This mix features some of the original source material reworked for the sister album ‘Beating Heart - Malawi’, available now at https://lnk.to/oYQz0So Featuring Luke Vibert, Machinedrum, Throwing Shade, Rudimental, Kidnap Kid, My Nu Leng, Sonye, Clap! Clap! and many more. 

The original field recordings are available on vinyl and digital at https://www.musicglue.com/beatingheart500/

Each 1500 albums sold will feed a school of 500 forever. 
--
When Hugh Tracey (1903-1977) made 35,000 field recordings across Sub-Saharan Africa between the 1920s & 1970s, his intention was to reveal the beauty and complexity of this music to a world that saw little value in it. 

Today, almost 90 years later, Tracey’s bid to preserve the music of Africa for future generations lives on. Beating Heart has connected the International Library of African Music (ILAM) archive with contemporary producers, making fresh sounds for a modern audience. 
---
Arriving in southern Africa in 1921 with a suitcase, a keen musical ear, and some ‘well founded misgivings’ from his large middle class English family, Hugh Tracey was captivated by local music-making. With his ear pressed close against the microphone, he began a pioneering recording career that would last more than fifty years as he searched for, recorded and documented the best examples of musicianship throughout a vast and diverse continent. ILAM, the institution he founded in South Africa in 1954, stands as one of the world’s greatest collections of African music, containing over 35,000 unique items that span hundreds of different language groups across eighteen different countries in Central, Eastern and Southern Africa. 

He recorded: Mouse-hunting songs, African separatist hymns, songs imitating the difficulty of the long-tailed paradise bird balancing in flight, songs about rain and poverty, songs celebrating football, songs for pulling canoes, songs which warn against European beer, songs which complain about venereal disease, songs about the sounds of unseen aeroplanes, fishing songs, paddling songs, songs with pauses while spittle is re-applied to moisten the reeds of a lyre, songs about a mosquito overturning a lorry, about a donkey complaining it wants wages instead of maize, about a baboon that dies after somersaulting for joy at hearing the sound of drums, commentaries on urbanisation, labour organisations and fighting campaigns in Burma, the Sneezewood swells of massed Mozambican xylophone orchestras, the oceanic rumbling rolls of packed Zulu choirs, the electrifying scorches of mouth-blown vulture quills, Ramadan town criers, hand‑moistened friction drums and a praise song for a bicycle mender.

The bulk of Tracey’s archival recordings were made during nineteen recording tours between 1948 and 1970. These tours visited Bechuanaland (Botswana), Belgian Congo (DRC), Kenya, Basutoland (Lesotho), Nyasaland (Malawi), Moçambique (Mozambique), Northern Rhodesia (Zambia), Southern Rhodesia (Zimbabwe), Ruanda-Urundi (Rwanda and Burundi), South Africa, Swaziland, Tanganyika (Tanzania), Uganda and Zanzibar.

'Beating Heart - Malawi' is the first in a series of albums.

Beating Heart - Malawi (Originals)- Recorded by Hugh Tracey - Mix

Chewa girls performing a singing game with clapping in which the children are asked to choose their true love. One child dances across to choose her love who dances after her until all have had their dance. Recorded at Chief Mwase’s Village, Kasungu District, Nyasaland on 22 May 1950.

IM: ‘Tisankhe Lero (‘Let’s choose today’). Tisankhe lero is a song expressing a day when a man chooses a woman he wants to marry. The word dona in the song means a very beautiful lady worthy of marrying. This song is a joyous song as this day is very special for ladies in a village’.

This recording was sampled on the sister album 'Beating Heart - Malawi' by Sonye and Lancelot

Digital Booklet - https://goo.gl/NIZQWF

Available on vinyl and digital at https://www.musicglue.com/beatingheart500/

Each 1500 albums sold will feed a school of 500 forever. 
--
When Hugh Tracey (1903-1977) made 35,000 field recordings across Sub-Saharan Africa between the 1920s & 1970s, his intention was to reveal the beauty and complexity of this music to a world that saw little value in it. 

Today, almost 90 years later, Tracey’s bid to preserve the music of Africa for future generations lives on. Beating Heart has connected the International Library of African Music (ILAM) archive with contemporary producers, making fresh sounds for a modern audience. 
---
Arriving in southern Africa in 1921 with a suitcase, a keen musical ear, and some ‘well founded misgivings’ from his large middle class English family, Hugh Tracey was captivated by local music-making. With his ear pressed close against the microphone, he began a pioneering recording career that would last more than fifty years as he searched for, recorded and documented the best examples of musicianship throughout a vast and diverse continent. ILAM, the institution he founded in South Africa in 1954, stands as one of the world’s greatest collections of African music, containing over 35,000 unique items that span hundreds of different language groups across eighteen different countries in Central, Eastern and Southern Africa. 

He recorded: Mouse-hunting songs, African separatist hymns, songs imitating the difficulty of the long-tailed paradise bird balancing in flight, songs about rain and poverty, songs celebrating football, songs for pulling canoes, songs which warn against European beer, songs which complain about venereal disease, songs about the sounds of unseen aeroplanes, fishing songs, paddling songs, songs with pauses while spittle is re-applied to moisten the reeds of a lyre, songs about a mosquito overturning a lorry, about a donkey complaining it wants wages instead of maize, about a baboon that dies after somersaulting for joy at hearing the sound of drums, commentaries on urbanisation, labour organisations and fighting campaigns in Burma, the Sneezewood swells of massed Mozambican xylophone orchestras, the oceanic rumbling rolls of packed Zulu choirs, the electrifying scorches of mouth-blown vulture quills, Ramadan town criers, hand‑moistened friction drums and a praise song for a bicycle mender.

The bulk of Tracey’s archival recordings were made during nineteen recording tours between 1948 and 1970. These tours visited Bechuanaland (Botswana), Belgian Congo (DRC), Kenya, Basutoland (Lesotho), Nyasaland (Malawi), Moçambique (Mozambique), Northern Rhodesia (Zambia), Southern Rhodesia (Zimbabwe), Ruanda-Urundi (Rwanda and Burundi), South Africa, Swaziland, Tanganyika (Tanzania), Uganda and Zanzibar.

'Beating Heart - Malawi' is the first in a series of albums.

Beating Heart - Malawi (Originals) - Recorded by Hugh Tracey

Tisankhe Lero - ‘Choose now’

Ganizani Nyirenda playing a self-delectative song in Chewa with a ten-note kalimba (mbira). Recorded at Chief Kwasi’s Village, Kasungu District, Nyasaland on 22 May 1950.

HT: ‘The player learned his playing from an Nshenga at Fort Jameson called Jeremia Phiri in 1931… The apparent over-modulation of the voice seems to be caused by the vibration of the mirliton buzzer’.

IM: ‘This song is about witchcraft and the person is saying that he/she would go into witchcraft… presumably to defend or protect themselves’.

