ANTIBALAS et la magie du gouvernement 

 Cette année a déjà été l'une des années électorales américaines les plus étranges et les plus imprévisibles de mémoire d'homme. Le président Trump, infecté par le virus, a dû faire face à un procès pour mise en accusation.  Un virus mortel a balayé le pays, dévastant l'économie. Un siège à la Cour suprême s'est ouvert et est en passe d'être pourvu quelques jours avant l'élection. Un président qui refuse de promettre qu'il acceptera le résultat de l'élection plane sur tout cela. La traditionnelle surprise d'octobre allait devoir être énorme pour se faire remarquer au milieu de tout cela.
Pendant ce temps, l'Afrobeat et les messages de Fela n'ont jamais été aussi  prémonitoire de la situation chaotique à l'échelle internationale,,,
À la fin des années 1960, le musicien nigérian Fela Kuti a créé le genre musical connu sous le nom d'afrobeat. Ce genre n'est pas facile à définir, principalement parce que ses composantes comprennent un éventail de styles disparates. Le "beat", un rythme ouest-africain qui se manifeste par des lignes de batterie et de basse bien visibles, mais qui est superposé à des constructions complexes d'influences musicales qui comprennent une multitude de genres :  juju, funk, soul et R&B, rock des années 1970 influencé par le psychédélisme, jazz américain, styles folkloriques africains avec des motifs vocaux d'appel et de réponse, et highlife ghanéen, un style où des instruments occidentaux sont utilisés pour jouer de la musique traditionnelle.
Les groupes de Fela Kuti étaient gigantesques, ses concerts spectaculaires et tapageurs, et son style de vie controversé. Une partie importante de sa musique - en direct ou enregistrée - était sa politique. Kuti était un critique passionné des régimes en Afrique, en particulier dans son pays natal, le Nigeria, et ses paroles prenaient souvent position contre les gouvernements, la corruption, la coercition et les adversités résultant du colonialisme.
Kuti est mort en 1997, à l'âge de 58 ans, et sa vie mouvementée, marquée par des controverses telles que sa pratique très publique de la polygamie, les arrestations et l'incarcération, a été à la fois colorée et influente. Au Nigeria, ainsi que dans de nombreuses autres régions du monde, il est toujours vénéré comme une superstar et un héros, et au 21e siècle, de nombreux musiciens ont tenté de tenir sa baguette afrobeat et de maintenir sa marque de musique en vie.
Le plus accompli de cet heritage est peut-être l'ensemble Antibalas, basé à Brooklyn, New York, un groupe qui a été formé un an après la mort de Kuti par Martín Perna, un pédagogue et musicien multi-instrumentiste mexicain-américain.  Mais, comme la musique de Kuti, la musique que fait Antibalas est aussi politique. Lorsqu'un groupe de musiciens très talentueux joue une musique parfaitement structurée, le produit final est généralement brillant. Le premier album d'Antibalas les a rapidement fait connaître comme les meilleurs défenseurs de l'afrobeat au 21e siècle.

Depuis lors, Antibalas a sorti huit autres albums studio, le dernier en date étant  Fu Chronicles de cette année et un nouveau maxi qui est numero de notre playlist.  

Le parallèle entre les thèmes d'Antibalas et les chansons de Fela Kuti est frappant. Les chansons de Kuti condamnent les régimes africains corrompus et exploiteurs et le gâchis laissé par le colonialisme sur une grande partie du continent ;  Antibalas protestent contre des injustices plus contemporaines, souvent dans le contexte américain.  de la musique entraînante et dansante avec un haut quotient de funk, en lui insufflant en même temps des paroles qui sont résolument politiques. 

Les liens d'Antibalas avec l'héritage de Kuti sont restés forts. Et, comme le démontre leur discographie, même lorsque le groupe joue ses propres compositions, l'influence de l'héritage de Kuti reste indéniable dans sa musique ! 

DJ Ness Afro pour Afrodiziak

Afrodiziak Vol 9

Government Magic

The word is out, the first move has been made, Piri Piri inprint is a fact. Debuting with the first release Piri Piri 001: A collection of four dance floor heaters in different African styles. 

Free Download

Sam Mapangala & Orchestre Virguna - Malako (Umoja Edit)

We are happy to announce the first in an occasional series of fully licensed 12" releases on Autonomous Africa exploring the influence of music from Africa across the globe.

