Afrobeat Standard

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sublime frequencies

news letter #681

Announcing Jerome LOL's debut solo EP, 'Deleted/Fool.' The 4 tracker will be out Feb 4th, 2014 on Friends of Friends.

Get "Always" as well as 2 exclusive Jerome LOL edits by pre-ordering the EP here!!
http://fofmusic.bandcamp.com/album/deleted-fool

Tracklist:
1. Deleted ft. Sara Z
2. Always ft. Sara Z
3. Fool ft. Angelina Lucero
4. True ft. Angelina Lucero

http://jeromelol.tumblr.com/
www.fofmusic.net

Jerome LOL - Always Ft Sara Z

All of the artists featured on this unique Rough Guide present distinctive, original sounds emanating from Africa, selected exclusively from groups entering World Music Network’s ‘Battle of the Bands’ competition. Check out Tani Diakite’s brand of Afro-funk, Simo Lagwani’s Moroccan gnawa grooves and Wayo’s South Sudanese trance percussion.

For more information, visit www.worldmusic.net/store/item/RGNET1312

This compilation presents a grassroots approach to the music of the moment emanating from Africa and its Diasporas. Gaining recognition through World Music Network’s ‘Battle of the Bands’ competition – an exciting and revolutionary competition for up and coming world music acts – all of the artists featured on this album present new, original sounds, most of which you are unlikely to have ever heard before. This album gives you a true snap-shot of African music today, taken straight from the source, maybe even presenting some of Africa’s music stars of tomorrow! Unlike most other African compilations, which focus on the usual suspects and established royalty of African music, this fresh approach allows you to delve deeper into the musical treasure chest of African music. Several of the featured artists have gone on to release albums on World Music Network’s award winning artist label, Riverboat Records, to much critical acclaim, including Krar Collective, Monoswezi,Wayo and Annansy Cissé. In keeping with the theme of music from the source we have included an incredible bonus disc by Sotho Sounds from Lesotho, who quite literally are turning junk into funk.

Annane Sy Cisse rolls the album open with his track ‘Bala’. Here he is joined by Zoumana Tereta whose sonorous sokou (mono-chord violin) solos enter into a riffing question and answer session with Cisse’s electric guitar. Zoumana’s sokou is also heard on Djama Djigui’s track ‘Djimé Foly’.

Simo Lagwani is a Moroccan musician whose involvement in an eclectic mix of projects has seen him become a regular on the UK’s live circuit. His track ‘Baniyorkoy’ is anchored by the rich, resonant tones of the guembri (a plucked lute) decorated by vocals, handclaps and krakeb hand cymbals.

Noumoucounda Cissoko is a Sengalese griot who plays his kora viviciaously on ‘Nomou Koradioulou’. Illuminating the string vibrations of another kora master, the track ‘Cora’ features guitarist Giuliano Modarelli alongside Sura Susso’s intimate playing.

Ethiopian minimalist rockers, Krar Collective contribute their swirling, heady mix on track ‘Ambassel’. Lead-singer Asseda’s spine-tingling voice soars atop the bluesy tones of the krar lyre, kebero drums and a one-string masenqo fiddle.

ANerGy Afrobeat contribute their spacious ‘vaudoo-jazz soul-funk’. The big band line-up spotlights their brass section on this track who take freeform solos before the vocals refrain for their ‘Great King Fela’. Later we hear from another big band, Mozambican Sigauque’s live track ‘Alertos Da Vida’ is an unstoppably positive song with pan-African inspirations. 

‘Yaye Boye’ was presented to World Music Network by Teranga Beat, a label working to bring back the life of the 1970s Senegalese super band Le Sahel. This laid-back track features Cheikh Tidiane Tall, Idrissa Diop and Thierno Koite. Also hailing from Senegal is the Batch Gueye Band whose Baye Fall religious beliefs inform his evocative track ‘M’beugel’.

Party tracks from Sudanese collective Wayo and kamale ngoni troubadour Tani Diakite raise the heat in the final few tracks of this Rough Guide, before Monoswezi’s mbira-led ‘Ndinwe’ gently closes the album.

