From new EP "Pseudarhythm, Vol. 3".

Stream and download: 
https://sufyvn.bandcamp.com/album/pseudarhythm-vol-3

Rush

Breaking The Thermometer

Nan Fon Bwa

Unstable Stable episode w/ Bint Mbareh. In this episode artist presents her in-progress and unreleased materials on fantasia platform, tune in!
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Bint Mbareh (Dina Amro) is a sound researcher with a curiosity about the superpowers of communal singing. Her initiation into music came through her research on rain-summoning in Palestine. She conducted research initially to combat the myth of water scarcity pushed by Israeli settler colonialism. She learned that the songs that helped communities summon and harness rain, at their core helped people build a relationship with their environment, decide what time of year it is, communally determine how to share resources fairly, and that when used in current life, these uses could still be evoked, rather than remembered. She now studies death and rebirth as analogies for necessary upheavals, still looking for these significations in Palestinian landscape, especially the shrine of Nabi-Musa (AS), the prophet Moses.

She has performed at Mophradat's Read the Room festival (March 2022), Hoda Siahtiri’s symposium on Loss and Resilience (No Body’s Body) (April, 2022), at the Hiya Live Sessions in Dalston’s Jago (May 2022) London EFG Jazz Festival and AWAN, Ramallah's Exist Festival, has been resident with BUDA Kunstcentrum and performed at Next Festival, twice in the same year at Shubbak festival, proudly at Stonewall to Palestine, Brave Poets, as well as being Cafe Oto's Youth Music Resident for 2021.
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DONATE:  donation information, it goes to aiding Pakistani areas affecting by floods:

syma.tariq@paypal.com

https://www.chhipa.org/donate
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Bint Mbareh - исследовательница звука, работающая сверхспособностями коллективного пения. Ее взаимодействие со звуковыми практиками произошло благодаря ее исследованиям ритуальных обрядов по вызову дождя в Палестине. Изначально она проводила работала с темами, которые были направлены на борьбу с мифом о нехватке воды, навязанным колониализмом израильских поселенцев. Песни, которые помогали вызывать дождь, по своей сути помогали людям выстраивать отношения с окружающей средой, решать, какое сейчас время года, совместно определять, как равноценно распределять их ресурсы. Сейчас художница изучает практики связанные со смертю и возрождением как аналогию необходимых потрясений, основывая исследование на палестинских архивах и ландшафтах и священных местах, например такими как Наби Муса пророка Моисея.

Дина представлял свои работы на фестивале Mophradat's Read the Room festival  в марте 2022, Hoda Siahtiri’s symposium on Loss and Resilience (No Body’s Body (апрель 2022). Делала перформансы на Hiya в Dalston’s Jago (май 2022), лондонском джазовом фестивале EFG и AWAN, на фестивале Exist в Рамалле. В качестве резидентки работала с BUDA Kunstcentrum и фестивалем Next, Shubbak, Stonewall to Palestine, Brave Poets, а также с Cafe Oto в 2021 году.
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links/ссылки:
https://www.bintmbareh.net

051 – Bint Mbareh – Dina presents 3 works in progress

The project aims at publishing the Artist’s first solo album consisting of three
tracks inspired by the October 17 th revolution in Lebanon. Following a long
period of despair and disappointment, the night of October 17 th offered a lot of
surprises and excitement. For the first time in Lebanon, we lived a moment of
spontaneity that united us all for one demand: Good Living.
A few months after its inception, I try to gather scenes from the first nights of
the revolution and remember this feeling. The songs presented in the album
are based on audio clips from videos I filmed during the protests, in addition
to voices and music from the streets that lived in uprisings during the same
period of the Beirut uprising, such as Iraq and Chile; the sound of fire, the
saxophone playing during clashes in Chile, bouzouki and percussion
instruments, in addition to the my voice as a singer.
After five months of protesting on the streets, the COVID19 pandemic locked
us in our homes and interrupted the uprising’s momentum. A feeling of
loneliness haunted me during this isolation and I began to recall sounds,
pictures, and events from the uprising that gave me energy to continue. Here I
started working on the first song of this trilogy, “The Boy of October 17”
This trilogy will pass through three phases, reflecting three cases that we have
experienced during the course of the uprising:
First: Euphoria – a lot of daydreaming
Second: Fear that this dream will stop
Third: Recession
Dreams Of The Imagination : 
Music production and Lyrics : Sandy Chamoun
Mixed by : Khyam Allami
Nas Al Wahel :
Music Production and Lyrics : Sandy Chamoun
Mixed by Fadi Tabal
Percussion : Ali Hout
Buzuq : Abed Kobeissi
Soukoun Mouwhesh:
Music Production & Mixing : Anthony Sahyoun
Lyrics : Sandy Chamoun
Mastered by Modularmind
This EP was funded by Culture Resource

Nas Al Wahel ناس الوحل

Sahel

Mes Amis

The Mighty Multitudes (Barrington Levy) - Black Girl

The Scorpios is a a London outfit combining new and old in a classic traditional setting. First contemporary release on our own in-house label. The full length LP album is here! Package includes CD and Digital Download. Front artwork by Toronto’s own A man called Warwick! 

