| | Dzihan & Kamien Freaks & Icons CD Dzihan & Kamien Discography of CDs
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Innovating and experimenting with new impressions on club/dance and house styles while adding Eastern ambient features, European duo dZihan & Kamien delivered an exhilarating debut album, managing to offer distinguished and unblemished sounds. Focusing on Eastern music influences shared by both Mario Kamien and Vlado dZihann and supplying structures from trip-hop to jazzy rhythms, the duo team is able to construct new formulas for the electronica genre. "Streets of Istanbul," the most recognized track from the full-length, reveals the guidelines of Dzihan in the best way, outlined by Eastern strings, sound lineaments, and moody beats. The disc flows with offerings of gleaming tunes (like "Dabudei") and dense and chilly themes (such as "Homebase" or "Slowhand Hussein"), underlining the resourceful marks of the duo. ~ Mario Mesquita Borges
Global Electronica
Audio Mixer: Kamien .
Recording information: Couch Laboratories, Vienna, Austria; Couch Mobile Recordings, San Remo, Italy; Duygu Studios, Istanbul, Turkey; Mind The Sound Studios, London, England.
Illustrator: Valio Januarov.
Unknown Contributor Roles: Hüseyin Çem Arman; Mehmet Akatay.
Personnel: Dzihan & Kamien (various instruments); Sanja, Oezden Oeksuz (vocals); Michael Bramwell (bass); Harald Gangelberger (drums); Ertan Tekin, Murat Toraman, Mehmet Akatay, Huseyin Cem Arman.
Personnel: Guida de Palma, Oezden Oeksuz, Sanja Of Delfini (vocals); Murat Toraman (kaval); Harald "Harry G" Gangelberger (drums); Hüseyin Çem Arman, Mehmet Akatay (deff).
CMJ (12/00, p.23) - "...A cosmopolitan intertwining of electronic rhythm theories and synth swoon with organic sounds from the Middle East..." Dzihan & Kamien Freaks & Icons Songs Freaks & Icons Review
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Reflecting, a decade after the fact, on his launch as a solo rock & roll superstar, Mick Ronson shrugged indifferently, as though he'd really had no say in the matter. David Bowie had just "retired" and, in the absence of the singing sensation with whom Ronson had already risen to unexpected heights, manager Tony DeFries was anxious to keep at least one of his many pots boiling. "Tony said to me, 'okay, we can make you a big star, get you a deal with RCA, all that.' So I said 'wonderful,' and went off to make my own record."
Was there ever a launch like the one which awaited Mick Ronson? For a few weeks through the early spring of 1974, you couldn't turn around without his blonde tresses and sad doe eyes staring out from the video still selected to represent his solo career: "Slaughter on 10th Avenue," a histrionic guitar rendition of the Richard Rodgers movie classic, was an inspired choice, and the accompanying video -- Ronson watching helplessly as his girl is gunned down on the street -- remains one of the unseen classics of the genre. No mere miming potboiler for this Kid -- Ronson got the full Hollywood treatment. The same can be said for the accompanying album. Slaughter on 10th Avenue remains a startling achievement, however it is viewed. Guitar gods, after all, were ten-a-penny through the 1970s. But could Ritchie Blackmore sing? Jimmy Page? Robin Trower? Ronno's voice wasn't strong, but with sensitive material and lyrics he could get behind, he was unbeatable. A deliciously Pelvis-less "Love Me Tender" opens the album with warm depth and sparkling cadences; "Only After Dark," co-written with one-time SRC main man Scott Richardson, proved he hadn't left the hard riffing behind. The watchword throughout was variety -- from the proto-Springsteen-esque "Growing Up and I'm Fine" (the first and only Bowie/Ronson composition to be publicly acknowledged) to the chest-beating Euro-angst of "Music Is Lethal" -- all were a showcase for Ronson the performer, rather than the man who garroted Gibsons for fun, and initial reviews of the album made that point. ...
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