The city of Belém, in the Northern state of Pará in Brazil, has long been a hotbed of culture and musical innovation. Enveloped by the mystical wonder of the Amazonian forest and overlooking the vastness of the Atlantic Ocean, Belém consists of a diverse culture as vibrant and broad as the Amazon itself. Amerindians, Europeans, Africans - and the myriad combinations between these people - would mingle, and ingeniously pioneer musical genres such as Carimbó, Samba-De-Cacete, Siriá, Bois-Bumbás and bambiá. Although left in the margins of history, these exotic and mysteriously different sounds would thrive in a parallel universe of their own.
I didn’t even know of the existence of that universe until an Australian DJ and producer by the name of Carlo Xavier dragged me deep into this whole new musical world. Ant it all began in Belém do Pará. Perched on a peninsula between the Bay of Guajará and the Guamá river, sculpted by water into ports, small deltas and peripheral areas, Belém had connected city dwellers with those deeper within the forest providing fertile ground for the development of a popular culture mirroring the mighty waters surrounding it. Through the continuous flow of culture, language and tradition, various rhythms were gathered here and transformed into new musical forms that were simultaneously traditional and modern.
Historically marginalized African religions like Umbanda, Candomblé and the Tambor de Mina, which had reached this side of the Atlantic through slaves from West Africa – especially from the Kingdom of Dahomey, currently the Republic of Benin – left an indelible stamp on the identity of Pará´s music. They would give birth to Lundun, Banguê and Carimbó, styles later modernised by Verequete, Orlando Pereira, Mestre Cupijó and Pinduca to great effect. The success of these pioneers would create a solid foundation for a myriad of modern bands in urban areas.
Known as the “Caribbean Port,” Belem had been receiving signal from radio stations from Colombia, Surinam, Guyana and the Caribbean islands - notably Cuba and the Dominican republic - since the 1940s. By the early 1960s, Disc jockeys breathlessly exchanged Caribbean records to add these frenetic, island sounds to liven up revelers. The competition was fierce as to who would be the first to bring unheard hits from these countries. The craze eventually reached local bands’ repertoires, and Belém’s suburbs got overtaken by merengue, leading to the creation of modern sounds such as Lambada and Guitarrada.
To reach a larger audience, the music needed to be broadcast. Radios began targeting the taste of mainstream audiences and played music known as “music for masses.” As the demand for this music grew, it led to the establishment of recording companies. Belém’s infant recording industry began when Rauland Belém Som Ltd was founded in the 1970s. It boosted a radio station, a recording studio, a music label and had a deep roster of popular artists across the carimbó, siriá, bolero and Brega genres.
Another important aspect in understanding how the musical tradition spread in Belém, are the aparelhagem sonora: the sound system culture of Pará. Beginning as simple gramophones connected to loudspeakers tied to light posts or trees, these sound systems livened up neighbourhood parties and family gatherings. The equipment evolved from amateur models into sophisticated versions, perfected over time through the wisdom of handymen. Today’s aparelhagens draw immense crowds, packing clubs with thousands of revelers in Belém’s peripheral neighbourhoods or inland towns in Pará.
The history of "Jambú e Os Míticos Sons Da Amazônia" is the history of an entire city in its full glory. With bustling night clubs providing the best sound systems and erotic live shows, gossip about the whereabouts of legendary bands, singers turned into movie stars, supreme craftiness, and the creativity of a class of musicians that didn’t hesitate to take a gamble, Jambú is an exhilarating, cinematic ride into the beauty and heart of what makes Pará’s little corner of the Amazon tick. The hip swaying, frantic percussion and big band brass of the mixture of carimbó with siriá, the mystical melodies of Amazonian drums, the hypnotizing cadence of the choirs, and the deep, musical reverence to Afro-Brazilian religions, provided the soundtrack for sweltering nights in the city’s club district.
The music and tales found in Jambú are stories of resilience, triumph against all odds, and, most importantly, of a city in the borders of the Amazon who has always known how to throw a damn good party.
“Jambú is a plant widely used in Amazonian and Paraense cuisine. Known for having an appetitestimulating effect, it is added to various dishes and salads but is most famously one of the main ingredients in Tucupi and Tacacá, two delicacies that have been immortalized in countless Carimbó songs. Chewing the leaves of the Jambú plant will leave a strong sensation of tingling on the tongue and lips. Indigenous communities have relied upon its anaesthetic qualities for centuries as an effective remedy against toothaches and as a cure for mouth and throat infections. A decade ago, a distillery from Belém discovered the euphoric effects of the Jambú plant when combined with distilled sugarcane based spirit - known as cachaça - and created the now legendary “Cachaça de Jambú“.
Remastered 180g Reissue des selbstbetitelten Brazil-Soul-Klassikers der mysteriösen, brasilianischen Vocal-Sensation Dila (ausgesprochen: "Jee-la") von 1970, welches auf Grund eines tragischen Autounfalls im darauffolgenden Jahr ihr einziges Album bleiben sollte. Arrangiert und produziert von Durval Ferreira und seiner Studioband Os Grilos (The Crickets), ist das Album ein Juwel des authentischen, souligen Samba-Sounds der Favelas von Rio de Janeiro der späten 1960er/frühen 1970er.
Vinyl, LP, Album, Reissue
Corb Lund‘s elftes Studioalbum gibt dem Genre, das er all die Jahre kultiviert hat, endlich einen Namen. Als Nachkomme vieler Generationen von Rodeoreitern und Viehzüchtern singt er über ein Leben, das er und seine Vorfahren selbst geführt haben und paart dies mit schlagfertigen, ironischen Beobachtungen des Hier und Jetzt.
