|
|
|
|
viewing 1 To 5 of 5 items
|
|
|
|
|
|
|
|
|
|
|
|
LP
|
|
IRONHAND 005LP
|
Kupa 4 (Kupa Dörtlüsü) was a band formed of Greek and Turkish musicians who lived in a mutual culture in İstanbul (or Constantinople). Their roots connected to rebetiko and laiko, but they were also children of the revolution. Therefore, while playing in a tradition of a laiko band, they also had influences from beat and surf. Groovy drumming, killer Farfisa, and bouzouki-like electric guitar sounds are the key elements in Kupa 4's soundscape. The band rocked the taverns in Turkey and attracted both minorities and Turks' attention until the Cyprus crisis in 1974. In this compilation, you will be hearing the recordings of Kupa 4, where they performed a unique laiko beat/surf style made in Turkey. Plus, in two tracks, you will hear to the band performing as an influential Anatolian rock band. Remastered sound. Presented with liner notes and archive photos; edition of 500.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
7"
|
|
IRONHAND 003EP
|
Ironhand Records announce the EP of Mustafa Kuş & İmece, musically at the crossroads of funk, jazz, and psychedelic, with Anatolian rhythms. Mustafa Kuş, who went to Germany for his education and founded his band İmece in 1976, released three albums and one single until 1985. Compiled from those, the four songs in this EP blend Anatolian rhythms with funk and jazz, entertaining bass lines, crazy drum attacks, saxophone, and keyboard solos. Remastered from the original master tapes. Transparent yellow vinyl; edition of 300.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
IRONHAND 004LP
|
Grup Doğuş (literally means "rising") is a unique type of band among the others in the soundscape of "Gastarbeiter" (guest workers). The band is formed by two brothers, who were guest workers emigrated from Turkey to Germany. Tufan Aydoğan, also attributed as "Hammond Tufan, the Conqueror of all the Organs" by Barış Manço, was organist and the vocalist of the band while his brother Muhittin Aydoğan was on bass, Koray Dikmen on drums, and Sedat Ürküt on guitar and vocals. While performing in nightclubs, by a good coincidence, they received a proposal to record for a one-take album to be issued on cassette in 1975. This low-selling cassette album full of Anadolu pop repertoire was almost forgotten till now. Selected tracks from the album have been remastered and released in vinyl format -- as it had long deserved. The songs here are raw and non-produced type of Anatolian pop, which offer us a soundscape that is not restricted with the limitations of mainstream labels. Therefore, long lasting guitar and Hammond solos, a progressive attitude, flowing energy and groove leave a strong mark on all titles. Strange but true, Grup Doğuş definitely found the way to perform those songs of Anatolian pop heritage in a more mind-blowing way compared to originals of their composers or performers such as Barış Manço, Cem Karaca, Üç Hürel, and Selda. The album contains eight songs from the only album of Grup Doğuş. Includes two-page insert in English and Turkish with lots of photos.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
IRONHAND 003LP
|
"Saz Power features a special sound: the saz, acoustic and electric. This lute instrument is the most commonly used folk instrument in Turkey. It is connected both to Ottoman classical music -- the centuries-old tradition of the wandering bards of Aşıks -- and to the psychedelic Anatolian rock of the 1970s. Through archaeological excavations of mounds in Anatolia, the saz can be traced back to an age before the Common Era. And yet the saz is an international as well as a specifically Turkish instrument. It has gained a wider popularity due to its unique sound and its unique history, especially with the renewed interest in Anatolian rock music that has been growing for a decade now, and the new wave of psychedelic music worldwide. This global appeal is reflected on the album by the choice of artists: one half is played by musicians from Turkey, the other by players from Denmark, France, Germany, Poland, and Israel. The concept for this album was conceived by musician Demir Kerem Atay (aka Elektro Hafız) and developed by the two label directors Cem Şeftalicioğlu and Ercan Demirel. It was to showcase different models of the saz (acoustic, electric) and saz-related instruments (like the buzuq and cümbüş), but also different styles, different ways to play the saz through different countries, to offer a full spectrum of the music that can be produced with it. This concept was immediately embraced by all the musicians asked to participate in the album. Here they could show their love for the instrument -- and indeed they all did so. The arrangements combine the traditional or the electric saz with the diverse sounds and vibrations of psychedelic guitars, basses, organs, synths, drums, and percussion. The tunes are based on different styles of Anatolian folk music or are contemporary compositions written by the artists. As a result, the music belongs partly to a new generation of Turkish folk music and Anatolian rock -- always updating the living tradition of these styles -- and partly to a fresh blend of Anatolian rock with other styles like electronic music or the soundtrack to a psychedelic Western." --Holger Lund
Features MLDVA & Çınar Timur, Kaan Boşnak, Elektro Hafız, Yasak Helva, Baba Zula, Boogie Balagan, Cem Yıldız, Hudna, Derya Yıldırım & Grup Şimşek, Ozan Ata Canani, Grup Ses, and Duble Salih. Last copies.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
IRONHAND 001LP
|
If there is one place on earth that has somewhat cradled, hosted or influenced almost each and everything that later formed what we call today as global culture, it is Anatolia. If there is one community that has been (and is still being) shaped with almost every kind of cultural, economic, social, and emotional contrast in the world, it is Turkish people. And if there is one musical genre that can freely embody and disembody each and every thought and feeling that has ever come to man, it is psychedelic music. Turkey has an extremely colorful musical background that is influenced by many different cultures. Below its dull surface covered with commercial productions, the freer depths of Turkey's musical ocean is still vibrant and exuberant with countless young groups pushing the limits of sound and rhythm. Anatolian rock was one of the most authentic and distinctive contributors of the first global psychedelic upheaval in late '60s and early '70s - and it still echoes in the works of Turkish modern rock bands. Indeed, modern Turkish psychedelia is something that is fully connected to the roots of a natively global sense of expression, which can be easily discriminated from other national products such as American garage bands, German krautrock and British psychedelia. The uniqueness of Turkish psychedelia is hidden in the historical and geographical exposure of its musical psyche. Comprised of previously unpublished psychedelic songs by modern Turkish bands, The New Generation Of Turkish Psychedelic Volume I is the first compilation album released by Ironhand Records. The album opens with the aggressive rhythm and raw melodic bass lines of "Profesyonel" by Yarimada, which is the only song with lyrics on the album. The second title, "Lala's Song" by Irtifakaybediyoruz! is a rage of melancholy amidst wisdom and despair. The third title, "Floodgate" by Help! The Captain Threw Up is a moody yet fluent piece that carries influences of psychedelia and post-rock. "Azim", the punchy, clear-cut last title on A side, is performed by Balina from Izmir, a hearty band in love with dark riffs and sorrowful psychedelic sounds. "Ran" by Milankundura, takes the listener to a thought-provoking trip over a cloud of jazzy sounds. And the closing piece, Lopenstraat's 15-minute epic "Hike", is a nerve-shredding adventure in a dusky forest of acoustic and electric sounds.
|
|
|
|