{"id":3321,"date":"2016-02-05T13:57:57","date_gmt":"2016-02-05T12:57:57","guid":{"rendered":"http:\/\/www.ub-comm.de\/?p=3321"},"modified":"2018-05-01T13:16:12","modified_gmt":"2018-05-01T11:16:12","slug":"konono-n%c2%b01-trifft-auf-batida-neues-album-am-01-04-2016","status":"publish","type":"post","link":"https:\/\/www.ub-comm.de\/?p=3321","title":{"rendered":"Konono N\u00b01 trifft auf Batida – neues Album am 01.04.2016"},"content":{"rendered":"

Am 01.04.2016 wird das neue Album \"\"<\/a> Konono N\u00b01 meets Batida<\/em> von Konono N\u00b01 bei Crammed Discs im Vertrieb von Indigo (CD und Vinyl) und PIAS (digital) ver\u00f6ffentlicht. Es ist eine Zusammenarbeit der Band mit dem angolanisch-portugiesischen K\u00fcnstler Pedro Coquen\u00e3o aka Batida. Die Aufnahmen fanden in Batidas Garagenstudio in Lissabon statt, produziert wurde es gemeinschaftlich von Vincent Kenis und Pedro Coquen\u00e3o und eine Reihe illustrer G\u00e4ste aus der Lissaboner Musikszene ist auf dem Album zu h\u00f6ren: Neben Papa Juju, Kopf der bekanntesten Afro-Fusion-Band der Stadt und der afrikanischen S\u00e4ngerin Selma Uamusse, auch der Slampoet, K\u00fcnstler und Produzent MC AF Diaphra.<\/p>\n

Auf dem Album verbinden sich die Electronic Beats und organischen Grooves der K\u00fcnstler zu einer ganz neuen, so bislang noch nie geh\u00f6rten Form von Afro-Electro-Musik. <\/p>\n

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Sie sehen gerade einen Platzhalterinhalt von YouTube<\/strong>. Um auf den eigentlichen Inhalt zuzugreifen, klicken Sie auf die Schaltfl\u00e4che unten. Bitte beachten Sie, dass dabei Daten an Drittanbieter weitergegeben werden.<\/p>\n

Mehr Informationen<\/a> <\/div>\n

Inhalt entsperren<\/a> Erforderlichen Service akzeptieren und Inhalte entsperren<\/a> <\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n

Konono N\u00b01 <\/strong>wurde in den 1960er Jahren als \u201eL\u2019Orchestre Folklorique Tout Puissant Konono N\u00b01\u201c von Mingiedi Mawangu, einem Virtuosen auf der Likembe (= Daumenklavier), in Kinshasa gegr\u00fcndet. In den 1980er Jahren wurde der erste Track der Band au\u00dferhalb des Kongo auf einer Compilation namens Musiques Urbaines a Kinshasa in Za\u00efre<\/em> ver\u00f6ffentlicht und der belgische Produzent und Musiker Vincent Kenis war so fasziniert davon, dass er f\u00fcr lange Jahre versuchte, die Band ausfindig zu machen. Das gelang ihm erst in den fr\u00fchen 2000er Jahren und m\u00fcndete 2004 in der Ver\u00f6ffentlichung des ersten Congotronics-Albums. Der hypnotische und neue Sound der Band mit ihren elektrisch verst\u00e4rkten Daumenklavieren und der wilden Rhythmus-Gruppe eroberte direkt die Indie- und Elektronik-Szene. Auftritte bei gro\u00dfen Rockfestivals wie Coachella, ATP, Sonar oder The Big Chill, gemeinsame Projekte mit K\u00fcnstlern wie Bj\u00f6rk oder Herbie Hancock folgten, Bands wie Grizzly Bear, Wilco, Animal Collective, Beck oder Thom Yorke nannten sie als gro\u00dfen Einfluss und f\u00fcr ihre Zusammenarbeit mit Herbie Hancock an dem Album The Imagine Project<\/em> bekam sie 2011 einen Grammy. Ein f\u00fcr den Grammy nominiertes Live-Album (Live at Couleur Caf\u00e9<\/em>) erschien 2008 und das n\u00e4chste Studioalbum Assume Crash Position<\/em> 2010. Mawangu ist mittlerweile verstorben und sein Sohn Augustin ist seitdem Kopf der Band.<\/p>\n