Anansy Cisse: Baala (taken from The Rough Guide To The Best African Music You've Never Heard)

Riverboat Records: Celebrating 25 years of making music from around the world

For more information, visit: http://www.worldmusic.net/store/item/TUG1082/

Riverboat Records celebrates it twenty-fifth year in 2014. Since its founding in 1989, the independent label has supported creative new music from far-flung corners of the globe.
This limited edition compendium offers a taste of the excellently eclectic Riverboat sounds from across the years.

Music From The Source includes music from thirty-three bands spanning across two bumper discs. Spotlighted artists include Greek folk duo Kristi Stassinopoulou & Stathis Kalyviotis who kick off proceedings with a track from their album Greekadelia which reached number one in the World Music Charts Europe. Monoswezi’s haunting minimalist sound fuses the music of Mozambique, Norway, Sweden and Zimbabwe together in seamless interplay. Indian slide-guitar maestro Debashish Bhattacharya expands his otherworldly sound Beyond The Ragasphere on virtuosic yet quirky track ‘Indospaniola’. Jaipur Kawa Brass Band’s bombastic party music presents an infectious exploration of Indian military music spun together with refigured Bollywood classics.  Lesotho-based ‘junk funk’ renegades Sotho Sounds craft their own instruments as heard on ‘Ba Ea Bojoa (Part 1)’.

Lala Njava’s offering is a Malagasy marvel featuring her silvery wandering voice, lush rolling guitars and rippling percussion. Nigerien nomad bluesmen Etran Finatawa contribute their Wodaabe-Tuareg musical melt. Shiyani Ngcobo acoustic guitar picking illuminates his mastery of the wonderful Zulu maskanda dance style. Boris Kovač & La Campanella’s melody ‘Pearl’ aches with their distinctly Balkan nuance. Klezmer troubadours She’Koyokh spoon out their re-imagined Eastern European folk on ‘Esmera Min’. 

Kardemimmit’s song ‘Ahven (Perch)’ is played by the fresh folksy kantele quartet from Finland. Cuban son band Sierra Maestra deliver their personal account of the nation’s infamous enveloping dance style. Koo Nimo’s lilting palm-wine music flies the flag for Ghana and village ensemble Wayo summon the ancient polyrhythms of Africa’s newest nation, South Sudan. Yunnanese ‘Mountain Men’ Shanren close the set with ‘Drinking Song’ from their new album, which has the UK media hailing them as ‘Chinese folk-rockers to watch’ (The Guardian).

Riverboat Records would like to take this opportunity to wholeheartedly thank our supporters. Music From The Source is not only a resplendent retrospective but also highlights the breadth of talented artists that have been given an international platform thanks to Riverboat Record’s ongoing work since 1989.


Samba Touré: Alabina (taken from Music From The Source)

Mali is a fabled land of musical giants and this Rough Guide features the towering figures of Oumou Sangare, Ali Farka Touré and Basekou Kouyate. However the music of Mali is now under threat as never before. In the words of singer Fatoumata Diawara, ‘music has always brought hope in Mali. Music has always been strong and spiritual.’

For more information, visit http://www.worldmusic.net/store/item/RGNET1311

Before the March 2012 coup d’etat of President Amadou Toumani Touré, very few outside of West Africa knew much about Mali (except for perhaps a group of historians and world music devotees). Much of Mali is encompassed by the Sahara desert, which, despite its often scorching temperatures, has been aptly described as an ‘inland sea’, connecting the Arab and Berber cultures of the north, with the Fulani, Bambara, Mandinka and others in the south. After Muammar Gaddafi fell in the Libyan civil war, huge caches of heavy weapons were left unguarded – many ended up crossing that ‘desert sea’ and arrived in Mali. Fueled by outside groups, Al Qaeda gained a stronghold in northern Mali, installing Sharia law, closing schools, and banning so-called ‘Satan’s music’. Tragically, the region that had long been known for its ancient manuscripts, magnificent mud-architectural mosques, and captivating folk music was engulfed in conflict.

