Tomorrow I’m off to Syria for a couple weeks. I can’t wait. That means no Benn loxo posts for a while, but I’ll try my best to come home with some good Syrian tunes to share.

Before I go, let’s dive into my small collection of Syrian music. Think of this as a pre-Syria post.. armchair before experience.

First we’ll hear some music by Syrian-born musician, Abed Azrié. It’s perhaps not fair to call his music “Syrian” since he’s lived in France for most of his life and openly prefers it over here. At the same time it’s a good place to start since the Syrian and other Arabian influences are very obvious in his music. Also, his tunes are put together in such a way that it’s pleasing to your average Western ear. You can grab plenty of his albums over at Calabash.

The pseudo-documentarians at Wikipedia claim that Jeff Buckley was a big fan, and that the two once had lunch together. Maybe if Buckley hadn’t died so tragically young he and Azrié could have collaborated on some music. Now that’d be interesting.

(Sidenote: I was lucky enough to see Jeff Buckley live in Toronto shortly before he died. Needless to say, it was an amazing show.)

Anyway, back to Syria, or rather another Syrian expat with strong ties to home. Zein al-Jundi’s album, Traditional Songs From Syria, is beautiful. Originally from Damascus, she got her break when the Syrian government asked her to perform at the re-opening of Syria’s famous Roman amphitheatre in Bosra.. where I’ll hopefully be in a few days.

In recent years she’s been living in Austin, Texas, studying architecture and interior design. I know Austin’s a cool city and all, but it’s still strange to imagine a female Syrian expat architect going home after a Masters class to jam on some traditional Arabic music.. in Texas.

Next we’ll bring it down a notch with some Syrian sufi chants.

Let’s end on a dancing note. Lastly we’ll hear a couple tracks off the great Rough Guide compilation, Bellydance Café, by the Salatin el Tarab Orchestra and the Jalal Joubi Ensemble.

See you in a couple weeks.

Abed Azrié – Eau et vent
Abed Azrié – Abou – Saadiyah
Zein al-Jundi – Hayyamatni
Zein al-Jundi – Ya Ein Mulayyetein
Muhammad Hakim, Abdullah Rihawi, Abdulrahman Halak, Ahmad Machal, Muhannad Alwan, Ahmad Moslemani, Bakri Basal, Abdulhadi Kasara, Omar Shaban Hosayn, Ibrahim Karman – Khummari

Salatin el Tarab Orchestra – Helm
Jalal Joubi Ensemble – Marmar Zamani

Buenos Aires is shrouded in smoke these days. It’s sort of appropriate for today’s post since we’re going to ROCK OUT.

Sorry, I just wanted to write that. But really, if we’re going to “hear” Buenos Aires it’s certainly not by chilling out to some Martha Argerich piano music. While stunningly beautiful, Argerich isn’t exactly playing what the Argentinian kids are into these days.

Argentina is, after all, a rock nacion. A rock nacional nation.

I’m not going to attempt anything comprehensive here. We’ll just listen to bits and pieces of Argentinian rock, or rather rock-ish music that I like from over the years.

Let’s start back in the 1980s. After his buddy Ian Curtis of Joy Division-fame died, this Italian guy named Luca Prodan decided to kick his heroin habit by moving to Argentina. After a while he got some musicians together and formed the group Sumo.

The 80s weren’t exactly a hot cultural time for Argentina thanks to its military dictatorship, but Sumo managed to gain a large fan base and release a bunch of albums. Their music is heavy on the reggae and ska.. no surprise since Prodan was coming from 1980s London and Manchester.

Next we’ll hear something from a band you probably already know: Los Fabulosos Cadillacs. They rose to fame in Buenos Aires in the mid-80s and hit their peak around the mid-90s with the release of Matador, which you’ll hear today. You can see the video here.

Up next is music by Argentina’s hardest to pronounce rock band, Bersuit Vergarabat. These guys are big-time in the Spanish-speaking world, having cleaned-up numerous times at MTV América Latina Awards and VMAs. The album that today’s track is from, Hijos del Culo, went double-platinum. Great cover.

Now we go rocking into the now with some “garange punk” from Los Peyotes. These guys definitely have a great look, and I find myself charmed by their music. ..much in the same way I love The Monks. You can see some of their videos on YouTube.

I see that Los Peyotes are playing with the New York Dolls in Buenos Aires today, April 18th. That’d be fun.. bit of a long flight for me, though. If you go, tell us how it is!

Next you’ll hear something a little different: some country/folk rock by Los Alamos. I don’t know much about these guys except that I read about them on Argentinian “indie rock” web sites. I like their sound.

Same goes for Rosario Bléfari. She’s a Buenos Aires musician who appears to be really into jumping around in bathing suits.. I guess I like that in a woman. Her music is great, too. Today’s track comes off her 2004 release, Estaciones.

Before we leave Argentina it’s only fair that I slip in one, just one, contemporary tango track. I know, I know. Rock fans probably would hate the mix, but I’m over it, and La Chicana’s track is appropriately named Dolor Wolof.

Hasta la próxima.

Sumo – Kaya
Los Fabulosos Cadillacs – Matador
Bersuit Vergarabat – El gordo motoneta
Los Peyotes – Cry Baby
Los Alamos – Cola de cascabel
Rosario Bléfari – Cartas
La Chicana – Dolor wolof

Wait.. just.. one.. more.. or maybe two. These two covers are too funny to skip:

Los Fabulosos Cadillacs – Strawberry Fields Forever
Los Peyotes – Fuego

It’s the middle of the week and our ears and minds are tired; it’s time for some music that’s a little more delicate than usual.

The first time I visited Buenos Aires I randomly met a group of people at some hostel who were big into the Argentinian contemporary dance scene. Not exactly your average hostel crowd. I tagged along with them for a night on the town in my one change of clothes, during which we saw a beautiful dance performance followed by a classic Buenos Aires pub crawl. It was a wonderfully unpretentious approach to “high culture”.. the kind of evenings I aspire to.

Anyway, I was/am researching a post on Argentinian pop when I remembered this night and tried to recall the name of the dance production. This led to sites about Buenos Aires’ classical music scene where eventually I learnt that Martha Argerich, one of the greatest modern-day pianists, was born in Buenos Aires. She got her musical start there, studying and performing her first concerts before leaving for Europe at the age of 14.

Argerich: perfect for today’s post. We’ll put aside tango and rock nacional for a second and have a close listen to a truly gifted pianist while thinking of one of my favourite cities in the world, Buenos Aires.

I saw Martha Argerich perform in Paris last year at the Salle Pleyel. She seemed indifferent to the crowd (what I’ve since learned is her trademark) and appeared to be coming down with a head cold, but the music was beautiful. She’s famous for hating to play solo and occasionally cancels her own concerts at the last minute. This night, however, she showed up, wowed the crowd, and even played on her own for a bit.

For those of you who don’t know Martha Argerich don’t worry since she goes to great lengths not to be known. Though she’s a tireless promoter of young classical musicians, Argerich herself rarely does interviews and plays few (public) concerts. When she does perform it’s rarely alone since she says that she gets “lonely” on stage. Regardless of these idiosyncrasies you’ll often hear her name mentioned in the same breath as the likes of ‘Vladimir Horowitz’ and other great modern pianists.

The piece we’ll hear today is a 1980 composition by Alexandre Rabinovitch, performed by himself and Argerich, recorded at the Radiostudio Bern on November 24, 1993. It’s quite different from the regular batch of Chopin, Bach and Prokofiev usually associated with Martha Argerich, but it’s beautiful.. I love it.. and it’s probably more suited to this site than most of her recordings. Amazingly, you can now buy it at Emusic.

Scholars with a good ear will hear that “the emphatic assertion of the motif in D major from Brahms’s lied, Es liebt sich so lieblich in Lenze, is counterbalanced by the insistent sadness of the Serenade in D minor by Schubert.”

The rest of us will just hear a beautiful, flowing work for two pianos.

Now.. if Rob would only start his classical music audioblog, then we’d all be set.

Martha Argerich & Alexandre Rabinovitch – Liebliches Lied

I’ve been to Istanbul a couple times now. I love it.

I was there a few weeks ago working on the Asian bank at Samanyolu TV, one of the stations in the Gülen media empire. It made for an interesting contrast since I’d spend most of the day at a moderate Islamic television station on the, generally speaking, more conservative Asian shore of Istanbul, then at night I’d return home to the bars, restaurants and nightlife in Beyoğlu, Taksim.

Indeed, the clichés you read about in guidebook intros are spot-on: the city is wedged between Europe and Asia/Middle East, between secularism and Islam, and between older traditions and contemporary Western culture. The politics, geography and even the hip-hop all reflect this.

A lot of Turkish hip-hop musicians are actually based in Germany where the movement got its start. With over two million Turks in Germany, it’s no surprise that the music started there as an outlet for disenfranchised Turkish youth struggling to fit-in to German society.

It’d be hard to be a rapper in Turkey itself. You couldn’t be too fuck-the-man since that might land you in jail for “insulting Turkishness” under the infamous penal code 301, and generally speaking Turkey is quite a polite society with courts that aren’t too tolerant of defamation.

Regardless of its Turko-German roots, Turkish hip-hop at home or abroad remains very Turkish and many rappers are increasingly now based in Turkey. Almost all major Turkish MCs in Germany or Turkey rap in Turkish rather than German or English, and since it’s early days Turkish DJs have mixed traditional Turkish instruments, melodies and rhythms with 808 beats and that American hip-hop sound. You’ll hear some examples of that today: traditional instruments like the bağlama, kemençe and davul are often playing in the background.

We should start our tour with the Germany-based Turkish hip-hop supergroup, Cartel. They are generally credited with starting the Turkish hip-hop movement in the mid-1990s after the release of their self-titled debut on Polygram. Not only did they rap in Turkish and use Turkish melodies in their mixes, but their music was very popular in both Germany and Turkey.

