#sardinian music

[nofatclips]

Monologo de la Luna and NÍjar by Paolo Angeli, live for the SF Jazz Center

[larmegliamori]

Also FYI there's a Sardinian pop-rock group called Tazenda after one of the planets in Isaac Asimov's Foundation books

[sir-virtem]

BABY WAKE THE FUCK UP

DARIUS THE GREAT UPLOAD A ROMAN THROAT SINGING SONG

[unwinthehart]

Rai Radio2 spoiling Blanco being back tonight 🤦‍♀️

[puntointerrogativo]

Because I’m tired of loosing this in the belly of YT 😅

[sonmelier]

24. Daniela Pes | Spira

🇮🇹 Italie | Tanca Records | 38 minutes | 7 morceaux

Daniela Pes, artiste originaire de Sardaigne, dévoile un premier album absolument envoûtant sur le jeune label Tanca Records fondé par Jacopo Incani. Ce dernier, dont les œuvres commises sous l’identité d’IOSONOUNCANE font partie des plus saisissantes de la musique actuelle, apporte sa contribution à la production pour un résultat profondément mystérieux (voire à certains égards quasi-religieux). La voix de la chanteuse reste cependant au cœur du disque, portant avec beaucoup de magnétisme un langage semi-inventé – évoquant à la fois quelque chose de séculaire et de paranormal.

[dato-georgia-caucasus]

Pane carasau (Sardinian: [ˈpanɛ ɣaɾaˈzau]; Italian: [ˈpaːne karaˈzau]; 'toasted bread' in Sardinian, from the past participle of the Sardinian verb carasare, which means 'to toast', referring to the crust) is a traditional flatbread from Sardinia. It is called carta da musica in Italian, meaning 'sheet music', in reference to its large and paper-thin shape, which is said to be so thin before cooking that a sheet of music can be read through it. It is typically paired with pecorino cheese and wine.

The bread is thin and crisp, usually in the form of a dish half a meter wide. It is made by taking baked flat bread (made of durum wheat flour, salt, yeast, and water), then separating it into two sheets which are baked again. The recipe is very ancient and was conceived for shepherds, who used to stay far from home for months at a time: pane carasau can last up to one year if it is kept dry. The bread can be eaten either dry or wet (with water, wine, or sauces). A similar, yeast-free bread, with added seasoning, is known as pane guttiau ('dripped bread').

Remains of the bread were found in archeological excavations of nuraghes (traditional Sardinian stone buildings) and it was therefore already eaten on the island prior to 1000 BCE.

[medicalunprofessional]

be warned psychonauts gamers i just unleashed a fire caligosto loboto playlist on spotify. do not listen to it. it will make you ill. its called “california logistics” and it contains two different variations of ventolin, plently of merzbow, modest mouse, and traditional sardinian music. sorry. i dont know if its even disocoverable right now but DONT DO IT

[fortressofserenity]

X-Men and Cultural Appropriation

I pretty much pointed out how the X-Men writers have indulged in cultural appropriation to varying degrees, in the sense that the mutants are stand-ins for ethnic minorities but most of them don’t speak minority languages. Mind you, minority languages are minority because they’re not commonly spoken due to being stigmatised and discouraged. People would get whacked if they spoke in such a language, whilst this never really happened in the X-Men stories as far as I remember. It doesn’t help when at least most X-Men writers either don’t speak any minority language or bother learning it, which would explain the ironically appropriative air X-Men stories give off.

Like they co-opt minority experiences but almost none of the writers are either into minority cultures nor are they minorities themselves, this is likely why both Sean and Theresa Cassidy fit Irish stereotypes but neither of them speak Irish. It wouldn’t hurt if Rahne Sinclair actually spoke Scots instead of weird butchered English she sometimes she’s slotted into, I don’t think there are any mutants who speak Venetian, Lombard/Milanese, Low German and Saterland Frisian either. Again this involves a greater admiration for something this marginalised as a minority language of any given country than is commonly shown and done in X-Men comics, honestly I got into Irish because of loving Irish foik music.

So there is a difference between cultural appreciation and cultural appropriation, the former involves actually loving and respecting the culture in question and the other makes a mockery out of it when borrowed though sometimes they are blurred together. (Trust me, it’s like that with me when it comes to China until recently.) The X-Men stories and their respective writers frequently fall into the latter, especially when it comes to non-American and/or nonwhite mutants. This is likely why as I said before, both Cassidys are Irish stereotypes who neither speak Irish to any degree.

