Jason Webley is a Seattle-born singer-songwriter known for playing a mix of gypsy, folk, and punk. He has released five albums on his own label, Eleven Records. These feature Webley on the piano, guitar, accordion, and a number of other instruments, though when touring he only brings his guitar, accordion, and a vodka bottle containing coins from around the world, which he uses for percussion.

In high school Webley played in a punk band called Moral Minority. He picked up the accordion in 1996 in his last year in college at the University of Washington when he was part of a performance of Bertolt Brecht’s play The Caucasian Chalk Circle, and wrote a couple songs for the play on the accordion. He later recalled, “I was just a geeky kid; accordion came later. It’s since playing accordion that I’ve become cool. I used to be a geek with an electric guitar. I had a guitar and played in punky bands and I had a computer. I sequenced stuff. I was much geekier.”

Webley is the brains behind the Monsters of Accordion tour, an all-accordion extravaganza that takes place on the West Coast. The tour came together when Webley was invited to play at an accordion shop in Oakland, and met two Bay Area accordionists, Daniel Ari and Aaron Seeman. They decided to do a little accordion only tour, which was the first Monsters of Accordion. The tour has since featured such accordionist as Corn Mo, Geoff Berner, Amy Denio, Mark Growden, (former Gogol Bordello member) Stevhen Iancu, and Eric Stern (frontman of Vagabond Opera).

Icarus (with Amanda Palmer from Dresden Dolls):

Check also this amazing street performance of Icarus here.

Kitchen video clips:

MySpace, LastFM, Facebook, iLike, Internet Archive, Twitter, Wikipedia, YouTube channel, Official page.

Mira and Laurent -- a fashion model from Finland and soundtrack musician from France. Austere, minimal music made with voice and acoustic guitars and other very sparse orchestrations.

Mi and L’au met in Paris a few years back. Mi is Finnish and was working as a model to make ends meet and L’au (who’s French) was working in the music industry (soundtracks). They fell deeply and immediately in love, and after a short period of moving from apartment to apartment in Paris, they gave everything up and decided to move in a small cabin in woods in Finland, so they could be alone together in peace and spend their time discovering each other and their music. (last.fm).

Ten Kingdoms

Transparent

Dancing and smiling

MySpace

Yidl Mitn Fidl yiddish swing:

Perfect Harmony:

Eshet Chail:

Airships

Four harts

Metal Berry

Snakes & Tea

Nighttime and morning with Anthony Hagerty

Desert Cathedral

Pale Dog

Disparu

Myspace

Pitchfork review for the Desert Doughnuts album

Sainkho Namtchylak is an experimental singer, born in 1957 in a secluded village in the south of Tuva, an autonomous Russian state bordering Mongolia. She has an exceptional voice, spanning seven octaves and proficient in overtone singing; her music enmeshes avant-jazz, electronica, modern composition and Tuvan influences.

Lonely soul:

Inuit Wedding:

Excerpt from documantary “Sainkho -- a voice on the edge -- a journey of extremes”:

Order to survive:

Midnight blue:

Ritual Virtuality:

Kaar Deerge:

Old melodie:

Let The Sunshine:

Live performance from Lithuanian National Philarmonics, Vilnius:

TV russian show:

Performances:

Concert at “Yi du tang” in Shenzhen:

Links: Official page, MySpace, LastFM, Wikipedia.

Notre Epoque

La lune

More Tarmac and Louise Attaque

Je cherche

And if you are like me, you’ll probably won’t be able to resist listening to some Louise Attaque, so let me make it easier for you

Le valse

Lea

Ton Invitation

Vous avez l’heure?

Savoir

Arache-moi

Amédé Ardoin -- Two step

Dewey Balfa & Todd Balfa -- Jai Ete Au Bal

Dewey Balfa -- Parlez nois a boires

Nathan Abshire -- Ma’ Negresse/Allons A Lafayette

Mark de Basile, Len Harrington, Merlin Fontenot & L.J. Foret -- Bayou Pon Pon

Rosie Ledet -- I’m a Woman

Cirque du Soleil -- Zydeko

Wikipedia: Zydeco, Cajun, Creole.

