Stellamara

jueves, 7 de julio de 2016


Electro-acoustic world music ensemble steeped in the Middle East, Balkans, and beyond…

Internationally acclaimed world music ensemble Stellamara premiers electro-acoustic sets emphasizing their signature passionate rhythms and eastern melodies with dramatic orchestral sections, otherworldly ambience and deep bass grooves. Evolving for over a decade of recording and performing, Stellamara unites world-renowned musicians from diverse cultural backgrounds in a shared devotion for folk and classical music rooted in Near Eastern, Eastern European, Medieval European, Arabic and Persian traditions. Stellamara is regarded as being at the forefront of contemporary world music, giving new life and a fresh, modern expression to the beautiful and mysterious qualities of traditional modal music.

At Stellamara’s core is vocalist and producer Sonja Drakulich and multi-instrumentalist Gari Hegedus. Their ensemble includes an all-star cast of musicians: percussionist, vocalist and multi-instrumentalist: Evan Fraser, percussionist: Sean Tergis, and their newest member, accordionist, vocalist, programmer / keyboardist: Dan Cantrell

…………………

Stellamara began when vocalist / producer Sonja Drakulich created a vehicle for the development of devotional music based in Near Eastern and medieval modal traditions. Extraordinary musicians from diverse cultural backgrounds have since come together within the vessel of Stellamara, creating music with a common intention: to celebrate love, beauty and unity through transcendent harmony and passionate rhythms. Rooted in Turkish, Arabic, Balkan, Medieval European and Persian musical traditions, Stellamara carries a deep devotion to the music of these cultures with a unique timeless expression. As an actively touring ensemble, they are internationally regarded as being at the forefront of contemporary world music, giving new life and a fresh, modern expression to the beautiful and mysterious qualities of traditional modal music.

Stellamara’s founder and Producer, Sonja Drakulich, was born of Serbian and Hungarian decent and raised in Los Angeles. She sought out the study of Eastern European singing on her own as a young girl, and its expression quickly became, for her, a homecoming. She began performing Balkan and Medieval European music as well as her own compositions at the age of 18. At that time she also began her studies in classical Hindustani and Persian singing, and later continued to expand her voice through Turkish, Greek and Arabic singing. She was adopted as protégé by the legendary Bulgarian vocalist Tatiana Sarbinska at the age of 20, and continued her studies with both Tatiana and the renowned Bulgarian vocalist Tsvetanka Varimezova. She has toured with the Mevlevi Dervishes as a singer and percussionist and has provided music for Sufi gatherings and devotional events around the country. She toured Indonesia in 2006 as part of the Gamelan theater group, Situbanda, where she performed a lead role in a contemporary rendition the Ramayana. Her voice and music can be heard in many independent films and she has been sought after by composers, producers re-mixers, as well as the extraordinary Cirque du Soloeil, for lead roles in their productions. Throughout her successes as performer and producer, and throughout her continued studies, Sonja has maintained a voice that is unique, reverent and exquisite. She is not confined by any one tradition, and uses her voice with the freedom of a soaring musical instrument. In her voice, one can hear her center residing in the devotional aspect of song, as she carries within her a signature passionate and rhythmic style, graced with the delicate ornamentations of Eastern melody.

Gari Hegedus began devoting his life to music with the study of Celtic and Bretagne music. From there he was led eastward into the intense practice and performance of Turkish classical and Mevlevi ceremonial music and he toured with the Mevlevi Dervish Order of America for several years. Gari is widely sought after as a highly accomplished and versatile recording and performing artist. His repertoire and playing styles reach outward from Turkey and Greece into the Arab lands, Iran and India. Gari began his musical career with fiddle and mandolin, and had devoted a decade of his life to the violin before learning of his ancestral Hungarian name, Hegedus, meaning “violinist.” Gari’s main instruments are the oud, violin, saz and mandocello, yet his talent is also proficiently expressed on many other instruments, including the yayli tanbur, sarod and setar. Being largely self taught, with an insatiable drive for the discovery of new depths and intricacies of playing, he asserts a distinctive talent for capturing the delicate essence of traditional music, offering a passionate, heartfelt uniqueness and freedom of expression. As a composer and performer, Gari has developed the art of taksim (improvisation) to a deeply soulful level for which he has become highly recognized. He is co-founder of the beautiful musical duo “Teslim” with violinist and composer, Kaila Flexer.