Konono N\u00b01 sind:<\/strong>
\nAugustin Makuntima Mawangu: Likembe, Vocals
\nMenga Waku: Vocals, Bass-Likembe\u2028
\nPauline Mbuka Nsiala: Vocals, Percussion
\nVincent Visi: Schlagzeug
\nJacques Ndofusu Mbiyavanga: Percussion, Tam Tam\u2028<\/p>\n

Batida<\/strong> ist der K\u00fcnstlername von Pedro Coquen\u00e3o, einem Radio-, Dokumentarfilm- und Musikproduzenten, der in Angola geboren wurde und in Lissabon aufgewachsen ist. Sein Alias wurde von dem DIY-Geist der auf den Stra\u00dfen Luandas verkauften Compilations inspiriert. Zwei Alben hat er bislang auf dem Label Soundway Records ver\u00f6ffentlicht und daf\u00fcr viel Lob erhalten. So schrieb Songlines<\/em>: \u201eThis could be the record that changes the African electronic music of the 21st century\u201d. K\u00fcnstler wie Stromae boten ihm an, als Support auf seiner Tour aufzutreten; Damon Albarn lud ihn zu seinem Africa Express-Projekt ein und engagierte ihn f\u00fcr einige Remixe. <\/p>\n

Vincent Kenis<\/strong> ist der Initiator und Produzent der Congotronics-Serie von Crammed Discs. Er hat alle Alben von Konono N\u00b01 seit 2004 produziert wie auch die Alben von Kasai Allstars, Staff Benda Bilili, Zap Mama, Taraf de Ha\u00efdouks, Tartit und anderen. Als Musiker hat er in den Bands Aksak Maboul und The Honeymoon Killers mitgewirkt und mit Musikern aus dem Kongo wie Franco Luambo Makiadi (OK Jazz) und Papa Wemba zusammengearbeitet.
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\nTourdaten Fr\u00fchjahr 2016:<\/strong>
\n17.05.2016 Ludwigshafen \/ Pfalzbau
\n18.05.2016 Aachen \/Musikbunker
\n19.05.2016 Hamburg \/ Kampnagel
\n20.05.2016 Berlin \/ HAU
\n21.05.2016 Leipzig \/ Schauspiel Leipzig
\n22.05.2016 PL-Warszawa \/ Pardon, To Tu
\n23.05.2016 PL-Warszawa \/ Pardon, To Tu
\n27.05.2016 SE-Stockholm \/ Fasching
\n28.05.2016 SE-G\u00f6teborg \/ Oceanen
\n25.06.2016 DK-Roskilde \/ Museum of Contemporary Art – Images 2016 by Roskilde Festival
\nBooking: http:\/\/www.planetrock-booking.de\/<\/a><\/p>\n

Pedro Coque\u00f1ao (Batida) \u00fcber die Arbeit an Konono N\u00b01 Meets Batida<\/em>: <\/strong>
\nI remember mixing Konono tunes with beats on my first broadcasts back in 2007. At the time I had no plans for using this alias (Batida) for anything else than a radio program, aimed at highlighting what I felt was a missing link between the idea of traditional African music and urban music which had been coming out of some of the main cities of the continent for so many years. I always felt that there was a condescendent way of looking at music made in Africa, always seen as \u201cethnic\u201d, tribal or just vaguely as \u201eworld music\u201d. Konono represent things I relate to and admire. A simple idea which crosses boundaries, time and ages. My oil can, which is my main instrument (sampler), represents an MPC while also being inspired from a Konono likembe (thumb piano). On my first album, the track \u201eTribalismo\u201d was definitely inspired by K1\u2019s sound, for example.<\/p>\n

