hailu

Buy: https://lnk.to/zzksoundvol4 

ZZK Records Presents ZZK Sound Vol. 4

Born out of an underground Buenos Aires party and first launched in 2008, ZZK Records has spent more than a decade at the forefront of Latin American music, carving out space for artists putting a futuristic (and often electronic) spin on classic rhythms and folklore traditions. Along the way, the label spread across the globe and helped launch a few stars—Nicola Cruz, Chancha Vía Circuito, La Yegros and Son Rompe Pera among them—but ZZK’s search for new artists, sounds and perspectives is never complete.

ZZK Sound Vol. 4 brings together a fresh crop of talent from across Latin America, along with a pair of choice selections from veteran acts Maga Bo (Brazil) and Tremor (Argentina). Compiled by ZZK co-founder DJ Nim—the label’s original A&R (and Chancha Vía Circuito’s older brother), he’d actually taken a five-year hiatus from the project prior to 2020—the compilation’s origins can be traced back to the early days of the pandemic. As the world went into lockdown, he put out a call for submissions, and within three months, he’d received more than 1000 tracks. Nim literally listened to them all, whittling the pile down to his 11 favorites, and after hearing his selections, Grant C. Dull—another ZZK co-founder, who runs the label’s day-to-day operations—couldn’t believe his ears. Nim had done it again. There were no notes, and no changes to the tracklist. ZZK Sound Vol. 4 was quickly put into production.

While previous ZZK Sound compilations were primarily focused on the club, Vol. 4 follows a deeper, more introspective path. It’s not an ambient record—no ZZK release would be complete without drums—but the hypnotic rhythms here are far more concerned with the collective unconscious than the dancefloor.
Opening with spellbinding tracks from Pawkarmayta and QOQEQA—both hailing from Perú—the compilation immediately exudes a sort of ritual magic, calling upon both African and indigenous musical traditions while tapping into modern electronic music and a uniquely Latin sense of mysticism. Sebuky, a native Ecuadorian currently stationed in Barcelona, adds a bit more low-end heft to the proceedings, and that percussive weight continues through the similarly transportive contributions of Mangle (Colombia), Cruzloma (Ecuador) and Selvagia (Perú/Argentina via México).

Elsewhere, Yoyoyo transforms the cueca music of his native Chile, Akilin enlists American rapper Bomani Armah to help him explore Afro-Venezuelan traditions and Maga Bo’s “Cadê Zé”—the first Brazilian track to ever appear on a ZZK release—is a bass-loaded (albeit undeniably spiritual) banger. Galo Vermelho (Argentina) delivers a polyrhythmic lesson in digital folklore, following in the footsteps of Buenos Aires outfit Tremor—one of the first acts ever signed to ZZK—who close out the compilation with a rousing bit of almost Lynchian revelry.

At this point, few music fans need to be sold on the appeal of Latin music, but ZZK, which has been operating in this sphere since long before the genre became the “next big thing,” is dedicated to the idea that the potency of these sounds extends well beyond the pop charts. Hopping between continents and recontextualizing rhythmic lineages that date back centuries, ZZK Sound Vol. 4 is both an arresting snapshot of Latin America’s electronic avant garde and a thrilling preview of its next wave.

ZZK Sound Vol. 4 will be released on May 20th, 2022 on vinyl and streaming platforms.

Artwork by Anabel Uyana AKA @mofractal https://www.instagram.com/mofractal/
Curated by DJ Nim
Mastered by Matias Parisi

ZZK Sounds Vol. 4

ZZK Sound Vol. 4

Galo Vermelho - Domingo Cura

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

Mantra is the new single from Surf Coast multi instrumentalist Immy Owusu and his first with Melbourne label Hopestreet Recordings. Mantra is a dreamy slice of Immy’s ‘Afrodelik’ approach to music, a sound that spans psychedelic rock, funk and West African roots.

Immanuel Kwabena Dreesens-Owusu grew up in two worlds: the sea bleached lifestyle of Torquay and the Surf Coast with its rock n roll soundtrack, and the musical heritage of his Ghanaian / Dutch family. Immy’s father Kojo is one of Australia’s best regarded West African musicians and his grandfather Koo Nimo is a legend of Ghanaian Highlife and Palm Wine music active since the 1960s. From them Immy learned Ashanti music and its instruments, added a fuzz pedal and began to experiment. 

Immy spent much of the pandemic living in his caravan in the bush near Bells Beach where he wrote Mantra, letting the Australian landscape and the African rhythms percolate to create a dreamy track with unstoppable momentum. Raw and rhythmic bass and drums at the forefront, Mantra opens with a roughly picked guitar hook. Echo vocals come from all around, spooky but not ominous, telling us to face our fears and give them up to a higher power. ‘When you worry, when you’re feeling down. All your darkness, give it all to me. This is my mantra’. The track builds with layered synthesizers and pads drawing you into an unfamiliar world. 

