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gogol bordello gypsy punks full album download Gogol Bordello. Combining elements of punk, gypsy music, and Brechtian cabaret, Gogol Bordello tells the story of New York's immigrant diaspora through debauchery, humor, and surreal costumes. Leader and singer Eugene Hütz's taste in music was spun out of black-market tapes of the The Birthday Party and Einstürzende Neubauten in his native Ukraine. After being evacuated to Western Ukraine in 1986 following the Chernobyl disaster, H?tz became enamored of the mystical, outsider qualities of gypsy music. After being evacuated to Western Ukraine in 1986 following the Chernobyl disaster, H?tz became enamored of the mystical, outsider qualities of gypsy music. Living as a refugee in Poland, Hungary, Austria, and Italy before moving to the United States in 1993, he experienced life as an outsider himself. After arriving in New York, he teamed up with guitarist Vlad Solofar and squeezebox player Sasha Kazatchkoff. American Eliot Fergusen added a strong rock sound on the drums and the band was also augmented by Sergei Riabtsev on fiddle, a former theater director from Moscow whose past experience would prove helpful in the future in crafting Gogol Bordello's bizarre stage shows (like one which tells the story of super-powered immigrant Ukrainian vampires). The group's early gigs involved playing straight gypsy music at Russian weddings, but their music soon evolved into the hyper-kinetic explosions that earned them a solid following amongst New York's downtown hipsters. The band issued a single in 1999 entitled gogol bordello, quickly followed by their debut full-length, Voi-la Intruder, which was produced by Nick Cave & The Bad Seeds' drummer Jim Sclavunos. Solofar and Kazatchkoff were replaced by accordionist Yuri Lemeshev, who hails from the Russian island of Sakhalin, and two Israelis, guitarist Oren Kaplan and saxophonist Ori Kaplan, who despite their similar names were not related. H?tz helped bolster the band's popularity by becoming somewhat of a celebrity in the downtown scene, in part fueled by his Thursday night DJ gigs at Bulgarian club/restaurant/bar Mehanata, where he played Ukrainian, Gypsy, ra? and flamenco music for a crowd of artists, models, Ukrainians, Russians, Gypsies, and Bulgarians with tendencies toward exuberant dancing and smashing plates. In the spring of 2002, Gogol Bordello embarked on a European tour and performed as part of the Whitney Biennial, bringing their music to a whole new audience. In 2007, the band released their fourth studio album, Super Taranta!. The members of Gogol Bordello have also made appearances in film. In 2006, their song "Start Wearing Purple" was featured in the film Everything Is Illuminated (starring Elijah Wood and Eugene H?tz), bringing their music to an even broader audience throughout the US. Gogol Bordello all appeared in Madonna's first short film as director, Filth and Wisdom. Eugene H?tz is to play one of the lead roles. The band have contributed three original songs to the soundtrack. Their music was also featured in the film Wristcutters: A Love Story and the character of Eugene was based on and partially written by Eugene H? tz. Seekers and Finders. Gogol Bordello recorded 2013's Pure Vida Conspiracy in San Antonio, Texas. Despite a few nods to country music in their manic mash of gypsy, punk, dub, and other forms, it sounded like it could have been recorded in New York. Conversely, the ghost of San Antonio haunts Seekers and Finders, despite the fact that the album was recorded on three continents. With leader Eugene Hutz assuming production duties, most of these songs couch the band's trademark version of Hungarian gypsy-punk fury inside music that has its home on the U.S.-Mexico border: Tex-Mex, outlaw country, rootsy rockabilly, norteño, and even mariachi. Gogol Bordello still deliver various global traditions in every song, but they are colored into the margins; they flit in and out of a rootsy musical palette that seems directed lyrically as well as musically at conflicts -- individual and collective -- centered in between the two in no man's land. This is music born of all countries that holds none as its own. Sergey Rvabtsev's violin and Pasha Newmerzhitsky's accordion introduce "We Did It All," crushing punk-cum-outlaw bash that celebrates life at the end of time. "Walking on the Burning Coal" offers a minor-key Americana melody that gives way to a rock explosion expanded by mariachi brass and swirling violins. Regina Spektor assists Hutz on the title track, which pulls out the restless gypsy soul and juxtaposes it with a country two-step as the singers entwine voices in barely restrained celebration. "Clearvoyance" (sic) commences with a dubby