Xenias erstes Soloalbum, ein unverzichtbares Album aus dem heutigen Brasilien, würdigt die Klänge der schwarzen Diaspora und verbindet soulige Musik meisterhaft mit Jazz, Samba, R&B und elektronischen Aromen. Xenia França ist eine Sängerin aus Bahia, Brasilien. Für ihr Debütalbum Xenia wurde sie für den Latin Grammy 2018 nominiert, ebenso für den Song "Pra que me Chamas?", der bei den Hörern sehr beliebt ist. Als Teil einer Kunstszene, die sich mit der Wiederbelebung und Verbreitung der afrobrasilianischen Kultur beschäftigt, wurde die Sängerin zu einer Referenz für weibliches Empowerment und Verhalten, insbesondere bei schwarzen Frauen. Xenia hat bei großen brasilianischen Festivals wie Recbeat, Coala, Coma und Queremos gespielt. Im Jahr 2018 nahm sie am Central Park Summerstage in New York teil und trat auch in Philadelphia und am Pablo Toblón Theater in Medellin, Kolumbien, auf.
Geboren als Sohn eines Frafra-Vaters und einer Akim-Mutter, wuchs er im Regenwald Südghanas auf, bevor er als kleiner Junge in das Land der Frafra in die Savanne von Nordghana aufstieg. Er wuchs in Namoo, dem Ursprungsdorf seines Vaters, auf und war tief beeindruckt von den glorreichen Momenten, die er während der Gottesdienste in der Dorfkirche erlebte. 2013 bereiste Jan Weissenfeldt mit einigen Musikerkollegen aus Deutschland Ghana, um eine ausgedehnte Tournee durch Ghana mit Alogte Oho & His Sounds of Joy und dem Kologo-Meister Guy One zu machen. Während dieser Tournee lernte er ein Dutzend Songs von Alogte kennen. Im Jahr 2016 folgte die Veröffentlichung der Nachfolge-Single "Mam Yinne Wa". So wie die lokal veröffentlichte Version Alogte an die Spitze der Frafra-Gospel-Sänger brachte, machte ihn diese neu produzierte Version zu einem Global Player.
The Kenyan music scene is one of the most diverse and vibrant in Africa. However, ask any Kenyan which pop music style truly represents Kenya as a nation and there is only one possible answer: benga.
Benga is a pop style with its roots in traditional rhythms, instruments, and melodies. Luo musicians from western Kenya brought the style to prominence in the late 60s but other cultural/linguistic groups in other parts of Kenya quickly developed their own localized variants. With its pulsing beat, interlocking guitars, extended solos, and rapid-fire bass, benga music has dominated the Kenyan music scene over most of the post-colonial period.
Kakai Kilonzo is one of only a handful of benga artists to attract a broad following across Kenya. He opened up his music to others outside his Kamba language and background by singing in Swahili, which is widely understood throughout Kenya. At the same time, with catchy melodies and engaging lyrics, Kakai sang about subjects that all Kenyans can relate to: songs on all aspects of love and marriage, on social responsibility, societal ills (like drinking and witchcraft), moral guidelines, national unity, economic development, and more.
The songs on this compilation are taken from across Kakai's recording career, spanning from the mid-1970s to the mid-1980s, shortly before his illness and untimely death in early 1987, aged only 33. No Wahala Sounds are proud to present this selection of hard-to-find 45s from Les Kilimambogo Brothers, which are being released on vinyl here, for the first time outside Kenya.
Spätestens seit ihrem letzten Album »Citizen Of Glass«, das vor vier Jahren erschien, weiß man um die vielen Talente von Agnes Obel.
2020 ist die dänische Sängerin, Musikerin, Songwriterin und Produzentin mit einem neuen Album zurück: »Myopia« erscheint hierzulande via Deutsche Grammophon.
Und schon die erste Singleauskopplung »Island Of Doom« zeigt: Die Experimentierfreudigkeit und der Facettenreichtum Obels sind so groß wie eh und je.
Auf »Myopia« treffen zurückhaltende Pianomelodien auf verworrene Klangstrukturen, Singer-Songwriter-Pop auf klassische Musik. Dazu kommt die zerbrechlich-zarte aber dennoch präsente Stimme der Sängerin.
Und um all das bis zur Perfektion zu entwickeln, verordnete sie sich selbst die kreative Isolation im Berliner Heimstudio, wo sie mit neuen Aufnahmetechniken, Sounds und Instrumenten experimentierte.
Repress! With this release, Comb & Razor Sound launches its exploration of the colorful world of popular music from Nigeria, starting with the post-disco era of the late 1970s and early 80s. The years between 1979 and 1983 were Nigeria's Second Republic, when democracy finally returned after twenty-three years of uninterrupted military dictatorship. They were also the crest of Nigeria’s oil boom, when surging oil prices made the petroleum-producing country a land of plenty, prosperity and profligacy. The influx of petrodollars meant an expansion in industry and the music industry in particular. Record companies upgraded their technology and cranked out a staggering volume of output to an audience hungry for music to celebrate the country’s prospective rise as global power of the future. While it was a boom time for a wide variety of popular music styles, the predominant commercial sound was a post-afrobeat, slickly modern dance groove that retrofitted the relentless four-on-thefloor bass beat of disco to a more laidback, upbeat-and-downbeat soul shuffle, mixing in jazz-funk, synthesizer pop and afro feeling. At the time, it was still mostly locally referred to as “disco,” but has since been recognized as its own unique genre retrospectively dubbed “Nigerian boogie.” A Brand New Wayo: Funk, Fast Times and Nigerian Boogie Badness collects 15 pulsing Nigerian
boogie tracks in a lovingly compiled package chronicling one of the most progressive and creative eras in the history of African popular music.
