this whole project is so slept on its ridiculous. need better advertisement or sumn

NO HOOK LIL YACHTY X QUAVO (PROD. FKi)

From Cosmic Cabo Verde to synth-reggae at the Horn of Africa.

(Special Mix for Vinyl Factory)
Frankfurt-based label Analog Africa is easily one of the most noteworthy labels rescuing and reissuing Afro sounds.

In 2015, the label gave us an exceptional anthology of Afro-Cuban pioneer Amara Touré, not to mention a compilation of tracks plucked straight from the dance floors of ’70s Senegal. Last year, they blew our human minds with some of the most extraterrestrial synth music we’ve ever heard on Space Echo.

This year, the label turns ten. To celebrate label boss Samy Ben Redjeb and his DJ partner Pedo Knopp have recorded a special mix which we’re delighted to share here.

“What is special about this mix is the fact that all the songs, except one, will be released on Analog Africa in 2017,” says Samy. “They have all been handpicked by myself and mixed in real time, without loops or any other kind of gimmicks by Pedo.”

It’s a synth-ridden journey from reggae in the Horn of African to Cosmic sounds of Cabo Verde, wavey soca-boogie monsters and other proto-electronic Afro jams.

Get The Music

Analog Africa Selection Vol.6 (2017) - 10 Years Anniversary Mix - Download and Share it !!!

Who knew that some of the most exciting Afro-funk records of all time were actually made in the small West African country of Benin? Once Analog Africa released the first African Scream Contest in 2008, the proof was there for all to hear; gut-busting yelps, lethally well-drilled horn sections and irresistibly insistent rhythms added up to a record that took you into its own space with the same electrifying sureness as any favourite blues or soul or funk or punk sampler you might care to mention.

Ten years on, intrepid crate-digger Samy Ben Rejeb unveils a new treasure-trove of Vodoun-inspired Afrobeat heavy funk crossover greatness. Right from the laceratingly raw guitar fanfare which kicks off Les Sympathics’ pile-driving opener, it’s clear that African Scream Contest II is going to be every bit as joyous a voyage of discovery as its predecessor. And just as you’re trying to get off the canvas after this one-punch knock out, an irresistible Afro-ska romp with a more than subliminal echo of the Batman theme puts you right back there. Ignace De Souza and the Melody Aces’ “Asaw Fofor" would’ve been a killer instrumental but once you’ve factored in the improbably-rich-to-the-point-of-being-Nat-King-Cole-influenced lead vocal, it’s a total revelation. 

The screaming does not stop there, in fact it’s only just beginning. But the strange thing about African Scream Contest II’s celebration of unfettered Beninese creativity is that it would not have been possible without the assistance of a musician who had been trained by the Russian secret services to "find and destroy" enemies of the country’s (then) Marxist-Leninist president Mathieu Kerekou.
Already familiar to fans of the first African Scream Contest as a mainstay of ruthlessly disciplined police band Les Volcans de la Capitale, Lokonon Andre vanished in a cloud of dust at Ben Redjeb’s behest with a list of names and some petrol money, only to return a few days later having miraculously tracked down every single name he’d been given. The source of this Afrobeat bounty-hunter’s impressive people-finding skills - his training with the KGB - highlights the tension between encroaching authoritarian politics and fearless expressions of personal creative freedom which is the back-story of so much great African music of the 60s and 70s. Happily, in this instance, Lokonon was tracking the artists down to offer them licensing deals, rather than to arrest them.
Where some purveyors of vintage African sounds seem to be strip-mining the continent’s musical heritage with no less rapacious intent than the mining companies and colonial authorities who previously extracted its mineral wealth, Samy Ben Redjeb’s determination to track this amazing music to its human sources pays huge karmic dividends. Like every other Analog Africa release, African Scream Contest II is illuminated by meticulously researched text and effortlessly fashion-forward photography supplied by the artists themselves. Looming large - alongside Lokonon Andre - in the cast of biopic-worthy characters to emerge from this seductive tropical miasma is visionary space-nerd Bernard Dohounso, who laid the foundations for Benin’s vinyl predominance by importing and assembling the record players that would play the products of his Bond villain-acronymed pressing plant SATEL, a company that would revolutionise the music industry in the whole region.

The scene documented here couldn’t have been born anywhere else but in Benin, and the prime reason for that was Vodoun. It’s one of the world’s most complex religions, involving the worship of some 250 divinities, where each divinity has its own specific set of rhythms, and the bands introduced on the African Scream Contest series and other compilations from the region were no less diverse than that army of different Gods.

African Scream Contest 2

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Glenon Ho Akue - Les Volcans de la Capitale

https://complex.com/music/2019/09/fki-1st-tokyo-freestyle

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