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BITSIBITSIHO - Miary Lepiera MOGNO MUSIC is proud to introduce to you a new talent from Madagascar: Miary Lepiera, a young songwriter and poly-instrumentalist whose music, pleasing and true, is at the same time rooted in the tradition of Southern Madagascar and enriched with modern influences. "...It's a very busy, technically highly accomplished album that leaves you a little breathless. It says something about the amazing blossoming of Malagasy music on CD that six or seven years ago this would have been instantly acclaimed, whereas nowadays he'll have to get out and gig to fight for deserved sales in quite a crowded international market place." (Ion Anderson - Froots, n°199/200 jan/fev. 2000) |
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Miary Lepiera spent his childhood with his grand-parents in Mandrosa, a little village at the south-western coast of Madagascar of which he did catch all the musical richness. He taught himself to play the guitar on an instrument he built on his own. Very soon he obtained a profound knowledge of traditional Malagasy music. In Antananarivo, the capital of Madagascar, he played with various famous Malagassy artists. In between his Traditional heritage and the influence of modern music styles, he developped his particular musical ideas. In 1994 the band 'Njava' hired him for numerous tours in almost every European country. Two years later Miary left the group to start his solo project. As a soloist he performed at many events in Belgium, Holland, Germany etc... He collaborated with various musicians in Brussels and in 1997 finally created the band "Sairy" with the female Malagassy singer, Yadela Gellé, and the bass player Duke T. Quarcoo (Ghana/Germany). On the CD, there is also Hannar Zwrachtos (Belgium) playing the congas and djembé drums. Miary uses some virtuous open-tuned guitar picking based on the “Korapaky”, usually played on the “Marovany”, a traditional instrument with 30 strings. Miary's songs tell about love, the joy and the suffering of the people, and about God. His musicians use traditional Malagassy percussions like the “katsa” or the langoro” as much as more common instruments like the djembé or the congas. They combine acoustic with electric instruments and the result is an unmistakable particular sound. The recording that Miary is offering us here enriches the traditional legacy with modern inflections, in styles as well as in instrumentation. The result is fresh and entertaining: Miary saves the traditional material but adds to it the personal touch of a young musician. Miary is an inspired singer and talented guitarist altogether. His combined talents of singer and player make Bitsibitsiho ("little rumour") throughout relaxed and dynamic.
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