Die kanadische Singer-Songwriterin Oh Susanna alias Suzie Ungerleider veröffentlicht eine Deluxe-Edition ihres atemberaubenden, von der Kritik gefeierten zweiten Albums Sleepy Little Sailor auf MVKA an. Das Album wird auf CD, Digital und erstmals auf Vinyl erhältlich sein. Die ursprünglichen 11 Songs werden von fünf bis dato unveröffentlichten akustischen Songs des Albums begleitet, einschließlich des Titeltracks, der bereits als Single erschienen ist.
Das Album "Sleepy Little Sailor" erschien ursprünglich 2001 und lag musikalisch zwischen Alternative-Country, Rock und Folk. Der Spiegel zog damals Vergleiche zu den Cowboy Junkies und Lucinda Williams.
Die Mitglieder der Zonke-Familie aus Nyamapanda, Simbabwe, gehören zu den wenigen verbliebenen Meistermusikern der Matepe, einer Art von Lamellenophon, die zur Familie der Mbira gehört. Diese komplexe, ineinandergreifende Musik wird auf jedem Instrument mit vier Fingern gespielt, wobei jeder Finger unabhängige rhythmische Muster verwendet, was viele psychoakustische Tricks auf das Ohr des Zuhörers ausübt.
Dies ist das erste Mal überhaupt, dass ein vollständiges Matepe-Ensemble auf einem Studioalbum eingefangen wird. Wir hoffen, dass dieses Album ein Schritt ist, diese Musik einem neuen Publikum nahe zu bringen - und auch ein Beitrag zu ihrer Erhaltung.
Ayalew Mesfin stands aside the likes of Mulatu Astake, Mahmoud Ahmed, Hailu Mergia and Alemayehu Eshete as a legend of 1970s Ethiopia. Mesfin’s music is some of the funkiest to arise from this unconquerable East African nation. Mesfin’s recording career, captured in nearly two dozen 7” singles and numerous reel-to-reel tapes, shows the strata of the most fertile decade in Ethiopia’s 20th century recording industry, when records were pressed constantly by both independent upstarts and corporate behemoths, even if they were only distributed within the confines of this East African nation. Though Mesfin was forced underground by the Derg regime that took control of Ethiopia in 1974, he has returned almost 50 years later with this triumphant set albums – the first time that his music has been presented in this form. These albums give us a chance to discover a rare and beautiful moment in music history, in anthologies built from Mesfin’s uber-rare 7” single releases and from previously unreleased recordings taken from master tapes. Good Aderegechegn gives us a chance to discover a rare & beautiful moment in music history, in an anthology built from his uber-rare 7” single releases. Contains an oversized 11” x 11” 16 page book that tells the story of modern Ethiopian music and Mesfin’s role within it.
Metronomy, the effective alias of the talented Joseph Mount, have thus far released three albums, starting with the jagged electro manoeuvres of their debut ‘Pip Paine (Pay The £5000 You Owe)’, through to their two albums on Because, ‘Nights Out’, where Mount first sang, and last year’s brilliant Mercury-nominated ‘The English Riviera’. As a pop group, Metronomy that are more Four Tet than Fab Four, though with a sense of adventure that would’ve made the Fabs proud.
Their outing under the Late Night Tales banner journeys through the inspirations of the bands’ ever moving sound – along with a few surprises. Mount’s old favourite Autechre is present and correct, but then so are Kate and Anna McGarrigle and the Sun Ra of hip hop Sa-Ra Creative Partners. Joining Sa-Ra on the hip hop front, we’ve got Tweet’s ace ‘Drunk’ from her Hummingbird album alongside OutKast ‘Prototype’, spiced with some Doctor Octagon.
For pure pop, they don’t come more refined than Alan Parson’s ‘Eye In The Sky’, who is buffeted by outbreaks of unsettling weirdness, among them the sadly departed Mick Karn’s supple bass figurines on ‘Weather The Windmill’ or Tonto’s Expanding Head Band – the guys that brought the funk to synthesizers with Stevie Wonder – and ‘Cybernaut’.
And just when you think you’ve got it figured, Pete Drake arrives with his 1964 pedal steel novelty hit ‘Forever’. This is a maze rather than a journey. Naturally enough, there is the Late Night Tales special with a sparkling Metronomy rendition of Jean-Michel Jarre’s ‘Hypnose’.
We’ve always had a soft spot for Devon and her cobbled street delights, but seen through the prism of Joseph Mount, it takes on a new hue that makes Brigitte Bardot and that other, lesser, Riviera seem somehow pallid. To paraphrase Buzzcocks: another music in a different riviera.
The multi-instrumentalist Jack Wyllie (Portico Quartet/Szun Waves) presents his new project Paradise Cinema. It was recorded in Dakar, Senegal in collaboration with mbalax percussionists Khadim Mbaye (saba drums) and Tons Sambe (tama drums).
The impressionistic and dream-like quality of 'Paradise Cinema' is a stunningly effective realisation of Wyllie's experience, in ahypnagogic state of aural consciousness:
"I had a lot of nights in Dakar, when the music around the city would go on until 6am. I could hear this from my bed at night and it all blended together, in what felt like an early version of the record."
Atmospherically 'Paradise Cinema' is vaporous and enigmatic, but also percussive; existing in a paradoxical sound-space that's amorphous,yet still purposeful, serene, but propulsive and aesthetically sharp.