Originally from Orcas Island in Washington State, Evan Fraser ( Dirtwire, Dogon Lights) is a world renowned multi-instrumentalist, performer, teacher, and recording artist currently based in the San Francisco Bay Area of California. His teachers include: John Bergamo, Randy Gloss, Alfred & Kobla Ladzekpo, Sulley Imoro, Nyomen Wenton, Jim Santi Owen, Mark Growden, Mamadou Sidibe & Yacouba Diarra. , Evan learned to play music at an early age in Waldorf school and studied the piano.  Through his love of music and the outdoors, he discovered the smaller, more portable instruments and has never stopped exploring the vast diversity of musical instruments, music cultures, their histories, and how they relate to each other. Today Evan has a collection of over 200 instruments. Each one is a unique tool, a special sound in Evan’s palate of musical expression. Keyboards, kalimbas (thumb pianos) kamale ngonis (African harps), winds, slide guitars, drums & global percussion. Evan has been collecting and playing jaw harps from around the globe for over 20 years. With a collection of over 50 jaw harps from 15 different countries, Evan enjoys sharing the many styles & techniques of playing this very small and portable instrument with everyone who wants to lear

Line-up:

Sonja Drakulich

Gari Hegedus

Sean Tergis

Dan Cantrell

and guest appearances by:

Rufus Cappadocia and Faisal Zedan


Stellamara – Discography

Star of the Sea (1997)

The Seven Valleys (2004)

The Golden Thread (2010)


Folk Noir

miércoles, 6 de julio de 2016



The name Folk Noir invokes a collection of images coming from an Era of the past. A time of poets and writers, inspirations from the Occult and new views on the World we live in. A world with dark bohemian magic and various Arts. Folk Noir, the band collects these images and blends them into a new kind of dark folk music.



Folk Noir performs music with the use of (English) multi layered vocals, various medieval folk instruments, aswell as modern influences.




With their self written lyrics in English and translucent storylines Folk Noir brings a new dimension to alternative music, in which they evoke a darker kind of folk...


Folk Noir started out as a two person project between Oliver s.Tyr of FAUN and Kaat Geevers of L.E.A.F.

In 2012 Stephan Groth (FAUN) and Alex Schulz have joined this project to grow into a full-four-member band.

Meanwhile in 2013 they have developed into a respectable liveband which combines fragility with a powerful festivalshow.

In the end of 2014 they had a lineup change. Co-founder Kaat Geevers will now more focus on her band L.E.A.F. and Livy Pear joined the band. She enriches Folk Noir with her amazing voice and is going to play additional guitar and piano.




PRESSETEXT



FOLK NOIR - A darker kind of folk



Es erklingen duestere Balladen, die sich von filigranen Folksongs bis zu modernem Postrock steigern.



Mit Oliver s. Tyr und Stephan Groth von der international erfolgreichen Band "FAUN", der bezaubernden Ausnahmestimme von Livy Pear und Alexander Schulz am Schlagzeug gelingt es FOLK NOIR, 


folkige Klaenge in einer mitreissenden Kraft und Intensitaet erklingen zu lassen.

Mumford & Sons treffen auf Drehleier und Laute, die zwielichtige Stimmung eines Tim Burton Films wird musikalisch auf die Buehnen des 21. Jahrhunderts getragen.


Line-up:




Oliver s.Tyr: vocals, guitar, lute



Livy Pear: vocals, guitar, piano

Stephan Groth: vocals, hurdy-gurdy, piano, flute

Alex Schulz: drums


FolkNoir - songs from home nr. 1



Tracklist:




1.Dear Misery

2.The songs in mariees hands

3.You Should Have Seen Me There

4.The ragged wood

5.She moves through the fair

6.The Road




SeeD

martes, 5 de julio de 2016




The Faerie and Pagan folk band SeeD plays music of their own creation. Every single one of the band members helps composing and writing the music, thus forming an organic flow of creation.


SeeD taps into the mysterious world of the Ancient Fae, the modern world of dreams and passions in life. The four musicians travel from festival to festival to inspire the people lost in this world and to tell the listener tales of the vast Faerie realms or to simply get everyone dancing to the energetic, self-composed Pagan folk tunes. 




Line-up


Koen van Egmond: Burke whistles in F & D, Susato double whistle in C, Sallow flute in D, Xaphoon, Tombak, Offerdalspipa 


Lars van Egmond: Backing vocals, guitar and percussion (davul, didge, darbuka and jaw harp) 

Sara Weeda: Ashbury Irish bouzouki (open D tuning) called ‘Bronagh’, Brendan White double skin Irish bodhrán called ‘Donar’, Cort Earth acoustic 12-string steel guitar called ‘Ysis’. 

