About

bi'bakaudio is a program of curated listening events that aims to find audiophile approaches to music, society and politics. From live radio shows to record listening sessions, mini-concerts, artist talks and soundscapes, bi'bakaudio invites the listener to hear the musical traces of a post migrant society. Together with musicians, sound artists, activists and musicologists, the listener will explore the sounds of transcultural life forms.

Series
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By Sebastian Reier aka Booty Carrell, Pamela Owusu-Brenyah aka DJ Pam Bam, Florian Sievers, Oded Erez, Kornelia Binicewicz, Mountains of Tongues, Rahman Məmmədli, Ekaterina Borisova, Yuriy Gurzhy and Can Sungu

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OUTERNATIONALE: Stars from Outer Space

The new bi’bakaudio series OUTERNATIONALE: Stars from Outer Space is devoted to the concept of Outernational Music, a counterposition to so-called “World music”. While “World music” tends to exoticize or tame music produced outside of the Western world, Outernational Music sees the distinction between Western music and World music as an extension of the colonial perspective. In contrast, the emphasis is on sound productions that are received and celebrated in cross-border geographies far away from the Western music market - neither mainstream nor underground, but multilingual and influenced by diverse musical traditions and cultures. The music talk series OUTERNATIONALE presents selected artists, along with their artistic creations and biographies, in conversation with experts. Venturing beyond cultural or linguistic barriers, we begin a project of collective musicological research.

Funded by Berliner Senat für Kultur und Europa

Ekaterina Borisova is a music journalist from Saint Petersburg, Russia. Since the mid-80s she has been writing articles on rock music for Russian magazines and newspapers, whilst remaining a major fan and developing a deep knowledge about the Russian underground rock scene. She’s also the author of several books – two books about Yanka Dyagileva among them, issued and reissued in 1998 - 2005.

Florian Sievers is a journalist, author, and curator who loves to tell alternative stories from African urban spaces where at present a rising middle class is producing hip cultural expressions, from fashion and art to especially music. Originally a trained journalist for politics and economics, Florian researches his forward-looking stories from the mother continent on at least yearly trips to continuously new African metropolises. On a sideline during these trips Florian has also become a hobby collector of old vinyl records from Africa.

Kornelia Binicewicz is a Polish record collector, curator, DJ, and founder of Ladies on Records, a multifaceted endeavour focused on the musical legacy of women all over the world, presenting female music from the past decades.Her passion for female music brought her to Turkey where she started to explore the undiscovered world of Turkish female music scene. She curated “Turkish Ladies. Female Singers from Turkey 1973 - 1988” (Epic Istanbul) compilation and “Uzelli Psychedelic Anadolu” compilation (Uzelli), both released on vinyl. Kornelia is currently working on a special project dedicated to female singers from Turkey from one of the Turkish label’s back catalogues.

Mountains of Tongues, founded by Ben Wheeler and Stefan Williamson-Fa, have spent the last seven years traveling across the Caucasus region making recordings and collecting examples of lesser known musical traditions. Through selected samples from their hours of field recordings, coupled with carefully curated tracks from a personal archive of collected LPs, tapes, CDs, and home VHS recordings from across the region, their live shows present a unique and vibrant take on the soundscapes and cultures of the Caucasus, highlighting the music’s diverse forms and settings and the local musicians that make all of it possible. Whether it’s lo-fi bootlegs of Azeri guitarists, the vocal gymnastics of Gurian polyphony, blaring Yezidi woodwinds at an engagement party, auto-tuned Dagestani techno, circling Chechen Sufi rituals, or vintage Yamaha synthesizers accompany songs in isolate languages, Mountains of Tongues presents music at the intersection of the modern/traditional, the participatory/presentational, and the sacred/secular.

Oded Erez (Dept. of Music, Bar-Ilan University) is a scholar of popular music and film music, working in the intersection of historical musicology, ethnomusicology and cultural studies. His work focuses on the relationship between politics and aesthetics, with an emphasis  on music in Israel and the Mediterranean. He is currently completing a book manuscript on Greek music and ethno-class politics in Israel. 