Khadim Mbaye and Tons Sambe, provide the rhythmic backbone of the record. There are traditional elements of mbalax rhythm, but it is often deconstructed or played at tempos outside of the tradition, so while it hints at a location it occupies a space outside of any specific region.
'Paradise Cinema' is also informed by notions of hauntology – a philosophical concept originating in the work of French philosopher Jacques Derrida– on possible futures that were never realised andhow directions taken in the past can haunt the present.
On the album's title Wyllie comments, "there are a handful of old cinemas in Dakar – these big modernist buildings dotted around the city built around independence. They're old and derelict now, but feel to me like monuments to that period, when the city was flooded with utopian ideas about its potential futures."
As such it sits closely to 4thworld music – situated in an imagined culture and time that never came to pass. And while it contains rhythmic references to Senegal it combines these elements with ambient and minimalist music to produce a sound that sits outside of any tradition.
Setting the tone for the long-player's themes is the optimism-driven, balmy beauty of 'Possible Futures', where rich-toned drums throb and levitate in a stratospheric ether.
Like a time-lapse video of plants in bloom, 'It Will Be Summer Soon' is the sound of anticipation and growth. Rhythmically it flickers and flutters, evoking rainfall, or the blurred wings of a bird in in flight.
Casamance moves through field recordings drifting in and out of focus, beats pitched-down low and unfurling saxophone, whilst the ambient 'Utopia' was made mainly with processed saxophone and suggests a longing for a perfect world.
Galloping percussion juxtaposes with a wistful mood on 'Liberté' – a title that referencesa derelict modernist cinema in Dakar of the same name– a hauntological landmark, made more poignant by the its name being part of the French national motto.
Tying into the cover artwork, Jack explains, "the 'Digital Palm is a telecommunications mast disguised as a palm tree in central Dakar. As a modern piece of technology that on first glance looks natural, it mirrors the combination of modern and acoustic elements."
Perhaps eliciting a time that never came, or maybe still in hope of it yet to come, 'Eternal Spring' concludes the LP's otherworldly beauty with hypnotic drums powering a subtly-building, sparkling and powerful crescendo.
Jack Wyllie is a musician, composer, electronic producer who draws on influences of jazz, ambient, and the trance-inducing repetition of minimalism.
Wyllie performs and records in Portico Quartet, Szun Waves (withLuke Abbott and Laurence Pike)and Xoros. He has also collaborated with Charles Hayward, Adrian Corker and Chris Sharkey and released on Ninja Tune, Babel, Leaf, Real World and Gondwana.
Khadim Mbaye and Toms Sambe play in various mbalax groups in Dakar. Khadim has also toured internationally with Cheikh Lo.
“Transmissions: The Music of Beverly Glenn-Copeland” ist eine unglaublich spannende musikalische Entdeckungsreise in das Werk des spätentdeckten 76-jährigen gleichnamigen amerikanisch-kanadischen Singer-Songwriters und Transgender Aktivisten, der inzwischen glühend von Popstars wie Robyn, Dan Snaith alias Caribou oder The XX Sängerin Romy Madley-Croft verehrt wird. Stilistisch wird darauf eine Bandbreite von Jazz & Blues, über Folk bis hin zu Pop und Elektronik abgebildet, immer begleitet von dieser himmlischen Stimme. Die Süddeutsche Zeitung nennt diesen Mix “eine Art spirituellen Entschleunigungs-Pop” und meint das im absolut bestmöglichen Sinne.
Unbedingte Empfehlung für Fans von Antony & the Johnsons !
Das Album erscheint auf schwarzem heavyweight Vinyl als LP + 7” im Gatefold-Cover. Der beiliegende Download-Code gewährt Zugang zu allen Songs, auch die auf der CD und digital vorhandenen “A Little Talk” und “Erzili”.
Back in stock! Akiko Yano's Cult Second Studio Album from 1977 featuring the Cream of Tokyo and New York Musicians in Funk Mode.
Wewantsounds continues its Akiko Yano reissue programme with the release of "Iroha Ni Konpeitou," another superb Akiko Yano album and one of her funkiest, highlighting her unmissable singing and songwriting talents. Recorded in Tokyo and New York City, the album features a superb line up of the best musicians from both cities and sees Yano mixing Japanese pop with funk and a touch of electronics, playing a wide array of keyboards programmed by YMO synth wizard Hideki Matsutake. This is the first time the album is released outside of Japan and this deluxe LP edition includes remastered sound, download card plus the original 4-page insert with poster, lyrics and full line-up.
"Iroha Ni Konpeitou" is perhaps Akiko Yano's best known album in the Western world not just because of its striking front cover - a shot by famed photographer Bishin Jumonji featuring Akiko holding an inflatable dolphin (legend has it all the props and clothes were borrowed from the set of an Issey Miyake ad), but because the album is one of Akiko's funkiest ones. A slick mix of Japanese Pop and New York funk, the album was recorded in Tokyo except for the "Iroha Ni Konpeitou" title track which was recorded in NYC with an all-star line-up consisting of Rick Marotta, David Spinozza, Will Lee and Nicky Marrero.
For the rest of the album, Akiko is accompanied by some of the best musicians from the Tokyo music scene gravitating around the groups Happy End and Tin Pan Alley: the ubiquitous Haruomi Hosono on bass, Tatsuo Hayashi on drums, Shigeru Suzuki on guitar to name just a few. Interestingly two Hosono compositions are featured on the album, "Ai Ai Gasa" which he recorded on his 1973 landmark debut "Hosono House" and "Hourou" originally recorded in 75 by singer and musician Chu Kosaka (on the eponymous album “Horo”).
