεν το συζητώ. Και όσο και αν σε ταλαιπωρεί η ιδέα να σκέφτεσαι πως το μέλλον του blues μπορεί να είναι κάτι σαν κι αυτό, δεν παύει οι Γάλλοι να κάνουν καλή δουλειά, σ’ ένα παράλληλο ηλεκτρονικό, πειραματικό και noisy κύκλωμα, μίλια μακρύτερα από απόψεις τύπου Moby (“Play”) κτλ. 
(Τον ανέφερα τον τελευταίο, για να μη νομιστεί πως μπορεί να υπάρχει κάτι εδώ που να τον θυμίζει).

Kacapi Kajang: Boat Lute Shredding in South Sulawesi

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[Track recorded by Palmer Keen and Joseph Lamont; mixed and mastered by Joseph Lamont]

Location: Jannaya Village, Tanah Toa, South Sulawesi

Sound: Kacapi Kajang (also called kacaping

Sulawesi is a sprawling mass of jutting mega-peninsulas, each with its own peoples, languages, and musics. Zoom in one one of these starfish arms and the scene remains amazingly diverse: in South Sulawesi alone, you have cultures as different as the highland death-obsessed Toraja and the notorious, sea-faring Bugis. The lower reaches of this arm is mostly lowland populated by the Bugis and their cousins the Makassar, but in one mountainous corner called Bulukumba there lives a tribe removed, quite literally, from the rest: the Kajang. 

The Kajang have been compared to the Amish of America due to their strict adherance to rules of adat, or traditional custom. Most live in one compound, a village called Benteng in the wider area called Tanah Toa. Stepping into Benteng is in many ways like stepping back into time: electricity is prohibited, as are shoes; there is a dress code of all black, and pre-Islamic beliefs and traditions have seemingly changed little for generations. 

Unsurprisingly, the Kajang have a musical culture fairly distinct from the ethnic groups surrounding them: most famous is their basing-basing, a duet of long bamboo flutes with buffalo horn bells (very similar to the suling dendang-dendang I recorded in the highlands near Toraja many years back.) Also, just like their lowland neighbors, the Kajang also have their own take on the enigmatic boat lute. 

While found in other areas of Indonesia (see the Sumbanese jungga) and elsewhere like the Philippines, boat lutes are most common in Sulawesi, where various cousins are found from the southern tip all the way to the central highlands. Boat lutes (so called because of their sensuous, boat-like curves) are usually called variations of the word kacapi here: kacaping in Mandar, katapi for the Torajans (although this may be extinct!), and simply kacapi for everyone from the central highland Kaili to the Kajang folks down south. 

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Maybe the most distinctive feature of these lutes is that rather than having frets, they have raised “fingerposts” on and between which the player can fret its two strings. The Kajang style can have five or six - Philip Yampolsky recorded one with six back in the nineties, but the one we met had five, each with a name: from highest up, you’ve got lompo (“large”), tangga (“middle”), diki (“small”), ari’ (“younger sibling”), and bungko (“youngest sibling.”) 

Farther up, the strings lead to the head and the quite naturally named tuning pegs, tolinna (“the ear” in the local language, bahasa Konjo). The strings run from here to a very high bridge called possina, or “the navel.” The galang or strings are these days made from fishing line, but folks used wire and probably more organic materials in earlier times. As I think must be true for almost every boat lute, the upper string is picked but unfretted, laying down a constant drone. 

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The Kajang style of kacapi playing is what I believe academic ethnomusicologists call “shreddy.” A constant medley of cycling melodic ostinatos is played at a speed that I figure to be more than 250 BPM, one pentatonic permutation shading into the next and then back again for as long as the occasion requires it. Yampolsky was told that the kacapi Kajang is played “to ‘unburden one’s spirit’ as private entertainment”, and I can see that being true: our player, Baco’, seemed supremely meditative as he shredded away on his porch. He also told us, though, that even now he will be called every so often to play at housewarming rituals, an important rite in Kajang society. 

Talking to Baco’, it became clear the Kajang, like other lutists around the country, make a distinction between “songs” (lagu in Indonesian or kelong in bahasa Konjo) and “pickings” (petikan in Indonesian or pakte’ in bahasa Konjo.) Baco’ plainly stated that he knows only one song (that is, one piece with lyrics attached): the tune called “Leko Leko.” In fact, that’s the only “song” that any Kajang folks know on kacapi, he told us. When playing "Leko Leko", a vocalist may join singing about how its better to deliver a message on foot rather than send a letter and risk it getting lost in the mail (a metaphor for direct communication instead of gossip, perhaps?) Baco' lamented, though, that nobody is left in the village with a decent voice - they've all passed on. He sang for us a bit though to give us an idea, his voice scratchy and wavering.

