Warte mein Land, warte, by Ozan Ata Canani

Warte mein Land, warte

by Ozan Ata Canani

supported by

	/

Streaming + Download

Includes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

Purchasable with gift card

€10 EUR or more
Record/Vinyl + Digital Album
135g Vinyl in Gatefold

Includes unlimited streaming of Warte mein Land, warte via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

ships out within 8 days

€19.90 EUR or more
Compact Disc (CD) + Digital Album
CD in digisleeve

Includes unlimited streaming of Warte mein Land, warte via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

ships out within 8 days

€12.90 EUR or more

1.	Alle Menschen dieser Erde 03:57	buy track
2.	Warte mein Land, warte 03:19	buy track
3.	Bırakmaz 04:23	buy track
4.	Maraşlım 02:33	buy track
5.	Stell Dir einmal vor 04:11	buy track
6.	Şerefsiz 04:20	buy track
7.	Import / Export 03:04	buy track
8.	Akarsular Geldi Dile (Ben Anadoluyum) 05:08	buy track
9.	Özlemim Var 05:12	buy track
10.	Deutsche Freunde 04:03	buy track
11.	Tez Gel 05:24	buy track

about

Divided into two worlds
Life? A long narrow path. Anything else? Yes: people and music. That's it, but still. It couldn't get any more narrow than for Ozan* Ata Canani.
I've been asking myself all these years: what has he done to deserve that his art is so ignored? The young Ata was a prodigy on the bağlama, the Anatolian long- necked lute. So good that the great Aşik Mahzuni Şerif took him on tour. At that time Ata was just thirteen. Ata's father was suspicious and forbade him to play music. In the late seventies, the young adult Ata wrote the first song cycle of Anatolian music in German. He wanted to arrive, live in Germany and communicate with the majority society. He wanted to make audible what was going wrong. The lament was only eclipsed by Ata's infectious optimism.
His music is a journey that takes its listeners along. He was obviously ahead of his time, because no one wanted to publish these songs. They found no lobby. Not even the utopias of the German counterculture of the sixties did include the so-called guest workers and their art and culture - which is why Ata's parents' generation did not find a connection in the country. Most of them wanted to return home after their work was done. So what was the point of building bridges to the land of the oral cavity surveyors and the screaming foremen? The Anatolian people of Germany had created their own great structure of music dissemination. They were not dependent on the radio and the department stores. They had their own shops, everywhere. Unnoticed by the German music industry and the local media, companies like Türküola in Cologne or Uzelli in Frankfurt turned over millions of records every year. Türküola is the most successful independent label in post-war history. The records and cassettes, later CDs, went over the counters in their own shops, in greengrocers' markets and at electronics hawkers near railway stations. The coexistence of music is a symbol of coexistence in society. Young Ata invented togetherness, but nothing more than a few small gestures jumped out. At least Ata appeared with a song on Alfred Biolek's television show. A VHS recording of the performance found its way to Youtube: It is Ata's song of the century, "Deutsche Freunde" (German Friends), and from today's perspective it seems like a prophecy: "And the children of these people are divided into two worlds - I am Ata and I ask you, where do we belong now?". In a condensate of words, it describes a state of feeling and mind that still characterises so much sixty years after the "guest worker recruitment agreement": Debates, scandals, discourses and the everyday life of many people.
"Deutsche Freunde" appeared on the fabulous compilation "Songs Of Gastarbeiter". That was in 2014. The initiators Bülent Kullukçu and Imran Ayata did not want to leave it at the droning Youtube clip. They convinced Ata to go into his studio with his old crew. Since then we know "Ata Abi" and all the other legendary songs. What nobody wanted to publish back then is now available: a poetic vision of the future - from the past. In the Corona summer of 2020, the recordings were finally completed after more than forty years. Timeless songs whose wishes have still not been fulfilled. Make the best of it and play it in your stadyadium. Always in the name of humanity.
(Merve Namli and Sebastian Reier a.k.a. Booty Carrell)

credits

released May 28, 2021

license

about

Fun in the church Berlin, Germany

outernational music for interplanetary people

discography

Enigma

Nov 2023
Krieg & Ferien

Oct 2023
Skultura

Sep 2023
Reduce

Sep 2023

more releases...

contact / help

Contact Fun in the church

Streaming and
Download help

Redeem code

Report this album or account

If you like Warte mein Land, warte, you may also like:

UNTITLED (Black Is)
by SAULT

supported by 10 fans who also own “Warte mein Land, warte”

Found this via @rabea_senftenberg and love it very much! wiesel
go to album
DOST 1
by Derya Yıldırım & Grup Şimşek

supported by 8 fans who also own “Warte mein Land, warte”

Love all the tracks. Thanks for playing at Breminale <3 Mao Mentha
go to album
Habibi Funk 015: An eclectic selection of music from the Arab world, part 2
by Various Artists

supported by 7 fans who also own “Warte mein Land, warte”

Every time I was listen to this song, a smile appears on my face. lokam
go to album
Beyond The Midnight Sun
by Don Leisure with Amanda Whiting

An album that imagines Dorothy Ashby sitting in with The Herbaliser. Bandcamp Album of the Day Nov 28, 2023
go to album
Golden Age Of Self Snitching
by Revival Season

featured on Bandcamp Radio Nov 28, 2023
go to album
Original Flow: Chapter Two
by Mo Kolours

featured on Bandcamp Radio Nov 28, 2023
go to album
Kar Yağar
by Derya Yıldırım & Grup Şimşek

supported by 7 fans who also own “Warte mein Land, warte”

Absolutely amazing psych-rock renditions of Anatolian folk songs, what more could you want? Gaslight Gatekeep Girlboss
go to album