bhavana ecstatic intoxication

Soundtrack from the short film "Perdition" by Matt Carter. Sound design score with vocals by Ben Loomes.

Perdition: EndCredits

'All the Pretty Girls' originally by Kaleo, an Icelandic indie pop/rock/folk band established in 2012. This song was released on 2014.

*No copyright infringement intended*

All The Pretty Girls - Kaleo

Recorded by Marshall McGuire
Muntu Walunga is a piece influenced by African mythology and the sounds of African thumb-pianos (mbiras - or “lamellaphones” to be precise!). These instruments produce a metallic percussive sound that has little resonance, and the music is typically fast and extremely rhythmic. In the piece the harp is asked to play using certain effects which imitate this sound, and the pitch material is based on six to eight-note cells (typical of the eight-note scales of the African mbiras). The pulse of the rhythmic sections is often in three which is also typical of mbira music.
From the book “African Mythology” by Jan Knappert, I learned that the Bakongo people of Zaire (central Africa) tell a myth of the creation of people:
Nzambi (God) first created Mahungu “Breath”, a human being who was both male and female, and so: Muntu Walunga “The Complete Person”. It had the shape of a palm-tree with two heads. Wooden statuettes show the tree with breasts on one side, with a woman’s head, and on the other side a bearded head, the two coming out of a spathe, like a spadix emerging from a sheaf of a palm-leaf. This double person lived a happy life since it knew no jealousy or hatred, no desire or want. One day Mahungu saw the tree called Muti Mpungu, the tree of the Supreme Being. Mahungu went up to the tree trying to embrace it, but the tree split Muhungu into two equal personalities, who were henceforth called “Lumbu” (Man) and Muzita (Woman). After this event they always wanted to be together and to embrace one another.

Muntu Walunga - solo harp

Compuma Meets Haku - The Reconstruction of “Na Mele A Ka Haku” (Excerpts)

An experiment with a new process with my Rhythm Prism software using a library of samples recorded from Audrey Chen playing cello. Rhythm Prism is software commissioned by sound artist John Berndt.

Orelemu

written & produced-Capitan Commodore(2015)

Capitan Commodore - Esoteric Order

Novemberpads (Demo)

I prefer to keep the description for who wants listen ,and feel free to talk about your feelings in a comment.

Follow and Support:
@goro-music
https://www.facebook.com/goromusicc/

Lotfi Bouchnak - Ya Suad (Goro Edit) FREE DL

Free download

4 Lulu - sims talk

too many lies coffin all ready
the day has been too long
hearts are in the way

wake

Dynamic And Static

loving you still though this distance is making my world turn
upside down
and in the darkness the blues just won’t leave me 
alone
hold me in your silence
love me when i cry just a little
hold me in your silence

hold me in

East Man is a new project from Anthoney Hart and its material predates his previous work as Basic Rhythm. His unique take on grime reduces the sound to its steely fundamentals, bringing in influences from dancehall, drum and bass and techno to gird the voices of the MCs he works with. His own name for this hardcore continuum mongrel is 'Hi Tek'.

Anthoney struck a friendship with the academic and theorist Paul Gilroy, who wrote the album introduction below, after starting personal research on representations of working class and mixed race families. He asked Paul for some help after coming across his work via Stuart Hall, Paul's mentor. Their discussions and friendship developed, and it dawned on Anthoney that his research and the East Man album had some synergy, so he asked Paul to write a piece conveying that. 

 - - -

London’s young people have been seen as a problem by governments for many generations now. Their distinctive street cultures stretch back into the nineteenth century when, just like today, a stylish public presence signified danger to respectable people. At that time, Britain’s class conflicts were being re-made amidst all the glorious fruits of a global empire. Divisions like class and sex had different shapes and tempos that hardly resemble the machinery of our increasingly networked and unequal world. Religion, racism and nationalism were all important, but work, exploitation and poverty supplied the fiery core of politricks.

These days, Britain’s imperial wealth and prestige are long gone. Today’s young people are excluded and marginalized, confined and criminalized, yet they remain at the heart of the vital, energetic best of our city. Their energy and imagination drive London’s convivial culture. They duck and dive just like their predecessors. They hustle, they suffer and they survive. Even where knives are common, most of the problems that come up get resolved without murderous violence. The defining experience of their precarious situation is more likely to be fear or anxiety than warfare between gangs. Their violence is more likely to turn inwards on to their loved ones and family members. There are many forms of self harm and self medication.

Yet the space in which those youthful lives unfold has contracted. The scale on which life is lived has shrunk. Moving around can be expensive. Surveillance is constant. Dignity and certainty are difficult to find and hold on to. It can be hard to feel comfortable outside the spaces and places you know best. Those familiar circuits are marked out by the roadside shrines of dead flowers that show just how vulnerable you can quickly become.

We have been losing London to Babylon but we are busy making a new place. The edges of the city have become fertile. The weeds grow up explosively between palisaded concrete boxes and the litter-strewn greenery. This is not zones 1 and 2 where houses and flats are capital rather than buildings to live in. The music that comes out of that edgy world isn’t what it was a generation ago, but it’s still fundamental--necessary for life.

These shocking sounds can be a part of healing and repair while staying faithful to the pressures that forged them. Musicians can’t make a living from their creativity, but their listeners can’t understand this historical moment unless they get to grips with its local rules, meanings and poetry. This is not America. Even without words, this music speaks for itself and tells a story. It calls out to be understood while seeking ways to escape interpretation.

We are always more than either this or that. We are more than either black or white. 

Paul Gilroy 2017.

Red, White & Zero

East Man & Darkos Strife - Look & Listen

Ross  Jenkins's Album

eleVeneLeven

Pale Blue Eyes (Velvet Underground)

Weird Walz -

i am not doing well in terms of being a functional human...      you know?

Welcome to the bold new world of systemic unfairness.

Make Millions Of Dollars (Just For The Sake Of Making Millions Of Dollars)

Lyrically showing love for this culture and the beatmakers involved through Non-commercial way under the terms of Creative Commons.

Single off the Upcoming EP of Dp beats & Uncle Rasta
Dp beats
Available beats here: soundcloud.com/dpbeats1/sets/beats-libres-disponibles
dpbeats1.beatstars.com/
www.youtube.com/user/dghpelos/videos

Uncle rasta.
Vocal production : Mix/Mastering by Uncle Rasta (@boom bap salad garage studio)
www.facebook.com/ceeganja/?pnref=lhc

bhavana ecstatic intoxication

Eva de michelis