Last but not least Hideki Matsutake is handling the keyboard programming duties on the album as Yano is playing a wide array of keyboards: Moog IIIc, Mini Moog, String Ensemble, on top of the Fender Rhodes, Clavinet, Yamaha CP7C. Matsutake would soon become programmer in chief for YMO, touring and playing with them around the world (like Yano herself). Although the album feels very accessible and funky, there are complex keyboard layers underneath as on the first short introduction 'KAWAJI', a short electro fantasy, or on such tracks as "Ai Ai Gasa" and “Kino Wa Mou" on which Akiko is playing bass with her Moog, making the album a richly textured and inventive one once you scratch its surface. The tracks on the album flow effortlessly also highlighting Akiko Yano's superb songwriting and knack for creating fascinating pop song.
"Iroha Ni Konpeitou" sounds as fresh and beautiful as when it first came out more than forty years ago and will please the growing circle of Akiko Yano fans around the world as a welcome addition to her brilliant discography.
Ayalew Mesfin stands aside the likes of Mulatu Astake, Mahmoud Ahmed, Hailu Mergia and Alemayehu Eshete as a legend of 1970s Ethiopia. Mesfin’s music is some of the funkiest to arise from this unconquerable East African nation. Mesfin’s recording career, captured in nearly two dozen 7” singles and numerous reel-to-reel tapes, shows the strata of the most fertile decade in Ethiopia’s 20th century recording industry, when records were pressed constantly by both independent upstarts and corporate behemoths, even if they were only distributed within the confines of this East African nation. Though Mesfin was forced underground by the Derg regime that took control of Ethiopia in 1974, he has returned almost 50 years later with this triumphant set albums – the first time that his music has been presented in this form. These albums give us a chance to discover a rare and beautiful moment in music history, in anthologies built from Mesfin’s uber-rare 7” single releases and from previously unreleased recordings taken from master tapes. Wegene gives us a chance to discover a rare & beautiful moment in music history, in an anthology built from his uber-rare 7” single releases. Contains an oversized 11” x 11” 16 page book that tells the story of modern Ethiopian music and Mesfin’s role within it.
Das schwedische Indielabel Icons Creating Evil Art präsentiert mit "Mono Secular Sounds" das zweite Album von Old Kerry McKee, einem Außenseiter und einsamen Wolf aus Schweden, der in die Fußstapfen von Captain Beefheart, Nick Cave oder Tom Waits tritt, und auf eine einzigartig-idioynkratische, verschroben-punkige Hobo-Art Folk, Blues und Black Metal mischt. Und doch bleibt sein Horror-Blues auf eine seltsame, Magengruben umdrehende Weise stets schön, dynamisch und voller Soul. CD und limitiertes, handnummeriertes 180g Vinyl.
"Joakim seems to fight his demons with breathtaking songs full of tragedy and melancholy as a result." - Out Of Step
Following highly praised releases by Hermeto Pascoal & Grupo, Leonardo Marques, Xenia Franca and Moons, 180g and the legendary Disk Union continue to explore the best of today's Brazilian music scene with this wonderful psychedelic and funky pop album by Rio de Janeiro's Gus Levy: Magia Magia.
Der instrumentale Kultklassiker des legendären Ägyptischen Musikers Omar El Shariyi, der 1976 erstmals Auf Soutelphan erschien, wird zum ersten Mal überhaupt auf Vinyl wiederveröffentlicht. Der ikonenhafte Ägyptische Musiker und Komponist nimmt hier sechs klassische Kompositionen einer anderen ägyptischen Legende, Mohamed Abdel Wahab, auf seine eigene hypnotische Weise als Coverversionen auf. Diese Reihe großartiger Neuveröffentlichungen arabischer Musik, die mit den Neuauflagen der Alben Fairuz und Ziad Rahbani begann, wird von dem im Libanon geborenen arabischen Musikexperten Mario Choueiry vom Institut du Monde Arabe in Paris kuratiert. Diese Neuauflage wurde neu gemastert und kommt in ihrem wunderschönen Original-Artwork.
We are very happy to announce our 30th compilation from the Analog Africa regular serie, ‘La Locura de Machuca 1975 - 1980’, telling the story of Colombia's most atypical and peculiar record company: Discos Machuca
La Locura de Machuca is the story of one man’s bizarre odyssey into Colombia’s coastal music underground, and the wild, hypnotic sounds he helped bring up to the surface.
The seventeen tracks sound like little else recorded before or since. They exist outside of time or place, as vividly unhinged in 2020 as they were on the day they were first released. You have to hear it to believe it.
‘La Locura de Machuca 1975 - 1980’ comes as a Double LP on 140g virgin vinyl with a gatefold cover and a full color 16-pages booklet. The CD comes with a full color 32-pages booklet.
Nach "That Santa Fe Channel" (2018) das zweite Album der Nashville-Band für ATO Records. Produziert von Rick Parker (Lord Huron, Beck, Black Rebel Motorcycle Club) und aufgenommen in Los Angeles. Eine explosive Mischung aus Country- und Southern-Rock, Folk und groovigem Rock 'n' Roll. Bei Single "High Feeling" hatte außerdem Adrian Quesada von den Black Pumas seine Produzenten-Finger mit im Spiel.
