Fantastic album. Several tracks feature on my radio show https://soundcloud.com/hungry_man/hungry-mans-hoxton-grind-meattransmission-15-08-2016

Kumba

Arauco 808, editada en el compilado Balance del 2017, es una pista de El Buga con mucha tensión, con samples de instrumentos Mapuche y efectos especiales. 

En su edición en formato single, incluye en como "lado b", un remix inédito realizado por él mismo.

Producción: El Buga
Masterización: Álvaro Ernesto en pista 1, Merci Merci en pista 2.
Arte: Rodrigo Montecinos
Producción Ejecutiva: Colectivo Regional
Sello Regional, Abril 2021.

Arauco 808

El Buga - Arauco 808

Radio Mawimbi #2 w/ Pouvoir Magique & L'Enfant-Loup (Mawimbi)- 20/03/2015

Yeah! Clap! Clap! Returns!
Simple EP out now: https://blackacre.databeats.com/vinyl/acre058

Video by Loup Blaster: https://www.youtube.com/watch?v=f5x8RX4XbqM
Spotify: http://smarturl.it/blackacrespotify
Apple Music: http://itun.es/gb/Lf-T9  

Clap! Clap! - (L) Liberty

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

@oflynnmusic steps away from @blip-discs for a self-released 12" that showcases yet more diversity as a producer. A grime-oriented A-side is accompanied by this, an unashamed disco-indebted, party track. 

Read more & buy: http://www.stampthewax.com/2016/08/24/premiere-oflynn-aloha-ice-jam/
Listen on Youtube: bit.ly/oflynn-aloha

Listen on Youtube

O'Flynn - Aloha Ice Jam (STW Premiere)

Here is the B side to my debut release with Black Acre! 

Read & buy --> https://cervomusic.bandcamp.com/

Kasoa [Black Acre]

https://rasgtheafrikanspaceprogram.bandcamp.com/album/stargate-music
out world wide 4/20/2018

"The womb is The Stargate of Humanity” says Ras G, relating to the concept of his latest proper full-length - an astral ode to woman. "Stargate Music is a record that I livicated to the Womb-man...to the Vagina, The Stargate from which beings emanate life on this planet. I gathered these sound pieces and presented it as a reflection of the life cycle of beings on this planet." 

G has always been more to us than an influential L.A. beatmaker, but rather the luminary with an infectiously heartfelt zero-fucks-given philosophy towards raw experimentation in the Los Angeles underground producer scene since the early 2000s. 

"From The Primordial Water Formation we flow thru The Stargate....and one's great journey reconnecting and returning to the sweet nectar that is The Stargate....and this is the soundtrack to the journey." -Ras G

Stargate Music

PREORDER VINYL+DIGI

Ras G & The Afrikan Space Program - The Arrival

Welcoming space-funk-wizard from Dimension X, Scott Xylo. Much more to follow this summer...

Buy here: http://scottxylo.bandcamp.com/track/ariya

Scott Xylo - Ariya ft. Afronaut Zu, Catherine Sera & Marcus Joseph

Mawimbi Records is proud to host a guest mix from Brighton-based producer/DJ Burland (@burlandmusic). We just released his debut EP "Tell Me Why You Worry", which explores in a bold and irresistibly danceable way the relationship between UK dance music and traditional Ghanaian drumming music. 

The mix features a lot of his own productions and works as a perfect introduction to his tasty, bouncy, playful music! We bet you are going to hear a lot from him in the coming months ;) 

Enjoy! 

OUT ON BANDCAMP NOW: 
http://bit.ly/BurlandBandcamp

DEEZER, SPOTIFY, ITUNES & CO:
 https://kuronekoMedia.lnk.to/TellMeWhyYouWorry

Tracklist:


Dengue Dengue Dengue - Pua ft. Penya
Burland - Threes & Fours
Umoja - Mo Fiya!
Susso - Ansumana
Burland - Gender Wayang
Clap! Clap! - Ode To The Pleiades (Photay Remix)
Kouslin - Umoja
Jowaa - Banku Dade
Kouslin - Furball
Kouslin - Suga’s Drums
The Busy Twist - Floor Excitement
Dizzy Womack - On Control (The Busy Twist Remix)
Kouslin - Weh Mi Come From (feat. Logan)
Saronde - Cold (Dismantle Remix)
The Busy Twist - 1995
Champion - Rainforest
Burland - Agoo
Burland - Gahu
Leftfield - Afro Left (Hodge & Peverelist Mix)
Diemantle - One Day
Burland - Agbekor
Burland - ???
Burland - Tell Me Why You Worry Pt 2
Kwame Write - Mudhouse (Prod. Burland)
Burland - Tell Me Why You Worry (feat. Zongo Abongo)
Burland - Untitled 140
Sir Rah - Leonard
Jack Sparrow - Hold & Pull
Von D - Trip To Atlantis
Mala - Changuito
Burland - Riffin’ On The Bow
Fixate - Bandicoot
Burland - Me So Love Ya (feat. Adotey Johnson)