This recording was sampled on the sister album 'Beating Heart - Malawi' by Applebottom, Kidnap Kid, Luke Vibert and Throwing Shade

Digital Booklet - https://goo.gl/NIZQWF

Available on vinyl and digital at https://www.musicglue.com/beatingheart500/

Each 1500 albums sold will feed a school of 500 forever. 
--
When Hugh Tracey (1903-1977) made 35,000 field recordings across Sub-Saharan Africa between the 1920s & 1970s, his intention was to reveal the beauty and complexity of this music to a world that saw little value in it. 

Today, almost 90 years later, Tracey’s bid to preserve the music of Africa for future generations lives on. Beating Heart has connected the International Library of African Music (ILAM) archive with contemporary producers, making fresh sounds for a modern audience. 
---
Arriving in southern Africa in 1921 with a suitcase, a keen musical ear, and some ‘well founded misgivings’ from his large middle class English family, Hugh Tracey was captivated by local music-making. With his ear pressed close against the microphone, he began a pioneering recording career that would last more than fifty years as he searched for, recorded and documented the best examples of musicianship throughout a vast and diverse continent. ILAM, the institution he founded in South Africa in 1954, stands as one of the world’s greatest collections of African music, containing over 35,000 unique items that span hundreds of different language groups across eighteen different countries in Central, Eastern and Southern Africa. 

He recorded: Mouse-hunting songs, African separatist hymns, songs imitating the difficulty of the long-tailed paradise bird balancing in flight, songs about rain and poverty, songs celebrating football, songs for pulling canoes, songs which warn against European beer, songs which complain about venereal disease, songs about the sounds of unseen aeroplanes, fishing songs, paddling songs, songs with pauses while spittle is re-applied to moisten the reeds of a lyre, songs about a mosquito overturning a lorry, about a donkey complaining it wants wages instead of maize, about a baboon that dies after somersaulting for joy at hearing the sound of drums, commentaries on urbanisation, labour organisations and fighting campaigns in Burma, the Sneezewood swells of massed Mozambican xylophone orchestras, the oceanic rumbling rolls of packed Zulu choirs, the electrifying scorches of mouth-blown vulture quills, Ramadan town criers, hand‑moistened friction drums and a praise song for a bicycle mender.

The bulk of Tracey’s archival recordings were made during nineteen recording tours between 1948 and 1970. These tours visited Bechuanaland (Botswana), Belgian Congo (DRC), Kenya, Basutoland (Lesotho), Nyasaland (Malawi), Moçambique (Mozambique), Northern Rhodesia (Zambia), Southern Rhodesia (Zimbabwe), Ruanda-Urundi (Rwanda and Burundi), South Africa, Swaziland, Tanganyika (Tanzania), Uganda and Zanzibar.

'Beating Heart - Malawi' is the first in a series of albums.

Ndamutemba Nyanga - ‘I will counteract the diviner’s charms’

Beti Kamanga performing a topical song in Tonga with Bangwe, a raft zither with seven strings Recorded at Nkhata Bay, Chintheche District, Nyasaland on 29 May 1950.

HT: ‘Young men go to Johannesburg to look for money. Money is the devil! Even Jesus was sold for thirty shillings’.
‘Money, even on the beautiful shores of Lake Nyasa, is still “the root of all evil”. “Chuma” or “ndalama” is money, “Chuma chatimara” – money spoils us’.
Tracey notes that, according to local authorities, 8,000 men from this district had left permanently during the last few years, and married foreign women in South Africa or the Rhodesias.

IM: ‘This track expresses the evil that money brings in people’s lives. It shares the experience of someone who changed after getting money. It also mentions countries like Britain where white people were fighting because of money’.

This recording was sampled on the sister album 'Beating Heart - Malawi' by Rudimental

Digital Booklet - https://goo.gl/NIZQWF

Available on vinyl and digital at https://www.musicglue.com/beatingheart500/

Each 1500 albums sold will feed a school of 500 forever. 
--
When Hugh Tracey (1903-1977) made 35,000 field recordings across Sub-Saharan Africa between the 1920s & 1970s, his intention was to reveal the beauty and complexity of this music to a world that saw little value in it. 

Today, almost 90 years later, Tracey’s bid to preserve the music of Africa for future generations lives on. Beating Heart has connected the International Library of African Music (ILAM) archive with contemporary producers, making fresh sounds for a modern audience. 
---
Arriving in southern Africa in 1921 with a suitcase, a keen musical ear, and some ‘well founded misgivings’ from his large middle class English family, Hugh Tracey was captivated by local music-making. With his ear pressed close against the microphone, he began a pioneering recording career that would last more than fifty years as he searched for, recorded and documented the best examples of musicianship throughout a vast and diverse continent. ILAM, the institution he founded in South Africa in 1954, stands as one of the world’s greatest collections of African music, containing over 35,000 unique items that span hundreds of different language groups across eighteen different countries in Central, Eastern and Southern Africa. 

He recorded: Mouse-hunting songs, African separatist hymns, songs imitating the difficulty of the long-tailed paradise bird balancing in flight, songs about rain and poverty, songs celebrating football, songs for pulling canoes, songs which warn against European beer, songs which complain about venereal disease, songs about the sounds of unseen aeroplanes, fishing songs, paddling songs, songs with pauses while spittle is re-applied to moisten the reeds of a lyre, songs about a mosquito overturning a lorry, about a donkey complaining it wants wages instead of maize, about a baboon that dies after somersaulting for joy at hearing the sound of drums, commentaries on urbanisation, labour organisations and fighting campaigns in Burma, the Sneezewood swells of massed Mozambican xylophone orchestras, the oceanic rumbling rolls of packed Zulu choirs, the electrifying scorches of mouth-blown vulture quills, Ramadan town criers, hand‑moistened friction drums and a praise song for a bicycle mender.

The bulk of Tracey’s archival recordings were made during nineteen recording tours between 1948 and 1970. These tours visited Bechuanaland (Botswana), Belgian Congo (DRC), Kenya, Basutoland (Lesotho), Nyasaland (Malawi), Moçambique (Mozambique), Northern Rhodesia (Zambia), Southern Rhodesia (Zimbabwe), Ruanda-Urundi (Rwanda and Burundi), South Africa, Swaziland, Tanganyika (Tanzania), Uganda and Zanzibar.

'Beating Heart - Malawi' is the first in a series of albums.

Ndalame Ndi Satana - ‘Money is the devil’

Verrah Chirwa with Henga and Nyanja girls of Blantyre Secondary School performing a song story in Tumbuka/ Henga. Recorded at Mzimba District, Nyasaland on 11 May 1950.

HT: ‘The storyteller was taught this story, she says, by her uncle’s wife. This is a story about a brother and a sister who went to see their sister in the next village. Before they left they were warned not to take a certain path. When they reached their junction they started arguing about which was the right path. Unfortunately they took the wrong path which led them to a giant’.

