Teno Afrika's new mix comes out in anticipation of the LP and CD release of "Amapiano Selections" this Friday. 
This mix surveys the quickly emerging amapiano sub-style blowing up at the moment called Skrr Gong.
Learn more https://linktr.ee/tenoafrika

Teno Afrika Mix - Amapiano Selections Vol 003(Skrr Gong Edition)

Teenage Dreams

Order

The Beginning

from the album Penny Penny "Shaka Bundu" (ATFA008), out now on Awesome Tapes From Africa.
Order LP/CD/Tape/Digital: https://pennypenny.bandcamp.com/album/shaka-bundu

http://www.awesometapes.com/

Penny Penny — Shichangani

from the album "Hailu Mergia & His Classical Instrument" (ATFA006), out now.
LP/CD/Tape: bit.ly/11HYiSv
MP3: bit.ly/H2pffa
HAILU MERGIA w/ Tony Buck & Mike Majkowski
EUROPE DATES!

03.06. DE Berlin Urban Spree
05.06. PL Warsaw Pardon, To Tu
06.06. UK London Café OTO
07.06. FR Paris Villette Sonique

Hailu Mergia — Ambasel

Hailu Mergia Remixes digital EP (ATFA007) OUT THIS WEEK on Awesome Tapes From Africa, featuring Prins Thomas, El Guincho and Protect-U.

iTunes: http://bit.ly/16LdQej
Boomkat: http://bit.ly/17m0AMF
Bleep: http://bit.ly/18KWzC1
Juno: http://bit.ly/1hitiQ8

Prins Thomas Diskomiks — Hailu Mergia Remixes (ATFA007)

Teno Afrika's new album "Where You Are"
Digital version out now
https://linktr.ee/TenoAfrika

Teno Afrika’s 2020 debut Amapiano Selections drew an international wave of support sparked by the producer’s deftly minimal take on the emergent style. Amapiano combines the South African predilection for deep house alongside a melange of endemic influences like kwaito, jazz and gqom. The 22-year-old’s new crop of songs Where You Are expands on his rhythmic subtlety hooded in warm bass adorned by amapiano’s telltale shakers, hi-hats and mid-tempo shuffle. 

Lutendo Raduvha hails from Pretoria, South Africa, where he produces music incessantly and DJ’s parties around Gauteng province. He hangs with a crowd of musical friends, many of whom join him on Where You Are. For his second album Teno Afrika brings more vocalists into the sonic picture, unlocking an emotive and timbral escalation to his rapidly mushrooming catalog of work.

Singers Leyla and KayCee feature on the title track and “Fall In Love,” respectively. Regular cohort Diego Don joins for two driving, pad-propelled works of significant vibrancy, “SK Love” and “AK Love.”  

The album's dramatic closer “Duma ICU” features another returning collaborator, Stylo MusiQ, who helps bring an icy, almost cinematic conclusion to a slice of the sound Teno Afrika is pushing at the moment. There’s a palpable feeling of not knowing where the young producer might go next.

Where You Are

Teno Afrika — Bells

Pape Nziengui et son groupe
#bwiti #ngombi
LP/CD/Tape/Digital out April 8
https://linktr.ee/PapeNziengui

Kadi Yombo, published in 1989, is the most successful album in the quest for a fusion between tradition and modernity in Bwiti harp music of the Tsogho people of Gabon. Combining beating rattles with a layer of synthesizers, Papé Nziengui blends in a contrapuntal dialogue characteristic of harp playing: male song in appeal and female choir in response, male voice of the musical arc and rhythms of female worship. But above all it’s Tsogho ritual music and modern studio orchestration. The result is an initiatory itinerary of 10 musical pieces which are all milestones likely to be simultaneously listened to, danced, meditated on, and soon acclaimed. In the years since, Nziengui has traveled he world from Lagos to Paris, from Tokyo to Cordoba, from Brussels to Mexico City to become a true icon, the emblem of Gabonese music.   