Rinse France Podcast

Radio Mawimbi #69 w/ Burland (Brighton / Mawimbi Records)

Kabu Verdi pa tudu ténpu 🇨🇻 Just back from my 2nd trip to Cape Verde (16 years after the 1st one) 🇨🇻 Can't say how much I love this country. Let the music speak. With vinyl only from late 70's - early 80's 
🥁🎻 Raiz di Coladeira. Fidjus di Funana 🐚 Cantico da Libertade. Cantico da Sodade. 🌳🏝️

KABU VERDI  🇨🇻 RAIZ DI COLADEIRA ~ FIDJUS DI FUNANA 🐚 24-08-2018 @ Kiosk Radio

El Martes al Amanecer- Los prodigios de Sammy y Sandra Sandoval
Mi Negra-Lucho de Sedas y Lucy Quintero
Dame tu Querer-Myriam Quintero y Teresin Jaen
Yo soy el tuyo Morena- Los prodigios de Sammy y Sandra Sandoval
Cumbia Colosana-Teresin Jaen y su Conjunto Alma Interiorana
El que no ha tenido un amor no sabe de cosa buena-Lucho de Sedas, Lucy Quintero y el Conjunto de Victorio Vergara
La Negra Jorra- Eneida Cedeño y Conjunto Orgullo Santeño de Dorindo Cardenas

Ritmo Montañero_Salsa Montañera_Cumbia Atravesada

RITMO MONTANERO

Musiques et politiques. 30 Juin 1960. Le Congo fête et danse son indépendance 🇨🇩 Patrice Lumumba s'adresse au peuple Congolais ✊🏾 Grand Kallé chante "Lipanda cha-cha tozui e". Et le jour d'après... 
Musics and politics. June 30, 1960. Congo celebrates and dances its independence 🇨🇩 Patrice Lumumba speaks to the Congolese people ✊🏾 Grand Kallé sings "Lipanda cha-cha tozui e". And the next day ...

CONGO 🇨🇩 LIPANDA CHA CHA ~~ LE JOUR D'APRES ✊🏾 01-07-2020 @ Kiosk Radio

As the world evolves, so must language. Outdated, lazy and offensive, the term “World Music” can now retire. Since the eighties, it has fulfilled its post-colonial mission: facilitating the sale of non-Western music to Western consumers needing a smooth entry into “otherness”, while failing to actually depict the planet's true wealth and diversity.

It ignores the fact that songs crafted outside cultural juggernauts such as the U.K. and the U.S. are not lost satellites revolving around a white-washed world but rather autonomous forces that don’t need their attention to survive - they thrive on local support. 

The Oxford Dictionary’s definition confirms the roots of the condescending and simplistic idiom: “Traditional music from the developing world, sometimes incorporating elements of Western popular music.” Our need to label things in order to control the unknown has led us here. But when reducing this big unknown to a vinyl crate where Cumbia collides with Bikutsi and Molam, entire cultures end up being exoticized and amalgamated. “World Music” sucks because this made-up category claims to encompass musical styles from all around the globe, throwing together thousands of unrelated music in the same bag of relatable “otherness”. 

This mix acts as an incentive to listen beyond polished re-issues and cheesy Putumayo compilations. Often made on the cheap, this is music that hasn’t been sullied by the overbearing touch of some Western producers and engineers, tampering with it to comply with their idea of what “sounds good” and attempting to make it palatable to the Western ears. This is modern music uploaded by local anonymous heroes. These aren’t “global sounds” made to conquer Western airwaves; these are local sounds catering to the tastes of their communities.

It’s unlikely you will hear any of these songs in some fancy lounge or hip party - too intense, too fast, too rhythmically odd to untrained ears! - yet this is the proud and distinct sound of a people somewhere. To them, this is foreground music. These aren’t pretty postcards from foreign lands but raw snapshots from neighboring countries. Most of them have never been released in any purchasable format and will probably never be. These gems float around in the digital ether of fragile ephemeral libraries for one to grasp at when needing to escape from one’s own all-too familiar sounds. They beckon one to listen with respect, interest and curiosity. 