This recording was sampled on the sister album 'Beating Heart - Malawi' by Afriquoi, Lack of Afro, Luke Vibert, Phil Moffa and Tru Fonix

Digital Booklet - https://goo.gl/NIZQWF

Available on vinyl and digital at https://www.musicglue.com/beatingheart500/

Each 1500 albums sold will feed a school of 500 forever. 
--
When Hugh Tracey (1903-1977) made 35,000 field recordings across Sub-Saharan Africa between the 1920s & 1970s, his intention was to reveal the beauty and complexity of this music to a world that saw little value in it. 

Today, almost 90 years later, Tracey’s bid to preserve the music of Africa for future generations lives on. Beating Heart has connected the International Library of African Music (ILAM) archive with contemporary producers, making fresh sounds for a modern audience. 
---
Arriving in southern Africa in 1921 with a suitcase, a keen musical ear, and some ‘well founded misgivings’ from his large middle class English family, Hugh Tracey was captivated by local music-making. With his ear pressed close against the microphone, he began a pioneering recording career that would last more than fifty years as he searched for, recorded and documented the best examples of musicianship throughout a vast and diverse continent. ILAM, the institution he founded in South Africa in 1954, stands as one of the world’s greatest collections of African music, containing over 35,000 unique items that span hundreds of different language groups across eighteen different countries in Central, Eastern and Southern Africa. 

He recorded: Mouse-hunting songs, African separatist hymns, songs imitating the difficulty of the long-tailed paradise bird balancing in flight, songs about rain and poverty, songs celebrating football, songs for pulling canoes, songs which warn against European beer, songs which complain about venereal disease, songs about the sounds of unseen aeroplanes, fishing songs, paddling songs, songs with pauses while spittle is re-applied to moisten the reeds of a lyre, songs about a mosquito overturning a lorry, about a donkey complaining it wants wages instead of maize, about a baboon that dies after somersaulting for joy at hearing the sound of drums, commentaries on urbanisation, labour organisations and fighting campaigns in Burma, the Sneezewood swells of massed Mozambican xylophone orchestras, the oceanic rumbling rolls of packed Zulu choirs, the electrifying scorches of mouth-blown vulture quills, Ramadan town criers, hand‑moistened friction drums and a praise song for a bicycle mender.

The bulk of Tracey’s archival recordings were made during nineteen recording tours between 1948 and 1970. These tours visited Bechuanaland (Botswana), Belgian Congo (DRC), Kenya, Basutoland (Lesotho), Nyasaland (Malawi), Moçambique (Mozambique), Northern Rhodesia (Zambia), Southern Rhodesia (Zimbabwe), Ruanda-Urundi (Rwanda and Burundi), South Africa, Swaziland, Tanganyika (Tanzania), Uganda and Zanzibar.

'Beating Heart - Malawi' is the first in a series of albums.

Munthu Na Chinkwanya - 'People are difficult to understand'

Led by Olana Nankhoma, this is a Chintala women’s dance song performed by five Chewa women, recorded at Visanga, Kota Kota District, Nyasaland on 28 May 1958.

Hugh Tracey (1958): ‘It appears quite usual for the women to take a lament as a theme for their dance songs. The sorrow of a woman who has no one to sing with her is a case in point’.
‘Mdilebe mzanga wa cikondi kuti nkaimbe. Naye, ndikayimbe nai ngati ngitila wavi. Tikila jekete’.
‘There is no friend of mine who I can sing with. I can sing like a guitar. I have tucked my jacket into my skirt. I cry, having no friend of mine to sing with’.

Innocent M (2016): ‘The persona in this song says she lacks friends to sing with in harmony like a guitar. This brings tears to her eyes, as she lacks friends who would love her and be with her. The person is a lonely person and is wishing she had company’.

This recording was sampled on the sister album 'Beating Heart - Malawi' by Kidnap Kid

Digital Booklet - https://goo.gl/NIZQWF

Available on vinyl and digital at https://www.beatingheartproject.com

Each 1500 albums sold will feed a school of 500 forever. 
---
Arriving in southern Africa in 1921 with a suitcase, a keen musical ear, and some ‘well founded misgivings’ from his large middle class English family, Hugh Tracey was captivated by local music-making. With his ear pressed close against the microphone, he began a pioneering recording career that would last more than fifty years as he searched for, recorded and documented the best examples of musicianship throughout a vast and diverse continent. The International Library of African Music (ILAM) the institution he founded in South Africa in 1954, stands as one of the world’s greatest collections of African music, containing over 35,000 unique items that span hundreds of different language groups across eighteen different countries in Central, Eastern and Southern Africa. 

He recorded: Mouse-hunting songs, African separatist hymns, songs imitating the difficulty of the long-tailed paradise bird balancing in flight, songs about rain and poverty, songs celebrating football, songs for pulling canoes, songs which warn against European beer, songs which complain about venereal disease, songs about the sounds of unseen aeroplanes, fishing songs, paddling songs, songs with pauses while spittle is re-applied to moisten the reeds of a lyre, songs about a mosquito overturning a lorry, about a donkey complaining it wants wages instead of maize, about a baboon that dies after somersaulting for joy at hearing the sound of drums, commentaries on urbanisation, labour organisations and fighting campaigns in Burma, the Sneezewood swells of massed Mozambican xylophone orchestras, the oceanic rumbling rolls of packed Zulu choirs, the electrifying scorches of mouth-blown vulture quills, Ramadan town criers, hand‑moistened friction drums and a praise song for a bicycle mender.

The bulk of Tracey’s archival recordings were made during nineteen recording tours between 1948 and 1970. These tours visited Bechuanaland (Botswana), Belgian Congo (DRC), Kenya, Basutoland (Lesotho), Nyasaland (Malawi), Moçambique (Mozambique), Northern Rhodesia (Zambia), Southern Rhodesia (Zimbabwe), Ruanda-Urundi (Rwanda and Burundi), South Africa, Swaziland, Tanganyika (Tanzania), Uganda and Zanzibar.

'Beating Heart - Malawi' is the first in a series of albums.

Misonzi - ‘Tears’

Composed and played by Kambazite Makorekore with three other men on Valimba xylophone and rattles. Recorded by Hugh Tracey’s son, Andrew Tracey, at Chileka in Malawi in 1990. The men are singing in Mang’anja.

This recording was sampled on the sister album 'Beating Heart - Malawi' by Machinedrum 

Digital Booklet - https://goo.gl/NIZQWF

Available on vinyl and digital at https://www.musicglue.com/beatingheart500/

Each 1500 albums sold will feed a school of 500 forever. 
--
When Hugh Tracey (1903-1977) made 35,000 field recordings across Sub-Saharan Africa between the 1920s & 1970s, his intention was to reveal the beauty and complexity of this music to a world that saw little value in it. 

Today, almost 90 years later, Tracey’s bid to preserve the music of Africa for future generations lives on. Beating Heart has connected the International Library of African Music (ILAM) archive with contemporary producers, making fresh sounds for a modern audience. 
---
Arriving in southern Africa in 1921 with a suitcase, a keen musical ear, and some ‘well founded misgivings’ from his large middle class English family, Hugh Tracey was captivated by local music-making. With his ear pressed close against the microphone, he began a pioneering recording career that would last more than fifty years as he searched for, recorded and documented the best examples of musicianship throughout a vast and diverse continent. ILAM, the institution he founded in South Africa in 1954, stands as one of the world’s greatest collections of African music, containing over 35,000 unique items that span hundreds of different language groups across eighteen different countries in Central, Eastern and Southern Africa. 

