mu First Part

This compilation of songs is not meant as a historic reflection of popular music of the “Arab world.” It is a very personal selection of songs we grew to like at Habibi Funk. It is music that historically never existed as a unified musical genre. We think it’s important to make this distinction and to have the listener understand that the majority of the music on this compilation does not come from the highly famous names of the musical spectrum of North Africa and the Middle East. Instead, the final body compiled for this record consists of some – at least for us – nichey pearls and often overlooked artists; resulting in a diverse range of styles from Egyptian organ funk, disco sounds from Morocco, an example of the lively reggae scene of Libya, political songs from Lebanon, soundtrack music from Alge- ria, a musical union between Kenya and Oman, and much more.

In mu sical notation in Germany, the letter ‘h’ is used to represent the note b natural. So, the name ‘Bach’ forms an elegant phrase of two pairs of falling semitones. This proved an inspiration to Johann Sebastian, whose musical ‘signature’ appears again and again throughout his extensive output. Two shining examples are included on this album – the ‘unfinished fugue’ Contrapunctus XIV à 4 from Die Kunst der Fuge (as completed by Lionel Rogg) and the exquisite Ricercar à 6 from Musikalisches Opfer. Bach’s signature – as well as musical invention – has directly influenced scores of other composers down the years, as evidenced by the works included here, from Mendelssohn to Karg-Elert.

SHAKE STEW is Austria‘s jazz band of the hour. After playing more than 25 gigs during the first months since premiering at Jazzfestival Saalfelden 2016 and selling out their first record „The Golden Fang“ within half a year, the unique septet is conquering the music world with a hypnotic mixture of afrobeat and jazz grooves shaken up by the intense and mysterious soundscapes created with a combination of two drummers and two double bass players! With „Rise And Rise Again“ Shake Stew are releasing their highly anticipated second album in May 2018, which also features Shabaka Hutchings on 2 of the tracks. Everywhere they went so far, the press has been more than enthusiastic, often trying to create new terms and genre-labels to put their live experiences into words and this new release will only further establish their status as one of Europe's most upcoming Jazzbands.

Can it really be five years since 'The Masquerade Overture'? In the intervening time, Nick has suffered personally, and some of this is really brought home by the lyrics. There are some very bitter words at times, but the strongest message is probably on "If I Were The Wind (And You Were The Rain)" where Nick sings to his son. It is straight from the heart and I not only felt extremely moved when I read them for the first time, but also that almost I was intruding on a very private matter. Nick has bared his soul on this album, so that it is extremely personal and, hopefully for him, cathartic. But what of the music? In many ways, this is an album that will appeal to followers of Floyd, Genesis and Camel, albeit with more majesty and grace.

Konx-om-Pax's first two albums for Planet Mu moved from amorphous ambient abstractions (Regional Surrealism) to bright yet half-dissolved rave nostalgia (Caramel). With Ways of Seeing, producer/graphic designer Tom Scholefield places a greater focus on beats and melodies, yet his music remains just as dreamy as it was before. Scholefield recorded Ways of Seeing after relocating from his hometown of Glasgow to Berlin, and while the album is certainly his most techno-influenced release yet, it sounds nothing like the sort of dark, paranoid techno one might associate with the city. Instead, it's joyous and even beach-ready, exuding warmth through hazy, lo-fi textures.