Mali’s musicians have never shied away from mixing politics and song. Vocalist Oumou Sangare (who is also a United Nations Goodwill Ambassador) has been outspoken on issues including women’s rights and polygamy since the 1990s. In 2013, when the conflict made it impossible for Mali to host its renowned Festival in the Desert, Sangare helped to take the show on the road, headlining the Caravan For Peace, performing in Tuareg refugee camps in Burkina Faso. Similarly, Khaira Arby (cousin of legendary guitarist Ali Farka Touré) has taken on issues such as female circumcision in her music. So, it shouldn’t come as a surprise that when war threatened to engulf Mali, its leading musicians banded together. Fatoumata Diawara gathered the nation’s leading musicians together to produce a video calling for a peaceful end to the conflict, most of whom are featured on this compilation, including Oumou Sangare, Toumani Diabate, Vieux Farka Touré, Nahawa Doumbia and Khaira Arby.

The role of these musicians cannot be underestimated, as it both galvanized the Malian public, and the international community into action, leading to military involvement by France as well as United Nations peacekeepers that quickly restored calm to most of Mali. Musically and ethnically, Mali is an incredibly diverse country. This album reflects that diversity, featuring driving Tuareg grooves rooted in a nomadic Saharan past, generations-old ‘social advice’ songs, Wassoulou music from the south, and of course there are a host of songs from Mali’s next generation of stars.

Samba Touré: Koye Ma (taken from the Rough Guide To Mali)

Anansy Cissé’s souped-up guitar distortions re-work the West African Desert Blues genre with a new, agitated attitude. Featuring the soku fiddle playing of Zoumana Tereta and accompanied by ngoni, bass and calabash, Cissé’s sound harnesses musical traditions and spits it out anew, taking us into Mali Overdrive.

For further information, please visit www.worldmusic.net/anansycisse

When Cissé’s recording ‘Bala’ landed on our website via World Music Network’s online ‘Battle of the Bands’ competition, we were immediately taken by his gutsy guitar style that plays on tradition by matching it with the direct influence of 1960s and 1970s psychedelic-flavoured rock and roll. 

The story begins in late 2012, when Anansy was forced to dismantle the recording studio he ran in Diré following the invasion of Mali’s northern regions by militant Islamists, many of whom are opposed to secular music-making. His poignant track ‘Gonmi’ calls for peace across Mali and is a reminder of the despair felt by many at the concerning political divisions and connected social reverberations caused by religious tension in the Northern region. Forced to relocate further south, Anansy headed to the beating heart of Mali’s capital city and is now resident blues bad-boy in Bamako.

In Bamako Anansy met Philippe Sanmiguel who is now his percussionist and manager. Anansy soon called on a few more friends to add to the musical pot: esteemed ngoni player Djimé Sissoko laid down some riffs, Abdramane Touré took to the bass and Mahalmadane Traoré found time to slap and smack his calabash. 

Presently Anansy lives in the Faladié district of Bamako and consistently and is steadily working on more material. In the corners of his house, vast towering piles of old-school vinyl peer down on  visiting musicians providing a clue to Anansy’s inspirations: The Rolling Stones, Neil Young, Led Zeppelin, Eric Clapton, Pink Floyd and CSN&Y are all represented. His close appreciation of rock music is heard distinctly via the anthemic guitar riff of the track ‘Fati Ni Koye’. Equal stimulation for his songs, text and rhythm is drawn from traditional Fulani and Songhai music. ‘Sekou Amadou’ pays tribute to the leader and founder of the Fulani Empire of Macina. ‘Horey’ is a takamba song from Gao and Timbuktu. The rhythm is historically linked to the Songhai nobility but electrified and re-energised in Anansy’s version. 