He recorded: Mouse-hunting songs, African separatist hymns, songs imitating the difficulty of the long-tailed paradise bird balancing in flight, songs about rain and poverty, songs celebrating football, songs for pulling canoes, songs which warn against European beer, songs which complain about venereal disease, songs about the sounds of unseen aeroplanes, fishing songs, paddling songs, songs with pauses while spittle is re-applied to moisten the reeds of a lyre, songs about a mosquito overturning a lorry, about a donkey complaining it wants wages instead of maize, about a baboon that dies after somersaulting for joy at hearing the sound of drums, commentaries on urbanisation, labour organisations and fighting campaigns in Burma, the Sneezewood swells of massed Mozambican xylophone orchestras, the oceanic rumbling rolls of packed Zulu choirs, the electrifying scorches of mouth-blown vulture quills, Ramadan town criers, hand‑moistened friction drums and a praise song for a bicycle mender.

The bulk of Tracey’s archival recordings were made during nineteen recording tours between 1948 and 1970. These tours visited Bechuanaland (Botswana), Belgian Congo (DRC), Kenya, Basutoland (Lesotho), Nyasaland (Malawi), Moçambique (Mozambique), Northern Rhodesia (Zambia), Southern Rhodesia (Zimbabwe), Ruanda-Urundi (Rwanda and Burundi), South Africa, Swaziland, Tanganyika (Tanzania), Uganda and Zanzibar.

'Beating Heart - Malawi' is the first in a series of albums.

Lewasi Ndijarabasu

Lonesi Chewame and Toni Hetara playing a tune without words on a loose note xylophone. Recorded in 1958 at Katinga, Chikwawa District, Southern Nyasaland.

HT: ‘This instrument had ten notes set on two banana stalks with sticks pierced into the stalks to divide the notes. The deep trumpeting of the ground hornbills in the early morning and evening is a well-known feature of the low lying regions of the country. The reiterated low note represents the hornbill’s call: “Ri-riti, ri-riti”’.

IM: ‘This song is up-tempo and is sung on joyous occasions’.

This recording was sampled on the sister album 'Beating Heart - Malawi' by Kidnap Kid and Clap! Clap!

Digital Booklet - https://goo.gl/NIZQWF

Available on vinyl and digital at https://www.musicglue.com/beatingheart500/

Each 1500 albums sold will feed a school of 500 forever.  
---
Arriving in southern Africa in 1921 with a suitcase, a keen musical ear, and some ‘well founded misgivings’ from his large middle class English family, Hugh Tracey was captivated by local music-making. With his ear pressed close against the microphone, he began a pioneering recording career that would last more than fifty years as he searched for, recorded and documented the best examples of musicianship throughout a vast and diverse continent. ILAM, the institution he founded in South Africa in 1954, stands as one of the world’s greatest collections of African music, containing over 35,000 unique items that span hundreds of different language groups across eighteen different countries in Central, Eastern and Southern Africa. 

He recorded: Mouse-hunting songs, African separatist hymns, songs imitating the difficulty of the long-tailed paradise bird balancing in flight, songs about rain and poverty, songs celebrating football, songs for pulling canoes, songs which warn against European beer, songs which complain about venereal disease, songs about the sounds of unseen aeroplanes, fishing songs, paddling songs, songs with pauses while spittle is re-applied to moisten the reeds of a lyre, songs about a mosquito overturning a lorry, about a donkey complaining it wants wages instead of maize, about a baboon that dies after somersaulting for joy at hearing the sound of drums, commentaries on urbanisation, labour organisations and fighting campaigns in Burma, the Sneezewood swells of massed Mozambican xylophone orchestras, the oceanic rumbling rolls of packed Zulu choirs, the electrifying scorches of mouth-blown vulture quills, Ramadan town criers, hand‑moistened friction drums and a praise song for a bicycle mender.

The bulk of Tracey’s archival recordings were made during nineteen recording tours between 1948 and 1970. These tours visited Bechuanaland (Botswana), Belgian Congo (DRC), Kenya, Basutoland (Lesotho), Nyasaland (Malawi), Moçambique (Mozambique), Northern Rhodesia (Zambia), Southern Rhodesia (Zimbabwe), Ruanda-Urundi (Rwanda and Burundi), South Africa, Swaziland, Tanganyika (Tanzania), Uganda and Zanzibar.

'Beating Heart - Malawi' is the first in a series of albums.

Kulira Kwa Ng'omba - ‘The song of the Ground Hornbill’

Beti Kamanga playing a topical song in Tonga with bangwe raft zither. Recorded at Nkhata Bay, Chintheche District, Nyasland on 29 May 1958.

HT: ‘The singer is blind and well known for his songs over the district. In spite of his blindness he makes his own bangwe zither himself. He was born in 1902 and after the age of five was blind. He is now 48 years old (1950)’. 
‘He recalls the 1939-45 war when many thousands of Italian prisoners of war were taken.’
‘His zither was made of eight papyrus stalks firmly tied together in a raft, with a gourd resonator into which the far end of the zither is placed’.

IM: ‘Things in England’
‘This song speaks of things happening in England; it mentions 1939 when Europe was involved in the Second World War. The person recollects what he saw when he was enlisted into the army from Africa together with 25, 000 other men. He also remembers places and routes they went through to go to Europe, from Libya to the Black Sea, to the Russian sea, Stalingrad and Moscow. He also remembers the efforts to bring peace through commonwealth’.

This recording was sampled on the sister album 'Beating Heart - Malawi' by M.A.X

Digital Booklet - https://goo.gl/NIZQWF

Available on vinyl and digital at https://www.musicglue.com/beatingheart500/

Each 1500 albums sold will feed a school of 500 forever. 
--
Arriving in southern Africa in 1921 with a suitcase, a keen musical ear, and some ‘well founded misgivings’ from his large middle class English family, Hugh Tracey was captivated by local music-making. With his ear pressed close against the microphone, he began a pioneering recording career that would last more than fifty years as he searched for, recorded and documented the best examples of musicianship throughout a vast and diverse continent. ILAM, the institution he founded in South Africa in 1954, stands as one of the world’s greatest collections of African music, containing over 35,000 unique items that span hundreds of different language groups across eighteen different countries in Central, Eastern and Southern Africa. 