Like Bob Dylan, "electrifying" folk and Bob Marley mixing rock with reggae, some purists have criticized Nziengui for having distorted the music of harp by imposing a cross with modern instruments. They even went so far as to claim that Nziengui was just an average harpist covering his shortcomings with stunts that were only good for impressing neophytes; like playing a harp placed upside down behind his back or playing two or three harps simultaneously. Sincere convictions or venomous defamations, in any case, Nziengui never gave in to such attacks, imposing himself on the contrary to pay homage to the elders (Yves Mouenga, Jean Honoré Miabé, Vickoss Ekondo) while instructing the maximum of young people. He is thus the promoter of many young talents, the most prominent of which is certainly his nephew Jean Pierre Mingongué.

In a conservative society where the sacred is confused with secrecy, exposing the mysteries of Bwiti in broad daylight can be punished by exclusion or even execution.

Papé Nziengui has always claimed that he faces such risks because he never felt enslaved to a community that governs his life, that regulates his conduct, that has a right of censorship over his activities. Like Ravi Shankar, the famous sitarist, Papé Nziengui is a man of rupture but also of openness, a transmitter of culture. As proof, he has established himself in Libreville, Gabo’s capital, as the main harpist for sessions and concerts, accompanying the greatest national artists (Akendengué, Rompavè, Annie-Flore Batchiellilys, Les Champs sur la Lowé, etc.) as well as foreign artists (Papa Wemba, Manu Dibango, Kassav', Toups Bebey, etc.). In 1988, he was the first harpist to release an album in the form of a cassette produced by the French Cultural Center (Papé Nziengui, Chants et Musiques Tsogho). At the same time, he created his own group (Bovenga), combining traditional music instruments (musical bow, drums, various percussion instruments, etc.) in the framework of a true national orchestra, which gave the first concert and the first tours of a traditional music that was both modern and dynamic, thus "democratizing" the harp, to the dismay of certain purists.

On the other hand, in modern music, dominated by the logic of profit or even commercialism, artistic creation must often be adjusted for a specific audience based on reason rather than heart. But instead of allowing himself to be distorted, Papé Nziengui has always tried to produce music that is not a caricature, worthy in its expression as in its content, of the sacredness and transcendence of the music of the Origins. This is what makes Nziengui—not only the musician, but the man—someone whose age hasn’t altered any of his freshness or authenticity.

Papé Nziengui — Gho Boka Nzambé

First single from the forthcoming double LP Impumelelo, out March 17 on LP & Digital.

Impumelelo

Pre-Order LP

DJ Black Low Oskido feat. Sphiwe, Black R & K.Dalo

Preorder https://lnk.to/DJBlackLow_Impumelelo
Album out March 17!

Preorder

DJ Black Low — Drive Through

DJ Black Low "Impumelelo" comes out 17 March on LP and Digital formats:
https://lnk.to/DJBlackLow_Impumelelo

There’s more than a hint of ambition on the double LP sophomore effort from Sam Austin Rabede, the producer known as DJ Black Low. Pretoria, South Africa-born and based, the young man makes amapiano with new ways of expressing this local-turned-global style of dance music. 
In DJ Black Low’s musical imagination, the songs manage to smoothly vacillate between dreamy and firmly-grounded. Adorned with vocalists across most of the twelve tracks, there’s a new dimension to Black Low’s now-signature approach to abstract, angular deconstruction of the rhythmic developments in his songs. 

The album references influences and ambitions in its song titles and lyrics while the music itself is anthemic in its sonic and structural aspirations. On many of the songs a slow-burning tension transforms into something unexpected until you’re somewhere else as the track concludes. There is an emotional and compositional maturity that builds on his earlier work. Vocals and lyrics are in focus. Production collaborators among Black Low’s Gauteng Province circle add to the constantly churning array of ideas that populate this consistently surprising release. Despite being a relative newcomer, DJ Black Low is onto something here.