In the often polarised world music community, young African musicians are often either too hastily dismissed as local pop stars who have no international appeal or as authentic saviours in a misplaced quest for authenticity. Now, proudly ramping up the volume and fearlessly taking Malian music into rock overdrive is Anansy Cissé – a pioneer of new music that champions ancient tradition and uncharted modernity at once. 

Anansy Cissé: Fati Ka (taken from the album Mali Overdrive)

ISRC: GBMYF1400057
CAT NO: LEX103
Release Date: 
Label: Lex Records

Toronto jazz/hip-hop band BADBADNOTGOOD and Staten Island rap champ Ghostface Killah and have completed a full collaborative album together.  Entitled Sour Soul, the record will be released [add release date] on Lex Records.  Hear lead track, Gunshowers featuring Elzhi (formerly of Slum Village), here: [add SC and/or YT link]  
 
Sour Soul is inspired by 1960s and 70s music - taking inspiration from the recording techniques and production of that era, and eschewing sampling in favour of live instrumentation, BBNG with producer Frank Dukes have created a dramatic, cinematic musical staging for Ghostface’s vivid storytelling.

Sour Soul

Gunshowers (feat. Elzhi)



"Promises" is from Travis Bretzer's new album 'Waxing Romantic', available in LP / CD / Digital formats on February 24(US) and February 23(UK-EU).

www.mexicansummer.com


Travis Bretzer - Promises

“Malimba and song.
Here, the malimba is modified by a metal chain that jingles on all the tongues, generating
additional harmonics. This music accompanies a children’s game; one person hides an
object and the others have to find it: There’s nothing here, my friend / there’s nothing
there / keep looking till you find it / ah, you found it.”

ARTIST: VA
TITLE: Music of Tanzania
LABEL: Sublime Frequencies
FORMAT: 2LP
CAT #: SF 096LP
RELEASE: February 3, 2015

Music of Tanzania is a spectacular collection of field recordings gathered by Laurent Jeanneau between December 1999 and March 2000. This debut volume of Sublime Frequencies' exploration of indigenous Tanzanian music compiles sacred and profane songs and dances of the Hadza, Datoga, and Makonde people. Highlights include stoned ecstatic dancing in a Hadza encampment; a drunken celebration of preteen sexual initiation from a Makonde fishing village; baboon imitations performed on the malimba; electrified Islamic trance percussion; and useful tips for amateur hyrax hunters. Many of these poignant, exhilarating performances come from dwindling minority groups whose way of life stretches back to the Stone Age, and who are capable of creating breathtaking music with anything from agricultural tools to tin cans and plastic tubes. Laurent Jeanneau is absolutely fearless in his pursuit of rare, exceptional and vibrant performances. He views his ongoing documentation of ethnic minority music as an act of resistance to globalization, state-sanctioned "peasant traditions," and cultural homogeneity, and accordingly spends months living under harsh and dangerous conditions in order to capture impromptu performances in their everyday cultural context. Using this method, Jeanneau has self-produced almost 100 albums preserving threatened musical traditions from some of the most remote regions on earth, in addition to compiling multiple volumes for Sublime Frequencies. This limited edition double LP tip-on gatefold package includes striking photographs by James Stephenson and detailed liner notes by Jeanneau.

Track listing:

Side A: Hadza (Northern Tanzania)
A1. Sitoti Plaus Malimba I
A2. Sitoti Plays Malimba II
A3. Malimba and Song
A4. Sitoti Plays Malimba and Sings
A5. Zeze and Song

Side B: Hadza, Datoga (Northern Tanzania)
B1. Hadza Epeme I
B2. Hadza Epeme II
B3. Hadza Berimbau
B4. Datoga Troubadour
B5. Datoga Dance

Side C: Makonde (Southern Tanzania)
C1. Makonde Ceremony

Side D: Mtwara (Southern Tanzania)
D1. Muslim Ceremony I
D2. Muslim Ceremony II

- Sublime Frequencies presents Music of Tanzania, the latest volume of field recordings from Laurent Jeanneau's extensive archive.
- Stunning recordings made on location between December 1999 and March 2000, compiling sacred and profane songs and dances of the Hadza, Datoga, and Makonde people.
- Highlights include stoned ecstatic dancing in a Hadza encampment; a drunken celebration of preteen sexual initiation from a Makonde fishing village; baboon imitations performed on the malimba; electrified Islamic trance percussion; and useful tips for amateur hyrax hunters.
- Limited edition double LP tip-on gatefold package.
- Includes striking photographs by James Stephenson and detailed liner notes by Jeanneau.