Pamela Owusu-Brenyah is a music consultant, festival organiser, and DJ, working on an enhanced visibility of contemporary African Pop culture in Germany. With her community platform AFRO x POP she regularly offers a music festival stage for rising artists of the Afro-German scene. Pamela, a studied political scientist, is based in Berlin and has family roots in Ghana. She has worked in Ghana’s capital Accra as a DJ for three years and since then has been commuting back and forth between both musical worlds.

Rahman Məmmədli was born in 1961 in the Füzüli district of Qarabağ and grew up surrounded by and immersed in the music of that region. In his childhood he had already mastered the garmon before coming across the guitar. Being deeply connected to traditional music, both muğam and aşıq music, he has managed to transpose these genres onto the electric guitar through his creation of new and distinct playing techniques. His ability to emulate the voice of classic muğam xanənde singers led to him being known as the man with ‘oxuyan barmaqlar’, (singing fingers). Along with his many solo releases on cassette, VHS, and CD he has performed with many of the greatest artists of Azerbaijan. He has performed at concerts throughout Azerbaijan, Turkey, Iran and Russia. As a master musician Məmmədli continues to inspire new generations of guitarists who continue to develop a unique guitar subculture and style in Azerbaijan.

Booty Carrell is the DJ alias of Vinyl archaeologist, Golden Pudel resident and outernational deejay Sebastian Reier. Carrell does his research in the deep spaces of the vinyl universe. He likes to dig into the second wave of musical globalization.

Yuriy Gurzhy was born in the Ukraine and lives in Berlin. He is a musician, songwriter, DJ and producer and is known for his work with RotFront, Shtetl Superstars and The Disorientalists as well as his party series Russendisko, Born in UA and Disko Kosmopolit.

To the events

To the archive

Events

Followed by a talk with Sebastian Reier aka Booty Carrell

Derdiyoklar

Link to the video

Derdiyoklar or Derdiyoklar Ikilisi, founded by Ali Ekber Aydoğan and İhsan Güvercin in 1979, was perhaps the most significant Turkish music duo in Germany. Playing electro-saz, drums and especially designed instruments, they developed their own music genre: Disco Folk. Their insane live performances, unique style and anti-rascist lyrics made them tremendously popular within the Turkish migrant communities in Germany, and hence, they were the most demanded wedding band in the 80s. Their iconic fame encouraged other bands to imitate their style and music. The compilation albums and reissues in the last few years introduced them to a global audience.Yet Derdiyoklar is still an unknown gem for the non-Turkish-speaking listeners in Germany. In this kick-off session, Sebastian Reier aka Booty Carrell will guide us through a journey in Derdiyoklar’s psychedelic sonic space.

Booty Carrell is the DJ alias of Vinyl archaeologist, Golden Pudel resident and outernational deejay Sebastian Reier. Carrell does his research in the deep spaces of the vinyl universe. He likes to dig into the second wave of musical globalization.

live-talk with Florian Sievers and Pamela Owusu-Brenyah at 21:00

Followed by a talk with Pamela Owusu-Brenyah aka DJ Pam Bam and Florian Sievers

Amaarae

Link to the video

In Nigeria and Ghana, the music-centric alté movement has recently begun to challenge the dominant Afrobeats/Afropop/Afrofusion scene as an underground/DIY counterpart. Ghanaian-American musician and producer Amaarae is part of this exciting young generation of West-African artists, who express their (queer) identity through music and fashion, using social media and visual aesthetics to connect with their audience – be it inside or outside of their visible borders. Amaarae's sound combines Neo-Soul and African pop, creating an alternative version of contemporary African club music with lyrics revolving around everyday queer intimacy.

Pamela Owusu-Brenyah is a music consultant, festival organiser, and DJ, working on an enhanced visibility of contemporary African Pop culture in Germany. With her community platform AFRO x POP she regularly offers a music festival stage for rising artists of the Afro-German scene. Pamela, a studied political scientist, is based in Berlin and has family roots in Ghana. She has worked in Ghana’s capital Accra as a DJ for three years and since then has been commuting back and forth between both musical worlds.

Florian Sievers is a journalist, author, and curator who loves to tell alternative stories from African urban spaces where at present a rising middle class is producing hip cultural expressions, from fashion and art to especially music. Originally a trained journalist for politics and economics, Florian researches his forward-looking stories from the mother continent on at least yearly trips to continuously new African metropolises. On a sideline during these trips Florian has also become a hobby collector of old vinyl records from Africa.