DJ Black Low (ft. Black R, Frego & Khence) — Lovey

Pre-order Roger Bekono LP/CD/Tape/Digital
https://lnk.to/RogerBekono

Roger Bekono made a deep mark in the contemporary history of Cameroonian music through the four-on-the-floor, ribald intensity of bikutsi. The Ewondo-language dance-pop style that forms an undulating tapestry of interlocking triplet rhythmic interplay came to international prominence in the European “world music” scene as the 90s began. But the relentless sound of bikutsi developed in Yaoundé at the hands of Bekono and many others, as it developed from a village-based singing style performed mostly by women into a cosmopolitan music force that rivaled the popularity of established musics like Congolese rhumba, merengue and makossa. With his unique—some say suave—voice, Bekono contributed much over a period of more than 10 years as part of the evolution of this traditional rhythm-turned-urban dance movement.

Roger Bekono a fait une profonde marque dans l'histoire contemporaine de la musique camerounaise grâce à l'intensité four-on-the-floor et hardie de bikutsi. Le style de musique pop dansante en langue ewondo qui forme une tapisserie ondulante d'interplay rythmique à triplets est devenu internationalement célèbre dans la scène de la « world music » européenne au début des années 90. Mais le son inlassable de bikutsi a été développé à Yaoundé entre les mains de Bekono et de beaucoup d'autres, alors qu'il se développait d'un style de chant basé sur les villages interprété principalement par des femmes en une force musicale cosmopolite qui a rivalisé avec la popularité des musiques établies telles que la rumba congolaise, le merengue et le makossa. Avec sa voix unique – certains disent suave – Bekono a beaucoup contribué pendant plus de 10 ans à l'évolution de ce mouvement de danse urbaine à partir d'un rythme traditionnel.

Roger Bekono

Roger Bekono — Jolie Poupee

Stream or Preorder LP/CD/Tape/Digital https://lnk.to/hailumergialive

Pioneer Works Swing (Live)

Hailu Mergia — Belew Beduby (Live)

Pioneer Works Swing

Hailu Mergia — Anchihoye Lene (Live)

Hailu Mergia — Yegle Nesh (Live)

Hailu Mergia — Tizita

"Tche Belew" out now!
Boomkat: http://bit.ly/1u1OrFE
Rush Hour: http://bit.ly/1qYPxC5
Picadilly: http://bit.ly/1s4WPI8
Juno: http://bit.ly/Xc2RrZ

EUROPE TOUR DATES
08.05. DE Berlin XJAZZ Festival
25.05. NL Nijmegen Musicmeeting
26.05. NL Rotterdam Pantropical @ Worm
27.05. NL Amsterdam Muziekgebouw aan 't IJ
28.05. FR Paris Instants Chavires
29.05. CH Düdingen Bad Bonn Kilbi
30.05. AT Wels Alter Schlachthof
01.06. CZ Praha Jazzdock
03.06. CH Luzern Südpol
05.06. HR Šibenik Deboto
06.06. UK London Field Day

 Sofia Jernberg & Hailu Mergia (Awesome Tapes From Africa, Oslo / Washington)
https://sofiajernbergsingercomposer.bandpage.com/
https://www.facebook.com/HailuMergiaOfficial

14.05. DE Eberswalde Jazz in E.
15.05. SE Stockholm Rönnels Antikvariat
16.05. SE Uddevalla Bohusläns Museum (afternoon show) Kontoret (evening show)

The acclaimed and highly sought-after LP by Hailu Mergia and
the Walias, Tche Belew, an album of instrumentals released in
1977, is perhaps the most seminal recording released in the
aftermath of the 1974 revolution. The story of the Walias band is
a critical chapter in Ethiopian popular music, taking place during
a period of music industry flux and political complexity in the
country. 
Hailu Mergia, a keyboardist and arranger diligently working the
nightclub scene in Addis Ababa, formed the Walias in the early
1970’s with a core group of musicians assembled from prior
working bands. They played Mergia’s funk- and soul-informed
tunes, while cutting 45rpm singles with various vocalists.
While the Walias performed at top hotels and played the
presidential palace twice, their relationship with the Derg regime
was complex, evidenced by the removal of one song from the
record by government censors.
Decades later, Hailu Mergia was surprised to see the album
fetching more than $4,000 at online auctions (it helped that the
most popular of all Ethiopian tunes “Musicawi Silt” appeared on
the record). Now everyone has the chance to listen again—or
for the first time—to this timeless pillar of Ethiopian popular
music.