PREORDER

Malimba and Song (taken from the forthcoming 2LP Music of Tanzania on Sublime Frequencies)

ARTIST: BABA COMMANDANT AND THE MANDINGO BAND
TITLE: Juguya
LABEL: SUBLIME FREQUENCIES
FORMAT: LP
CAT#: SF 097LP
RELEASE: February 17, 2015

Baba Commandant and the Mandingo Band are a contemporary group from Burkina Faso. Coming from Bobo-Dioulasso, the group is steeped in the Mandingue musical traditions of their ancestral legacy. The enigmatic lead singer Baba Commandant (Mamadou Sanou) is an original and eccentric character who is well respected in the Burkinabé musical community. A sort of punk Faso Dan Fani activist for traditional Mandingo music, Baba continues to redefine the boundaries between traditional and modern. In 1981, he joined the Koule Dafourou troupe as a dancer. Later, he embarked on his current musical direction as a singer, first in Dounia and then in the Afromandingo Band. His current band -- when he's not playing with the now-famous Burkinabé musician Victor Démé -- is the Mandingo Band. At present, he is a practitioner of the Afrobeat style, drawing inspiration from the golden era of Nigerian music. Fela Kuti/Africa 70 and King Sunny Adé are big influences, as is the legendary Malian growler Moussa Doumbia. Baba Commandant plays the ngoni, the instrument of the Donso (the traditional hunters in this region of Burkina Faso and Mali). His audience comprises multiple generations and strata of Burkinabé society; he accordingly adapts his repertoire to his surroundings, which range from cabaret Sundays in Bobo-Dioulasso to the sound systems of Ouagadougou. Baba Commandant and the Mandingo Band are a formidable force steeped in Ouagadougou's DIY underground musical culture. Juguya is their sound. Limited edition LP housed in a Stoughton tip-on sleeve.

A1. Tilé
A2. Djanfa
A3. Waso
A4. Folon
B1. Ntijiguimorola
B2. I Kanafo
B3. Siguisso
B4. Juguya

- Sublime Frequencies presents its first release from Burkina Faso: a set of bracing Mandingo rock from contemporary Burkinabé group Baba Commandant and the Mandingo Band.
- Enigmatic lead singer Baba Commandant (Mamadou Sanou) draws inspiration from Fela Kuti/Africa 70, King Sunny Adé, and Moussa Doumbia to craft a modern DIY Afrobeat sound with the ngoni, the traditional instrument of Burkinabé and Malian hunters.
- Juguya's release precedes a European tour planned for the spring of 2015.
- Limited edition LP housed in a Stoughton tip-on sleeve.


BABA COMMANDANT AND THE MANDINGO BAND: Juguya (taken from the Juguya LP (Sublime Frequencies))

A Place To Bury Strangers - “We’ve Come So Far” from ‘Transfixiation’ out February 17th, 2015 on Dead Oceans

On Tour Soon: http://aptbs.tumblr.com/2015ustourdates

SCD / direct: smarturl.it/placetoburystrangers?iQid=wcsf.sc
Amazon: smarturl.it/aptbs_amazon?iQid=wcsf.sc
iTunes: smarturl.it/aptbs_itunes?iQid=wcsf.sc
Indies: smarturl.it/aptbs_indies?iQid=wcsf.sc

A Place To Bury Strangers - “We’ve Come So Far” from ‘Transfixiation’ out February 17th, 2015 on Dead Oceans

A Place To Bury Strangers - "We've Come So Far"

Oren Ambarchi 
'Live Knots' (PAN 53)
2xLP/CD/DL

Live Knots, Oren Ambarchi’s first release for PAN, presents two live realizations of ‘Knots’, the epic centrepiece of his Audience of One (Touch, 2012) release. Built on the interplay between Ambarchi’s swirling, guitar harmonics and the metronomic pulse and shifting accents of Joe Talia’s DeJohnette-esque drumming, the piece merges the organic push and pull of free improvisation with an overarching compositional framework.