He recorded: Mouse-hunting songs, African separatist hymns, songs imitating the difficulty of the long-tailed paradise bird balancing in flight, songs about rain and poverty, songs celebrating football, songs for pulling canoes, songs which warn against European beer, songs which complain about venereal disease, songs about the sounds of unseen aeroplanes, fishing songs, paddling songs, songs with pauses while spittle is re-applied to moisten the reeds of a lyre, songs about a mosquito overturning a lorry, about a donkey complaining it wants wages instead of maize, about a baboon that dies after somersaulting for joy at hearing the sound of drums, commentaries on urbanisation, labour organisations and fighting campaigns in Burma, the Sneezewood swells of massed Mozambican xylophone orchestras, the oceanic rumbling rolls of packed Zulu choirs, the electrifying scorches of mouth-blown vulture quills, Ramadan town criers, hand‑moistened friction drums and a praise song for a bicycle mender.

The bulk of Tracey’s archival recordings were made during nineteen recording tours between 1948 and 1970. These tours visited Bechuanaland (Botswana), Belgian Congo (DRC), Kenya, Basutoland (Lesotho), Nyasaland (Malawi), Moçambique (Mozambique), Northern Rhodesia (Zambia), Southern Rhodesia (Zimbabwe), Ruanda-Urundi (Rwanda and Burundi), South Africa, Swaziland, Tanganyika (Tanzania), Uganda and Zanzibar.

'Beating Heart - Malawi' is the first in a series of albums.

Kanthu Pa Ingalandi - ‘In England’

Two Chewa girls, Mami Nakwenda and Belifa Nyabanda performing pounding songs with mortar and two pestles. Recorded at Chief Chadza Nkwenda’s Village, Lilongwe District, Nyasaland on 20 May 1950.

HT: ‘My man paid only ten pence to marry me’.
‘Two simple pounding songs in which the one girl echoes the other as they pound in the same mortar with alternate strokes…’
‘The mortar was loaded with maize and a little water and as the pounding proceeded the sharp sound of the full grain becomes duller as the corn is broken into small pieces and eventually into meal…’
‘The echoing style of their singing is also used for their rain songs… and at first hearing leaves an impression of confusion rather than intent’.

IM: ‘This song is expressing the complaints women have about their husbands and families, who are mostly not addressed directly because of traditional customs’.

This recording was sampled on the sister album 'Beating Heart - Malawi' by Afriquoi, Lack of Afro, Luke Vibert, Phil Moffa, Tru Fonix and Ulterior Motive

Digital Booklet - https://goo.gl/NIZQWF

Available on vinyl and digital at https://www.musicglue.com/beatingheart500/

Each 1500 albums sold will feed a school of 500 forever. 
--
Arriving in southern Africa in 1921 with a suitcase, a keen musical ear, and some ‘well founded misgivings’ from his large middle class English family, Hugh Tracey was captivated by local music-making. With his ear pressed close against the microphone, he began a pioneering recording career that would last more than fifty years as he searched for, recorded and documented the best examples of musicianship throughout a vast and diverse continent. ILAM, the institution he founded in South Africa in 1954, stands as one of the world’s greatest collections of African music, containing over 35,000 unique items that span hundreds of different language groups across eighteen different countries in Central, Eastern and Southern Africa. 

He recorded: Mouse-hunting songs, African separatist hymns, songs imitating the difficulty of the long-tailed paradise bird balancing in flight, songs about rain and poverty, songs celebrating football, songs for pulling canoes, songs which warn against European beer, songs which complain about venereal disease, songs about the sounds of unseen aeroplanes, fishing songs, paddling songs, songs with pauses while spittle is re-applied to moisten the reeds of a lyre, songs about a mosquito overturning a lorry, about a donkey complaining it wants wages instead of maize, about a baboon that dies after somersaulting for joy at hearing the sound of drums, commentaries on urbanisation, labour organisations and fighting campaigns in Burma, the Sneezewood swells of massed Mozambican xylophone orchestras, the oceanic rumbling rolls of packed Zulu choirs, the electrifying scorches of mouth-blown vulture quills, Ramadan town criers, hand‑moistened friction drums and a praise song for a bicycle mender.

The bulk of Tracey’s archival recordings were made during nineteen recording tours between 1948 and 1970. These tours visited Bechuanaland (Botswana), Belgian Congo (DRC), Kenya, Basutoland (Lesotho), Nyasaland (Malawi), Moçambique (Mozambique), Northern Rhodesia (Zambia), Southern Rhodesia (Zimbabwe), Ruanda-Urundi (Rwanda and Burundi), South Africa, Swaziland, Tanganyika (Tanzania), Uganda and Zanzibar.

'Beating Heart - Malawi' is the first in a series of albums.

Ine Ndidandaula (Cewa) – ‘I complain’

Eight elderly women and two drummers singing in Mang’anja and performing a Chitsukulumwe dance with gourd rattles, drums and clapping. Recorded at Mpatsa, Port Herald District, Southern Nyasaland on 18 June 1958.

HT: ‘Gebede-gebede ulendo wasabwera wasatsazika ulendo wina’.
‘Pack, pack, to go and not come back is like the journey when you do not say “goodbye”’. 

HT: ‘Gebede-gebede is the sound of putting one’s things together and the banging together of boxes preparing for a journey. This is said to be the most typical of all Mang’anja dances. The gourd rattles give their name – Chitsukulumwe - to the dance which they accompany’. 
Tracey also notes in his field cards that the journey of no return means death.

IM: ‘This song talks of a train journey. Gebede-gebede is an expression of the sound the train carts make when the train is leaving the station. The journey in this song is of people who were travelling to South Africa and Zimbabwe to work in mines. Most of the people who went to work in the mines would not be returning to Nyasaland’.

This recording was sampled on the sister album 'Beating Heart - Malawi' by Kidnap Kid, Tru Fonix and Ulterior Motive

Digital Booklet - https://goo.gl/NIZQWF

Available on vinyl and digital at https://www.musicglue.com/beatingheart500/

Each 1500 albums sold will feed a school of 500 forever. 
--
Arriving in southern Africa in 1921 with a suitcase, a keen musical ear, and some ‘well founded misgivings’ from his large middle class English family, Hugh Tracey was captivated by local music-making. With his ear pressed close against the microphone, he began a pioneering recording career that would last more than fifty years as he searched for, recorded and documented the best examples of musicianship throughout a vast and diverse continent. ILAM, the institution he founded in South Africa in 1954, stands as one of the world’s greatest collections of African music, containing over 35,000 unique items that span hundreds of different language groups across eighteen different countries in Central, Eastern and Southern Africa. 

He recorded: Mouse-hunting songs, African separatist hymns, songs imitating the difficulty of the long-tailed paradise bird balancing in flight, songs about rain and poverty, songs celebrating football, songs for pulling canoes, songs which warn against European beer, songs which complain about venereal disease, songs about the sounds of unseen aeroplanes, fishing songs, paddling songs, songs with pauses while spittle is re-applied to moisten the reeds of a lyre, songs about a mosquito overturning a lorry, about a donkey complaining it wants wages instead of maize, about a baboon that dies after somersaulting for joy at hearing the sound of drums, commentaries on urbanisation, labour organisations and fighting campaigns in Burma, the Sneezewood swells of massed Mozambican xylophone orchestras, the oceanic rumbling rolls of packed Zulu choirs, the electrifying scorches of mouth-blown vulture quills, Ramadan town criers, hand‑moistened friction drums and a praise song for a bicycle mender.

