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The begena is a large ten-stringed lyre which is part of the traditional Amharic heritage of Ethiopia. The Amharas, who have long formed the politically and culturally dominant people of Ethiopia, mainly inhabit the central and northern part of the country. In the majority, they follow the monophysite Orthodox Tewahido Church established in the early fourth century AD
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Music plays a very important part in the life of the church. Most of the liturgy is sung and, contrary to secular music, it is accompanied by percussion instruments only. The begena occupies a special place because it is the one melodic instrument exclusively dedicated to the spiritual repertory. Because of its mythical origin, it is highly respected. Tradition holds that the begena was given to king David by God, and brought to Ethiopia by Menelik I, together with the Ark of the Covenant. It has always been the instrument of kings and nobles. Played by pious men and women of letters, it never became widespread. But it never disappeared either, not even under the Derg regime (1974-1991) which had banned the instrument.
Among Amhara string instruments, the begena is the most carefully crafted, especially with regard to the ornately sculpted crossbar. Its ten gut strings are cleaned and twisted several times. The characteristic buzzing timbre equalled by no other Amhara instrument is due to the enzirotch, that is, small bits of leather placed between each string and the bridge.
Priests and preachers recommend its presence, especially during Lent (Fassika Tsom) when the Orthodox Amharas ponder their sins and repent. Because of its spiritual import, the begena generates intense emotion. According to some musicans, playing the begena brings them into direct contact with God or the Virgin Mary. The religious role of the begena is underscored by the shape of the instrument, each part symbolises an important element of the faith. The crossbar for instance, which reaches across the entire width of the instrument, represents God who is above all things. The belly which “gives birth” to the sound represents the Virgin Mary, and the ten strings recall the Ten Commandments.
26—04—02
26—03—30
This Special Sound Of Dave Berry
℗ 1966 Decca Music Group Limited
26—03—30
Beverly Glenn-Copeland debut is a folky jazz record that stands out for Beverly’s sublime high vocals. The 11 tracks where recorded with an all-star band consisting of Dough Bush, Don Thompson, Terry Clark, Lenny Breau, Jeremy Steig and Doug Riley. The latter also produced the record. Years later he would release ‘Keyboard Fantasies (1986)’ which is a mixture of digital new age and early expirimental Detroit techno. It shows the versatility of his very underrated talent. About this new release he says the following:
“In 1970 when I wrote and recorded these songs, I could not have imagined that forty-seven years later this work would have another life, another audience. But here you are. Thank you for buying this album. Many of the extraordinary musicians that played on this album are no longer in this space/time. So I thank you on their behalf as well.”
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26—03—24
WRWTFWW presents STARTLED INSECTS
Astonishingly futuristic when it landed in 1984, Startled Insects sounded like it was beamed in from another planet while staying rooted in Bristol’s underground. Gamelan heat, dub science, post-punk edges and cinematic dread collide across these two cult mini-albums. Four decades on, it still hits like a transmission from the future. Dive in.
FOR FANS OF: experimental electronic, dub, post-punk, ambient, early industrial, soundtrack music.
Mannequin Records escavation into the archives of the Italian minimal synth of the early 80’s continues. This time we are deeply honored to present the 1982-1983 demos tapes of Turin’s Monuments, who released in 1984 their only official mini-LP “Age”, comprising six incredibly fantastic electro-pop tracks, which was already reissued by Mannequin back in 2013.
The Monuments came into being in January 1981 in Turin when Mauro Tavella (keyboards, programming) and Andrea Costa (keyboards, voice) pooled their artistic experiences. From the outset, they produced exclusively synthesized music, following the natural evolution in electronic music from the early days with monophonic synthesizers to the latest virtual sounds generated with the aid of computers.
Most of the tracks have been composed between the summer and autumn of 1982 in their own private recording studio TKS in Turin. Some they were made at the beginning of 1983 but only a song, “Clock’s room”, was later arranged and entered fully into the mini-lp “Age”.
Limited edition of 300 copies.
26—03—24
Cold Phoenix were an Italian dark wave / post-punk group from Bologna formed in 1985, part of the fertile mid-80s underground scene where drum machines, synthesizers and melancholic guitars defined a distinctly European take on post-punk and minimal wave.
Originally recorded in 1985, the material captures the atmospheric and romantic side of Italian dark wave: cold synthesizer lines, hypnotic drum machines and shadowy guitar textures moving between minimal synth pulse and introspective post-punk moods.
26—03—24
DMX Krew has crafted icy electro, thoughtful electronica and textured techno for over three decades. It is a combination of these styles that culminate in Tree in Space. A steady kick tethers “Parasite” to reality, a thick earthen melody countered by twinkling refrains as soaked drums splash. Off-centre bleep and beats introduce the title piece. Solid basslines are lightened by playful brassy electrofunk notes as genre limitations melt into Summer warmth. Skeletal scales find themselves confronted by a bruising bulwark of bass in “Unbelief.” Balancing these angular and globular tones are arcing keys that draw the disparate elements into unity. “Meltdown” is the closer. Blending a spread of sounds, acid, braindance and techno, DMX Krew serves up something truly special. Brooding notes are met by cracked percussion and simmering 303 squawk in a track that pursues its own path. An EP from a musician that continues to stretch boundaries and imaginations.
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26—03—20
Bettina Köster (15 June 1959 – 16 March 2026) was a German musician, saxophonist, composer, singer, songwriter and record producer.
26—03—18
Bass, drum machines, synthesizers, loops, noise, echoes and reverb, guitar, and sparse, repetitive vocals. Berlin’s Ostseetraum never fail to surprise. With their album Der Sumpf, they once again prove that their music has no fixed core—only an endless appetite for absorbing sounds and styles and transforming an ever-widening spectrum of aesthetics into their own electrified vision.
out on ichi ichi.