Pre-order

Hailu Mergia and the Walias — Eti Gual Blenai

Out March 3 worldwide on Awesome Tapes From Africa LP/CD/Digital/Tape https://atakak.bandcamp.com

OUT NOW

Ata Kak — Bome Nnwom

Awesome Tapes From Africa LP/CD/Digital/Tape https://atakak.bandcamp.com

Ata Kak — Obaa Sima

Michael Ozone is a brilliant producer based in Melbourne, Australia who made this remix for the Aby Ngana Diop Remixes digital EP, out now. http://bit.ly/1JW81fr

Michael Ozone's Liital Rhythm -- Aby Ngana Diop Remixes ATFA011

Reissue of 2009 LP DJ Katapila "Trotro" coming out now on Awesome Tapes From Africa. Pre-order: http://smarturl.it/TrotroiTunes **http://amzn.to/1VszdHu ** bit.ly/1ZStdhE

DJ Katapila makes Ga traditional music using electronic sounds instead of live percussion to create his own kind of what he calls house music.
 
In the context of Ghana’s pop music landscape, Katapila’s music is singular. The uptempo, bass-heavy, Roland 808-rooted sounds echo early 1990’s Detroit techno and Chicago acid house more than the contemporary hiplife productions blasting across Ghanaian airwaves currently.

However, the structure of Katapila’s sound directly descends from Ga musical lineage found around Accra. Neo-traditional dance music forms gome, kpanlogo and gyama are there.

DJ Katapila didn’t start producing music until he was 39 years old. Around 1998, began chanting and rapping in Twi and Ga during instrumental breaks of songs he was DJing. He added Yamaha DD11 electronic drum pads and sampler and invented new creations on the fly. Katapila then began experimenting with program beats using Fruity Loops on his laptop.

His music reflects his love for the international dance pop that filtered into Accra’s radio waves in the ‘90s: Inner City’s “Big Fun”; C&C Music Factory’s “Gonna Make You Sweat”; Crystal Waters’ “Gypsy Woman”; even Rick Astley hits, among many others. Katapila mixed international tunes with highlife—J.A. City Boys and AB Crentsil—as well as hiplife, Ghanaian gospel, Jamaican dancehall, soca and regional Francophone hits. This blend helped set the stage for Trotro and the inspired yet minimalist dance music Katapila now creates. 




Trotro

DJ Katapila — Cocoawra

PLEASE EXCUSE THE SOUND QUALITY AND FOCUS ON THE VIBES.
DJ Katapila live dj set 12/31/14. Katapila adds vocals and electronic drums while he DJs. 
Album OUT NOW on Awesome Tapes From Africa. http://smarturl.it/TrotroiTunes

DJ Katapila -- Live DJ Set 12/31/14

https://hailumergia.bandcamp.com/album/wede-harer-guzo

Hailu Mergia & Dahlak Band — Minlbelesh

LP/CD/Tape/Digital https://hailumergia.bandcamp.com/album/wede-harer-guzo

Hailu Mergia & Dahlak Band — Anchin Kfu Ayinkash

Hailu Mergia & Dahlak Band "Wede Harer Guzo"on Awesome Tapes from Africa LP/CD/Digi. https://hailumergia.bandcamp.com/album/wede-harer-guzo

Title track from new reissue Wede Harer Guzo by Hailu Mergia & Dahlak Band. A 1978 recording capturing the sound of one of Addis Ababa's deepest pop/soul outfits fronted by the skilled organist and arranger Mergia. Third reissue with Awesome Tapes From Africa, following his acclaimed performances at festivals and clubs worldwide. 
https://open.spotify.com/album/6am5o1eJClWkXeh0Ex9HuL

Hailu Mergia & Dahlak Band — Wede Harer Guzo

Say You Love Me wasn’t “Om” Alec Khaoli’s first solo recording but the 1985 EP solidified the bass player and songwriter’s standing as one of South Africa’s most consistently innovative pop auteurs. He built a career on ubiquitous rock, pop and soul hits with groundbreaking bands like the Beaters, Harari and Umoja. But Khaoli’s seemingly endless fountain of music continued outside these ensembles, where he usually played bass and contributed songwriting and vocals.

Khaoli released several successful solo works while he made records with Umoja and worked on other productions with friends. This creativity was aided by Khaoli’s own recording studio. He was the first South African to have a privately-owned studio. As black artists were forced to record during lunch breaks and didn’t get sufficient access and time in the white-owned studios, having his studio allowed Khaoli to develop in his own way. Hence his productive output during the 80’s and early 90’s, releasing 5 LPs with Umoja and 5 solo LPs, along with numerous singles and EPs.

There’s something broad and dynamic about the almost epic pop sound Khaoli creates on Say You Love Me. Being the first South African to take control his recording process and thereby free himself from one of apartheid’s many strictures, he took his vision of music to new realms and made timeless music for the dance floor in the process.

Say You Love Me

"Om" Alec Khaoli — Say You Love Me

Album out Friday 20 October on LP/CD/MP3/Tape
https://professorrhythm.bandcamp.com/album/bafana-bafana

Bafana Bafana

Professor Rhythm — Via Botswana

LP/CD/Digital https://hailumergia.bandcamp.com/album/lala-belu

Lala Belu

Hailu Mergia — Gum Gum from Lala Belu

Instrumental mbaqanga and kwaito from South Africa, 1991. 
LP/CD/Digital on Awesome Tapes From Africa.
https://professorrhythm.bandcamp.com/album/professor-3

Professor 3

Professor Rhythm — Professor 3

LP/CD/Tape/Digital out now
https://sourakatakoite.bandcamp.com/album/en-hollande
~~~
Senegalese kora master Sourakata Koité began music from pretty much day one. "All the Koité are musicians!,” he says. Indeed he is a member of a family of djéli (or griot in french), the hereditary caste of musician-storyteller-historians in West Africa. After moving to Paris in the late 70s he began to play in different bands and for musicians like Manu Dibango, Touré Kounda, Mangala, Mah Damba and more. During a festival in Holland, a music producer form Plexus Records heard him and asked to make a recording. In 1984 in an old chicken coop near Delft, Koité recorded the entire album in one take, including overdubs. The rich sonics and deep sound beautifully presents Koité’s virtuosic and entrancing renditions of traditional and original tunes. With the reissue of en Hollande, Awesome Tapes From Africa continues its mission of bringing tapes posted on the ATFA website over the years, including this one, to music fans all over the world.

en Hollande

Sourakata Koite -- Ha-Madi

LP/CD/Tape/Digital out now September on Awesome Tapes From Africa.

The famous singer's first record, made following her discovery in a talent competition. Acoustic guitar and vocals. The first in a trilogy of recordings, the third volume of which was the first release for ATFA back in 2011.

La Grande Cantatrice Malienne Vol 1

Nahawa Doumbia — Tou Dibile

Dur-Dur Band "Volume 5" (ATFA004), out March 19, 2013

Buy album https://dur-durband.bandcamp.com/album/volume-5

Vol. 5

Dur-Dur Band - Dooyo

LP/CD/Tape/Digital: https://hailumergia.bandcamp.com/album/hailu-mergia-his-classical-instrument-shemonmuanaye

Hailu Mergia — Shilela

"Tezeta" available Friday, June 4 on all formats: https://linktr.ee/HailuMergia

Tezeta

Hailu Mergia & the Walias Band — "Ou-Ou-Ta"

from the album "Hailu Mergia & His Classical Instrument" (ATFA006), out now.
LP/CD/Tape/Digital: https://hailumergia.bandcamp.com/album/hailu-mergia-his-classical-instrument-shemonmuanaye

Hailu Mergia — Hari Meru Meru

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