The bulk of Tracey’s archival recordings were made during nineteen recording tours between 1948 and 1970. These tours visited Bechuanaland (Botswana), Belgian Congo (DRC), Kenya, Basutoland (Lesotho), Nyasaland (Malawi), Moçambique (Mozambique), Northern Rhodesia (Zambia), Southern Rhodesia (Zimbabwe), Ruanda-Urundi (Rwanda and Burundi), South Africa, Swaziland, Tanganyika (Tanzania), Uganda and Zanzibar.

'Beating Heart - Malawi' is the first in a series of albums.

Gebede-gebede Ulendo Wasabwera - ‘Pack-pack, to go and not return’, or ‘train journey of no return’

The boys of Kawere School at Kawere, Dowa District, Central Nyasaland performing a party song with clapping. Recorded in Dowa District on on 3 June 1958.

HT: ‘Bilimankhwe! Bilimankhwe maso adatupa ninji? Kwathu Maliro Msamasatha ana inu Kwayera Mbe! Mbe! Mbe! (Repeat), [I]kwathu Maliro Msamaseka anu inu Ikwayana mbe! Mbe! Mbe! (Repeat), Ine Mdzachoka pamudzi Pano, mdalakwa kumanga pamudzi pano taonani pakhomo pangapa Payera. Mbe! Mbe! Mbe!’.
‘Chameleon! Chameleon! Why are your eyes swollen? There is a funeral at home, you chaps, don’t laugh at me. My yard, it is kept clean. I shall leave this village. I made a mistake to settle in this village. Look, my yard is swept clear’.

IM: ‘Bilimankhwe is being asked why he has big eyes, and he is answering, saying deaths in his family have made him mourn continuously. Bilimankhwe has lost so many family members and he is thinking of leaving his village to go somewhere else where there are no deaths so he can find peace. Bilimankhwe is also perhaps here the only surviving member of his family and is subtly accusing some village members of the deaths in his family’.

This recording was sampled on thesister album 'Beating Heart - Malawi' by Clap! Clap! and My Nu Leng

Digital Booklet - https://goo.gl/NIZQWF

Available on vinyl and digital at https://www.musicglue.com/beatingheart500/

Each 1500 albums sold will feed a school of 500 forever. 
---
Arriving in southern Africa in 1921 with a suitcase, a keen musical ear, and some ‘well founded misgivings’ from his large middle class English family, Hugh Tracey was captivated by local music-making. With his ear pressed close against the microphone, he began a pioneering recording career that would last more than fifty years as he searched for, recorded and documented the best examples of musicianship throughout a vast and diverse continent. ILAM, the institution he founded in South Africa in 1954, stands as one of the world’s greatest collections of African music, containing over 35,000 unique items that span hundreds of different language groups across eighteen different countries in Central, Eastern and Southern Africa. 

He recorded: Mouse-hunting songs, African separatist hymns, songs imitating the difficulty of the long-tailed paradise bird balancing in flight, songs about rain and poverty, songs celebrating football, songs for pulling canoes, songs which warn against European beer, songs which complain about venereal disease, songs about the sounds of unseen aeroplanes, fishing songs, paddling songs, songs with pauses while spittle is re-applied to moisten the reeds of a lyre, songs about a mosquito overturning a lorry, about a donkey complaining it wants wages instead of maize, about a baboon that dies after somersaulting for joy at hearing the sound of drums, commentaries on urbanisation, labour organisations and fighting campaigns in Burma, the Sneezewood swells of massed Mozambican xylophone orchestras, the oceanic rumbling rolls of packed Zulu choirs, the electrifying scorches of mouth-blown vulture quills, Ramadan town criers, hand‑moistened friction drums and a praise song for a bicycle mender.

The bulk of Tracey’s archival recordings were made during nineteen recording tours between 1948 and 1970. These tours visited Bechuanaland (Botswana), Belgian Congo (DRC), Kenya, Basutoland (Lesotho), Nyasaland (Malawi), Moçambique (Mozambique), Northern Rhodesia (Zambia), Southern Rhodesia (Zimbabwe), Ruanda-Urundi (Rwanda and Burundi), South Africa, Swaziland, Tanganyika (Tanzania), Uganda and Zanzibar.

'Beating Heart - Malawi' is the first in a series of albums.

Bilimankhwe – ‘The chameleon’

Five Nyasa men from Likoma in the Shire River Valley, near Zomba in Nyasaland performing a party dance for men and women with double-headed drum, concertina and bottle, sung in Chewa. Recorded at a Citrus Estate in Mataffin Village near Nelspruit in Eastern Transvaal (present day Mpumalanga in South Africa).

HT: ‘The drum was played with a stick in the left hand tapping on the side of the drum alternately with the head. The right hand kept up the rhythm in the usual way. During this lively performance the bottle player shattered his bottle into fragments, continuing to beat the neck of the bottle, which remained in his hand until that too disintegrated under the blows of the six-inch nail. At the end of the first item the player dashed off to a nearby hut and produced the next best substitute, a new hoe blade’.

IM: ‘The lyrics of this song are about a person who has travelled from Nyasaland to Harare in present day Zimbabwe hoping to find better job opportunities. The person ended up staying in Harare and is being asked if he will return to Nyasaland’.

This recording was sampled on the sister album 'Beating Heart - Malawi' by Ulterior Motive

Digital Booklet - https://goo.gl/NIZQWF

Available on vinyl and digital at https://www.musicglue.com/beatingheart500/

Each 1500 albums sold will feed a school of 500 forever. 
--
When Hugh Tracey (1903-1977) made 35,000 field recordings across Sub-Saharan Africa between the 1920s & 1970s, his intention was to reveal the beauty and complexity of this music to a world that saw little value in it. 

Today, almost 90 years later, Tracey’s bid to preserve the music of Africa for future generations lives on. Beating Heart has connected the International Library of African Music (ILAM) archive with contemporary producers, making fresh sounds for a modern audience. 
---
Arriving in southern Africa in 1921 with a suitcase, a keen musical ear, and some ‘well founded misgivings’ from his large middle class English family, Hugh Tracey was captivated by local music-making. With his ear pressed close against the microphone, he began a pioneering recording career that would last more than fifty years as he searched for, recorded and documented the best examples of musicianship throughout a vast and diverse continent. ILAM, the institution he founded in South Africa in 1954, stands as one of the world’s greatest collections of African music, containing over 35,000 unique items that span hundreds of different language groups across eighteen different countries in Central, Eastern and Southern Africa. 

