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If you haven’t heard the swirling, diverse musical landscape of BLK JKS, drop what you’re doing and throw some of their tunes on your favorite music player, ASAP. Pronounced like “Black Jacks,” this four-piece band from Johannesburg, South Africa is unlike any rock band to come along in recent memory. Although they’re drawing comparisons to bands like TV on the Radio and Vampire Weekend, those really are just reference points. Make no mistake, BLK JKS are fiercely their own musical force.

On their debut EP Mystery released this past March on Secretly Canadian, they’ve managed to carve out a unique musical identity, drawing from many genres including art rock, indie rock, psychedelic rock, jazz fusion and world music. Racking up praise from such notable publications like The New York Times, SPIN, The Wall Street Journal, The New Yorker and LA Weekly, Mystery is generating a lot of buzz for a little 4-track EP.

Rightfully so, too. Guitarist Mpumi Mcata simultaneously creates haunting, echoing effects as well as explosive, energetic solos. Mystery’s first and self-titled track is a perfect example. Imagine a modern-day Jimi Hendrix raised on a steady diet of Sonic Youth avant-garde exploration.

Mystery’s second track Lakeside shows off the dub-flavored percussion work of drummer Tshepang Ramoba to outstanding effect. Anchored by bassist Molefi Makananise and singer Lindani Buthelezi, BLK JKS’ music floats along in a colorful blend of truly global flavors. It manages to be unpredictable, cascading off in a number of unusual directions, but never unaccessable. Summertime, for example, is certainly a reggae-tinged tune but simply calling it “reggae” doesn’t do it justice. For every influence BLK JKS bring to the table, they take that starting point and expand upon it until all the boring, predictable traits have been exorcised and we’re left with only a hint of the familiar to loosely ground us. Meanwhile, like any good artist is supposed to, a whole new musical landscape has been built on that foundation, and we are left to explore this strange, new musical path at our own risk.

BLK JKS’ music is both challenging and thoughtful at times. There’s a certain ponderous musing to be found in most of the lyrics, which are predominately in English (”All the wise men ’round the world don’t know the answers…”). There’s even some straight-up dark shit (”Sweet summertime, burning cancer in my skin…”). Still, there’s a certain energy that penetrates through the dark, obtuse subject matter. BLK JKS’ instrumentation confronts its lyrical demons in such a way that the listener doesn’t get bogged down in the melancholy. Rather, you’re able to confront it and move on thanks to the exotic and alluring song structures.

The band is set to release their full-length debut After Robots on September 8th through Secretly Canadian. For the recording of the album, the band traded the hot and hazy South African summer for the indifferent midwest American winter of Bloomington, Indiana. Brandon Curtis of The Secret Machines joined the band at the controls of the “Hypnotic Brass Ensemble” which will appear on a number of the tracks providing “the swagger of aggressive horn stabs.” Molalatladi is our first taste of After Robots and if this is any indication of the album as a whole, it’s safe to say we can expect big things from this band in the immediate future. Take a listen courtesy of the band’s official blog and catch the band hitting up some festivals in the UK and Germany later this summer.

"Molalatladi" from AFTER ROBOTS
Stream "Lakeside" on NPR

Similiar Artists: TV on the Radio, Yeasayer, Sonic Youth, The Mars Volta, De Facto, Omar Rodriguez-Lopez, Brenda Fassie, Electric Owls, Lemonade, Tortoise

This article and more like it available at SleepWalKing Magazine.

http://www.sleepwalkingmag.com/

Gylepomp is born in the middle of last century.
Using some gitars and keys to
create some noise. His passions: Music and Motorcycles
Gylepomp is an Artist from Reutlingen, Germany

'mbuti:-first question:-artist name? yes, no, maybe, when how and why?

Gylepomp:- yes, maybe it´s Gylepomp
Why-no
How-yes

‘mbuti:-second question:- creative process, how do you arrange?

Gylepomp:- it´s always a jam-session with myself, most improvisation
"let it flow"

http://gylepomp.jimdo.com/
http://www.unsigned.com/gylepomp
http://www.last.fm/music/Gylepomp
http://www.lastfm.it/music/Gylepomp

uno o più 'mbuti
one or more funnels

17.06.2009
Till Brönner - Midnight

http://www.lastfm.de/music/Till+Brönner

Die Fans von Till Brönner dürften schon sehnsüchtig auf die längst überfällige Wiederveröffentlichung seines Mitte der 90er Jahre gemachten Albums “Midnight” gewartet haben. Nun ist endlich soweit: das frühe Fusion-Meisterwerk, das der deutsche Trompeter unter anderem mit amerikanischen Jazz- und Fusion-Koryphäen wie Tenorsaxophonist Michael Brecker, Altsaxophonist David Mann (Tower of Power), Keyboarder George Whitty (Brecker Brothers), Gitarrist Dean Brown, Bassist Anthony Jackson, Schlagzeuger Dennis Chambers und Perkussionist Manolo Badrena einspielte, wird zwölf Jahre nach seiner Erstveröffentlichung auf CD neu aufgelegt.

Als es im Frühjahr 1997 als viertes Soloalbum Brönners erschien, erlebte der damals 25jährige nach enthusiastischen Aufnahmesessions in New York eine Enttäuschung, als das Album innerhalb der Veröffentlichungen der damaligen Plattenfirma unterging und ohne angemessene Promotion auf dem Markt nicht die verdiente Aufmerksamkeit fand. Dabei waren mit gelungenen, souligen Coverversionen von Marvin Gayes “What’s Going On“ und Stevie Wonders “Don’t You Worry ‘Bout A Thing” sogar zwei potentielle Radiohits dabei.