At my concerts, I had my own kalimba going through a Big Muff pedal, linked to an amp, looking for a similar K1 effect. So, yes, I am a fan and was honored by the invitation that came late 2014, when Marc Hollander (Crammed boss and A&R man) saw my show at Womex and something clicked in his head and he challenged me to make an album together with K1. The idea made sense in my head and heart too. Lots of pressure though. Too much respect for the band but it was impossible to say no. So I asked to meet them again, I wanted to feel that I was welcomed within the group so this wouldn\u2019t turn into a sterile collaboration. Met them and their team in Belgium and they were all very friendly and warm. We talked about lyrics, the stories behind each song, and we tried to overcome the language barrier as I don\u2019t speak proper French and no Lingala. Augustin does know some words of Portuguese, due to his Angolan connections: \u201eTinto!\u201d Another show later, we scheduled a meeting in Lisbon to record together with (Konono producer) Vincent Kenis and, due to weather circumstances we ended up in my garage to break the ice (and cold) and the guys asked for my humble place to become the launching pad for the whole process: \u201eFeels like home here!\u201d they all said. I think it was mostly because of my grandfather\u2019s heater, which I always keep close and on maximum power during winter. That and the hot chocolate. In fact, they were all exhausted after a long tour. That part was hard to deal with as I don\u2019t like to push, so we took it slowly, talking about each track. Many hot chocolates later, we jammed, tried new things, added my drum kit, a synth, brought in a few special guests, and after 2 shows and some love on stage, we had some juice. Maybe it was all of that or maybe it was just the fact that the sun finally came but, over the last days, we recorded my favorite takes which ended up featuring on the album. It was challenging but in the end music is what brings us together and makes it easy to communicate and go through.<\/p>\n

The record was then finalized during the summer, 5 months later in the south of Spain with Vincent (Gracias, Vicente! Por compartir su casa y cuentos preciosos). Many home cooked meals and talks on Congo and Angola but no time to go to beach though. Had agreed with Augustin and the band that we would need a \u201athumbs up\u2019 from them to feel they were happy with the results and ended up with this one: Actually we communicated a lot through our big finger and a particular scale to tell each other how things were going every day and going through every track. I will always keep for myself the first jam we had when I introduced them to the dikanza (a kind of big Angolan guiro) and we had a go all together. In the end I had all the guys laughing because I fell on the floor after playing the same pattern over and over for\u2026 (who knows?) maybe half an hour : ) It was like my garage ritual of initiation to K1 and to understand better how to get there. Thank you, Pauline, Augustin, Menga, Visi, Jacques and Vincent.<\/p>\n

Vincent Kenis \u00fcber die Arbeit an Konono N\u00b01 Meets Batida<\/em>:<\/strong>
\nAt the turn of the Eighties, cassettes of Einst\u00fcrzende Neubauten\u2019s industrial noise, Mozart\u2019s Zauberfl\u00f6te<\/em> and Konono\u2019s likembes filled The Honeymoon Killers\u2019 touring van; I had captured Konono Num\u00e9ro Un by chance on a France Culture<\/em> broadcast in which Bernard Treton, freshly returned from a one year stay as an aid worker for the Zairean radio, presented the tapes he had recorded in the streets of Kinshasa. The liquid, seemingly effortless but hyper-precise Les Paul-esque repetitive melodies and clusters of the likembe thumb piano seemed to echo the Congolese electric guitar style of the times, but the strange, untempered scales, earth-shattering harmonic distortion of the makeshift amplification and merciless drive of the bells and minimal drum kit were totally new to anybody\u2019s ears outside of Ndjili, a neighbourhood favoured by Angolan refugees such as Konono.<\/p>\n

The Treton tapes were released in 1986 by the French label Ocora on cassette but not on vinyl, because Treton couldn\u2019t resolve to edit the songs to LP-compatible lengths. Also featured were Orchestre Sankayi, whose leader Mbuyamba Nyunyi would become later a key element in Kasai Allstars.<\/p>\n

When I landed in 1989 in Kinshasa, Koffi Olomide asked me to join his band as a keyboard player. He was so successful that most bars played his songs all the time, so I barely needed to rehearse; I decided to spend my free time criss-crossing the suburbs in search of that exciting, electrically-enhanced traditional music revealed by Treton\u2019s tapes. I learned that it was locally called musique tradi-moderne and that its most successful current exponents were no other than Classic Swede Swede, the band Koffi had chosen as opening act for his next two gigs. More adventurous criss-crossing lead me to \u201adiscover\u2019 a lot of original and exciting bands, but, alas, not Konono. Some guy
\ntold me that they were \u201eback in Angola\u201d. Only in the year 2000 did I hear by chance a loud Konono sound coming from a backyard. It was only a cassette, but its owner knew the band and told me that they would be \u201eback from Angola soon\u201d. Six months later, a rejuvenated Tout Puissant Konono Num\u00e9ro Un emerged in full working order; it turned out that they had never left Kinshasa. 2 years later, and a quarter of a century after Treton, I could finally record the band in all its multitrack glory. The rest, as they say, is mystery.<\/p>\n

Konono\u2019s first two albums were recorded in one shot in rehearsing places or during European concerts. The third one featured a lot of overdubs done in my Ndjili hotel room by musicians from very diverse backgrounds, including an international soukous guitar hero, a young boys band from the area and two likembe players from Kasai. The idea was diversification rather than a musical dialogue Konono were still too much in their own bubble to need or appreciate. Although their session with Bj\u00f6rk had lasted only a few hours, their jam with Herbie Hancock 40 unforgettable minutes lost forever – they certainly introduced Konono to totally new worlds; but only the year after that, when they were invited to be part of the Congotronics vs Rockers project, did they really confront at length with American-European musical culture, playing live for weeks in front of thousands with Deerhoof, Juana Molina, Skeleton Mit\u00e9 etc., and also with members of Kasai Allstars, leading to the collective creation of musical landscapes as yet unheard. This adventure whetted Konono\u2019s appetite for more musical encounters.<\/p>\n

The collaborative project with Batida presented new challenges: despite the obvious similarities between rhythmic Bazombo music such as Konono\u2019s and the Angolan music which inspired Pedro (the same ethnic groups inhabit the region, artificially separated by a border dating back to colonial times), it was the meeting of two very different practices, two almost opposite musical conceptions: Konono\u2019s rhythms are organic and fluctuating, while those of Batida, which come from the electronic music scene, are often based on metronomic grids.<\/p>\n

Being the de facto translator between two different worlds with wholly different languages, working habits, categories, vocabulary, references and music software proved to be a real challenge\u2026 We nevertheless managed to establish a dialogue, either by adapting Pedro\u2019s programming to the rhythmic flow of the group or vice versa, and by having his electronic sounds triggered by Konono\u2019s percussion players. It was an exciting process, successfully carried out thanks to the enthusiasm of everybody involved: Konono N\u00b01, Batida, his guests and friends.<\/p>\n

Weitere Informationen: <\/strong>
\nhttp:\/\/crammed.be\/index.php?id=34&art_id=77 \t<\/a>
\nhttps:\/\/www.facebook.com\/Konono-n1-20973319567\/<\/a><\/p>\n

KONONO N\u00b01 <\/strong>
\nDas neue Album: Konono N\u00b01 meets Batida<\/em>
\nV\u00d6: 01.04.2016
\nLabel: Crammed Discs
\nVertriebe: Indigo (CD) \/ PIAS (digital)
\nBestellnummer: cram 261 cd+2LP+digital
\nEAN: 876623007340 (CD), 876623007357 (Vinyl), 5410377903784 (Digital)
\nLabelcode: 08689<\/p>\n","protected":false},"excerpt":{"rendered":"