The first release comes from Colombia's Wganda Kenya with three tracks recorded in the mid 70s. The Caribbean coast of Colombia has a long relationship with Africa stretching back hundreds of years. Strong trading links and migration from West Africa to Colombia led to a distinct African influence on the music in cities such as Cartagena and the local music (cumbia and champeta) absorbed these influences. This was  particularly notable in the 70s as records by Fela Kuti amongst others arrived in Colombia. One of the leading practitioners of this Afro Sound were the mighty Wganda Kenya who were huge there in the 70s and 80s and whose music is still highly regarded to this day. 

While their music has appeared on compilations, there hasn't been a big fat 12" vinyl release since Island Records offshoot, Mango put "Shakalode" out as a 12" way back in 1989.

"Shakalode" on the A side is a powerful reworking of the Fela Kuti classic "Shakara" which was much covered in Colombia in the mid 1970s. It's a transcendental Afro Colombian funk bomb.

On the other side are two other Wganda Kenya gems; the call and response percussive and organ grooving "Pim Pom" and the more traditional Colombian cumbia singalong anthem "La Botellita".

Originally this was going to be a 2 x 12" featuring some other Wganda Kenya magic but sadly the masters to many of their tracks have been lost. There are plans to put out a second 12" of reworkings of these tracks aimed at djs who won't play records unless they can mix them, but of course, these 40 year old tracks will still rock any open minded dancefloor just as they are.

All proceeds will once again go to the Mtandika mission in Tanzania - www.actioninafrica.org/about-mtandika.php

Release date April 2015. Distributed by Above Board.

Autonomous Africa is a collaborative project run by JD Twitch, Midland and Auntie Flo.

Autonomous Africa Vintage  01 - Wganda Kenya - Afro Colombia 12" EP (sampler)

What´s a great way to spend a Saturday afternoon? One option is to drive out of town to the beach and hang out with your friends. Crank up the volume of your car stereo and enjoy your own music selection while sipping beers and puffing joints.

Now imagine this scenario in a sub-saharan African metropolis of today. Add a bit of a traffic jam before you reach the beach, think of car stereos that blast out selections of Afro House, Kuduro, Kizomba and African Rap. And soon you are close to the vibe that Daniel Haaksman´s new single "Sabado" is all about. It´s a lazy, laid back uptempo track that puts the listener to an imaginary car park party on an African city beach front. It features the mighty guitar licks of Colombia´s Bulldozer, but has an allover South-African feel to it. Yes, Paul Simon´s "Graceland" is an influence here, but also all the hot new house track that comes out of South Africa and the Portuguese speaking African countries such as Angola and Moçambique. Thus the tune is called "Sabado", Portuguese for "Saturday". 

 DJ support by Switch, Crookers, Uproot Andy, Poirier, Toy Selectah, Round Table Knights, So Shifty, DJ Sabo, Shir Khan and many more!

Buy it also from here:


http://www.amazon.com/Sabado-Daniel-Haaksman/dp/B00TH4FB90
http://www.amazon.de/Sabado-Daniel-Haaksman/dp/B00TGRD0M8
https://play.google.com/store/music/album/Daniel_Haaksman_Sabado?id=Baqereucgzb2h6tvmmui77sitka
https://play.spotify.com/album/45GP7wXXoF4Ki9vHUT02fr
http://boomkat.com/downloads/1212258-daniel-haaksman-sabado
http://www.junodownload.com/products/daniel-haaksman-bulldozer-sabado/2706176-02/
https://bleep.com/release/57340-daniel-haaksman-sabado 

Watch the video here:
http://youtu.be/EOadYwu3Lio

Sabado ft. Bulldozer

Sabado feat. Los Bulldozer

V/A - SOUL SOK SEGA: Sega Sounds from Mauritius 1973 - 1979
Compiled By La Basse Tropicale. Out 5th February 2016 on Strut.
Order: http://lnk.to/SoulSokSegaSo

Frankie Francis of deep-digging tropical DJ duo Sofrito offers up a custom dancefloor-ready edit of a highlight from our latest collection, documenting the heyday of sega music in Mauritius between 1973 and 1979. The album is compiled by La Reunion-based DJs La Basse Tropicale with extensive sleeve notes by Mauritian cultural authority, Percy Yip Tong.

