I’m sold. This is going on several many playlists ❤️‍🔥

Oups!

Released on November 12th, 2013.

Digital: https://itunes.apple.com/us/album/saada-bonaire/id704702097?ls=1
Physical: https://www.omnianmusicgroup.com/products/saada-bonaire

Saâda Bonaire // You Could Be More As You Are

Saâda Bonaire - More Women

Kalita are proud to unveil the first ever compilation focussing on the phenomenon of ‘Burger Highlife’, a crossover of West African melodies with synthesizers, disco and boogie that took over Ghanaian airwaves during the 1980’s and beyond. Highlighting key recordings from genre-defining artists including Thomas Frempong and George Darko, as well as more obscure sought-after tracks by elusive bands such as Aban and Uncle Joe’s Afri-Beat, Kalita come to the rescue of audiophiles, DJs and music-lovers alike with ‘Borga Revolution!’ Spread over a double-LP housed in a gatefold sleeve. Accompanied by a 16-page booklet featuring extensive interview-based liner notes on each artist and never-before-seen archival photos.

The 1970s had witnessed an increased Western airtime and physical presence in Ghana introducing funk, soul and disco sounds to the region. By the turn of the decade the country was also enduring economic turmoil, with rising poverty, military dictatorships and long periods of enforced curfews (amongst other factors) making it impossible for artists to survive.

As a result, many Ghanaian artists with a broader outlook began to pursue their careers in the West, moving to both Europe and America in search of stardom. It was here that Ghanaian musicians developed a digitised version of highlife music which fully embraced Western contemporary music styles and newly introduced technology such as the DX7 synthesizer and various drum machines.

It is in this context in which the evolution of Ghanaian dance music and the emergence of ‘burger highlife’ was born. With ‘Borga Revolution!’ Kalita endeavour to tell this story, with prominent and lesser-known musicians’ accounts and documentary evidence providing a comprehensive understanding of this shift to the digital age.

Borga Revolution! Ghanaian Dance Music In The Digital Age, 1983 - 1992 (Volume 1)

Mada Meho So

Buy Here!

A2. Thomas Frempong - Mada Meho So

Macho - Jaako Eino Kalevi

From the self-titled album 'Pat Thomas & Kwashibu Area Band,' out June 15th on Strut. 

iTunes: http://geni.us/PatThomasKwashibu
Strut Store: http://bit.ly/PatThomasStrut

From the album liner notes:
‘Gyae Su’ is a rearrangement of an older song, with a guitar concept typical of the classic Kwa or Kumasi bands and an overall tropical style. Ebo Taylor’s horn arrangements evoke the classic Afro-funk vibe that he originally made famous. The lyrics are as catchy as they are plaintive, with Thomas comforting the listener, “Don’t cry! Life has its ups and downs. Just take it easy and don’t shed any tears.”

More from Strut:
https://www.facebook.com/StrutRecords
http://www.strut-records.com

Pat Thomas & Kwashibu Area Band

Gyae Su

Pat Thomas & Kwashibu Area Band - Gyae Su

New update of Ebo Taylor & Pat Thomas classic! Out on Strut July 10th (digital) and September 4th (12").

http://www.strut-records.com
http://www.facebook.com/StrutRecords

Ene Nyame (Henrik Schwarz Blend)

Ebo Taylor / Pat Thomas / Henrik Schwarz - Ene Nyame 'A' Mensuro (Henrik Schwarz Blend)

https://analogafrica.bandcamp.com/album/legend-of-funana-the-forbidden-music-of-the-cape-verde-islands

It is 1997. A quiet, unassuming man of 59 years old named Victor Tavares - better know as Bitori - walks into a recording studio for the first time. The result is a musical masterpiece - a recording which many consider to be the best Funaná album ever made.

Bitori´s musical adventure had begun long before this point. It was 1954 when he embarked on a journey across the seas to the island of Sao Tomé & Principe. The young man´s hope was to return to Cabo Verde with an accordion. 

Following two years of hard labour Bitori had succeeded in saving enough money to acquire what was to become his most valued possession, his cherished instrument. The two month journey back to Santiago, his island of birth, proved time enough to master it.

Self taught, Bitori developed his own style, an infectious blaze, that quickly caught the attention of the older generation. Before long Bitori was being asked to share his musical talents, igniting the local festivities around Praia with his music.

But not everybody welcomed the rural accordion-based sound. Perceived as a symbol of the struggle for Cape Verdean independence and frowned upon as music of uneducated peasants, Funaná was prohibited by the Portuguese colonial rulers. Performing it in public or in urban centres had serious consequences - often jail time and torture awaited musicians that were “caught in the act”. In light of such persecution the genre of Funaná began to slowly disappear.