Online Event

Followed by a talk with Kornelia Binicewicz

Esmeray

In this sound lecture we will shed some light on the life and musical career of Esmeray, one of the most interesting and appealing Turkish female singers. While Esmeray has been recognized by an older generation in Turkey she is mostly unknown to an international crowd. Although the Afro-Turkish artist is remembered mainly for her 1977 hit “Gel Tezkere Gel”, her whole musical heritage and cultural background highlight many levels of Turkish cultural legacy. The sound lecture will be a quest to present Esmeray’s music, cultural identity and her impact on contemporary Turkish society.

Kornelia Binicewicz is a Polish record collector, curator, DJ, and founder of Ladies on Records, a multifaceted endeavour focused on the musical legacy of women all over the world, presenting female music from the past decades.Her passion for female music brought her to Turkey where she started to explore the undiscovered world of Turkish female music scene. She curated “Turkish Ladies. Female Singers from Turkey 1973 - 1988” (Epic Istanbul) compilation and “Uzelli Psychedelic Anadolu” compilation (Uzelli), both released on vinyl. Kornelia is currently working on a special project dedicated to female singers from Turkey from one of the Turkish label’s back catalogues.

Online Event

Followed by a talk with Oded Erez

Aris San

When Aris San (born Aristeídis Seïsanás in Kalamata, Greece, 1940) arrived in Israel in 1957, he was just an anonymous Greek teenager with a guitar. When he left in 1969, he was the top-selling recording artist in the country. During his twelve years in Israel, he managed to become not only an icon of celebrity, European chic, and musical fashionability but a brand name associated with “wedding music”, working-class audiences, and Mizrahiyut (“Eastern-ness”, or, the culture of Middle Eastern Jews in Israel). San was a key agent in transporting Greek music – or, to be more precise, the conglomerate of styles, sounds and stereotypes loosely held together by this title – from the smoky confines of an immigrant café in Jaffa to Israel’s most prestigious music venues, official Independence Day celebrations, national television, and the homes of leading generals and politicians. In an era when the bouzouki was being established globally as the national instrument of Greece, San wielded an electric guitar as his solo instrument. Employing bouzouki techniques and melodic formulas, he created a unique, signature sound, evocative of both bouzouki and rock-guitar virtuosity. In this and other ways, his musical persona was able to traverse the twin fictions of Western modernity and Oriental backwardness.

The goal of this lecture is to look at San’s career as a window into the negotiation of cultural identities that took place in 1960s Israel/Palestine (and, indeed, the East mediterranean at large) between Eurocentric national elites and marginalized groups often associated with Oriental taste cultures. It will present San’s career as a performer, recording artist, club manager, and public figure not merely for the sake of telling an individual's story: In all these capacities San facilitated the emergence of Mediterranean “Audiotopias”: physical or virtual sonic spaces of identification, where musical stereotypes of East and West were both mobilized and overcome, and where an ideal Mediterranean was outlined, which encompass everything from Umm Kulthum to Mexican Ballads.

Oded Erez (Dept. of Music, Bar-Ilan University) is a scholar of popular music and film music, working in the intersection of historical musicology, ethnomusicology and cultural studies. His work focuses on the relationship between politics and aesthetics, with an emphasis  on music in Israel and the Mediterranean. He is currently completing a book manuscript on Greek music and ethno-class politics in Israel. 