Claudio Veeraragoo is one of the biggest stars of séga music of the 60s and 70s. His stroke of genius was to marry séga rhythms with qawwali and Bollywood styles. He scored his debut hit, ‘Nou Manz Nou Larak’, in 1966, playing the accordion, and broke through as a major star with his cassette release, ‘Bhaï Aboo’ which exploded across the island upon its release. His songs were subsequently covered by French star Maxime Leforestier and Bollywood singer Shaan. Claudio has since brought séga to the four corners of the globe and, of all of the ‘70s artists, has remained one of Mauritius’ biggest live draws. Today, his son Michael, a drummer and producer, manages his father’s activities via their own production house, Kabana Music.

For more info:
http://www.strut-records.com
http://www.sofrito.co.uk/
http://www.facebook.com/StrutRecords


Soul Sok Sega

FREE DOWNLOAD

Claudio - Bonom Chinois (Frankie Francis edit) [FREE DOWNLOAD]

"This is our house side, deep and a bit darker with a Ghanian Highlife inspired percussion groove and sampled vocals from the Baro tribe Guinea"

It’s been a while since we've hit you with some music from the soul! 
We are proud to present you INI’s annual compilation: De Gulden Snede Vol.4 

With character and diversity as a core element of 'De Gulden Snede' series, we have assembled 10 artists crisscrossing multiple musical spectrums all connected through the sense of soul which is embodied in these tracks. 

De Gulden Snede Vol. 4 is INI Movement’s 24th release, available as a free download between March 1 and March 14th 2016. That’s our way of saying thanks for your support all these years!

BUY/SUPPORT

UMOJA - Everything Is Rhythm

Batsumi - Lishonile

Our remix of the The Funkees - Akula Owu Onyeara
this was released as  Part of the 'Radio Mawimbi Volume 1' compilation along with edits from Nomad (Africaine 808), Umoja, Cervo, Aroop Roy, Around The World and more. 
Download trough: http://wearemawimbi.bandcamp.com/track/akula-owu-onyeara-the-busy-twist-edit

07 The Funkees • Akula Owu Onyeara (The Busy Twist Edit) MASTER

‘Leave, If not I will kill you’

In early 1978, Vincent Ahehehinnou left the Orchestre Poly-Rythmo de Cotonou without explanation. He had been one of their principal vocalist since 1968 and had helped transform them from a hard-charging nightclub band into a musical powerhouse and Africa-wide sensation. By the end of 1977, after an explosive performance at the pan-African arts and culture festival (Festac77) in Lagos, the band had reached the very pinnacle of their success.

For nearly forty years, the reasons behind Vincent’s sudden departure have remained a mystery. Until now.

In an interview included with Analog Africa’s new reissue of Best Woman – Vincent’s first post-Poly-Rythmo album, which has been out-of-print for close to four decades and nearly impossible to find outside West Africa – the great singer finally breaks his silence. He didn’t leave … he was pushed.

Poly-Rythmo were already popular in their native Benin but, in the aftermath of Festac ’77, the band were poised for break-out success throughout Africa. One of the people who stood to benefit most was the band’s manager Adissa Seidou, whose label Albarika Store had released most of the band’s recordings. However Adissa’s vision for Poly-Rythmo didn’t always line up with that of the musicians and, more often than not, it was Vincent who spoke up for the band.

The two men grew increasingly estranged until one day – at the funeral for Adissa’s father no less – Adissa gave Vincent an ultimatum of sorts. In Vincent’s own words: ‘I asked him if there is a way we could sort out our differences to which he replied that the only solution was for me to leave the band, adding, “if not I will kill you”’.

And so Vincent found himself forced out of the band he had helped build. He tried his hand at various business ventures, but soon realised that the pull of music was too strong. On a business trip to Nigeria, Vincent met with Ignace de Souza of Benin’s Black Santiago band, who agreed to arrange Vincent’s songs, assemble musicians, and book a session at the legendary Decca Studios in Lagos. 

With everything in place Vincent returned to Cotonou, gathered together all the money he had saved over the years and set out again for Lagos. But the simple bus journey to Nigeria turned into a nightmarish odyssey of military corruption … and  had it not been for the random kindness of an unknown woman on the bus, this album – along with Vincent’s subsequent solo career – might never have existed. Vincent tells the full story in the liner notes to this LP.