In 1975 Cabo Verde achieved independence from Portuguese colonial rule. Along with Cabo Verde’s independence came a lifting of the ban placed on Funaná. The musical repercussions in Cabo Verde were plenty - many upcoming artists embraced Funaná, translating and adapting its musical form in new ways. It was not to be until the mid-1990’s, however, that Funaná in its traditional form was actually recorded.

It was a young singer from Tarafal, Chando Graciosa, who was to play a key role in this event. Upon hearing Bitori, Graciosa immediately felt drawn to Bitori's unique playing style - a raw and passionate sound accompanied by honest lyrics that reflected the harsh reality of the Cabo Verdean working class. He eagerly approached Bitori suggesting they join forces and travel overseas with the objective of taking Funaná beyond its rural roots.

The two of them, with others in tow, achieved their goal and travelled to Europe, introducing a receptive European audience to the vibrant energy of Funaná. Eventually Bitori returned to his beloved Cabo Verde. Graciosa opted to settle in Rotterdam in order to pursue his career - he vowed, however, to bring Bitori across to Holland at a later date to record an album.

In 1997 the time was ripe to immortalise the sound Bitori had shaped over a time span of four decades. Built around a formidable rhythm section, formed of drummer Grace Evora and bass player Danilo Tavares, "Bitori Nha Bibinha" was recorded. The recording catapulted Chando Graciosa to stardom, making him Cabo Verde´s No.1 interpreter of Funaná. The success in Cabo Verde was phenomenal and Funaná rapidly gained the recognition it deserved, especially in urban dance clubs. Bitori´s songs quickly became standards - classics known and loved throughout the country. The musical success, however, was solely limited to the Cabo Verdean islands - until now!

Analog Africa is proud to contribute to the worldwide promotion of Funaná - the once forbidden sound of the Cabo Verde archipelago - by releasing a worldwide re-issue of Bitori and Chando Graciosa´s legendary recording. 

The release will herald Bitori´s first European Tour taking place during the summer of 2016. Watch this space! And listen!

Legend of Funaná

Bitori - Bitori Nha Bibinha (Leave a comment for Victor Tavares aka "Bitori"....we will forward)

Vocals: Tigerlight

Production: Payfone

Released on vinyl.

Video:
https://www.youtube.com/watch?v=lR6gsJsryls

BUY: 
https://golfchannelrecordings.bandcamp.com/album/paradise-mice-life-subconscient-lamentation

Payfone ft. Tigerlight - Subconscient Lamentation

Support: http://radi.al/Hream
Follow: https://www.facebook.com/doughreamblunt
More info: https://www.doughreamblunt.com

Doug Hream Blunt learnt to play music at the age of 35, by taking an adult class in the late 1980s. The class was organized by a high school music teacher and his wife, and held in their small garage in the Golden Gate Park neighborhood of San Francisco. The other students of the class became Doug’s band members, while his teacher joined on vibes, and his wife on bass. To promote his music, Doug would play acoustic, solo shows for patients and elderly people at a hospital where he worked as a nurse’s aid. On a few occasions, he also brought the other students together to play on the City Visions Public Access television show.

My Name Is Doug Hream Blunt: Featuring the Hit Gentle Persuasion

Doug Hream Blunt - Gentle Persuasion

From the album Blast Off Through the Wicker available July 14, 2017 on Western Vinyl

Bandcamp https://artfeynman.bandcamp.com/album/blast-off-through-the-wicker
iTunes http://hyperurl.co/a49jo3
WV http://westernvinyl.com/shop/wv162

ART FEYNMAN
Instagram https://www.instagram.com/artfeynman/
Facebook https://www.facebook.com/artfeynman/

Blast Off Through the Wicker documents Art Feynman looking for life in the lifeless, questioning what it means to be living.  There is a calm, disciplined pocket to be felt in everything Feynman does; krautrock slink, staccato bounce, and pentatonic bursts of Nigerian Highlife fuzz pour on the temporal canvas with unquestionable ease, never falling in the wrong place. Even more admirable is, that his “canvas” is a four-track tape recorder, and that Blast Off features no loops or drum machines despite its aesthetically faithful motorik and afrobeat underpinnings.  Nowhere is this fact more surprising than on album standout “Slow Down” which pulses along infectiously with a crunchy backbeat, and deftly arpeggiating bass lines that are so locked-in that it would be hard to fault an unknowing ear for assuming the whole thing is tediously programmed.

There are gentler sides to Blast Off that conjure the spacey tenderness of Arthur Russell inventively and respectfully, without adopting their muse’s palette wholesale. In this regard Blast Off is an endearing collection of songs that capture the ear with warm-yet-clear cassette aesthetics and spot-on musicianship, both of which form an angle that points lovingly to Feynman’s deep and varied influences. Make no mistake-- this one truly is alive.