Limitiertes, farbiges Vinyl
+ Download Code
Ayalew Mesfin stands aside the likes of Mulatu Astake, Mahmoud Ahmed, Hailu Mergia and Alemayehu Eshete as a legend of 1970s Ethiopia. Mesfin’s music is some of the funkiest to arise from this unconquerable East African nation. Mesfin’s recording career, captured in nearly two dozen 7” singles and numerous reel-to-reel tapes, shows the strata of the most fertile decade in Ethiopia’s 20th century recording industry, when records were pressed constantly by both independent upstarts and corporate behemoths, even if they were only distributed within the confines of this East African nation. Though Mesfin was forced underground by the Derg regime that took control of Ethiopia in 1974, he has returned almost 50 years later with this triumphant set albums – the first time that his music has been presented in this form. These albums give us a chance to discover a rare and beautiful moment in music history, in anthologies built from Mesfin’s uber-rare 7” single releases and from previously unreleased recordings taken from master tapes. Mot Aykerim gives us a chance to discover a rare & beautiful moment in music history, in an anthology built from his uber-rare 7” single releases. Contains an oversized 11” x 11” 16 page book that tells the story of modern Ethiopian music and Mesfin’s role within it.
Das erste in einer Reihe von super-seltenen und gefragten Originalalben des legendären Labels Albarika Store aus Benin, die auf Vinyl neu aufgelegt werden. Ursprünglich veröffentlicht 1978, damals noch ohne Schutztasche. Aufgenommen in den EMI Studios in Lagos, Nigeria, von den Originalbändern übertragen und remastert von Grammy-Gewinner Frank Merritt im Londoner The Carvery Studio.
Neuauflage dieser super-seltenen LP von 1978. Remastert von Grammy-Gewinner Frank Merritt im Londoner The Carvery Studio. Die einzig bekannte Aufnahme dieser obskuren Band und mit das Beste was der umfangreiche Katalog des legendären Albarika Store Labels aus Benin an Afro-Boogie und Afro-Funk zu bieten hat.
"Matasuna Records" has found another musical treat from the African continent for its latest release - a song by the Ghanaian musician "Mawuli Decker". It was released in 1983 on the rare and sought-after album "Ayo Special" and is available for the first time as a 7inch vinyl single, which is supplemented by an edit from "Renegades Of Jazz". The esteemed London label "Kalita Records" was able to provide the audio material for new masters and is also acting as music publisher with the new "Kalita Music Publishing".
Mawuli Decker was born in 1949 in Ghana, where he also grew up. His musicality has been given to him from an early age, so that he not only attracts attention as a singer, but also plays drums, percussion and bongo. He played in various dance bands, which were very popular in Ghana especially from the middle of the last century onwards and made the Ghanaian highlife known beyond the borders. He has played in various dance bands such as New Planets, Sawaaba Sounds, The Tops, Caprice 73, The Volta Pioneers and others, which have performed in Ghana and other West African countries.
His first release was in 1975 with the band "Dzobi Soundz" on the Polydor label. Further releases of projects with his participation followed, until 1983 when he recorded his album "Ayo Special" at "Otodi Studio" in Lome (Togo) with an illustrious group of musicians.
He is still deeply rooted in music and performs in West Africa and is still very active in recording.
On the A-side is the original version of the song "Lololi-Lomko", sung in the "EWE" language, which is spoken in the south of Ghana as well as the southern parts of Togo. "Lololi" means "There's Still More Love" and "Lomko" stands for "Please love me" - classical themes that have appeared in countless songs in music history. Although a certain catchiness of the track cannot be denied, it doesn't seem cheesy at any point. Mawuli, who also contributes the vocals, creates perfectly formed harmonies through his compositions and arrangements, which are especially apparent in the bassline, guitars & brass and of course the vocals.
This was certainly also the idea behind the edit of "Renegades of Jazz" on the B-side, which did not want to break up and alienate the organic composition. Listening closely reveals the approach: a steady tempo, a more powerful bassline and additional drums and percussions bring the song back directly to where it belongs: to the dancefloors of this world!
Limitierte Wiederveröffentlichung - Space Echo - das Geheimnis hinter dem "Cosmic Sound" von Cabo Verde wird endlich gelüftet! Im Frühjahr 1968 machte sich ein Frachtschiff im Hafen von Baltimore auf mit einer wichtigen Sendung von Musikinstrumenten auszulaufen. Sein Endziel war Rio de Janeiro, wo die EMSE Ausstellung (Exposição Mundial Do Son Eletrônico) stattfinden sollte. Es war die erste Ausstellung ihrer Art in der südlichen Hemisphäre, und viele der führenden Unternehmen auf dem Gebiet der elektronischen Musik beteiligten sich. Rhodes, Moog, Farfisa, Hammond und Korg, um nur einige zu nennen, waren alle eifrig ihre neuesten Synthesizern und andere Geräte in einem wachsenden und vielversprechenden südamerikanischen Markt zu präsentieren, angeführt von Brasilien und Kolumbien. Das Schiff havarierte acht Kilometer vor der Küste der Kapverdischen Inseln und so gelangten die Instrumente auf die Insel. Acht der insgesamt fünfzehn Songs die in dieser Zusammenstellung präsentiert werden, wurden mit Unterstützung der Band Voz de Cabo Verde, angeführt von Paulino Vieira, dem Drahtzieher und Schöpfer des "The Cosmic Sound of Cabo Verde", aufgenommen.
This is a recent recording straight out of Ethiopia, courtesy of the Sheba Sound crew.
Sheba Sound tour the Ethiopian hinterlands, capturing the mesmerising sounds of local talented musicians, using state of the art pop-up recording studios.
The process was captured in the highly acclaimed, award-winning documentary: Roaring Abyss, by Joaquin Piñero:
The hugely anticipated next release from the Sheba Sound archives, under license to NuAfrique (My45) features crazy, untapped talent of Nebeyu Hamdi, with the Sabat Bet Gurage Band, based in Welkite, western Ethiopia.
The original recordings from 2013 receive ethio-funk bassline overdubbing treatment from Addis Abeba's inspired masenko-bass man of the moment, 'Bubu' Teklemariam.
