AKSAK MABOUL — Onze danses pour combattre la migraine
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"Das Kultalbum des belgischen Duos um Crammed-Gründer Marc Hollander: Im Frühjahr des Jahres 1977 nahmen sich die beiden belgischen Musiker Marc Hollander und Vincent Kenis vor, unter dem Namen Aksak Maboul ein Album zu veröffentlichen. Auf "Onze danses pour combattre la migraine" wollten sie alle möglichen Genres fusionieren und dekonstruieren, um daraus eine völlig eigene musikalische Welt zu schaffen; drei Jahre später gründete Hollander das Label Crammed Discs. Derweil schluckte und produzierte der Aksak-Mixer viele Zutaten: falschen Jazz, Elektronik, erfundene afrikanische und Balkan-Musik und Minimalismus. Es fanden sich sogar Prä-Techno-Aspekte in Songs wie "Saure Gurke", dessen charakteristisches Keyboardmuster hörte man zehn Jahre später in einigen heute klassischen Techno-Tracks aus Detroit wieder. "Onze danses..." wurde zum Kultalbum und steht stellvertretend für die vielen musikalischen Wege, die das Label Crammed in der Zwischenzeit eingeschlagen hat. //
In the spring of 1977, two young Belgian musicians who call themselves Aksak Maboul (aka MARC HOLLANDER & VINCENT KENIS) set out to record an album, Onze danses pour combattre la migraine, in which they playfully fused and deconstructed all kinds of genres to create their own musical world. Three years later, Hollander founded the Crammed label. Many ingredients came in and out of the Aksak blender : fake jazz, electronics, imaginary African & Balkan music, minimalism... there were even pre-techno aspects such in as Saure Gurke and its characteristic keyboard stab pattern which will mysteriously find its way into many classic Detroit techno tracks some ten years later. Onze Danses became a cult album, and seems retrospectively to have mapped out the way for the various directions which have been explored by Crammed during the next two decades." [label info]
"These were tense times. The Sex Pistols were on tour. Rod Stewart and the Eagles were heading the charts, and people were either boring themselves stupid with Paul McCartney's Wings or drifting off to Berlin, as David Bowie had done. There was a feeling in the air that one had to risk doing something new, and some people started calling the resulting phenomenon 'New Wave'. Amidst the restless atmosphere of the 1970s, an LP emerged as if from nowhere that started as if it were a radio broadcast for children. Where did this music come from? From Europe or from far away? Was it a message from the future, that had been forgotten somewhere in the past? The instrumentation consisted of guitar, organ, saxophone and violin, but there were also instruments the use of which had hitherto been strictly taboo in contemporary productions. For example, an old-fashioned piano could be heard alongside a clarinet, an accordion, a xylophone or an electronic drum machine. The music was melancholic, sometimes sad, and yet it was refreshing, lively and made its listeners happy. A woman's voice came and went as if blown about by the wind, a singing child, melodies for eternity, and again and again little surprises as if with each piece one were unwrapping a small but precious present." [Anna-Bianca Krause]
In the spring of 1977, two young Belgian musicians who call themselves Aksak Maboul (aka MARC HOLLANDER & VINCENT KENIS) set out to record an album, Onze danses pour combattre la migraine, in which they playfully fused and deconstructed all kinds of genres to create their own musical world. Three years later, Hollander founded the Crammed label. Many ingredients came in and out of the Aksak blender : fake jazz, electronics, imaginary African & Balkan music, minimalism... there were even pre-techno aspects such in as Saure Gurke and its characteristic keyboard stab pattern which will mysteriously find its way into many classic Detroit techno tracks some ten years later. Onze Danses became a cult album, and seems retrospectively to have mapped out the way for the various directions which have been explored by Crammed during the next two decades." [label info]
"These were tense times. The Sex Pistols were on tour. Rod Stewart and the Eagles were heading the charts, and people were either boring themselves stupid with Paul McCartney's Wings or drifting off to Berlin, as David Bowie had done. There was a feeling in the air that one had to risk doing something new, and some people started calling the resulting phenomenon 'New Wave'. Amidst the restless atmosphere of the 1970s, an LP emerged as if from nowhere that started as if it were a radio broadcast for children. Where did this music come from? From Europe or from far away? Was it a message from the future, that had been forgotten somewhere in the past? The instrumentation consisted of guitar, organ, saxophone and violin, but there were also instruments the use of which had hitherto been strictly taboo in contemporary productions. For example, an old-fashioned piano could be heard alongside a clarinet, an accordion, a xylophone or an electronic drum machine. The music was melancholic, sometimes sad, and yet it was refreshing, lively and made its listeners happy. A woman's voice came and went as if blown about by the wind, a singing child, melodies for eternity, and again and again little surprises as if with each piece one were unwrapping a small but precious present." [Anna-Bianca Krause]