Nathan Abshire -- Jolie Blond


Clifton Chenier -- Don’t Lie to Me

Zydeco, a transliteration in English of ‘zaricô’ (Snapbeans) from the song, “Les haricots sont pas salés”, born in Cajun and Black Creole communities on the prairies of southwest Louisiana in the 1920s, is considered by many, if not most, as the Black Creole music of Louisiana. Zydeco purportedly hails from “Là-là”, a genre of music now defunct, and old south Louisiana jurés. As Cajun French was the french language of the prairies of southwest Louisiana, zydeco was initially sung only in Creole or French. Later, Creole-speaking Black Creoles added a new linguistic element to zydeco music. Today, most of zydeco’s new generation sings in English or Cajun French with a few in Louisiana Creole French.

Usually fast-tempo, and dominated by the button or piano accordion and a form of a washboard known as a rub-board or frottoir, zydeco music was originally created at house dances where the blacks and free people of color of south Louisiana would gather for socializing. As the Creoles further established their communities and worshiped separately as well, the music moved to the Catholic church community center and then later to the rural dance halls and nightclubs. As a result, the music integrated waltzes, shuffles, two-steps, blues, rock and roll, and most dance music forms of the era. Today, the tradition of change and evolution in the music continues always keeping relevant while integrating even more genres like reggae, urban hip-hop, R&B, soul, brass band, ska, rock etc.

Cajun music, an emblematic music of Louisiana, is rooted in the ballads of the French-speaking Acadians of Canada. Cajun music is often mentioned in tandem with the Creole-based, Cajun-influenced zydeco form, both of Acadiana origin. These French Louisiana sounds have influenced American popular music for many decades, especially country music, and have influenced pop culture through mass media. Cajun music, born from ballads, has transformed to dance music -- with or without words. The music was essential for small get-togethers on the front porch, an all night house dance known as a “bal de maison”, or a public dance in a dance hall called a fais do-dos. There are several variations of Cajun dance: a Cajun One Step, also called a Cajun Jig, a Cajun Two Step or related Cajun Jitterbug, and a Cajun Waltz. In mild contrast, zydeco dancing is a syncopated two-step or jitterbug. A Cajun dancer will cover the dance floor while the zydeco dancer will primarily dance in a smaller area. Cajun music can be found predominantly at Louisiana festivals and dance halls, in addition to weddings in Acadiana.

Louisiana Creole refers to Americans of various racial descent who are descended from the Colonial French settlers of Louisiana known as French Creole, in addition to African Americans, and Native Americans before it became part of the United States in 1803 with the Louisiana Purchase with claim to the Creole culture. Historically, Creole was used in early generations to refer to colonists of French descent who had been born in Louisiana and were thus native to the territory, compared to new immigrants. It then meant exclusively people of European descent. It also was used for black slaves who were born in Louisiana as opposed to those born in West Africa and transported from there.

The transfer of the French colony to the United States in 1803 under the Louisiana Purchase and the arrival of Americans from New England and the South ignited an outright cultural war. Some Americans were reportedly shocked by aspects of the cultural and linguistic climate of the newly acquired territory. They pressured the United States’ first Louisiana governor to change it. He swiftly moved to make English the official language. Outraged, Louisiana Créoles in New Orleans allegedly paraded the streets and rejected the Americans’ effort to transform them overnight into Americans. In addition, Louisiana Creoles thought many of the Americans were uncouth, including the many Kentucky traders who regularly visited the city while maneuvering flatboats filled with goods for market. They also resisted American attempts to impose a binary culture splitting the population into black and white. Colonial French and Créole French remained the language of the majority of the population of the state. Among the eighteen governors of Louisiana between 1803-1865, six were Créole and were monolingual speakers of French. When Americans began to arrive in number in Louisiana, locals began identifying themselves overtly as Créoles to distinguish themselves from the “nouveaux-arrivés” Americans.

Creole music from the nineteenth century is represented in Slave Songs of the United States, first published in 1867. The final seven songs in that work are printed with melody along with text in French creole. These and many others were sung at plantations, especially in St. Charles Parish, and at Congo Square in New Orleans.

Jazz, born in New Orleans sometime around the turn of the twentieth century, is the first local Black Creole music to be popularized.

Life is a miracle…I don´t really think i have to write about Kusturica…everybody heard about his movies and music. Still, i want to add this post to advertise the movie, one movie with extreme realism and very accurate characters from real life. When poverty, family drama and promiscuity touch one´s destiny,  in times of war, life is still a miracle.

And now, since I know that the main 2 authors of this blog enjoy this music and kusturica´s movies, here is another one…

domnux is our pittbul terrier