The full package receives ultimate mixing treatment at The Yard Studio by master dub producer Nick Manasseh (Roots Garden).
The B-side of this EP release features 3 exclusive ethio-dub cuts. Manasseh's inspiration of deep masenko bass and tribal drum rhythms is evident through his dub treatment of the originals. Playing the tracks back through his mixing desk like it was an instrument, the results are completely unique pulsating, punctuated Ethio-dub rhythm tracks.
Watch out Shaka – the Ethiopians are bringing their own dub cuts to town!
The mastering was done from the master tapes from the studio recording of the album. The cover is a reproduction of the original. The cover includes a Glossy finish in order to respect the original edition as much as possible.
Released in 1981, "Sibou Odja" is Orchestra Baobab's second studio album produced at the Golden Baobab in Dakar by the young producer Ibrahima Sylla. After their masterpiece "Mouhamadou Bamba" recorded the same year, "Sibou Odja" would once again mark the history of Senegalese music by propelling the group's success into a new musical decade. Under the direction of the hard-hitting saxophonist Issa Sissokho and the irremovable guitarist Barthélémy Attiso, it is notably the young singer future icon of Senegalese salsa Médoune Diallo who will deliver one of his masterpieces with the irresistible "Autorail", song locomotive which celebrates the opening of the railway line connecting Dakar to Niamey. The Baobab symbolizing both rooting in traditional Senegalese values and the tree's ability to reach new heights, the group's sound is a perfect syncretism of Senegalese and Afro-Cuban imaginaries in which the montunos of electric guitars and the Vocal improvisations in the Wolof language subtly blend with the rhythms of Cuban sound and other boleros.
Der Glasgower Gerry Cinnamon ist eines der größten UK-Phänomene der letzten Jahre, spielte nahezu alle großen Festivals und verkaufte allein in 2019 über 115.000 Tickets. Sein mit Spannung erwartetes zweites Album "The Bonny" stieg direkt auf #1 in die Charts in UK und Irland und erscheint nun als Deluxe Edition mit 4 bislang unveröffentlichten Songs.
Gerry Cinnamons Musik ist generationenübergreifend auf eine Art und Weise, wie es nur wenige Künstler schaffen – sie ist relevant, man kann sich mit ihr identifizieren und sie etabliert Gerry als echten Geschichtenerzähler. Seine unnachahmlichen Liveshows sind bekannt für ihre besondere Atmosphäre; oft singt das Publikum schon bei Songs mit, die noch nicht einmal veröffentlicht worden sind.
Nach der ersten "Ekera" EP in 2019 veröffentlicht das Brüsseler Ethno-Jazz-Kollektiv Azmari nun sein Debütalbum auf Sdban Ultra. Inspiriert von Musikern wie Okay Temiz, Mulatu Astatke, Cymande, Fela Kuti und The Heliocentrics präsentieren die sechs Mitglieder aus Belgien und Äthiopien auf "Sama'i" eine hypnotische Melange aus faszinierenden Rhythmen und Improvisationen zwischen Ethno-Groove, Dub, Psych-Funk und orientalischen Melodien, die den Hörer in neue Bewusstseinssphären heben.
Nach seinem vielgelobten, selbstbetitelten Debütalbum setzt das US-Quintett Ranky Tanky aus Charleston, South Carolina, seine Erkundung der traditionellen Gullah-Musik fort ("Gullah" entstammt einer westafrikanischen Sprache und bedeutet "von Gott gesegnete Leute"), die unter den Nachkommen versklavter Afrikaner in der Low-Country-Region des Südostens der USA entstand. Der Nachfolger "Good Time" enthält zwölf neue Songs, darunter lebensbejahende Partysongs, herzzerreißende Spirituals und feinfühlige Gute-Nacht-Lieder.
- Hörprobe: https://www.youtube.com/watch?v=sZuCDxwRxFE
Enthält zwei Alben, Femi Kuti's "Stop The Hate" und Made Kuti's "For(e)ward".
Jeweils in einer bedruckten Innenhülle mit Custom-Artwork von Delphine Desane
Untergebracht in einer Deluxe Hülle
Inkl. 8-seitigem Booklet mit Artwork, Fotografien und Texten.
It was in Benin City, in the heart of Nigeria, that a new hybrid of intoxicating highlife music known as Edo Funk was born.
It first emerged in the late 1970s when a group of musicians began to experiment with different ways of integrating elements from their native Edo culture and fusing them with new sound effects coming from West Africa´s night-clubs. Unlike the rather polished 1980´s Nigerian disco productions coming out of the international metropolis of Lagos Edo Funk was raw and reduced to its bare minimum.
Someone was needed to channel this energy into a distinctive sound and Sir Victor Uwaifo appeared like a mad professor with his Joromi studio. Uwaifo took the skeletal structure of Edo music and relentless began fusing them with synthesizers, electric guitars and 80´s effect racks which resulted in some of the most outstanding Edo recordings ever made. An explosive spiced up brew with an odd psychedelic note known as Edo Funk.
That‘s the sound you‘ll be discovering in the first volume of the Edo Funk Explosion series which focusses on the genre’s greatest originators; Osayomore Joseph, Akaba Man, and Sir Victor Uwaifo:
Osayomore Joseph was one of the first musicians to bring the sound of the flute into the horn-dominated world of highlife, and his skills as a performer made him a fixture on the Lagos scene. When he returned to settle in Benin City in the mid 1970s – at the invitation of the royal family – he devoted himself to the modernisation and electrification of Edo music, using funk and Afro-beat as the building blocks for songs that weren’t afraid to call out government corruption or confront the dark legacy of Nigeria’s colonial past.