Of Mantra, Immy says ‘My family always said as a kid that when I was worried about something that I could give these negative feelings up to the Angels, The Great Mother, Jesus, God or the Universe, depending on which family member I was asking.’

Immy Owusu - Mantra

Got Myself a Good Man

Pingipung proudly presents the predecessor to "Uzun Havalar" from 2017, newly assembled and mixed by the artist, remastered and also available on vinyl for the first time. Release date: 9th June.

Hatıralar was Anadol's second album, originally composed between Berlin and Istanbul around 2012 and released years later only in digital form on the Ankara based label Inverted Spectrum. The title Hatıralar ("Memories") turns out to be a self-fulfilling prophecy. Anadol recalled and revisited the music in 2023, gently editing and mixing the compositions for the newly mastered LP format in which they now see the light of day. Hatıralar represents an early version of the melodic, instrumental synth-pop that Anadol refined on her album Uzun Havalar (2019) before exploring the more free, krautrock-inspired musique concrète of her last album Felicita (2021). Here is the text that accompanied the original 2017 release:

Anadol, named after an old-fashioned Turkish automobile brand, is an instrumental synth-pop project by Gözen Atila, an artist, dj and keyboard player. She records with mini organs manufactured during the 70s and 80s, the built-in rhythms and arpeggios of these machines provide the backbone of her sound, and her melodies are influenced by pop music and soundtracks from France, Italy and Turkey from the same period. The music is awash with allusions to the moods of old Turkish and European cinema, from the erotic to the melodramatic, and with a reminiscence of the sound and spirit of so-called "tavern music" popular in Turkey's urban nightlife in the 1980s, a flexible pop style usually performed by a solo keyboardist-singer. Anadol is a continuation of the tradition of lone synth experimentalists like Bruce Haack and The Space Lady with their childlike curiosity for electronic sounds, and of the keyboardists pushing the boundaries of minimal equipment to entertain middle aged drunk couples in pubs and wedding parties of Istanbul.

Hat​​​ı​​​ralar

Her Şeylerin Arasından Göründü Bana Bir Ceylan

Get LP/digital album

Anadol: Her Şeylerin Arasından Göründü Bana Bir Ceylan (Pingipung 080)

A smooth blend of chilled beats, mellow grooves, and atmospheric vibes — perfect for late nights, cozy spaces, and moments of pure relaxation.

Take the Fall

Merzeh - Esto No Falla Instrumental BoomBap

We Whisper, than we shout. 
Technology Follows

Technology Follows

LR127 Josiah Steinbrick - Meeting of Waters
leavingrecords.bandcamp.com/album/meeti…g-of-waters

Following the debut release of his minimal-music ensemble BANANA earlier this year, Josiah Steinbrick, the Los Angeles-based multi-instrumentalist, producer, and composer returns with his first collection of solo works titled Meeting Of Waters, available October 27th on LEAVING Records. The album shares some of that ensemble’s concerns, notably in its interest in pattern based music, but here the emphasis is placed on subtle explorations of percussive tones and creating interior or imagined worlds.

The works on Meeting of Waters stem from Steinbrick's childhood fascination with anthropology and travel tales and almost operates like a cartography of some indeterminate landscape. Each piece has a palette of one to five elements that work in harmony together -- with synthesizers, marimbaphones, tuned wood, idiophones, bells, and gongs providing resonant tones that slowly accrete in detail. There's a measured yet thoroughly engaging pace throughout, that, much like Malaysian Temiar Dream Music, seems to "interpret the heart of reality".

As in the work of David Toop, Toshi Tsuchitori, Walter Maioli, or Luis Pérez Ixoneztli (whom Steinbrick recently collaborated with), the pre-historic and hyper-modern are effortlessly intertwined. If - as famed French Structural Anthropologist Claude Lévi-Strauss believed - myths, music, and dreams are "machines for the suppression of time", then "Meeting of Waters" features nine ingeniously and exquisitely crafted examples of that theory in action.
- Michael Klausman 
---- ---- ----

Composed and Performed by Josiah Steinbrick 
Produced by Cate Le Bon

DL & LTD CS

4. (Vibraphone, Marimbaphone, Malleted Wood, Two Synthesizers)

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

Hailu Mergia — Shilela

[p*dis] distribution sampler for June 2013

Hailu Mergia - Hailu Mergia & His Classical Instrument - Amrew Demkew (awesome tapes from africa)

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

Awesome Tapes From Africa is here for you.

Hailu Mergia — Hari Meru Meru

Awesome Tapes From Africa

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