It’s kind of tragic when you realise how there is a difference between reiterating ethnic stereotypes and having any real appreciation for/interest in certain cultures, this may not always be the case but it seems in my case my interest in Ireland stemmed from learning Irish from Irish folk music. I don’t think X-Men stories ever lead me to loving foreign cultures the way I did with Irish folk music, so it becomes really evident that X-Men writers have co-opted the experiences of minorities for their characters and stories but show no real interest in those people themselves.

It’s not just that Siryn and her father are Irish stereotypes (or at least started out as such), but how the other mutants don’t speak any minority language which would’ve furthered the minority comparison more. There aren’t any mutants who speak Lombard, Venetian, Breton, Welsh, Frisian, Low German, Sicilian, Sardinian, Scots, Scottish Gaelic, Kurdish and Nahuatl, maybe until recently, despite X-Men writers’ tendency to harp on mutants as the ultimate minority, the minority of all minorities within Marvel stories. You might say that they’re obscure and irrelevant, but they are important markers of social identity to some people.

If I were to compare X-Men to any one of the Milestone stories (Icon and Blood Syndicate), the latter two are written by members of actual minorities so there’s going to be an authenticity that most X-Men stories lack. If X-Men writers and stories alike reveal an insincerity in showing the (ethnic) minority perspective, this could partly explain why not a lot of mutants speak minority languages. This may not always be the case, but it is telling how this aspect of social identity gets missed out. If X-Men stories are inadequate and untrustworthy when it comes to the minority language, perhaps something else does.

One that even outdoes X-Men when it comes to portraying ethnic/linguistic minorities at all, especially when written by actual minorities and/or those who speak minority languages.

[1966loveminuszeronolimit]

Ama whats your favorite song right now

it’s calledddddddddddddddddddddd Jesu its from the class on sardinian music im taking and its soooo crazyyyyyyyyyy from this village called santu lussurgiu i need to find it on youtube so i can share it for real

[nofatclips]

Blu di Prussia by Paolo Angeli from the live album Talea

[doomedandstoned]

Sardinia’s LOOSE SUTURES Return with Fuzzed-Out Single “Highway Shooter”

~Doomed & Stoned Debuts~

By Billy Goate

If Electric Wizard were just a bit more fun, they might be LOOSE SUTURES. Dark for damn sure, but with an exuberant beat, acid-saturated retro vibe, and garage rock gusto. We introduced the fuzz rock trio from Sardinia just year before last, and now they mark their return with a third album, 'Sado Sex for Dummies' (2023).

Drawing from the party-till-you-drop excess of the 1970s, the band explores themes of lust, murder, and drugs, weilding a fuzzy, smoke-filled, high-energy sound that taps into the libertine spirit of late-60s rock 'n' roll.

Today, Doomed & Stoned brings you the first track off of Side A: "Highway Shooter." The band describes like this:

There's no way out, you're gonna die and you know that! So just run as fast as you can and kill as much as you can. Based on a true story, "Highway Shooter" is Loose Sutures’ first single from 'Sado Sex for Dummies.'

The fiery single comes out digitally on March 25th, with the new album dropping in late-May on Electric Valley Records (pre-order here). Stick this on a playlist with Deep Purple, Ty Segall, Thee Oh Sees, The Hazytones, Null, and Turn Me On Dead Man. It's one of my favorite go-to records of the year so far.

Give ear...

LISTEN: Loose Sutures - "Highway Shooter"

SOME BUZZ

Loose Sutures return with Sado Sex for Dummies, their third LP, slated for 26 May digitally and on three variations of vinyl via Electric Valley Records.

Assembled in 2019 by four roughnecks, Loose Sutures plays classic '70s riffs with a pinch of modern punk attitude, conjuring a blend of stoner and garage energy and displaying an abundance of evil beats, venomous fuzzes, and raunchy lyrics. Loose Sutures' music has been praised by fans and critics for evoking a dark and seductive atmosphere reminiscent of cult exploitation movies.