Art Feynman - "Can't Stand It"

Buy / stream: 
https://lnk.to/coveredingloria

Pop-not-slop:
https://open.spotify.com/user/deek-recordings/playlist/7f4uYQCSG8rFCRQPmiIL3z

Thool w/ Marieke - Je Sors (Stepping Out)

This is the second volume of the Diavol Edits series. 
This time we are proud to present four italian gems nicely edited by DJ and producer Nassau. 
The tracks go from shameless disco floorfillers (Patrizia Pellegrino, Umberto Tozzi) to dreamy and balearic mid tempo songs (Anna Oxa, Vasco Rossi).

Released January 10, 2012. 
Edits by: Nassau - soundcloud.com/nassau
Artwork by: Martin Di Paola - www.martindipaola.com.ar 
Available on Diavol Bandcamp: https://diavol.bandcamp.com

Anna Oxa - Controllo Totale (Nassau Torre di Controllo Edit)

Order Vinyl & Digital:
https://antinoterecordings.bandcamp.com/album/miniatures-de-auto-rhythm

August 2018: It’s already been three years since Domenique Dumont made its entrance in the music world with a debut EP named Comme Ca. Despite a seemingly very quiet musical activity (the opening song to Antinote’s compilation Five Years Of Loving Notes was the only song released by the band in 3 years) a few things have changed in-between these two summers: Domenique Dumont is no more the mysterious lone French producer we introduced last time but a Latvian duo, Arturs Liepins and Anete Stuce, which has been collaborating with “an enigmatic French artist whose existence cannot be confirmed nor denied” (sorry, but it sounds like there’s still some mystery in the air, and, again, we’re just as clueless as you might be), the duo have been touring live and, most importantly, they kept on broadening their musical palette experimenting in a definitely pop field. Eight of these experiments are now tied together in Miniatures de Auto Rhythm.

The record probably begins where Comme Ca ended: frantic but light drum programing backbones a solar and slightly melancholic melody on Le Début De La Fin (“the beginning of the end”). However, the scope gets enlarged as soon as one reaches the second tune, Quasi Quasi, or Quand, on the flip side, perhaps the most overtly pop-rock oriented song on the record with its Mediterranean guitar and emotional bridge.

The road towards the apex of the record, Le Soleil Dans Le Monde, is a narrow and windy one, punctuated by toy instrumentals like Ono Mambo Haiku or the Donkey Kong Country-friendly Message Of The Diving Bird; however it never departs from its original tongue-in-cheek attitude. It’s quite pleasant to imagine these eight “miniatures” as field recordings from an enchanted world of pop music designed by some Pierre & Gilles’ disciples – or are there
musical interpretations of half-mechanical, half-organic creations from a certain Otto Rhiesem (who might have inhabited the Locus Solus villa)? There might be no definitive answers to this second set of riddles by Domenique Dumont.

Bandcamp

DOMENIQUE DUMONT - LE SOLEIL DANS LE MONDE

We present our first release of 2019 and the third in our initial Venezuelan trilogy of 45s. Featuring 2 original compositions by Caracas based multi-instrumentalist and composer Isaac Sasson with a remix on the flipside by London producer & drummer Hector Plimmer (Albert's Favourites).

Side A kicks off with "Paseo en un sueño", a short composition that reflects a dream that begins in the village of El Hatillo and ends at dawn in the hills of Caicaguana, its main theme is a beautiful flute melody played by Tomasito Garcia. As the instruments and vocals fade away, "Canción para mi familia, Venezuela" begins, with Isaac singing "esta melodia es especial para mi mamá, dedicada a mis abuelos, a mis hermanos y a mi papá". This song is a sort of mantra or prayer dedicated to Venezuela and Isaac's family and friends; its spiraling guitar riff and various percussion instruments quickly descending towards a chaotic state of bliss.

Hector Plimmer's remix on the B side reassembles elements from another Sasson original,  "Cantos Campesinos", focusing on a particular vocal motif. Hector retunes the rhythm to his purposes, building tension and borrowing a bell sound to raise it even further, before releasing a skittering drum pattern with plenty of swing and a heavy dose of low end. Before the song ends, Hector goes deeper, adding sensual synth chords and finally a flute-like synth solo to complete this musical trip that is surely destined to soundtrack a few hazy evenings this summer.

The music on this EP has been previously self-released by Isaac on his album "Memorias del canto campesino", but appears here for the first time on vinyl, limited to 300 copies.

Recorded at Estudios El Gran Misterio & Garabato Estudio. Caracas, Venezuela

Re-mastered for vinyl by Frank Merritt at The Carvery, London

Isaac Sasson - Paseo en un sueño / Canción para mi familia, Venezuela

Jan Hammer Group - Don't You Know (Jimi Bazzouka Edit)

Agathe & Regrets - L'Avion (Hotaru Edit)

Independent record label, founded by David Byrne in 1988. Follow us for weekly free downloads and remixes. 

Doug Hream Blunt - Gentle Persuasion

Luaka Bop

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Alex who else?

ᓇᐃᓈᐣ ᐸᓇᒫᐣ ᚆᚒᚐᚈᚆ ