Aklid: guitar and voice /
Patrick : Bass /
Hicham : add voice and percussion /
Malik : Guitar /
Adhil : Derbouka (percussion) /
David : flute and keyboards /
Michel : Drums /
Romain & Philippe : sound engineer
Etkilendikleri
Akli's influences come from all his experiences for he has been travelling around the world for years: United States, Ireland, Techtchenia, Algeria...
All of these ethnic, cultural and musical influences appear in Akli's compositions: he can play each song in a reggae, blues or or kabylian way.
Akli D likes: Bob Dylan, Cat Stevens, Bob Marley, Jacques Brel, and many, many others.
Improbable cousin africain de Jacques Higelin, Akli, poète, conteur, écrivain libre et contestataire, colore sa culture kabyle de reggae, folk, blues malien et chaabi. Son fort ancrage dans le patrimoine musical nord-africain (il est le digne héritier d’Idir et de Matoub Lounès) ne dément en rien son goût du voyage et ses inclinaisons nomades. Pas étonnant qu’il ait confié les clés de son second album à un certain Manu Chao, lui-même abonné aux grandes virées sur l’immense terrain de jeu des « musiques du Monde ». En savoir + www.akli-d.com ..
voici une vidéo qui rend hommage à Malik Oussekine.
Akli d. sings "Malik" , a reggae song about Malik Oussekine
"Le rock dans tous ses états" - Evreux (Fr) Summer 2006
Akli D's clip in kabyl
version: "C. FACILE" (it's easy)
drawings by WOZNIAK
directed by MANU CHAO
in backstage with Akli, singing c. facile
AKLI
D. « MA YELA »
BIOGRAPHY
....
.. ..
The path of a mental Kabyle
....
For as long as he can remember, Akli D. was
surrounded by music in the little village in Kabylie, Algeria, where he was
born. His mother, a traditional folk singer, used to sing him to sleep, and the
rest of his family is very musical. He played in his first concert at the age
of 13, in the school show of his native village in Kabylie. From then on, he
decided that his guitar would become his passport, allowing him to travel the
world meeting people, like a modern troubadour.
....
He listened to popular Kabylian singers, like Idir,
Cheikh El Hasnaoui and Slimane Azem, but lent an attentive ear to Neil Young's
and Bob Dylan's protest songs, to Jacques Higelin's wacky rock, to the
Rasta movement, to the Mississipi Blues and to the echoes of the m'balax.....
.. ..
He arrived in
..France..
in the early 80's, fleeing a bitter
..
..Algeria..
..
,
which was repressing Kabylie's demands for recognition. The « Berber
Spring », marked by the army's repression, resulted in tens of deaths and
hundreds of political prisoners.
....
Akli
was an involved witness in these events and had to go into exile. He arrived in
....Paris.... on a fine
summer day, with little money in his pockets and the addresses of a few other
Algerians.....
He had
few illusions and was aware of the difficulties that laid before him, and he
decided that spending time with interesting people would broaden his horizons.Walking
around Beaubourg in
..
..Paris..
..
one day, he borrowed a street musician's banjo and tried his hand at playing
that for a while. So started a long period of playing on public squares and in
the Parisian metro. Little by little, he tried out many different musical
genres: blues, rock, reggae, folk… all of which later influenced his
compositions.
....
....
Every penny saved went towards building his dream:
cinema ! His passion for films led him to take an Actor's Studio course at
the Café de la Danse in ..Paris.., when
« mektoub » (destiny) put an American patron into his path, and he went
to ....America.....
He ended up in ..San Francisco.., the city of
creative audacity, and surprised audiences at the Cafe Internationale and other
clubs with melodies previously unknown in the ....US..... He then went on to ....Ireland...., which
turned out to be just as fascinating as his American experience but more
familiar musically.....
Back in Paris with
his head full of artistic treasures, he accompanied two charming female singers
in a chaâbi-saharian blues combo called « El Djazira », then went on
to form his first group, called « Les Rebeuhs des Bois ». This
enabled him to play in several underground places in ....Paris.... and elsewhere. He played in cafes and
clubs of various styles, like « La Guinguette Pirate », the café
« La Liberté » and the « Le Lou Pascalou », in
neighbourhoods where as muchstyles and
blends as beer were brewed.
These different
experiences brought on his first album: « Anef-as
Trankil », produced live. The low-fi aspect is compensated by very
personal compositions reflecting his background:Folk-Country music from Kabylie and Chaâbi (a
typical style from the Algerian suburbs), but open to life and to others, like
his brothers on the black continent, the reggae planet and the ....Chicago.... delta. The record
has been critically acclaimed for its originality and is enjoyed by audiences
in both France and the Kabyle community. It is
Important to note that this was a major step for the Kabyles, who were getting
bored by the usual uniform music (often repetitive pieces with derbouka and
mandol).
....
“The tradition of the Kabylian poet”
....
Akli D has chosen to set up his haven in Paris, in a
typical Menilmontant café, one of the last “apache” strongholds of the
capital.This café is one of the rare
places in which spontaneous encounters happen, where people pick up guitars,
bendirs and derboukas and jam all night long. Akli D finds the atmosphere
typical of the gnawas of Central Africa, a Berber people like the Kabyles.
....
When being
in Paris, Manu Chao was also part of this scene. He soon picked out this artist
who read his Kabyle poetry over folk, gypsy-jazz and Chaâbi music.Their meeting turned into an artistic
collaboration when Manu came to the recording of the new album. He was
immediately entranced and offered to produce Akli D's album. Manu Chao discovered Akli D and
saw his potential. This close friendship, founded on music, helped them produce
a more elaborate and studied album than the first one, still keeping the
natural spontaneity and sincerity of the artist.....
“Akli D., a politically committed
artist?”
....
He is involved in actions like
aid to Chechen orphans, the fight for registration of illegal immigrants, the
battle of Algerian women against the family code, and generally every cause
that touches this troubadour, concerned about the difficulties of his times
(from the North African march in which he participated in 1985 when he was a
young immigrant, to the student demonstrations and Malik Oussekin's “Death
Theatre”)… his commitment inspired him to write songs like
« Tchetchenia », « Malik », «Salam », « Ar
Paris ». His new album is rich in racial mixtures. The lyrics speak of
peace, fraternity and love. His first album had a cultural identity; this one
has a more human identity, backed by an outsized, engrossing musical universe.
....
..
..
Akli D's new album is out now in the UK, here are some reviews from the English press:
....
A l’occasion de laid el adhha, je vous présente mes meilleur veux, que dieu vous donne santé et prospérité, aid mabrouk a tout mais amis et a tout les musulman. SALAM
Bonjour, je te remercie d'avoir accepté cette invit. Prends le temps de tendre une oreille attentive à ma musique et à mes textes, j'attends avec impatience tes commentaires en espérant qu'ils ont su te plaire et te toucher cortex. Ghetto R1BO
Presque
Oui fait sa Scène du Canal en compagnie d'invités : Abaji, Christophe
Devillers, Olivier Goulet, Jeancristophe et Franck Monnet. Venez-vous joindre à
nous...:-)
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Voici "NOT HOWLING LIKE ORPHANTS", le dernier vidéo-clip d'IDEM (Film d'Animations) sur le titre "E.C.O.W" extrait de leur dernier album "The Sixth Aspiration Museum Overview" (Jarring Effects Label / Discograph / Cd1d)
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