Depicting killer profiles and kinky love stories, the Sardinian group presented their self-titled debut LP in March 2020 via Electric Valley Records. They followed it up with the sophomore album, A Gash with Sharp Teeth and Other Tales, the following year via Electric Valley Records; it later saw a Japanese edition in the Spring of 2022. Introducing the newly recruited Giuseppe Hussain (who replaced Gianpaolo Cherchi, guitars/vocals), the album is “a journey delving into lust with filthy guitars, stoned rhythms, and creepy voices escorting you deep inside the sticky core of what you fear yet desire at the same time.”

Loose Sutures again encountered a lineup change in 2022 when Giuseppe Hussain left the band, leaving the band to operate as a trio. It was a setback, but they refused to let it hold them back. Longtime fellow Marco “Grey” Manca joined to take care of the role of Giuseppe on the “High Heeled Barbarians Tour” around Europe the same year.

'Sado Sex for Dummies,' as the name hints, is a complete handbook to satisfy the needs of the pervs, sadists, and killers out there. An invitation to indulge in fuzz-drenched, punk-‘n-roll violence, this third record from Loose Sutures has no shortage of lurid stories. While there is a touch of evolution, the album has not strayed too far from the band’s established hard, fast, and crude sound. To add more spice to some songs, the album features a couple of guest musicians, including the legendary Nick Oliveri and Alain Johannes.

Get ready to be taken on a frenzied ride into the depths of your darkest desires.

Follow The Band

Get Their Music

[unwinthehart]

Hey!! Thank you so much for uploading the Rubini video, it’s so lovely. I was wondering, if it’s not too much trouble, would you mind translating what Elisa and Mahmood say before and after the song please?

No problem, it's indeed a beautiful version of Rubini 🤍 Before the performance, Elisa says: "I'd let the magic of music speak for itself, and the magic of my friend, who came to visit. And it's the first time we sing our song together*" Mahmood just greats everyone with "Good evening". **it's not actually the first time they performed "Rubini" together, there's at least another performance at the Seat Music Awards in 2021 (here). Guess Elisa forgot 😅 (After the performance) Mahmood: "Can I say? It sounded like a different song, I don't know why." Elisa (with a sardinian accent): "It's okay, it came out like that... What were we supposed to do? Let's start talking in Sardinian. It came out like that." Mahmood (in sardinian): "It came out a bit... like that." Elisa: "What did you say?" Mahmood: "A bit so..." Elisa repeats the sentence in sardinian. Mahmood: "She's so believable (when she speaks in sardinian)!" Elisa: "Am I? But then I get a bit like that, it happens when I wear this kind of dresses, I feel regal." Mahmood: "(you're) beautiful. Beautiful. It might be because you're... you're a bit more Mediterranean." Elisa: "We're stepping way too back (on the stage)" Then they exchange thanks and goodbyes and Mahmood thanks the Maestro Dardust, saying it was an honour ^^

[disaster-vampire]

one thing about levante is that i'm fairly certain her parents are rich. her mom came to vacation here years ago and my mom was her cleaning lady. she told my mom to listen to her kid's music, and i think we first heard her on the radio maybe 6 months later. i'm sure if you're italian i don't have to tell you how much it costs to just rent a house by the beach in sardinia. this is not a critique of her music of course, it's a critique of how the italian music scene works in general. like if i tried to start making music myself it would not take me a few years to get famous like her because i don't have the money for lessons and equipment and mixing and distributing etc. take salmo for example, you may not like his music but he's been around for more than 10 years at this point, before he started doing rap he was in a metal band that never took off, and when he started rapping he would, from what i know, straight up record in his childhood bedroom. and i believe he also did his own mixing and bases and everything. and he did it this way for years with a bunch of other sardinian musicians. everyone in my old high school knew him but it's because he was considered some kind of underground local rapper and i went to art school, where everyone is at least a little bit pretentious, but he wasn’t really known outside of sardinia. idk how to close this post i'm just ranting abt how rich people start everything ahead.