After almost killing each other in a fight in 1996 the members of Cartel went their separate ways and several of them were jailed. This plus some controversial lyrics got their debut album banned in Turkey. It wasn’t re-released until 2004. As a result, hip-hop in Turkey in the late 90s went underground for a while.. but the flame had been lit.

A few years later two rappers, Ceza and Dr. Fuchs, started a rap group called Nefret. The group was immediately popular and Ceza would soon become Turkey’s most famous rapper, and arguably one of its most influential Turkish musicians in any genre.

When Ceza released his album Rapstar in 2004 hip-hop was firmly established on the Turkish musical scene. Even the hugely popular Turkish pop star, Tarkan, suggested that he’d start incorporating some hip-hop into his music. Check-out some of Ceza’s videos on YouTube, including his most popular release to date, Holocaust.

Following Ceza’s success several new rappers came to the forefront, among them Sagopa Kajmer. He’s probably one of the best/most popular Turkish rappers around these days. Listen carefully to the second track by Kajmer that I’ll post today; the references are golden. You can see his videos on YouTube. Check-out how many views he’s getting and it’ll give you an idea of his popularity. (I might even have to add him as a friend on Facebook..)

Next, for those who still might associate Istanbul with veiled women we’ll hear some tracks by two female MCs, Sultana and Kolera. Kolera has worked closely with Sagopa Kajmer over the years. She has plenty of videos on YouTube and a MySpace page if you want to learn more. Sultana has some videos on YouTube, too.

Lastly some music by Fuat Ergin. I include this because he raps in Turkish but was born in Germany and has lived there most of his life… and yet still feels a very strong connection to Turkey. Fuat Ergin and many others like him reflect the strong ties that remain between the Turkish diaspora and Turkey, even a generation after their emigration. Video here.

Cartel – Cartel
Ceza – Araturka Fasli
Ceza – Yerli Plaka
Sagopa Kajmer – Al 1′de Burdan Yak
Sagopa Kajmer – Kirik Cocuk (Mickolodium mix)
Sultana – Com Kaymak
Kolera – Bugun mutlu olmayacak gibiyim
Fuat – Her Ayin Elemani

I spent some time last month in Copenhagen, Denmark, working at the new DR Byen complex (Danmarks Radio City, above).

Sure, the project is over-budget and riddled with controversy. But if you ask me, DR Byen is beautiful. The symphony hall, still under construction, is by Jean Nouvel and contains several concert halls, the largest of which seats 1,600 people. The large hall is suspended in air on three columns and features, among many other niceties, a hydraulic roof that raises or lowers to adjust the room’s acoustics to the music being played inside. Time will tell whether the acoustics measure up but I’m all for trying new things.. and man, that organ by J. L. van den Heuvel Orgelbouw is going to be amazing.

DR Byen’s main building is actually four buildings by four architects, stuck to each other around a glass atrium. Each building is distinct. I got the feeling while walking around inside that I was in an episode of the Jetsons. Actually, a better comparison would be Royskopp’s video for Remind Me. Smiling Danes who have just arrived by silent, driverless, above-ground metros, people-moved around by escalators in their stylishly Danish clothes, unwittingly cooled by groundwater, warmed by solar panels, their TVs pumped satellite feeds from amazing Australian dual satellite antennas on the roof that automatically tilt and rotate to find the best signal.

The city itself is great, too. Yeah, it’s wildly expensive to eat out, but life is good. Great shops around the Latin Quarter, cool bars around Istedgade in Vesterbro, nice parks…

And the bikes, oh the bikes, they’re a truly beautiful thing. Beautiful people riding beautiful bikes on beautifully wide bike lanes. Man, these bike lanes are so big that some of them even have turn lanes. Bertrand Delanoë may have done wonders for biking in Paris, but after seeing Copenhagen we still have a long, long way to go. The guy I was working with said that around 35% of all Copenhagen residents take their bike to work every day. Think about that for a second. That’s an enormous percentage.

While looking across the water at the Turning Torso in Malmö, Sweden, through the giant wind turbines that rise mysteriously out of the water and across the cross-country bridge, I found myself thinking that it may be a cliché, but yes, Scandinavia is a glimpse into an idyllic future.

So today – you guessed it – we’ll be hearing some Danish music.

First up, Under Byen. I first heard these guys over at Aurgasm a while back. Their 2006 release, Samme stof som stof, is particularly good. You’ll hear one track off that album and another from 2002’s Det er mig der holder træerne sammen.

Next, a track off Anders Trentemøller’s interesting 2006 release, The Last Resort.

The fourth is by Efterklang from their 2007 release, Parades. You can see the video for Mirador here.

Last but not least, a strange but lovely track by Jomi Massage. I also caught her first on Aurgasm.. a constant source of great music.

See you next week.

Under Byen – Batteri Generator
Under Byen – Tindrer
Trentemøller – Take Me Into Your Skin
Efterklang – Mirador
Jomi Massage – Mission