‘Tokyo Knots’ presents the complete recording of a duo performance of the piece by Ambarchi and Talia recorded at Tokyo’s legendary SuperDeluxe in March 2013. The performance builds gently on the foundation of Talia’s insistent ride cymbal and the shifting tonal bed of Ambarchi’s rich overtone-drenched guitar, eventually going into a free rock free fall of buzzsaw harmonics and crashing drums. From within the maelstrom, Talia picks up a pulsing motorik rhythm that leads the piece back to where it began, with the addition of the shuddering, elastic tones of a hand-played spring reverb unit.

‘Krakow Knots’, recorded live at Unsound Festival in Krakow in 2013, works with the same basic structure but stretches it out to nearly twice the length and adds strings played by the Sinfonietta Cracovia, led by Eyvind Kang on viola. The strings expand the piece’s textural range with lush chordal blocks, uneasy dissonances and occasional Ligeti-esque swarms of micro-activity, the swelling string tones intensifying the ecstatic nature of the piece as it moves towards its mid-point crescendo in which Ambarchi unleashes a particularly malicious continuum of stuttering harmonic fuzz. The strings then enter with a series of swelling chords, announcing the piece’s final movement, and reaffirming the uniqueness of the tonal and compositional language that Ambarchi has patiently developed over the last two decades, in which the influence of post-minimal composers such as Alvin Curran, Gavin Bryars and David Behrman can be felt alongside the inspiration of raw free jazz, harsh noise and academic psychoacoustics. The final moments of the performance pit Talia and Crys Cole’s amplified objects and spring reverb textures against a field of gently gliding string glissandi before the audience erupts in much-deserved applause.

– Francis Plagne

http://p-a-n.org/

Oren Ambarchi 'Live Knots' Unsound Krakow excerpt (PAN 53)

Pre-order Rationale’s debut album: https://goo.gl/TjQKvh
See Rationale on tour Oct ’17: https://goo.gl/9B4KyR

SPOTIFY: http://spoti.fi/1LM74rE
APPLE MUSIC: http://apple.co/1JsLACI

Out now on Best Laid Plans

Fast Lane

Buy Vinyl

Soon available...Stay Tuned & Connected !!
a tribute to Quantum Leap (the tv serie from 80's)
and also one of my favorite passion in physic,The Quantum Mechanics, also known as Quantum Physics or Quantum Theory
http://en.wikipedia.org/wiki/Quantum_mechanics

Download Wav.

SuBuRbASs - The Quantum Loop [PEUR BLEUE 14_2016]

Safohene Djeni  — Mahu Wo Asie

iTunes

The Lijadu Sisters - "Bayi L'ense"

The Lijadu Sisters - "Reincarnation"

The Lijadu Sisters - "Orere-Elejigbo"

space out session in barcelona circa 2003, 1st of 5, e-mu xl-7, yamaha rs7000

Shutup01

originally designed as seperate loops for a funplayer featured on marie la rouge's keskeshui.conne website, here's a couple o happy melodies to give your day that piss take edge

Shutup02

back in the heady summer of 2003, when the vineyards were almost ablaze under the relentless mediterranean heatwave, and water features the world over became heaving pits of sunburnt humans, we decided to drop the beat down a little, here's a sort of dubstep/break hybrid, improvised off the cuff whilst most of yer modern 'dubstep' producers were still eating cereal in front of saturday morning cartoons!!

BABA COMMANDANT AND THE MANDINGO BAND: Juguya (taken from the Juguya LP (Sublime Frequencies))

Forced Exposure Publicity