Quantic is an umbrella name for UK-born, Will Holland : acclaimed producer, musician, and DJ for over 15 years, who’s projects incorporate various influences, from funk & jazz to electronic & folk music, to Latin, reggae, dub and cumbia.
He recently put together this mix of rare 45s he found in Ethiopia, calling it ”a mix of folkloric and outer-regional music of Ethiopia, all 45s and some records that I think need to be heard. Less of breaks & wah wah and this time more of krar, claps, howling sounds and organ melodies. For fans of previous mixes Axum to Addis and Addis Sheckla Explosion.”
Listen to and download the whole mix by clicking on the link below, and let’s he hope he continues the crate digging!
Mary Armeday's love-folk songs and her unique krar playing style have become a classic in the history of ethiopian music and she will forever be remembered for her talent and her love for entertaining.
'one of the most rousing, reliable new African bands of the year'
The Guardian
'there’s something about the soulful bluesy sound that has a wide appeal ... captivating' 4****stars,
The Evening Standard
'rousing, driving songs... a no-nonsense set that provides a reminder of the great African music to be found in the UK' 3*** stars
The Guardian
'the fireworks are spectacular' 3***stars
The Financial Times
'primed to deliver a raw, yet updated blast of Ethiopian Blues' 3***stars
Songlines
THE KRAR COLLECTIVE (aka Geata Krar Collective) are Temesegen Tareken (aka Temesgen Zeleke), a former pupil of veteran Ethiopian vibraphone player Mulatu Astatke, on Krar, Robel Tesfaye on traditional
Ethiopian Kebero drums, and singer-dancer Genet Asefa. They are sometimes joined by other musicians, singers and full dance show with 4 dancers.
Krar Collective brings mind-blowing Ethiopian grooves, dazzling Krar and kebero drums, and stunning vocals rooted in tradition and soaked with contemporary attitude. Dubbed “the White Stripes of Ethiopia’ for its minimalist rocky sound, the unstoppable trio— Temesegen Zeleke on the krar (a five- or six-stringed harp), singer Genet Asefa, and drummer Grum Begashaw—bases its repertoire on traditional Ethiopian songs but creates a unique style with timeless appeal: All Music Guide says it’s “unlike any other music from Africa in recent years. … at once accessible, beautiful, and energetic.”
With vocals full of collective cadences and long solo poems, musical stops and starts that create an organic syncopation, and a krar that alternates from lead to rhythm instrument, Krar Collective is rhythmically spellbinding, and uniquely powerful.
Ethiopia Super Krar
Ethiopia Super Krar is Krar Collective’s dazzling debut release. The unstoppable trio, dubbed ‘the White Stripes of Ethiopia’ for their minimalist rocky sound, are favourites on the London and increasingly on the international live circuit. They are renowned for dynamic performances of their contagious music and equally infectious dance moves. Ethiopia Super Krar was recorded to tape on an original 1960s 24-track reel to reel machine, an approach which helped to capture Krar Collective’s music as close as possible to the live experience– the sound is real and honest, not a manufactured perfection.
The instrumental line-up features the krar and bass krar lyre, kebero drums, a one stringed masenqo fiddle, and a washint flute accompanying the band’s distinctive vocals. Band leader Temesgen Zeleke and Genet Assefa share lead singer role. Genet is magnetic in performance and recording – her soaring ululations and perfectly delivered melodies fill the spacious sound. Temesgen Zeleke is a revolutionary krar player – standing to strum and pick his electrified instrument, often kneeling to the floor during his killer solos in intense Hendrix fashion, all on just six open strings. As a young student Temesgen was mentored and encouraged by legendary Ethio-jazzman Mulatu Astatke, and an instrumental arrangement by Astatke features on Ethiopia Super Krar. The famous Ethiopian actress Asnakech Worku, who pioneered the krar as an accompaniment to her emotional ballads during the 1960s and 70s, is also paid a tribute via a cover of her spine-tingling song ‘Endye Eyerusalem’.
Other songs in the repertoire are traditional and represent different Ethiopian tribes. The names of the tracks (‘Ambassel’, Guragigna’, ‘Konso’, ‘Oromigna’, ‘Wello’, ‘Welaita’) are related to the names of ethnic groups or geographical regions. ‘Tizita’ is a ballad form in Ethiopian music associated with remembering loved ones and the ‘King of Tizita’ Mahmoud Ahmed, and ‘Ete-mete’ is a children’s song.
Krar Collective present their sound and their philosophy – rural music in urban clothes, and a belief Ethiopian traditions need to be respected, enjoyed and preserved. Influenced by their London home - in 2012 they represent Ethiopia in the London 2012 Cultural Olympiad - their Ethiopian roots and their own abounding creative streak, they are setting the scene alight with 2012 shows in India, Canada, Germany, Finland, The Netherlands, Switzerland, Belgium, Denmark, and Poland even before their first album release– Ethiopia Super Krar looks set to spread their fire even wider and even wilder!
Ethiopian groove and roots with a European improv/punk touch. This powerful trio features Mèssèlè Asmamaw and his suave voice and funky, Hendrix-style krar (traditional Ethiopian lyre), the acknowledged drummer Fabien Duscombs of Le Tigre (des Platanes) fame, and the multi-instrumentalist Jeroen Visser, who hails from the Dutch punk scene of the 1980s.
The Trio Kazanchis manages to produce a hi-energy mix which finds it's roots in ethiopian groove, having traditional melodies and songs as a starting point. However they can as easily follow a melodic line and traditional rhythm as drop it and letting the dynamics of the moment decide. Improvisation, a hardly known angle in traditional Ethiopian music, plays a substantial part. The sometimes Hendrix like krar mixes great with the pure farfisa sound, Wyatt resonant, and Fabien's forward drumming style.
After the compilation of the album Ethiopiques by Frances Falceto which helped bind Ethiopian music of the 50’s and 60’s together, bands comprising a mix of Ethiopian and foreigner musicians have become common, over the last ten years. These bands have one or two foreigners as band members, and do their music by fusing Ethiopian songs and beats. Akale Wube, a French band, for instance, plays Ethiopian music by fusing it with different sounds. Jazzmaries (a blend of Jazz and Azmaries), and Ukandanz play songs with only the vocal being Ethiopian. Kazanchis band which also fuses Ethiopian music with different sounds and foreign instruments falls in that category.
Fusing old Ethiopian music with funk and rock, they label their music as ‘Ethiopian traditional Impro punk’ giving alternative style for Ethiopian songs such as Muluken Melesse’s famous song ‘Nanu Nanu Ney’ and songs like ‘Etutu Beredegn.
Touring Ethiopia between January 6 and 25 2011., the trio presented their performance at various venues such as Guramyle, Fendika, and Alliance Ethio-Franciase, in Addis Ababa, including in Nazareth and Awassa. They are also scheduled to perform in different cities of the country.
The band was established in 2009. by Mesele and Jeroen. They were joined later by Fabien to form the band Kazanchis with their first gig as a band in Kazanchis.
The band, based in Switzerland, has performed on international stages, including France, Holland, Belgium, Prague, and the Check Republic. They also took part in different festivals.
When they first started, three of them came up with their individual collection and did their own recordings. They also researched on how they should play, according to Mesele.
“Even if they knew the music it was a bit difficult to internalize. But playing Ethiopian music before establishing this band wasn’t difficult to catch up,”explains Messele.
Messele says the kirar, the traditional music instrument gave their music a unique sound and says proudly that the feedback so far has been a blessing in a short period of time.
On the band’s performance outside Addis, Messele had his own reservations when it comes to the response they received from the audience, especially Awassa and Nazareth, where the band received acclamation.
He said he found the response unexpected. “Sometimes, there is an assumption on the understanding of the music. Addis has exposure for these kinds of fusions but I had my doubts when it comes to the other cities but it was unexpected for us,” Messele said.
Whenever they play on the stage, Mesele and his partners improvise the music, experiment with different songs and, create new sounds and give flavor to the old Ethiopian music.
“Improvising on the stage is not easy. There should be a clear understanding on what’s going on, and I think we have that understanding. So it’s easy to do what we want and we were able to not to repeat what we played yesterday,”comments Mesele.
Mesele says the band is promoting Ethiopian music internationally and also reviving the lost sounds of Ethiopian music to the younger generation.
With encouraging feedback from music lovers so far, Messele sees a good prospect for the band in the future.
“The feedback has been really great and we are asked to play in different countries like Turkey, Spain and Portugal. So we will see how it goes,”Messele said.