He recorded: Mouse-hunting songs, African separatist hymns, songs imitating the difficulty of the long-tailed paradise bird balancing in flight, songs about rain and poverty, songs celebrating football, songs for pulling canoes, songs which warn against European beer, songs which complain about venereal disease, songs about the sounds of unseen aeroplanes, fishing songs, paddling songs, songs with pauses while spittle is re-applied to moisten the reeds of a lyre, songs about a mosquito overturning a lorry, about a donkey complaining it wants wages instead of maize, about a baboon that dies after somersaulting for joy at hearing the sound of drums, commentaries on urbanisation, labour organisations and fighting campaigns in Burma, the Sneezewood swells of massed Mozambican xylophone orchestras, the oceanic rumbling rolls of packed Zulu choirs, the electrifying scorches of mouth-blown vulture quills, Ramadan town criers, hand‑moistened friction drums and a praise song for a bicycle mender.

The bulk of Tracey’s archival recordings were made during nineteen recording tours between 1948 and 1970. These tours visited Bechuanaland (Botswana), Belgian Congo (DRC), Kenya, Basutoland (Lesotho), Nyasaland (Malawi), Moçambique (Mozambique), Northern Rhodesia (Zambia), Southern Rhodesia (Zimbabwe), Ruanda-Urundi (Rwanda and Burundi), South Africa, Swaziland, Tanganyika (Tanzania), Uganda and Zanzibar.


Atshakongwe Wamwe Muno Kuwala Kwawo – ‘The women of this country all wear the same kind of dress’

Beating Heart is excited to welcome back Malawian artist Drew Moyo to kick off proceedings in 2017.

Now based in Norway, Drew continues to blow us away with his unique fusion of the traditional and modern, injecting a breath of fresh air into the Bass music scene.

As with previous Beating Heart releases, proceeds will support community projects in the areas where the original samples were recorded. Proceeds from the 'Beating Heart - Malawi' album released last year featuring Rudimental, Kidnap Kid, Luke Vibert & many more, have funded the setting up of a sustainable school feeding program in Lilongwe, Malawi, feeding 450 kids once a day.

Speaking about the archival field recordings he sampled for the EP, Drew explains "Chingoma is a drum played specifically ​by the Tonga tribe in Malawi when they gather ​for the​ spiritual ritual of ​the ​Vimbuza dance. ​A​s soon as I heard the sample I was immediately connected to sounds from home. This particular drum of Vimbuza is believed to be a special calling from the ancestors and in those days the one to play the drum was believed to be in contact with the spirits."

Drew will be joining us for the Beating Heart Takeover at the new Gas Tower stage in Shangri-la this Glastonbury, alongside Afriquoi, Throwing Shade, The Busy Twist and Faith Mussa.

Artwork by Chiara Nath ClayLab

www.facebook.com/DrewMoyoMusic
www.beatingheartproject.com

Vimbuza EP

Stream / Buy

Drew Moyo - Chingoma

We're extremely excited to present this new batch of remixes to add to the critically acclaimed 'Beating Heart' series. ​

Following the debut Malawi album​ last year, this next series of releases focuses on the vibrant sounds of South Africa, sampling field recordings made by Hugh Tracey back in the 1950s, with kind permission from the International Library of African Music.

Beating Heart - South Africa Volume 1, a 4 track EP featuring Coen, Tru Fonix, SNØW and The Busy Twist pulls no punches introducing this new regional focus with what are sure to become some of the season's dance-floor anthems.

Further volumes featuring a whole host of talent will be sent to you throughout the summer.

Profits from the series will be used to support:​ the Women's Legal Centre, a group of female lawyers striving for gender equality across South Africa, particularly for black women, whose work has had a huge impact on the country's laws, and continues to do so; and the Access Music Project in Grahamstown where students will be able to learn production skills through remixing field recordings from the ILAM ​archive, learning about their heritage in the process.

Beating Heart will be performing​ summer festival takeovers at Glastonbury, Womad, Port Eliot, Boomtown, Obonjan (Croatia) and Secret Garden Party, with events in Malawi, South Africa and Uganda planned for the autumn.

Thanks to previous​ support, the 'Beating Heart - Malawi' album ​(Rudimental, Kidnap Kid, Clap! Clap!, Luke Vibert, Afriquoi & more) ​h​as​ funded the setting up of a sustainable school feeding program in Lilongwe, now feeding 450 kids once a day.

Beating Heart - South Africa Vol. 1

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SNØW - Catch The Spirit

Coen - Yellah

Out on 'Beating Heart - South Africa Vol. 2', a 4 track EP featuring Auntie Flo, Subjective (Goldie's new project with JD from Ulterior Motive), Card on Spokes and The Happy Show.

Following the debut Malawi album​ last year, this next series of Beating Heart releases focuses on the vibrant sounds of South Africa, sampling field recordings made by Hugh Tracey back in the 1950s, with kind permission from the International Library of African Music.

Profits from the series will be used to support:​ the Women's Legal Centre, a group of female lawyers striving for gender equality across South Africa, particularly for black women, whose work has had a huge impact on the country's laws, and continues to do so; and the Access Music Project in Grahamstown where students will be able to learn production skills through remixing field recordings from the ILAM ​archive, learning about their heritage in the process.

Beating Heart will be performing​ summer festival takeovers at Glastonbury, Womad, Port Eliot, Boomtown, Obonjan (Croatia) and Secret Garden Party, with events in Malawi, South Africa and Uganda planned for the autumn.

Thanks to previous​ support, the 'Beating Heart - Malawi' album ​(Rudimental, Kidnap Kid, Clap! Clap!, Luke Vibert, Afriquoi & more) ​h​as​ funded the setting up of a sustainable school feeding program in Lilongwe, now feeding 450 kids once a day. More info at www.beatingheartproject.com

Music,Africa,Charity,Borderless,fusion,unity,cross-culture,celebration,local,Malawi,remix,artist,beatingheart,travel,dance,positiveaction,non-profit

Beating Heart - South Africa Vol. 2

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The Happy Show  - Lamnandi

From Hugh Tracey’s field notes:

Somagwaza - "Father Of The Stabbing" 
(Xhosa/Mpondo – recorded in 1957) 
Qaukeni, "Great Place", Lusikisiki District, Cape Province, S. Africa
This song is sung in thanks to the Chief when he has killed a beast for them. 
Praise song with clapping and 5 drums. Khotso and group of Mpondo men and women

Sampled by Auntie Flo, Boys Ride Bikes and Desert Sound Colony on 'Beating Heart - South Africa' - https://lnk.to/BH-SASo

With kind permission from the International Library of African Music, Beating Heart works with artists to sample and remix Hugh Tracey's incredible archive. Proceeds from the South Africa album support gender equality in South Africa through the Women’s Legal Centre, as well as helping to teach music production skills to kids at Grahamstown’s Access Music Project.

More info at www.beatingheartproject.com

Somagwaza - Father Of The Stabbing

From Hugh Tracey’s field notes:

Nyakmtyela egageni - You Will Eat It Out Of Doors
(Xhosa/Gcaleka recorded in 1957)
Cizele Location, ldutywa District, Transkei, Eastern Cape. 
Mhala d ance for young men with Hadi musical bow. Nodinile, a Gcaleka woman. Although the music of the 'hadi'' is r egarded as a specialty of the women, there were men in this but as well who began to dance to the music and were joined by one or two women. 