bassline, slippery acoustic and electric guitars, and organic percussion as Hutz sings about his protagonist's nomadic life: that of an outlaw immigrant, reminiscing and reflecting under an open sky explaining the wealth inherent in poverty and freedom: "Besides my love to share/I ain’t got nothing to declare." "Saboteur Blues" is a burning, blazing punk jam with soaring violins, power chords, and thumping kick drums. It's pure raging rock & roll intensity. By contrast, "Familia Bonfireball," with its lonesome Duane Eddy-esque guitar twang, hovers under Hutz's lyrics about life and the togetherness of found family (the one you choose), even when spending one's life on the run. Rvabtsev's violin evokes both travel and the longing for home. The spiky guitar chords in "Love Gangsters" signal a funky rhythmic pulse accented by Eastern European folk melody paced by rock & roll drums. The killer "You Know Who We Are" is perhaps the first recorded fusion of gypsy-punk and Mexican cumbia. Closer "Still That Way" is a ragged and raucous country song that could have been done by the Mekons. Despite all the memories, longing, and reminiscing evidenced on the earlier tracks, Hutz turns it all on its head at the close: "Remember times when the colors were brighter/And streets were filled with easy rhyme?/It is still that way if you ask about it. " Seekers and Finders is as riotous, poignant, and fun as anything by Gogol Bordello; that said, Hutz's raw production is a closer reflection of the band's live sound. Gypsy Punks: Underdog World Strike. Steve Albini-produced record captures the same modern eclecticism culture and sound as the punk cabaret band's DJ work. Last summer, I dug a copy of Gogol Bordello Vs. Tamir Muskat by J.U.F. out of the promo box. (Or was it J.U.F. by Gogol Bordello Vs. Tamir Muskat? These pomo remixing shenanigans are hell on attribution.) I was vaguely familiar with Gogol Boredello-- a kind of fire-spitting punk cabaret troupe with traditional gypsy elements (or so I thought) outta NYC-- but this was something else entirely. There were beats, for starters-- dancehall, hip-hop, jigs and reels, thumping drum machines-- and samples (or was it all being played live?) of guitars, horns, and accordions. The vocals were declaimed in a style somewhere between uppity Balkan cabbie and ragga toaster, heavy on the nasal. The lyrics were about Spanish car service drivers and "supernatural and infantile" little spies. In other words, it sounded pretty much like my Sunday morning walk to get the paper when I lived in Queens. I later found out Gogol Bordello frontman Eugene Hutz DJs regularly in NYC, and his playlists sound like a dream: Dancehall, klezmer, rai, jungle, old Polish jazz-- all played at warp speed for a stupid-drunk audience of revelers to spit beer on each other and hump legs. The J.U.F. record was itself a mash-up of Gogol's live band punk gymboree and the "play the best bits" genrefuck of Hutz' DJ sets. So I was a little apprehensive about hearing the real Gogol for the first time. Given my personal biases-- DJ culture over live band, etc.-- how could it live up to such a perfectly formed little nubbin of modern eclecticism kulture? Especially when it was-- gasp!-- produced by Steve Albini! You can't mike a drum machine for maximum live-room sound. But, you know, it's great. The first thing I thought was "the Ex" and the second thing I thought was "this is pretty fucking unique, really." Like the Ex, they trade in "world rhythms" occasionally but don't make a big deal out of it. And there's a bit of the same guitar tone and scrabbling, scratching playing style (on violin as well) in there too. But whereas the vocals in the Ex can be passionate but kind of stilted, Hutz is pure sleaze, a long tongue down your mama's ear. "Think Globally, Fuck Locally", a song title and a catchphrase, one so obviously ripe for mass dissemination that Hutz wears it down his shirtsleeves. It also has a drum-break purportedly played on a overturned fire bucket, but I gotta admit it's a pretty well-miked fire bucket. There's also some bestially played guitar and sawed-off fiddlin', strangled cascades of notes that goes well with the loosely tethered drumming. Like a ton of the best rock, Gogol sounds like it's often on the verge of total chaos. Which is not to say they don't groove; the tension of near-collapse makes them swing even harder. "Trouble Friends" plays slashing guitar against a heavy one-drop reggae groove, a dubbed-out perversion of the one-drop roots sound that's all over dancehall this year. "60 Revolutions (Per Minute)" rescues the accordion from kitsch, mostly by speeding everything up to polka-punk tempo and throwing a little Latin rap in because they can.

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