[byneddiedingo]

Padre Padrone (Paolo Taviani, Vittorio Taviani, 1977) Cast: Omero Antonutti, Saverio Marconi, Marcella Michelangeli, Fabrizio Forte, Marino Cenna, Stanko Molnar, Nanni Moretti, Gavino Ledda. Screenplay: Paolo Taviani, Vittorio Taviani, based on a book by Gavino Ledda. Cinematography: Marino Masini. Production design: Gianni Sbarra. Film editing: Roberto Perpignani. Music: Egisto Macchi. Two great themes coalesce in Padre Padrone. One is older than Oedipus, the primal conflict of father and son. The other came to the fore in the Enlightenment and the democratic revolutions it spawned; we now call it "social mobility." Poets used to write of flowers "born to blush unseen" and "mute inglorious Milton[s]," the victims of rural isolation, primitive ignorance, societies atrophied in feudal patriarchy. The Tavianis find both themes surviving in rural Sardinia, where Gavino Ledda's father drags him from school at the age of 6 and keeps him in servitude and illiteracy as a shepherd for the next 14 years. Padre Padrone could have been just a feel-good story about Gavino's triumph over his father's sternness and greed -- though the elder Ledda thinks what he's doing is for the son's own good -- but the Tavianis won't let it be just that. Though Gavino, rescued by compulsory military service from isolation and ignorance, becomes a celebrated linguist, an authority on the Sardinian dialect, the actual Gavino Ledda, appearing in a frame story for the dramatized part of the film, lets it be known that he has been permanently marked by his father. The Tavianis also find witty ways of letting the outside world irrupt into the young Gavino's isolation, as when the young shepherd hears an accordion playing and the soundtrack bursts into the overture from Die Fledermaus, a correlative for the world beyond the Sardinian hills. Later, after Gavino has begun to find his vocation but has been forced to return home, the aching beauty of the adagio from Mozart's Clarinet Concerto, to which Gavino is listening, is stifled when the father angrily drowns the radio in the sink. Gavino's feeling of being suppressed by his father finds a correlative when he joins a group of other young men carrying the effigy of a saint to a festival at the church. Hidden underneath the heavy statue, the men plot an escape to be guest-workers in Germany, but the camera pans up to the statue, which has changed to an image of Gavino's father, whose refusal to sign the necessary papers prevents Gavino from fleeing. Padre Padrone was made for Italian TV, and has been restored from 16mm film, so its images are sometimes a little muddy, but it gains real power from its storytelling and from the performances of Omero Antonutti as the father and Saverio Marconi as the grownup Gavino.  

[burlveneer-music]

VA - Spirit of France

Obscure, rare spiritual jazz, deep folk and psychedelia sounds from the French ‘70s - ‘80s underground ‘Spirit of France’ is an anthology celebrating the French artists whose total desire not to belong to a particular trend expanded their horizon by pushing the boundaries of creative music. Recording in caves during the full moon, or in the open air in Ibiza to celebrate the sun - with flutes, cromorne (French woodwind reed), darbouka and hurdy-gurdy, or with fascinating, unusual, artist-build instruments, with sounds heavily influenced from Indian, African, Arabic, Eastern and Malagasy cultures, this is what makes this compilation so unique. Freedom of expression, experimental creativity and collaboration constitute the fuel for these hand picked artists – similar to Don Cherry’s influence on Colin Walcott and Kahil El’Zabar (in the field of jazz), and folk background artists like Robbie Basho and Sandy Bull; in Europe, the same approach was manifested in Italy with bassist Marcello Melis, the Sardinian singers from the Gruppo Rubanu, Aktuala and Futuro Antico. In France, Cossi Anatz, Nu Creative Methods and Sonorhc were also echoing the same approach. ‘Spirit of France’ – a long project in the making, is dedicated in unearthing more than just curiosities, instead focusing on never been reissued, obscure, artist-self-released music. Carefully curated by Spiritmuse Records’ Mark Gallagher and Thea Ioannou, and joined by young French digger Tom Val, ‘Spirit of France’ is an anthology of obscure spiritual jazz and its’ relationship with deep folk in the ‘70s - ‘80s French multi-cultural melting pot underground scene. The album’s aim is evident from the outset, with Rémy Couvez’s aptly named ‘Rêve de Voyage’, illustrating the theme’s quest for imaginary folklore, continued with Workshop de Lyon, Jef Gilson – France’s spiritual jazz giant, Sylvain Kassap, Noco Music, Pân-Râ, L’Empire des Sons, Ghédalia Tazartès, and the mysterious Adjenar Sidar Khan. Some of these artists remain unacknowledged, yet they’re all extraordinary heroes of the French music avant-garde scene. ‘Spirit of France’ is a journey of imaginary folklore, blending spiritual jazz influences and deep folk, celebrating the unique sounds of the French avant-garde underground, at the crossroads of the tribal, the secular and the universal. Curated by Mark Gallagher, Thea Ioannou & Tom Val Design and Art Direction by Nep Sidhu