Tatsache ist, daß Till Brönner nicht der erste deutsche Jazzmusiker war, der sich mit Musikern der Crème de la crème der interantionalen Fusionszene in ein Aufnahmestudio gewagt hatte. Zu seinen Vorläufern gehörten u.a. Joachim Kühn, Albert Mangelsdorff, Volker Kriegel und Wolfgang Dauner. Aber sie alle waren zu diesem Zeitpunkt schon gestandene Größen. Brönner sprang, trotz seiner bereits beachtlichen Spielerfahrung und einer früheren Plattensession mit der Jazzlegende Ray Brown, ins kalte Wasser und mußte erst einmal beweisen, daß er mit den großen Fischen mithalten konnte.

In seinen Linernotes zur Neuauflage von “Midnight” schreibt Ralf Dombrowski: “… es war durchaus nicht so, daß die amerikanischen Stargäste den Mittzwanziger aus Deutschland mit Vorschußlorbeeren bedacht hätten. Man testete sich gegenseitig aus, kleine Spielchen unter Musikern wie spontane Progressionswechsel wurden probiert, aber Till Brönner parierte, mehr noch, er gab selbst die Richtung vor, in die gespielt werden sollte. So war schnell geklärt, daß sich hier Kollegen auf Augenhöhe trafen. Auf dieser Basis konnte ‘Midnight’ entstehen, ein Album mit sattem soul-funkigen Groove und der kollektiven Kraft einer von ihrem Bandleader inspirierten Profitruppe.”

Für Till Brönner sollte das Album dennoch zum Sprungbrett in die internationale Karriere werden. Erregte er mit ihm doch schließlich die Aufmerksamkeit der Verantwortlichen der deutschen Abteilung des legendären Jazzlabels Verve Records. Der Rest ist, wie man so schön sagt, Geschichte oder besser: eine Erfolgsgeschichte, wie sie ein deutscher Jazzmusiker nie zuvor geschrieben hat. Denn heute ist es für Till Brönner beinahe schon alltäglich, mit den Größen der internationalen Jazz- und Popwelt im Studio zusammenzuarbeiten oder auf der Bühne zu stehen. Und auch um angemessene Aufmerksamkeit für seine neuen Alben braucht sich der singende Trompeter keine Sorgen mehr zu machen. Mit seinem letzten Album “Rio” landete er sogar in den Top 10 der deutyschen Pop-Charts.

Seinen Fans, deren Zahl seit 1997 exponentiell gewachsen ist, gibt Till Brönner nun mit der Wiederveröffentlichuung von “Midnight” Gelegenheit, ein verpaßtes frühes Meisterwerk (wieder) zu entdecken.

Mehr Informationen zu Till Brönner finden sie auf seiner Künstlerseite.

Featured CD

Till Brönner
Midnight
VÖ: 19.06.2009 |
CD 0602527067919
Verve

English Translation :

Till Brönner - Midnight

The fans of Till Brönner might have waited quite longingly for them long ago overdue republication of his middle of the 90s to made albums "Midnight". Now it is limited so far: the early coalescence masterpiece which the German trumpet player played in, among the rest, with American jazz and Fusion-Koryphäen like tenor saxophonist Michael Brecker, old saxophonist David Mann (Tower of power), Keyboarder George Whitty (Brecker Brothers), guitarist Dean Brown, bassist Anthony Jackson, drummer Denni Chambers and Perkussionist Manolo Badrena is anew put on twelve years after his first publication on CD.

When it appeared in spring, 1997 the fourth solo album Brönners, a disappointment experienced then 25-year-old to enthusiastic Aufnahmesessions in New York when the album within the publications of the record company at that time set and did not find without adequate doctorate at the market the deserving attention. Besides, besides, even two potential radiohits were with successful, souligen cover versions of Marvin Gayes "What's Going On" and Stevie Wonders "Don't You Worry" Bout A Thing”.

Fact is that Till Brönner was not the first German jazz musician who had ventured with musicians of the Crème de la crème of the interantionalen coalescence scene in a recording studio. Joachim Kühn, Albert Mangelsdorff, Volker Kriegel and Wolfgang Dauner belonged to his precursors among other things. But they all were at that time quite confessed dimensions. Brönner jumped, had to prove in spite of his already substantial play experience and a former record session with the jazz legend Ray Brown, in the cold water and first of all that he could keep up with the big fish.

In his Linernotes to the new edition of "Midnight" writes Ralf Dombrowski: “… it was not at all in such a way that the American star company would have roofed the Mittzwanziger from Germany with premature praise. One tested himself mutually, small little plays among musicians like spontaneous progression changes were tried, but Till Brönner obeyed, more still, he gave himself the direction in which should be played. Thus was fast cleared that here colleagues on eye level met. On this base 'Midnight' could originate, an album with full soul funkigen Grooving and the collective strength of a professional troop inspired by her tape leader.”

For Till Brönner the album should still become the springboard in the international career. If he attracted with him, nevertheless, finally, the attention of the people responsible of the German department of the legendary jazz label Verve Records. The rest is as one says so nicely, history or better: a successful history, as she has never before written a German jazz musician. Since today it is nearly quite everyday for Till Brönner to work together by the dimensions of the international jazz and pop world in the studio or to stand on the stage. And also around adequate attention for his new albums the singing trumpet player needs to give himself no more troubles. With his last album "Rio" he landed even in the top 10 of the deutyschen pop charts.

Till Brönner gives to his fans whose number has grown since 1997 exponentially now with the Wiederveröffentlichuung of "Midnight" opportunity to discover a missed early masterpiece (again).

Featured CD

Till Brönner
Midnight
VÖ: 19.06.2009 |
CD 0602527067919
Verve