But Vincent did make it to Lagos and the sessions went ahead. The nine-piece band, handpicked by de Souza, learned the songs and set them to tape in the span of only a week … but the results are as timeless and essential as anything to emerge from West Africa in the late 1970s.

Vincent’s afrobeat credentials are in full evidence on opening track ‘Best Woman’ (English) whose driving beat, focussed horns and intricate vocal melody recall the raucous intensity of Poly-Rythmo. But the deep funk of the title track turns out to be only a warm-up for album-highlight ‘Maimouna Cherie’ (French), a moving expression of love and longing which kicks off with a hi-hat and wah-wah guitar workout but shifts gears mid-way into a more concentrated and contemplative groove. 

The funk and afrobeat gems on Best Woman are balanced by songs that draw upon Sato, one of the many Vodoun rhythms of Vincent’s native Benin. Side one concludes with ‘Vi Deka’ (Mina), an epic slow-burner propelled by some of the record’s most soulful vocals, while album closer ‘Wa Do Verite Ton Noumi’ (Fon) all but dares you not to lose yourself in its sublime hypnotic trance.

Ahehehinnou Vincent Vol.1

Get the Record

Best Woman - Vicent Ahehehinnou

Newen Plays Fela es un Ep con dos tracks de Fela Anikulapo Kuti interpretados por Newen Afrobeat e invitados como Seun Kuti, Cheick Tidiane Seck, entre otros.

Opposite People

Buy & listen full compilation for 1€ : http://bit.ly/2DPbvnu 
@https://soundcloud.com/djturboboomboom
--

Since its inception in 2013, Mawimbi founders have been expanding their knowledge of lesser known and rather undiscovered musical territories thanks to chance encounters with likeminded DJs/producers, who were kind enough to put them onto a good amount of under-the-radar tropical gems.

Launched in 2017 and named after Mawimbi's bi-monthly radio show on Rinse France, the "Radio Mawimbi" compilation series is dedicated to unearthing vintage tropical gems in the form of free download edits and remixes by some of the most seasoned diggers and promising rookies of the tropical-enthusiast community!

From deep, drum-heavy workouts to essential Guinea Bissau melancholy, through remixed Beninese afrofunk and vintage South African kwaito, this second installment features the editing and remixing works of Yeahman (Frente Bolivarista), LSD (Love Saves The Day), Déni Shain (Antagana Records), Umoja, Mawimbi, ATW (Around The World), Calisto, Turbo Boom-Boom (TBB) and Midnight Ravers.

Compiled by Mawimbi, 2017-2018
Artwork by Vianney Postic / Bertrand Cerruti
Mastered by Jammin Masters in Berlin

<a href="https://theartistunion.com/tracks/a6fb27" rel="nofollow">Download for free on The Artist Union</a>

Nairobi Matata Jazz - Tampa Tampa (TBB Edit)

Southern Hemisphere EP
Limited edition 140g vinyl in a white stamped discobag with coloured labels. 
ORDER HERE >>> https://budabeats.bandcamp.com/album/southern-hemisphere-ep

A&R, compiled by: Dj Gandharva & Von Yodi 
Artwork: Miklós Fekete 
Mastering: Anders Peterson (GS Mastering, Stockholm)

Label: Budabeats Records 
Cat. number: BUBE-038 
Release date: 29.07.2019 
Artwork by Miklós Fekete

The title says it all about the latest release on Budabeats Records: The Southern Hemisphere EP features 4 tracks inspired by the immensely rich and diverse musical tradition that South America and Africa offers. Beginning with a slick edit of Letta Mbulu’s now-classic tune ‘Nomalizo’, London based producer Petko Turned respectfully reconstructed the track, focusing on the elements that work best on the dancefloor. In ‘Pontos das Caboclas’, BéTé (a.k.a. Suhov) created a laid back yet driving atmosphere, using the main patterns and the beautiful vocals of the original song as written by Camila Costa. In his remix, Chillum Trio added his trademark sound to the Ebo Taylor classic ‘Odofo Nyi Akyiri Biara’, the result is a slow-burning, bass-heavy house number taking the original to a completely new level. Closing the EP is the Birdhouse collective’s original composition, ‘Berimbao’, a catchy contemporary cumbia tune that any combo in Bogota could be proud of. All titles have been licensed carefully, it makes us beyond proud to be able to say that the Southern Hemisphere EP has the full support of the original artists.

www.facebook.com/chillumtrio
www.facebook.com/budabeats

Ebo Taylor - Odofo Nyi Akyiri Biara (Chillum Trio Afrobass Flip)

With “A Muhive”, new-born Elis Records starts 2020 with a new collaboration and exploration off the beaten track. A third release signed by Mozambican singer Milton Gulli and French producer iZem mixing afrobeat and Portuguese hip-hop.