“Hailing from Central Sudan and now based in London after fleeing the fundamentalist takeover in that region, the Scorpios are a septet that melds Arabic rhythms and guitar chops (and a kind of swooning cyclical ecstasy) with a raw Eastern funk feel, properly dismantling cultural barriers in pursuit of a unifying rhythmic bliss. Heavy bass, synths, horns and percussions drive through traditional Sudanese forms to create a sound that owes as much to Detroit as it do to Khartoum” – Tusk
 
“The Scorpios translate Sudanese music from past decades into the now while maintaining a raw, unplugged sound.” – Thomas Gesthuizen (africanhiphop.com)
 
“Truly beautiful and hypnotic Sudanese sounds for the mind, body and soul. Clap your hands, tap your feet and then rewind.” – Rickard Masip (Tropical Treats)

The Scorpios

The Scorpios - Vintage futuristic Sudanese outfit from London - debut LP album on AFRO7 Records

Ethiopiques: Vol. 1 - The Golden Years Of Modern Ethiopian Music 1969-1975

Gizie degu neger - Mahmoud Ahmed

Moussa Tchingou - Tum Hi Ho

* we do not own the copyright in this music. If you like what you hear, please support the artists! *

If you sail down the White Nile for long enough, say a few thousand miles from the Mediterranean coast, you will eventually float into the banks of the Blue Nile at Khartoum, the capital of Sudan.

It’s not just rivers that meet here - Khartoum is one of the most diverse music capitals in the world, with it’s melting of Sufish spirituality, traditional Arabic and Islamic vocal, Sub-Saharan percussion, and Nubian rhythyms. The music coming out of Sudan in the the early 80’s was explosive, lavish, rich with joy. Known to Sudan as the ‘swinging city’, Khartoum showcased Sudanese music as a drawing together of post-colonial Africa and the Middle East. 

Come 1986, a political and religious coup overthrew the government and both music and musicians were targeted. Extremely strict laws and political turmoil resulted in musicians being persecuted and imprisoned. Many attempted to flee the country, or else have their voices silenced completely. Some artist’s continued to write from prison. Others fled yet continued to send songs for revolution from the outside. Some artists had all their tapes destroyed by the government; instruments were confiscated; music ceremonies were interrupted by military.

The destruction of records and cassette tapes was a way for the government to make space for propaganda. In the backlash, artists began combining dialects and genres from multiple different regions in order to overcome government restrictions and mask the meaning of their otherwise provocative music.

The people of Sudan will continue to fight for their freedom of expression. 2005 marked a seminal point in the country’s music history, where South Sudanese performer Emmanual Jal released a collaboration album, ‘ceasefire’ with Abdel Gadir Salim from North Sudan. Emmanual, who fled to kenya following civil unrest, made an incredible stand in working with an artist on the opposing side of conflict with only one agenda in mind; peace.

This is a mix of 13 tracks following Sudanese artists from around the globe and through the ages.

1. Wedel Bikri / Track 3 
2. Yasmin Ibrahim Mohamed / The People 
3. Kamal Tarbas / Min Ozzalna Seebak Seeb (Forget Those That Divide Us)
4. Gordon Koang / Mal Mi Goa
5. Samira Dunia / Galbi La Tahwa Tani (My Heart, Don’t Fall in Love Again)
6. Mustafa Modawi & Ibrahim El Hassan / Al Wilaid Al Daif (The Youth Who Came as a Guest)
7. Sudan Archives / Come Mey Way 
8. Sudan Archives / Time 
9. Salah Mustafa / Side A (Unknown) 
10. Rasha / Azara Alhai
11. Débruit & Alsarah / Jibal Alnuba
12. Jamal Porto / Gamar Badawi
13. Mahmoud Abdelaziz Ya Madhacha / Unknown

Mix compiled by Xan Coppinger for Music in Exile.
http://musicinexile.com.au
hi@musicinexile.com.au

Music in Exile #1: Sailing the Synths of Sudan

Raed Yassin: Archeophony
Akuphone. AKU1027. 2LP/Digital
👉  bit.ly/3lkjtsR
Archeophony takes us on a journey through time and space where traditional instruments and voices meet experimental electronic sounds in the most unique way. Raed Yassin has created the soundtrack to a psychedelic science-fiction movie that will unravel in your brain like a time travel machine from the future looking into the past. 
In a similar vein to an archeologist, Raed Yassin’s new album Archeophony takes us on a journey through sounds and voices excavated from collected sonic archives from the past, rearranged and reproduced through electronics, distortion, sampling and assembly. Drum machines, synthesizers and electronic sounds merge with solo traditional voices and instruments recorded in different parts of the world, coming together to create a contrarian yet magical sound unlike any other. Based on so-called ‘ethnic’ music recordings conducted between the 1950s and 80s by Western ethnomusicologists in true colonial fashion, the album attempts to achieve an archeology of sound that reflects both the course history and its continuous distortion by the powers that be. The result is a dizzying living archive of sonic history as well as the presentation of a unique experimental orchestration. By rereading musical history in this way, Raed Yassin strives to play the role of a conductor. The orchestra is history itself, and he selects, deconstructs, emphasizes, mutes and distorts it through this album.
As a musician, Raed Yassin has been a key member in the Lebanese underground music scene for many years. One of the organisers of the Irtijal Festival of Experimental Music from its early beginnings, he founded his concept music label Annihaya in 2009. He is a member of several bands and groups, including “A” Trio , @Praed among others. As a double bassist, he developed a personal and independent extended technique, by employing different preparations and objects on his instrument. His interest here relies heavily on textures, energies and vibrations, the density of volume and sound, rather than conventional melodic structures. Also an electronic musician and experimental turntablist, his approach to vinyl ranges from deconstructing Arab pop music, to reexamining the traditional music archives of countries from the global south. With his duo band Praed (along withPaed Conca ), he acts as the lead singer and synth player, merging free jazz with psychedelic rock and Egyptian Shaabi music

The Scorpios - Vintage futuristic Sudanese outfit from London - debut LP album on AFRO7 Records

afro7.net

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