4/29/2021 0 Comments Radio Citizen Berlin Serengeti Rar
Found this in Eds collection (returning the fist bump), but Im surprised they flew under my radar because I seek out stuff like this.
![]() Radio Citizen has put together a unique soundscape Recommended for sure Rob O. Its definitely about the process of producing this album which took so long I needed much endurance, explains Schabel. By continuing to use this website, you agree to our policies regarding the use of cookies. His first album was an all-out assault of electronic music armed with organic tentacles that reached far into an eclectic bag of rough jazz and worldly funk. It not only caught the ears of tastemaker DJs and press (It leaps dozens of genres in a single bound, digs up all those old sounds I love, fits them together, and erects a temple to pops melting pot - PITCHFORK) but also wound up in movies and TV shows as varied as Greys Anatomy, Californication, and this summers blockbuster Takers. Schabel creates music that balances being accessible and exciting by way of his ability to blend the electronic with the organic. On Berlin Serengeti he seamlessly glued-together a loose collage of sampled textures and embellished them with gifted musicians and vocalists. On Hope and Despair he takes an even headier blend of raucous live instrumentation and works it into gritty songs and walls of sound with deft mixing and subtle studio trickery all rooted by heavyweight bass lines. His mass ensemble of musical friends often performs together in the Radio Citizen live show that developed after the release of the first album. Their unified musical prowess is reflected in the soloing, the harmonies, and all the interactions, that lift Hope and Despair above its predecessor. Hope and Despair has many more layers of sound, theres more to discover, says Schabel. If the Berlin Serengeti album was 8mm, Hope and Despair is cinemascope. Radio Citizen Berlin Serengeti Rar Full Force OnThe album launches at full force on the first track, Test Me. Jagged strings provide a tense backdrop for special guest Ursula Rucker to strut her stuff. On Home, Midnight and Skyscapers Schabel furthers his Berlin Serengeti experiments forging indestructible genre (and speaker) busting joints that ride the line between hip hop, dub and jazz. On Hope and Stop or Go Bajka adds her unique dusty vocal flow to the busted beats. She also wrote the music and lyrics to Summer Days, the more organic and live track of her three appearances. On Move and Thema Schabel balances Afro-Cuban rhythm with big band backing, the latter taking off with a pull-no-punches rhodes solo. Last Exit is a piece of cinematic jazz just waiting for the right movie to happen. The sound, at times, is like an orchestra in the style of The Art Ensemble of Chicago or Sun Ras Arkestra with huge wind sections or multiple percussionists driving the listener on a whirlwind tour through African rhythms, Ethiopique-stewed funk, and film-noir jazz. The bitter blue sound of World recalls vintage Archie Shepp (circa Attica Blues) with Schabel interjecting only brief moments of respite from the chaotic walls of horns and piano. Julian Waiblinger (drums) and Wolfi Schlick (flute and sax) have really come into their own. The piano players (Jo Junghanns, Antonis Anissegos and Marja Burchard) have great features. Playing a lot live and improvising (with Radio Citizen, Niko Schabel Quartet, the Express Brass Band and other bands) has been a good schooling, explains Schabel. And working in the studio forces one to really know what you want to do and exercise it both with precision and intuition, he adds. For Hope And Despair Schabel made thousands of drafts, piecing together countless recording sessions, and spending long hours spent editing and listening for the right moments and sounds.
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