As for picking patterns, it became clear, there’s a wider selection, from “Kadopi” (a reference to drumming patterns, also the only tune also recorded by Yampolsky) to “Itto-Itto”, “Cakumba-kumba”, “Rikong-Rikong”, and “Joong” (the name in bahasa Konjo for a large gong.) The picking called “Rikong-Rikong” seemed especially distinctive with its funky three-beat pattern typical of percussion music popular in the Bulukumba area. 

 I love all the boat lutes of Sulawesi - each seems to be a local expression of this widespread and ancient form, not only in the particularities of its construction but in the idiosyncrasies of its music. In the hands of a master like Baco’, that ever-steady picking is as unwavering as the Kajang’s proud traditions, a feeling of cosmic infinity in its potentially endless medley. 

Context:

We drove up to the highlands of Bulukumba looking for the gong and drumming music called ganrang Konjo, a surprisingly funky percussion style played at local weddings. Figuring that Tanah Toa, with its very intentional commitment to traditions, might be an ideal place to find it, we headed straight there (or, straight enough - we got lost and had to ask directions about a dozen times on the way up from the coast.) 

A friend of a friend of a friend hooked us up with Alam, a Kajang guide who often led tourists into Benteng, the heart of Tanah Toa. We got barefoot, wrapped our heads in traditional headbands and followed Alam into the village, cursing all the way as the path of tiny river stones tortured our virgin soles. The interior was charming and immaculately clean, with neat wooden stilted houses interspersed with small gardens. In one of these raised houses we met with the kepala desa or village chief, also a kind of spiritual adviser for his clan. After asking about drums, two were brought out from a nearby room, and the kepala desa and a neighbor quickly demonstrated a typical rhythm. From the first beat, I realized there’d been a mix-up - the tight, funky rhythms I’d heard on YouTube were quite different from those coming from the drums before us. Turns out the funky interlocking rhythms were played by other Konjo speakers outside of Kajang but not in the Tanah Toa proper - here, a looser, far less showy style prevailed.

We caught the Kajang style of drumming later that evening at a wedding full of men drinking palm wine and playing dominoes, but I was also curious about something else: do you still have kacapi music around here? Alam smiled - he’d known nothing about the drumming music, but he perked up at the mention of kacapi. A musician lived not far from his house on the outskirts,and he’d be happy to take us there that afternoon! 

And so we found ourselves that afternoon, shoed once more and on motorbike to Baco’s house. He lived in the kind of gorgeously modest stilted home found all around Sulawesi, the front door a kind of portal you have to step into, the interior a womb of dark, creaking wood. Alam introduced us to Baco’, a man in his seventies with a wispy grey beard and mustache and almost no Indonesian vocabulary. After Alam explained our purpose in Konjo, Baco’ grabbed his kacapi from where it was hanging on the bare wall, stuck a peci cap on his head, and stepped out onto the still-sunny terrace.

Baco’ sat and rested the end of his kacapi in the shiny folds of his woven black sarong, pulled the “ears” of his lute until the strings were properly tuned, and without much fanfare launched into his fiercely persistent picking. With almost metronomic precision, Baco’ played on for more than fifteen minutes straight, an epic medley of Kajang’s top hit pakte’ pickings, I guess. As he played, his unblinking eyes wandered absently about his surroundings as his inner focus seemed to zero in with meditative calm on the feverous picking of his fingers. A horse whinnied, a motorbike blasted by, chickens clucked as they do, and Baco’ picked on, unwavering. 

Just when I thought the medley was literally infinite, Baco’ brought it to an end with a precise final strum. We sat on the porch for the next hour, Alam acting as Konjo-Indonesian interpreter as we tried to figure out what to call that epic string of figures we’d just heard (it was suggested, initially, that it was all one song, but that was before the “song” and “picking” distinction was helpfully made clear!) 

There wasn’t a younger generation in the Kajang area to continue this craft, Alam said, but I got the sense that Baco’, with his confident fingering, would be able to hold the tradition down for maybe even a few decades more. I was happy to see that playing hadn’t been a chore: when I slipped him some cash as we left, Baco’ confusedly rejected it with a Konjo exclamation, only to accept it after another try. After we’d said farewell and were pulling away on motorbike, I looked back to see him up on the porch, diving back into the endless picking once more. 

+++

Huge thanks to Alam for guiding us around tanah Kajang, Baco' for his brilliant picking, and Jo for his audio magic! 

(Country, Bluegrass, Hillbilly, Progressive Country) [CD] VA - Dim Lights, Thick Smoke & Hillbilly Music: Country & Western Hit Parade 1946-1970 (26 CD set) - 2008-2013, FLAC (image+.cue), lossless

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Dim Lights, Thick Smoke & Hillbilly Music: Country & Western Hit Parade Жанр : Country, Bluegrass, Hillbilly, Progressive Country Носитель : CD Страна-производитель диска (релиза) : Germany Год издания : 2008-2013 Издатель (лейбл) : Bear Family Records Номер по каталогу : BCD 16950 AR - BCD 16970 AR, BCD 17261 AR - BCD 17265 AR Страна исполнителя (группы) : USA Аудиокодек : FLAC (*.

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