Banteer by Lumukanda

(PSY-036)

LumuKanda were one of the original Psy-Harmonics signing’s in 1993 with their debut album ‘Araglin’ and 12” release ‘Red, Black & Mellow’. Both releases received rave reviews in Australia and overseas and as a result LumuKanda were licensed to European label KK/Nova Zembela and American label Restless Records.

The following year saw LumuKanda along with Psy-Harmonics artist Zen Paradox embark on an extensive live tour of Europe and the UK, including legendary Megatripolis night at London’s ‘Heaven’ & PopKom (Germany) with the ‘Psychic Warriors of Gaia’. Their unique live shows gained enormous respect from the international press and public.

In 1995 LumuKanda released a European only CD ‘Everything Must Go’ and for the past two years Dominic and Daniel have been concentrating on Dj work (PBS / Earthcore and various parties/Clubs) while writing and recording material for ‘Banteer’, the along awaited sequel to ‘Araglin’.

THEE ARAGLIN OV LUMUKANDA

Thee Araglin ov LumuKanda is a fluid media project based around the work of two musicians, Dominic Hogan and Daniel Wittenberg, who formed LumuKanda in early 1991. Other contributors to thee Araglin have been 'Don't Shoot the Messenger', a collective of video producers, 'Like, Imaging', graphic designers and photographers, and Andrew Taylor, a freelance image artist and photographer. The duo have worked together on a number of earlier projects, under a number of different guises, both together and solo (and sometimes with others), but decided to solidify their working arrangement when asked to present a project album to Psy Harmonics Records when that label was first starting up. Since that time, the band have developed a doctrine of open-mindedness with everything they have created. The linchpin of their philosophy is the pushing of boundaries; through their unique application of folk-music ideals, they desire to create music and sounds that reflect, and encourage, the new paradigms of existence we are seeing all around us today. While LumuKanda admit to being influenced by the many folk styles current today, from techno and trip hop to world sounds and right through to jazz and rocknroll, they adhere to no set strategy. They see the world through the eyes of the truly global; their sound reflects the growing world awareness of the destructuralisation of our cultures. In fact, tapes of their first album made it all the way to Goa months before the official release, and they have grown in popularity in places across the planet; from Finland to San Fran to Cracow. Ultimately, they desire to participate in, and help forward, the movement of human culture from our current phase, into the next. Music is, for them, the perfect medium for their creative outpourings, then, as it is the one art that transcends all human boundaries. Nevertheless, they see the technologies of today as being of paramount importance to these developments, and thee Araglin has aquired the skill of many talented individuals over the years who assist in the extension of the ideas of LumuKanda into other domains, such as video, multimedia and onto the net.

Both Daniel and Dominic are experienced DJ's, and they see this skill as the logical extension of their music to the live forum, rather than 'live' performances. They feel that the electronics they utilise to create their music present different logical boundaries to performance than traditional instruments do. It is the very nature of their music to be programmed, and for this reason it is hard to justify an attempt to perform these sounds live. They see this kind of music as liberating, rather than limiting, though, and have developed a stage show to reflect this liberation. Thinking outside the circle, they have devised a performance which amalgamates the skills of the DJ with the intimacy of the live show; the LumuKanda Sound System is a hybrid of DJ skills and musical performance, incorporating those elements of performance that translate to electronica, and moulding these around DJ techniques. Blurring the boundaries between performance and mere reproduction, they create a unique stage presence, which, when coupled with the visual art of Don't Shoot the Messenger, has entranced audiences around the world.

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