Though not made for Westerners to buy and appreciate, somehow, through the magic of a human reach across countless divides, it still sparks connection and compels one to dance. This music hasn’t been “discovered”, “storyfied” and re-packaged by some savvy labelhead, prized musicologist or nerdy blogger. It hasn’t arrived to its audience thanks to a four-to-the-floor remix or as branded "content" through ad-articles disguised as music journalism. It arrives on its own terms, only a few clicks away. 

So now, you may wonder: “Well, if saying 'World Music' isn’t cool anymore, what should we say then?” Musicians everywhere are speaking out, singing out, playing out. Pay attention to how they are defining their own music, follow their lead.

00:00 · David Byrne (Talking Heads) - Interview 2012
00:19 · Rakatac - Drum ’n’ Bassdrum
00:49 · Néné Tuty - Djoana (Guinea-Bissau)
02:15 · Hadiza Mangou - Iyan Maata (Niger)
06:09 · Les Etoiles ft. Choco & Moina Komba - Ravouravo (Comoros)
10:56 · Aberash Gaga - Hebebe Wopu (Ethiopia)
13:54 · Amira Deng - Nyariang (South Sudan)
17:13 · Natou - Bayir Dem (Burkina Faso)
20:22 · Brian Chilala ft. Ngoma Zasu - Chitinti (Zambia)
23:02 · Tsiliva - Oh le Tsiliva! (Madagascar)
26:58 · Losseba Ngoutiwa - Imindou (Central African Republic)
29:30 · Coco Argentée - Make Tabe A Dzale (Cameroon)
33:11 · Lady G - Sê Hômi Démin (Benin)
35:37 · Gordon Koang - Stand Up (Sudan)
37:53 · Queen Jane - Arata Kuna (Kenya)
40:21 · Matsieng - Ga Ke Mmolai (Botswana)
42:55 · Nicole Amogho - Singa Soyi (Gabon)

"World Music" Sucks · Straying From The Western Gaze

Brazil’s economic and artistic powerhouse, São Paulo is a true megapolis, being the largest city in Latin America and fourth largest city in the world. Built on successive waves of immigration, it’s a melting pot of cultures, viewpoints and musical beats with a flourishing alternate arts scene that includes vibrant poetry slams, renowned street art and an incredible array of music forms that push against established hierarchies of race, class, gender and sexual orientation. In this dramatically unequal city, hybrid cultural expression happens spontaneously, fusing ancient and modern, local and foreign, traditional and avant-garde.
	Produced in São Paulo by David Katz (and completed remotely following travel bans), this program surveys the São Paulo soundscape to explore dynamic facets of its musical resistance. Beginning with some background information provided by historian Rodrigo Bonciani, we hear songs from northeast migrants that tried to make sense of their adopted city in the 1950s, 60s and 70s, including Tom Zé and Caetano Veloso, as well as Itamar Assumpção of the resident Vanguarda Paulista movement. Then, committed hip-hop specialist DJ Dandan guides us through the rap scene of the 80s, 90s and beyond, before acclaimed artists explore the influence of soul, funk and other global forms on their work, including the producer BiD and singers Aricia Mess and Curumin, the latter taking a closer work at the challenges and rewards of living and working in such a place. The reggae underground is revealed through testimony from Yellow P of Dub Versão sound system, Dani Pimenta of Feminine Hi-Fi and Lys Ventura of Fresh Dancehall, along with producer/bassist Victor Rice and drummer/producer Bruno Buarque. Then, the rich avant-garde scene is illuminated by words and music from Anelis Assumpção and members of Bixiga 70 and Metá Metá, and there are musings on the Covid-19 pandemic, as well as the city’s hopeful future.
	Overall, the listener is immersed in the broad diversity of São Paulo’s intense music scene, making it entirely clear that the city has become the most important site of contemporary music culture in Brazil during the new millennium.

Produced by David Katz

All images copyright ©David Katz

Sao Paulo Migrations: Hybrid Musical Resistance in Brazil’s Alpha City

We're back on Soho Radio, joined by German-Mexican global bass master @daferwa in the guest mix!

Track ID's answered in the comments <3

20/02/21 - Soho Radio w/ Daferwa

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
● Facebook: https://lnk.to/BHFacebook
● Events: https://lnk.to/BH-Events
● www.beatingheartproject.com

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

Beating Heart

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