Robin Dekker: Dual Cajon, Deer hide, rune infused Shaman drum, Lars’s Davul, Egg shaker, Pigma Micron Fineliners 


SeeD – Portal to Elfland (2015)

Tracklist:

1.The Veil
2.Portal to Elfland 
3.Twilight
4.May’s Jig of Lunacy
5.Nymph Hunt 
6.Torc
7.Aerie
8.Brave
9.Green Man
10.Lady of Laughter
11.Land of Melancholy
12.Gathering Mushrooms
13.Merry Making
14.CPPS


Track 1: The Veil 


CeltCast: The first song, ‘The Veil’, sets the atmosphere for a mystical journey, which is of course very appropriate for and album which is intended to form a Portal to Elfland. During this track there is some playing going on with the stereo image of the music, which definitely gives it a very mysterious feel. 

Koen: An intro that I think speaks for itself and acts as an introduction to open the listener up to the concept of the Portal to Elfland. 


Track 2: Portal to Elfland 

CeltCast: The second track is also the title track for the album, ‘Portal to Elfland’. The first thing to notice in this song is the very heavy bass presence. The song continues to flow in this mystical atmosphere even through the chorus. There is a depth in this track that gives it an almost shamanistic feel. As a personal preference I would have liked to have heard some more high end in this song, but there’s no accounting for taste is there? 

Koen: A song in which the listener experiences the journey of stepping through the portal. You can already hear the creatures that you can encounter, and through the sounds of a creaking ship and turning sails it creates the atmosphere of being on a journey and being carried on the currents through the portal. (Mental image: Think of the scene in Pirates of the Caribbean where the ship goes over the waterfall to Davy Jones’ Locker.) 


Track 3: Twilight 

CeltCast: Next up is the song ‘Twilight’. If I were to pick one word to describe it it would probably have to be ‘intriguing’. First there is the lightness of the flute, and then comes some deep percussive bass. This song slowly builds to completion from the start. Just over halfway in there is an energy boost that takes control of your body, almost forcing you to move. 

Koen: We musically show the onset of the evening. The sky turning from blue to pink, to purple, to red. And the creatures that become active that time of day, along wit hall the mystique of the dark parts of the forest and the rest of the world. 


Track 4: May’s Jig of Lunacy 

CeltCast: And then comes ‘May’s Jig of Lunacy’. For a track with ‘jig’ in its name it starts of rather slow, but then comes the power! This is in my opinion the first track of the album that clearly shows a connection to the earlier work of Omnia. It’s very powerful, very musical. Heavy on the percussion, this is a very strong song! 

Koen: A jig written for the creatures of the Fae world, that don’t like to play according to the rules as set by man. Something we often see in Balfolk dancing. It’s possible to dance a jig to it, but a true Balfolker, fixated on the rules of the dance, will go mad because the steps don’t fall the way he or she would want them to. Lunacy drives people crazy, think about witches that are strongest during a full moon and in the old days would have been labelled crazy and dangerous. 


Track 5: Nymph Hunt 


CeltCast: Whom among us doesn’t like the idea of a little ‘Nymph Hunt’? This fifth track of the album is also very reminiscent of early Omnia music. Closing your eyes, it’s easy to envision a hunt after beautiful Nymphs, that leads you across streams and through forests, with the Nymphs staying ahead of you, but only just… 

Koen: An up-tempo song in which we act out the playfulness of being free in nature, especially the male and female aspects that are always teasing each other. You can see a mental image of a Nymph pretending that she doesn’t want to get caught by the horny Satyr that is chasing her. 


Track 6: Torc 

CeltCast: Track number six is called ‘Torc’. The intro of the song is very deep, almost as if it’s meant to bring you into a trance. Although the song does climb out if that depth the trance-like state continues. It feels as if this song, in particular the flute, is trying to tell a story. The transitions between energy levels within this song happen so naturally that you can hardly even notice your mood change. A very musical song. 

Koen: A song in which we show our faith in totem animals. It starts with Omnia’s ‘Bran’ acting out a raven, but it quickly flows into the ‘Torc’ part that we wrote that symbolises the boar. I myself have already been on a journey with my totem animal the heron for years and the interconnection is becoming stronger every day. 


Track 7: Aerie 

CeltCast: Where ‘Torc’ starts off deep, the next track ‘Aerie’ starts off high, open, light. A feeling of magic and Fae, and a sense of urgency that this song contains an important story that needs to be told. Close your eyes and find out what that story is… 

Koen: A musical representation of the story of Aerie, a character from the well know RPG game series Baldur’s Gate. A winged elf that is viciously robbed of her wings and now has to live among humans without the freedom she once knew and without ever seeing her kind in the high heavens again. 