Am 01.04.2016 wird das neue Album Konono N\u00b01 meets Batida von Konono N\u00b01 bei Crammed Discs im Vertrieb von Indigo (CD und Vinyl) und PIAS (digital) ver\u00f6ffentlicht. Es ist eine Zusammenarbeit der Band mit dem angolanisch-portugiesischen K\u00fcnstler Pedro Coquen\u00e3o aka Batida. Die Aufnahmen fanden in Batidas Garagenstudio in Lissabon statt, produziert wurde es gemeinschaftlich von Vincent Kenis und Pedro Coquen\u00e3o und eine Reihe illustrer G\u00e4ste aus der Lissaboner Musikszene ist … Weiterlesen →<\/span><\/a><\/p>\n","protected":false},"author":3,"featured_media":3325,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[498,2890,2869,1346,2864,1347,2880,2872,2881,2862,2905,2876,318,2899,1294,2903,1551,83,35,1293,87,2898,3048,2894,3049,617,2874,242,1205,1292,1683,2885,90,2896,179,85,295,2902,53,34,847,310,2866,2879,2887,3041,95,1344,2868,2882,2870,2897,3051,3040,2900,3050,1742,2893,2901,2865,605,3045,2883,2863,1785,3042,591,3043,2867,2904,1942,2136,2888,176,3047,2889,2886,49,2892,2873,2878,2877,3046,2895,589,2884,3044,2875,2871,2891],"class_list":["post-3321","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news-tour-dates","tag-aachen","tag-africa-express","tag-afro-electro","tag-aksak-maboul","tag-angola","tag-animal-collective","tag-assume-crash-position","tag-atp","tag-augustin-makuntima-mawangu","tag-batida","tag-bazombo","tag-beck","tag-berlin","tag-bernard-treton","tag-bjork","tag-classic-swede-swede","tag-coachella","tag-congotronics","tag-crammed-discs","tag-damon-albarn","tag-deerhoof","tag-einsturzende-neubauten","tag-fasching","tag-franco-luambo-makiadi","tag-goteborg","tag-grammy","tag-grizzly-bear","tag-hamburg","tag-hau","tag-herbie-hancock","tag-honeymoon-killers","tag-jacques-ndofusu-mbiyavanga","tag-juana-molina","tag-kalimba","tag-kampnagel","tag-kasai-allstars","tag-kinshasa","tag-koffi-olomide","tag-kongo","tag-konono","tag-leipzig","tag-likembe","tag-lissabon","tag-live-at-couleur-cafe","tag-luanda","tag-ludwigshafen","tag-marc-hollander","tag-mbuyamba-nyunyi","tag-mc-af-diaphra","tag-menga-waku","tag-mingiedi-mawangu","tag-mozart","tag-museum-of-contemporary-art","tag-musikbunker","tag-ndjili","tag-oceanen","tag-ocora","tag-ok-jazz","tag-orchestre-sankayi","tag-papa-juju","tag-papa-wemba","tag-pardon","tag-pauline-mbuka-nsiala","tag-pedro-coquenao","tag-percussion","tag-pfalzbau","tag-roskilde","tag-schauspiel","tag-selma-uamusse","tag-skeleton-mite","tag-sonar","tag-songlines","tag-soundway-records","tag-staff-benda-bilili","tag-stockholm","tag-stromae","tag-tam-tam","tag-taraf-de-haidouks","tag-tartit","tag-the-big-chill","tag-the-imagine-project","tag-thom-yorke","tag-to-tu","tag-tribalismo","tag-vincent-kenis","tag-vincent-visi","tag-warszawa","tag-wilco","tag-zaire","tag-zap-mama"],"_links":{"self":[{"href":"https:\/\/www.ub-comm.de\/index.php?rest_route=\/wp\/v2\/posts\/3321","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.ub-comm.de\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.ub-comm.de\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.ub-comm.de\/index.php?rest_route=\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.ub-comm.de\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=3321"}],"version-history":[{"count":0,"href":"https:\/\/www.ub-comm.de\/index.php?rest_route=\/wp\/v2\/posts\/3321\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.ub-comm.de\/index.php?rest_route=\/wp\/v2\/media\/3325"}],"wp:attachment":[{"href":"https:\/\/www.ub-comm.de\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3321"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.ub-comm.de\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3321"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.ub-comm.de\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3321"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}