Pre-order Magnetica from iTunes and get 'Duvidó feat. Pongolove' straight away: http://smarturl.it/magnetica

'Duvidó feat. Pongolove' is the first single to be lifted from Quantic's 'Magnetica' album.

'Duvido feat. Pongolove' out March 17th 2014 in the UK and rest of the World and 18th March in the USA.

Check the Video:  http://www.youtube.com/watch?v=JqYtyb9iERk

Duvidó Feat.Pongo Love

Featured on forthcoming album 'Refab', a collection of remixes and new material to be released on Agogo Records, November 24th.

Pre-order I Tunes:  http://geni.us/Refab

http://www.agogo-records.com/artists/da-lata/
http://www.dalatamusic.com

Fabiola is available available on CD/LP & Digital
Amazon: http://amzn.to/ZtqYne
Juno Records: http://www.juno.co.uk/artists/Da+Lata/



Da Lata ft. Mayra Andrade - Unknown (Marc Lee Brown Remix)

Super Mama Djombo - Assalariado

Akalé Wubé songs from the album "Sost" available for streaming.

Anbessa (feat. Manu Dibango)

Gnonnas Pedro & His Dadjes Band - La Musica En Vérité

Ayó

Seremei Buguya (Thanks to You)

Super Mama Djombo - Júlia

‘Leave, If not I will kill you’

In early 1978, Vincent Ahehehinnou left the Orchestre Poly-Rythmo de Cotonou without explanation. He had been one of their principal vocalist since 1968 and had helped transform them from a hard-charging nightclub band into a musical powerhouse and Africa-wide sensation. By the end of 1977, after an explosive performance at the pan-African arts and culture festival (Festac77) in Lagos, the band had reached the very pinnacle of their success.

For nearly forty years, the reasons behind Vincent’s sudden departure have remained a mystery. Until now.

In an interview included with Analog Africa’s new reissue of Best Woman – Vincent’s first post-Poly-Rythmo album, which has been out-of-print for close to four decades and nearly impossible to find outside West Africa – the great singer finally breaks his silence. He didn’t leave … he was pushed.

Poly-Rythmo were already popular in their native Benin but, in the aftermath of Festac ’77, the band were poised for break-out success throughout Africa. One of the people who stood to benefit most was the band’s manager Adissa Seidou, whose label Albarika Store had released most of the band’s recordings. However Adissa’s vision for Poly-Rythmo didn’t always line up with that of the musicians and, more often than not, it was Vincent who spoke up for the band.

The two men grew increasingly estranged until one day – at the funeral for Adissa’s father no less – Adissa gave Vincent an ultimatum of sorts. In Vincent’s own words: ‘I asked him if there is a way we could sort out our differences to which he replied that the only solution was for me to leave the band, adding, “if not I will kill you”’.

And so Vincent found himself forced out of the band he had helped build. He tried his hand at various business ventures, but soon realised that the pull of music was too strong. On a business trip to Nigeria, Vincent met with Ignace de Souza of Benin’s Black Santiago band, who agreed to arrange Vincent’s songs, assemble musicians, and book a session at the legendary Decca Studios in Lagos. 

With everything in place Vincent returned to Cotonou, gathered together all the money he had saved over the years and set out again for Lagos. But the simple bus journey to Nigeria turned into a nightmarish odyssey of military corruption … and  had it not been for the random kindness of an unknown woman on the bus, this album – along with Vincent’s subsequent solo career – might never have existed. Vincent tells the full story in the liner notes to this LP.

But Vincent did make it to Lagos and the sessions went ahead. The nine-piece band, handpicked by de Souza, learned the songs and set them to tape in the span of only a week … but the results are as timeless and essential as anything to emerge from West Africa in the late 1970s.

Vincent’s afrobeat credentials are in full evidence on opening track ‘Best Woman’ (English) whose driving beat, focussed horns and intricate vocal melody recall the raucous intensity of Poly-Rythmo. But the deep funk of the title track turns out to be only a warm-up for album-highlight ‘Maimouna Cherie’ (French), a moving expression of love and longing which kicks off with a hi-hat and wah-wah guitar workout but shifts gears mid-way into a more concentrated and contemplative groove. 

The funk and afrobeat gems on Best Woman are balanced by songs that draw upon Sato, one of the many Vodoun rhythms of Vincent’s native Benin. Side one concludes with ‘Vi Deka’ (Mina), an epic slow-burner propelled by some of the record’s most soulful vocals, while album closer ‘Wa Do Verite Ton Noumi’ (Fon) all but dares you not to lose yourself in its sublime hypnotic trance.

Ahehehinnou Vincent Vol.1

Get the Record

Best Woman - Vicent Ahehehinnou

THE BONGO HOP - Satingarona Part 2 
album 02/19 
www.underdogrecords.fr

Satingarona Part 2 

The Bongo Hop - La Carga feat Nidia Gongora

Jimena Angel's seasoned experience as a vocalist, guitarist, DJ and producer brings depth to the fresh, new sound of her upcoming single, Llamameya, arriving September 11th. Showcasing the cultural hybridization of afro-latino rhythms characterized by Caribbean music, this tropical, electric and festive single launches the Colombian artist's upcoming EP release with French label, Elis Records, in October.

After a 25 year career as a pop rock singer including a Latin Grammy nomination in 2009, Jimena Angel decided to take a pause from her big city life in Bogota for a life in the mountains of the Magdalena province, on the Caribbean coast. The slow pace and luxuriant natural surroundings renewed her creativity and inspired a repertoire of music including her new single, Llamameya. Recorded during the lockdown between Colombia, Lisboa, Berlin and Utrecht, Jimena called on the talented Berlin-based saxophonist and producer Ben Abarbanel-Wolff, to bring his energetic brass sound to this new track. He previously produced albums by Ebo Taylor including the remarkable “Love and Death” and Pat Thomas, wrote horns and produced a few songs on 'Philanthropiques' by Guts. This collaboration was orchestrated under the artistic direction and electronic touch of French producer, iZem.

As a singer on Sidestepper’s 2003 hit 'Mas Papaya' Jimena already showcased her experimentation and ease with a wide range of music from electro to tropical folklore. She highlighted this range on her solo album 'Todo Reverdece' (2014), in the singles 'Ciruela' (2018) and 'Mani' (2019), as well as in collaborations reggae dub with producer Brain Damage on 'Ya No Más' (2018). Two decades after making her debut, Jimena Angel promises to further deepen the aesthetic exploration of an already rich and melodic musical palette with the EP 'Aire', scheduled to launch in October. 

Release of “Llamameya” September 11th 2020 on all digital platforms

Release of “Aire” October 16th 2020 on all digital platforms

CREDITS 
Vocals, guitar: Jimena Angel
Horns, keys, arrangement : Ben Abarbanel-Wolff 
Electronic production: iZem
Backing vocals : Joana Clara Gomes
Percussion: Gino Bombrini
Artwork: Bertrand Niquel
Photo: Marcos Vicioso Carbonell
Recorded remotely in home studios in Minca (Colombia), Lisbon (Portugal), Berlin (Germany) and Utrecht (Netherlands).
Mixed by Jori Collignon @ Le Garage (Palmela, Portugal)
Mastered by Blanka @ Kasablanka (Paris, France)
Special thanks to Rita Kadaoui, Olivier Rosset, Arnaud Daniélou.

Gnonnas Pedro & His Dadjes Band - La Musica En Vérité

AwaKonate

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