Track 8: Brave 


CeltCast: The eighth song signals that we are already halfway through the album, unfortunately. The track isn’t only called ‘Brave’, it’s a song about being brave and finding your own way to change the world around you. This song has some very, very inspiring lyrics! A very powerful song, feeding the soul with feelings of strength and possibilities. I’m loving the positive vibe from this! 

Koen: A song that speaks of the hard choice of staying true to ones self or to go with the flow with life and the people around you. The choice to conform yourself tot he more ‘normal’ people or to just be your happy self. In this song we encourage you to be brave, and despite the fact that it can be difficult at times, to stand strong and be yourself. 


Track 9: Green Man 

CeltCast: Next up is a track with a very familiar name, ‘Green Man’. An iconic figure in Celtic mythology, and very common in neo-pagan circles, the Green man has had many songs written about him, and this song is a worthy addition to that collection. The chants, with a very subtle harmony, create a very danceable ode to this figure of mythology. 

Koen: A song in which we honour the Green Man. A leafy face in many shapes and sizes that symbolises the primordial power of nature and the changes that that power can affect. 


Track 10: Lady of Laughter 

CeltCast: ‘Lady of Laughter’ is, as the title suggests, a very cheerful song. Slightly more up-tempo than some other songs on this album it conjures up images of faeries in the forests and fields, laughing and dancing, lighting up their surroundings with mischief and happiness. 

Koen: A female fae that Koen encountered, and with the inspiration that she gave him we wrote this song. In it a message to respect Nature and the Fae, because they can be unrelenting in their retribution. 


Track 11: Land of Melancholy 


CeltCast: Quite the opposite, the next song ‘Land of Melancholy’ is slower and more down to earth, though one shouldn’t be fooled by the title, the song certainly isn’t depressing in nature. It actually becomes rather powerful further on in the track. The song ends with quite the surprise on the lyrics. I did not expect that. 

Koen: A fairytale written by Koen about two lovers who accidentally stumble into the Land of Melancholy and there fall under a spell of the rulers lament, because she has lost her lover. As long as they are enchanted they will dance on the fields of melancholy and will never return to what they left behind in the lands of man. Again a testament tot he unrelenting nature of the Fae. 


Track 12: Gathering Mushrooms 

CeltCast: Starting with some really nice percussion and the clear and crisp voice of Sara ‘Gathering Mushrooms’ is something different. The song has a familiar feel, even though I wouldn’t be able to pinpoint it. The combination of the strong and somewhat heavy percussion and the high and happy sounds of the vocals and flute make for a very interesting and entertaining song! 

Koen: A traditional, arranged by Michael Philip McGlynn, known from Anuna. This song is about a bo that sees a beautiful young woman bent over to gather mushrooms early in the morning. He is very taken by her and this ends up in a very intimate loving ritual. (They both ‘sat down’ together, oh) 


Track 13: Merry Making 

CeltCast: ‘Merry Making’ starts with a similar bass sound to the percussion as ‘Gathering Mushrooms’, but the song picks up almost from the start with very enchanting flute play. Throughout the song there are several changes in rhythm that make this track very fun to listen to. A very merry track, leaving you wanting to join in the making… 

Koen: A song written to capture the atmosphere of a flaming campfire, the bottles of mead and the nice music and people at a festival. Somewhere near the end a 7/8′ part, to show that sometimes alcohol can have a different, less happy effect. And also just because it can be nice to write some challenges into more straight folk music to keep the musicians in the crowd entertained. 


Track 14: CPPS 

CeltCast: The energy in ‘Crazy Pagan Party Song’ reminds me of the happy summer festival feeling of Virelai. Fast rhythms, fast melody, I’m definitely going to want to see this song played on a festival main-stage somewhere, with a few thousand people dancing in circles in front of it! It will wear the dancers out but will give a festival an amazing power-boost! 

Koen: Well, this accurately represents the atmosphere of our rehearsals… 


I usually choose one track from the album as a favourite, to give some indication, some context, as to how I listen to the album and what I’m looking for. For this album I would definitely have to go with ‘Twilight’. The variations in the song, the different levels, they all make the song very interesting and certainly entertaining! 

One thing definitely worth pointing out is the artwork. The band logo, the antlers, the tree bark, everything on the cover comes together in a way that just calling it “artwork” isn’t enough. I would actually call it Art, with intentional capitalization! I do hope they will sell posters of this, because I really want my very own Portal to Elfland at home! 