Akaba Man was the philosopher king of Edo funk. Less overtly political than Osayomore Joseph and less psychedelic than Victor Uwaifo, he found the perfect medium for his message in the trance-like grooves of Edo funk. With pulsating rhythms awash in cosmic synth-fields and lyrics that express a deep personal vision, he found great success at the dawn of the 1980s as one of Benin City’s most persuasive ambassadors of funky highlife.
Victor Uwaifo was already a star in Nigeria when he built the legendary Joromi studios in his hometown of Benin City in 1978. Using his unique guitar style as the mediating force between West-African highlife and the traditional rhythms and melodies of Edo music, he had scored several hits in the early seventies, but once he had his own sixteen-track facility he was able to pursue his obsession with the synesthetic possibilities of pure sound, adding squelchy synths, swirling organs and studio effects to hypnotic basslines and raw grooves. Between his own records and his production for other musicians, he quickly established himself as the godfather of Edo funk.
What unites these diverse musicians is their ability to strip funk down to its primal essence and use it as the foundation for their own excursions inward to the heart of Edo culture and outward to the furthest limits of sonic alchemy. The twelve tracks on Edo Funk Explosion Volume 1 pulse with raw inspiration, mixing highlife horns, driving rhythms, day-glo keyboards and tripped-out guitars into a funk experience unlike any other.
Double LP pressed on 140g virgin vinyl comes with a full color 20-pages booklet
CD comes with a full color 36-pages booklet
Sotomayor is the electronic music project with afro latin influence by siblings Raul (music production) and Paulina (vocals). It is a dance music project that fuses rhythms like cumbia, afro beat, dancehall, Peruvian "chicha" and merengue with futuristic electronic beats. The band debuted in 2015 with "Salvaje," an album that allowed them to perform in several festivals around the globe in countries like England, US, Mexico and Colombia. The album received excellent reviews from foreign media in countries like Japan, Australia, United Kingdom, Chile, United States and Colombia. They also appeared in more than 25 lists of the best of the year from medias from all around the world. 2020 will see the release of "Orígenes" their 3rd studio album trough the NY based label Wonderwheel Recordings. This album was recorded between Mexico and Puerto Rico, and was produced by the 28 times Grammy Winner Eduardo Cabra aka "Visitante" from the legendary band "Calle 13." In this production Sotomayor explores a new Afro Caribbean vision in the music, much more dance floor focused, and highly influenced by percussion.
‘GNAWA ELECTRIC LAUNE’ is the magical collaboration between Moroccan Gnawa-master (maâlem) Rabii Harnoune and Frankfurt electronic producer V.B.Kühl. Recorded at Achim Sauer’s 7V-Studio, collectively Rabii Harnoune & V.B. Kühl have produced an LP which represents entirely new territory, building a bridge from old to new, from Africa to Europe, and from to person to person. This melange of traditional North African Gnawa music and modern club sounds results in a fascinating debut, cross-cultural friction which is electric and otherworldly.
“Traveller” (out 19th March) is the first offering from the album, a tale that belongs to the repertoire of “L’Bouhala”, a story which roughly translates as symbolism for multiculturism in Gnawa culture. “Traveller” is a Gnawa-club fusion track that feels equally at home on the dancefloor as it does in its core spiritual home. “The traveller is a character in the culture of Gnawa” Rabii explains, “who is travelling from tribe to tribe, from village to city, looking for experiences and knowledge, then sharing it by singing about it”.
Gnawa music is among Morocco’s richest and oldest continuous traditions, dating back to pre-Islam. Rabii Harnoune joined the Kotab, a place where one can learn the teaching of the Quran, at the age of four. Growing up on a household diet of classical Arabic, Moroccan and Sufi music, Rabii was first introduced to Gnawa through his neighbour’s uncle who was a master in the genre. “Gnawa music was exclusively played by families whose parents came from Sub-Saharan or Central African tribes to Morocco in colonial times” Rabii explains, “it was rare to be able to listen to Gnawa music on radio, so I started to collect rare live recordings”. Rabii’s mastery at the Guembri, a three-string lute and Gnawa singing (a central aspect to the culture), would lead him to play world-class festivals in Essaouira, Fes, Marrakesh, and Casablanca – all spiritual centres for the genre.
V.B.Kühl realised his own musical vision and ambition when he inherited his first ghettoblaster (boombox) and bought a four-track recorder: “rhythm is deep in me, and although music is not my profession, the passion never stopped”. V.B.Kühl caught the attention of DJ Shadow with two stellar remixes, which would later lead to commissioned remixes by Tru Thoughts for acts such as Anchorsong and Lakuta. V.B.Kühl and album co-producer Achim Sauer founded t&TT together, a DIY label that was used as a vehicle to release both artist solo projects.
V.B.Kuhl and Achim first met Rabii while performing live at a house party of mutual friends. Rabii’s wish to release Gnawa music into the world lead to the trio collaborating and releasing ‘GNAWA ELECTRIC LAUNE’, twelve songs enriched with deep vibes and unstoppable grooves, an astonishing global mix of tradition and innovation.
Supported by the likes of Pedo Knopp (Analog Africa), Tom Ravenscroft (BBC 6Music), Dom Servini (Soho Radio) and Moroccan stations such as Medi1 Radio, ChadaFM and Radio Aswat, Rabii Harnoune & V.B.Kühl continue the legacy of Jimi Hendrix, Robert Plant, Randy Weston and more recently Bonobo, Floating Points and James Holden – in bridging together two different worlds, of Gnawa and Western musicians.