Show notes for the 291st Mużika Mod Ieħor podcast featuring music by performers from or in Malta:
Carrie Haber – Crash & Burn (aka Mr Taxi Man)
Recorded live in the studio this is a lovely prelude for Carrie Haber’s upcoming EP Taurus, which is due to be released on Thursday 26 April 2012 at The Bedford in London. Slowly, but surely, Carrie is finding her own voice and establishing herself as a prolific artist in her own right. The video for this live track shows what a remarkable performer she really is.
Adie – Cry For You
Last year’s video for Adie’s Reaction was voted as the Top Video in the 2011 MMI Listeners’ Picks poll. This follow up is even better than last year’s offering, so I’m expecting it to receive a considerable amount of votes come the 2012 poll towards the end of this year. Adie’s voice too sounds better to me on this song and if she keeps at it this way I’m sure that things can only get better in the coming years.
Bruwtal – Mother in Pain
Christian Navarro from Naxxar records some rather dark ambient sounds under the name Bruwtal. This is just one o the tracks he has released via SoundCloud this year. If you like the one I’ve selected I’m sure you’ll like the rest.
Atlam – Victims Overture
More than three decades before Kizum Klof decided it was a good idea to spell things backwards, there was Atlam. They came together in early 1980 with a line up consisting of three Xuereb brothers: Charles on guitars, Lizio on bass and Stephen on drums, and their cousin Charlie on keyboards. In 1983, they started working on a rock opera called Victims. The musicial was never performed in public as they encountered some authoritative resistance to their drug references. The music was recorded anyway in 1986 using a 4-track cassette player.
Sempliciment tat-Triq & Marmalja – Spirtu Pront 2012
Zdongrap and Lapes are the voices of the respective projects behind this recording of Maltese-language hip hop, capturing the sound of Maltese rap in 2012. Building on previous material we’ve heard from them separately, this particular track sees them maturing considerably in their choice of words and topics, while remaining true to their roots and musical preferences. Although they are far from popular on mainstream media, this is a real sound of Maltese contemporary pop music stemming from traditional għana tal-pront. In time I believe that this lineage will become even more evident than it already is to anyone who wants to hear it that way.
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