Something that is also very noteworthy about this album is the way in which it was recorded. As opposed to the regular way of going into a studio and recording each instrument separately SeeD had taken a very different approach. Their “studios” were the forest and in some cases a church, and they recorded the track in more of a “live” style, playing together as if they were on stage and in that way capturing the shared vibe on the album. 

Overall this album is very interesting in several ways. First simply because of the music. It is music written and played out of a passion, and that is something that you can really hear in every track. The second reason that this album is interesting is because it show a lot of promise. Is it an immaculate album? No, I can’t say perfection has been accomplished. The recording and mixing of the album are good, yet not at par with the major studios in the world. I also believe that Koen’s singing will become more confident, when in time, through practice and experience, it will have improved. But you know what? Even though there are other minor things that I could point at, overall I really love the album! I think it is a gem, a must-have in the Dutch Paganfolk scene, and I am a very happy man for having a copy of it! I can’t wait to see their performance at Castlefest and I am very curious as to what the future has in store for SeeD!


Falkenbach



Falkenbach is a Viking metal group from Germany that is signed to Prophecy Productions. The name means "Falconbrook" in German. The one permanent member is Vratyas Vakyas. They are one of the very first viking metal bands, starting in 1989, with their first release that same year.

The band was formed in Iceland in 1989, when it recorded the Havamal demo, and has recorded a total of seven demos; however, only five are known. Three more were released by 1995: Skinn Av Sverði Söl Valtiva (Old Norse, "The Sun Shines on the Swords of Slaughter-Gods"), Læknishendr (Old Norse, "Healing Hands"), and Ásynja (Old Norse, "Goddess"). Of all of these except Læknishendr, only nine copies were released. The Havamal demo is allegedly clean folk music, but since then the sound has become more raw and influenced by black metal influence and matured into an epic metal sound.

Most of Falkenbach’s lyrics are in English, but some are in Old Norse, Latin, and Old German. Most, if not all of the lyrics in Old Norse are actually taken from heathen literature: for example, the chorus lines in the song "Donar’s Oak" are actually verses four and five of Grímnismál, a poem of the Elder Edda. (Hávamál, after which the first demo is named, is another such poem.)

In 1995, recording of the debut album Fireblade began, but due to equipment troubles, production was stopped shortly before mixing began. Fireblade was not released, and in December of the same year, recording began for ...En Their Medh Riki Fara... (Old Norse, "...And in Glory Will They Go..."). The recording for this actual debut album was completed in March 1996.

After Magni Blandinn Ok Megentiri (Old Norse, "Mixed with Strength and Proud Pomp") was released, Vratyas stopped recording music so he could focus more on his record label Skaldic Art Productions.

In 2003, Vratyas returned to the studio with three other musicians and close friends to record Ok Nefna Tysvar Ty (Old Norse, "And Name Twice Týr"). The next and most recent Falkenbach album, Heralding – The Fireblade, was recorded in August–September 2005, using the same session musicians he had used for Ok Nefna Tysvar Ty. It includes material originally intended for the never released Fireblade album and re-working of demo tracks.

In 2006 Skaldic Arts Productions released a tribute album called "An Homage to Falkenbach." It consists of two parts, each limited to 500 units. The work contains 16 covers by various bands such as ELUVEITIEVINTERRIKET, and HILDR VALKYRIE.

In January 2011 his album called Tiurida and in 2013 went on sale the album Asa was published.

Vratyas Vakyas (whose name roughly translates to the searching wanderer), the sole member of Falkenbach, lives in Düsseldorf, Germany.


Line-up

Vratyas Vakyas - guitar, acoustic guitar, keyboards, drums, vocals


Session members

Hagalaz - guitars on Ok nefna tysvar Ty, Heralding - The Fireblade and Tiurida.

Bolthorn - drums on Ok nefna tysvar Ty, Heralding - The Fireblade and Tiurida.

Tyrann - vocals on Ok nefna tysvar Ty, Heralding - The Fireblade and Tiurida.



Falkenbach - Discography


1996: ...En Their Medh Rik iFara...

1998: ...Magni Blandinn Ok Megintiri...

2003: Ok Nefna Tysvar Ty

2005: Heralding - The Fireblade

2011: Tiurida

2013: Asa


Demos:

1989: Havamal

1990: Tanfana

1991: Towards Solens Golden Light

1995. Laeknishendr

1995: Promo'95

1995: Asynja

1996: Skinn Af Sverði Söl Valtiva...


single:


Eweroun