Sampled by Coen on 'Beating Heart - South Africa' - https://lnk.to/BH-SASo

With kind permission from the International Library of African Music, Beating Heart works with artists to sample and remix Hugh Tracey's incredible archive. Proceeds from the South Africa album support gender equality in South Africa through the Women’s Legal Centre, as well as helping to teach music production skills to kids at Grahamstown’s Access Music Project.

More info at www.beatingheartproject.com

Nyakmtyela Egageni - You Will Eat It Out Of Doors

From Hugh Tracey’s field notes:

Majone "Johnnie" (Tswana/Lete recorded in 1959)  

Pipe dance with closed end blown "Ditlhaka" flute ensemble. 
Singer:   Moroke   Molebatsi  and  group  of  19 men.
Ramoutsa, Bamalete Reserve, Bechuanaland  Protectorate.

''Johnnie's mother weeps  
Where did Johnnie die? (she says)  
Johnnie died when they were cattle raiding (she says)
They killed him when he was following the spoor of his captured cattle. 
I refused you, 
So you hated me  
And went away disappointed.” 

These 19 pipes were made of lengths of copper tubing. The pitch of each pipe was recorded before each item. From two measurements of the same set of pipes within three weeks, it is clear that the tuning varies from performance to performance --the pitch of each pipe being adjusted by means of the plug - a wire ramrod is kept for this purpose. The pipes are used on any occasion, for parties, or recreational purposes. The performers walk round sideways in a circle, using a simple stamping step or shuffle or leaping like frogs in an anti-clockwise direction. 

Sampled by Desert Sound Colony on 'Beating Heart - South Africa' - https://lnk.to/BH-SASo

With kind permission from the International Library of African Music, Beating Heart works with artists to sample and remix Hugh Tracey's incredible archive. Proceeds from the South Africa album support gender equality in South Africa through the Women’s Legal Centre, as well as helping to teach music production skills to kids at Grahamstown’s Access Music Project.

More info at www.beatingheartproject.com

Majone - Johnnie

From Hugh Tracey’s field notes:

Inkulu in ezakwenzeka - Something very bad is about to happen 
(Xhosa/ Ngqika - recorded in 1957)
The woman held the bow vertical in her left hand near the end, and stopped the open string between her first finger and thumb at a spot about 3" from the node. She beat the string with a thin light stick about I8" long and pressed the sound resonator to her chest high up near the left shoulder. The bow emitted two notes only a tone apart, to which she sang very softly. 

Sampled by Shawn Lee and Das Kapital on 'Beating Heart - South Africa' - https://lnk.to/BH-SASo

With kind permission from the International Library of African Music, Beating Heart works with artists to sample and remix Hugh Tracey's incredible archive. Proceeds from the South Africa album support gender equality in South Africa through the Women’s Legal Centre, as well as helping to teach music production skills to kids at Grahamstown’s Access Music Project.

More info at www.beatingheartproject.com

Inkulu In Ezakwenzeka - Something Very Bad Is About To Happen

From Hugh Tracey’s field notes:

Ikostina - The Concertina (Xhosa/Ngqika - recorded in 1957)
Party song, with clapping. Group of young Xhosa girls. Nontshinga Location, Kentani District, Transkei, Eastern Cape. 

The girls who sang this song belonged to a group in the community half way between the sophisticated Christians who have been to school and broken away from their background, and the so called "Red blanket people", those who, retain their African religion and customs including the red ochre coloured blankets, cosmetics and beads. They have been to school for a short while, wear European style clothes as far as possible and while falling short of the standards of the better educated consider themselves above and apart from the 'reds' who although 'un-schooled' are elegant in their traditional dress and beadwork. 

Sampled by DJ Khalab on 'Beating Heart - South Africa' - https://lnk.to/BH-SASo

With kind permission from the International Library of African Music, Beating Heart works with artists to sample and remix Hugh Tracey's incredible archive. Proceeds from the South Africa album support gender equality in South Africa through the Women’s Legal Centre, as well as helping to teach music production skills to kids at Grahamstown’s Access Music Project.

More info at www.beatingheartproject.com

Ikostina - The Concertina

From Hugh Tracey’s field notes:

Emalomeni (Zulu - recorded in 1965)
A love song with Makhweyana bow.

Sampled by Leighton Moody on 'Beating Heart - South Africa' - https://lnk.to/BH-SASo

With kind permission from the International Library of African Music, Beating Heart works with artists to sample and remix Hugh Tracey's incredible archive. Proceeds from the South Africa album support gender equality in South Africa through the Women’s Legal Centre, as well as helping to teach music production skills to kids at Grahamstown’s Access Music Project.

More info at www.beatingheartproject.com

Emalomeni

Beating Heart - South Africa

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Jakinda - Lost

Shawn Lee - Inkulu

Coen - Lordship Rd

DJ Khalab - Mostra

Leighton Moody - Afrikan Bruino (Soulsideup Mix)

Coen - Yellah VIP

60 min DJ Mix to celebrate Saronde's latest release 'Shitongolwa' - out now on Beating Heart.

Saronde Music Videos
'Kilamu' - youtu.be/j2SBUOJQReE
'Hugh Tracey' - youtu.be/WqizaY6Xcws
'Cold' - youtu.be/tB3lXSNh2WQ

Tracklist
1. Saronde - Hugh Tracey ft. Waliko [Beating Heart]
2. Mina - Saiya Mikamba [Beating Heart]
3. iZem - Iddi Beat [Beating Heart dubplate]
4. Saronde - Cold ft. Nazizi & Idd Aziz [Beating Heart]
5. Faizal Mostrixx - Afro Cosmic [Beating Heart]
6. The Busy Twist - Afro Carnival [Beating Heart]
7. Sonye - Sankha Dona - GotSome’s Got Lost In Africa Remix [Beating Heart]
8. Saronde - Misonzi [Beating Heart]
9. Floyd Lavine - My African Acid [Beating Heart]
10. Rudimental & Martinez Bros - Sitigawana ft. Faith Mussa [Atlantic]
11. Riton - Fake ID ft. Kah Lo [Riton Time]
12. Drew Moyo - Munthu [Beating Heart]
13. Faith Mussa - Kalilima [Beating Heart]
14. Saronde - Cold - Dismantle Remix [Beating Heart]
15. Saronde - Champion (BaNakatekwe) [Beating Heart]
16. Kouslin - Umoja [Beating Heart]
17. Coen - Yellah [Beating Heart]
18. Tru Fonix - Bop [Beating Heart]
19. The Busy Twist - Train Soukus [Busy Life]
20. SNØW - BS5 [More Time]
21. Saronde - Shitongolwa [Beating Heart]

Saronde - Afro Bass DJ Mix

Connecting the past to the present to the future.

● If you can't stream here on SC, head to our Bandcamp: https://lnk.to/BHShop
● Spotify:  https://lnk.to/BHSpotify
● Instagram: https://lnk.to/BHInstagram
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● Events: https://lnk.to/BH-Events
● www.beatingheartproject.com

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