Producer, singer and DJ, Milton Gulli has always given great importance to cultural and sound syncretisms. From Mozambican descent, he grew up between Portugal, Saudi Arabia and Madeira island, he sought to bridge the gap separating the two musical worlds that have influenced him growing up. This new release is a perfect example of that: with lyrics rapped in Portuguese, and an instrumental that samples the London Afrobeat Orchestra, the resulting sound is a futuristic hybrid between Nigerian afrobeat and lusophone hip-hop.

In ‘A Muhive’ (‘The Thief’), Milton accuses the injustice that corruption causes to every segment of the population, from the madala (a middle-aged woman) to the criança (the child), and, by speaking in second person, he shows that the scourge not only concerns the authorities but the society as a whole. The energetic rhythm of the song reinforces the idea that it is nonetheless not an option to give up just yet, and that if the efforts we put in cheating were put at use in a more honest attitude, everyone would benefit from it.

Out on all digital platforms January 27th 2020.

iZem & Milton Gulli - A Muhive (Elis Records - 2020)

Out now on vinyl, CD or digital formats.
Buy / Stream the album: https://orcd.co/tabansistudioband

Tabansi Studio Band – Wakar Alhazai Kano & Mus’En Sofua: four incredible slices of almost- undiscovered late-70s/early 80s Afrobeat magic, but not Fela’s Yoruba/Pidgin Afrobeat.

This is Igbo and Hausa Afrobeat- two very different and rarely heard styles. For the first time anywhere, BBE is proud to reissue back to back two LPs that are so elusive that many Afro heads doubted their very existence until now.

The beats are laid down by the seven legendary Martins Brothers – of ‘Money’ fame- whilst vocals are courtesy of a multi-lingual Igbo legend, Prof. Goddy Ezike, one of the most extraordinary voices out of Africa, up there with Youssou N’Dour and Salif Keita, whose half- century career has, like fine wine, simply improved his voice.

Wakar Alhazai Kano and Lokoci Azumi Ta Wuca (tracks 1 and 2) draw on Northern Hausa music, with its Islamic inflections and skipping 12/8 time signatures more typical of the string and wind-based instrumentation of Kano and the broader sub-Saharan musical palette.

Kama Sofos and Aka Ji Ego Ga Anu Nwam (tracks 3 and 4) are sung in Igbo, with all the percussive wonders that Igbo culture has to offer, filtered through a jazzy Afrobeat improvisational spectrum.
Never before. Never again. New Afrobeats, in old bottles.

Wakar Alhazai Kano / Mus'en Sofoa

Tabansi Studio Band – Kama Sofoa

After a productive summer, spurred on by a London lockdown, Village Cuts land with a sprightly and sparkling percussive excursion into forward thinking outernational sounds. Elements of Latin and Caribbean music bubble away with soaring brass, psychedelic FX and bags of very welcome optimism!

Trumpet - Jonathan Enser
Height Mastering

Guanábana

Daptone Records' Rhythm Showcase

A.W.O.L.

Producer & performer // Released on Soundway, Enchufada & Heavenly Sweetness // Elza Soares, Mayra Andrade, Guts and Sara Tavares collaborator

jeremie @ izem.me for live requests

Notre collectif est une entreprise solidaire et sociale fondée par une équipe de 12 passionnés de musique, investis dans la mobilisation et l’action éco-citoyenne pour la préservation de l’environnement.

Dans cette dynamique, nous avons conçu AfRoDiZiaK : un concept d’événements artistiques et culturels innovants et transversaux liant la scène contemporaine musicale africaine autour de la thématique du respect de l’environnement et des valeurs du développement durable.

https://afrodiziak.org

https://www.facebook.com/Afrodiziak.festival/

iZem & Milton Gulli - A Muhive (Elis Records - 2020)

iZem

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