BKO
Djine Bora

Midori Takada is back with her first album in 23 years. Two long cuts where her Japanese new-age traditions mets polyrhythmic african traditions. Mind-bending!_________________________PressWRWTFWW Records and MEG Museum (Geneva) are honored to present the first new solo album by renowned Japanese percussionist Midori Takada (Through The Looking Glass) in 23 years, Cutting Branches For A Temporary Shelter, available on vinyl LP, housed in a 350gsm sleeve, with OBI, and liner notes, as well as on digipack CD.Recorded in a live setting and played with instruments conserved in the collections of the MEG Museum, Cutting Branches For A Temporary Shelter is Midori Takada’s very own rendition of "Nhemamusasa", a traditional work emblematic of the musical repertoire for mbira of the Shona of Zimbabwe, well known worldwide, thanks notably to its version by Paul F. Berliner included on the famed 1973 album The Soul of Mbira.The choice of this title by Midori Takada evokes the links between traditional African and contemporary music which are the foundation of this work, and it also translates the resolutely multicultural vision of the artist.Midori Takada explains: "African music is remarkable for its polyrhythms. Not only are there simultaneously several rhythmic motifs, sometimes as many as ten, but furthermore it may be that the part played by each musician has its own starting point and its own pace, all combining to form a cycle. All the cycles progress at the same time according to a single metrical structure which functions as a reference point, but which is not played by any one person from beginning to end. The structure emerges out of the multi-level parts, all different. With the Shona, the musical system is based on the polymelody: one performs simultaneously several melodic lines which are superimposed, each having its own rhythmic organization. It is truly captivating. In Western classical music, one four-beat rhythm induces some precise temporal framework and regular reference points, which come on the strong beats 1 and 3. But in the logic of the Shona musical system, and in other African music, the melody can begin in the very middle of the cycle and be continued up to some other place in an autonomous manner, as if it had its own personality. It’s very rich."The album comes with in-depth liner notes that include an interview with Midori Takada, a point of view by Zimbabwean scholar, musician and activist Forward Mazuruse, and background information on the project by Isabel Garcia Gomez and Madeleine Leclair from MEG Museum.The sleeve features an artwork by celebrated Zimbabwean painter Portia Zvavahera.Part of the budget for the album was donated to Forward Mazuruse’s Music For Development Foundation whose aim is to identify, nurture, and record young but underprivileged musicians in Zimbabwe. The album is released in conjunction with Midori Takada and Shomyo of Koya-san's You Who Are Leaving To Nirvana, also available on LP and CD on WRWTFWW Records. Points of interests- For fans of percussion, Mbira, environmental, marimba, minimalism, traditional, African music, Japanese music, Through The Looking Glass, and very old music instruments.- First solo album by Midori Takada in 23 years, available on vinyl and CD, music played with instruments from the collection of the MEG Museum in Geneva, artwork by Portia Zvavahera.

Healing interstellar sounds

Fascinating sounds and words straight to your brain right trough your good old ears!

Tout Bleu's second record, Otium, recalls a route where the electronic crosses paths with the acoustic.This new milestone in Genevan multi-instrumentalist Simone Aubert's (Massicot, Hyperculte) musical field represents a kind of fruitful deceleration. Initially conceived as a solo project in 2018, the act is now an exploration ground for the musicians gathered on Otium : Naomi Mabanda on the cello (Orchestre Tout Puissant Marcel Duchamp, Chien Mon Ami) and Luciano Turella on the alto (Irtum Branda) encounter the sampling machines of POL, that could already be found on the first eponymous album Tout Bleu. In Tout Bleu's music, the part-melodic, part-abrasive riffs reminiscent of Massicot are present, and so are the socially engaged, energetic singing of Hyperculte. However, the band, by using acoustic instruments, vocals and electric guitar in an unconventional way, draws an orchestral landscape that sometimes flirts with pop, and where strings merge in polyrythm on low tempo beats.