Followed by a talk with Rahman Məmmədli and Mountains of Tongues

Rehman Memmedli and the Gitara Music

The electric guitar - gitara in Azerbaijani - first entered the music scene in Azerbaijan in the 1960s but the culture that preceded it made room for its introduction. Since the early 20th Century, during the excitement that surrounded the oil boom in the Caspian cost, Azerbaijani musicians and composers had been experimenting with the possibilities of blending traditions, genres and styles. In Baku, the first musical theatres saw the mixing of indigenous instruments, like the tar and kamancheh, with European style orchestras. Under socialist rule this mixing of styles skyrocketed, encouraged by the new Soviet infrastructure of conservatories, theatres, radio and recording industries. Electric guitars made by the Czechoslavakian factory ‘Jolana’ begun to trickle into the Caucasus in the 1960s. The particular design of Czechoslovakian guitar just so happened to be perfectly suited to some of the musical conventions of mugham; the way the strings were elevated between the bridge and end-pin of the hollow-body electric guitar allowed the player to bend the strings with their wrist while playing, altering the tuning by quarter tones in order to match local musical conventions. In the decades that followed, musicians around the country began experimenting with the instrument. Each guitarist incorporated different regional styles, repertoires, and playing techniques into the mix. Rəhman Məmmədli from Karabakh, is one of the scene’s legends. By introducing distortion to his sound in the late 1970s, Rəhman was able to closely replicate the harsher tones of some traditional vocal styles. His style was so original that he was given the nickname ‘oxuyan barmağı’, the one with singing fingers. Elsewhere others experimented with making alterations to the instrument itself, adding frets to make it easier to play traditional modes or hacking the electronics to create new sounds. The lecture traces the development of this musical subculture, following the lives of guitarists from the suburbs of Azerbaijan's capital Baku to the rural villages of Borçalı (Kvemo Kartli) in Georgia. Afterwards, Rəhman Məmmədli will play a Livestream-Concert, directly from Azerbaijan.

Rahman Məmmədli was born in 1961 in the Füzüli district of Qarabağ and grew up surrounded by and immersed in the music of that region. In his childhood he had already mastered the garmon before coming across the guitar. Being deeply connected to traditional music, both muğam and aşıq music, he has managed to transpose these genres onto the electric guitar through his creation of new and distinct playing techniques. His ability to emulate the voice of classic muğam xanənde singers led to him being known as the man with ‘oxuyan barmaqlar’, (singing fingers). Along with his many solo releases on cassette, VHS, and CD he has performed with many of the greatest artists of Azerbaijan. He has performed at concerts throughout Azerbaijan, Turkey, Iran and Russia. As a master musician Məmmədli continues to inspire new generations of guitarists who continue to develop a unique guitar subculture and style in Azerbaijan.

Mountains of Tongues, founded by Ben Wheeler and Stefan Williamson-Fa, have spent the last seven years traveling across the Caucasus region making recordings and collecting examples of lesser known musical traditions. Through selected samples from their hours of field recordings, coupled with carefully curated tracks from a personal archive of collected LPs, tapes, CDs, and home VHS recordings from across the region, their live shows present a unique and vibrant take on the soundscapes and cultures of the Caucasus, highlighting the music’s diverse forms and settings and the local musicians that make all of it possible. Whether it’s lo-fi bootlegs of Azeri guitarists, the vocal gymnastics of Gurian polyphony, blaring Yezidi woodwinds at an engagement party, auto-tuned Dagestani techno, circling Chechen Sufi rituals, or vintage Yamaha synthesizers accompany songs in isolate languages, Mountains of Tongues presents music at the intersection of the modern/traditional, the participatory/presentational, and the sacred/secular.

Followed by a talk with Ekaterina Borisova and Yuriy Gurzhy

Yanka Dyagileva

Yana “Yanka” Dyagileva (1966 - 1991) is a well-known Russian singer/songwriter. Born in Novosibirsk (Siberia) she was never in showbiz but was (and still is) a true underground rock icon in Russia. Based on punk, psychedelic rock and Russian folk and poetical traditions, her songs dealt with themes of despair, depression and nihilism. At the age of 25 she drowned in the Inja river near Novosibirisk. Her legacy of 30+ songs and a few verses only became known in Russia after her death, but these songs are deeply loved and widely covered by many people – Massive Attack among them. Songs that are full of emotions and genuine beauty and can touch every soul.

Ekaterina Borisova is a music journalist from Saint Petersburg, Russia. Since the mid-80s she has been writing articles on rock music for Russian magazines and newspapers, whilst remaining a major fan and developing a deep knowledge about the Russian underground rock scene. She’s also the author of several books – two books about Yanka Dyagileva among them, issued and reissued in 1998 - 2005.

Yuriy Gurzhy was born in the Ukraine and lives in Berlin. He is a musician, songwriter, DJ and producer and is known for his work with RotFront, Shtetl Superstars and The Disorientalists as well as his party series Russendisko, Born in UA and Disko Kosmopolit.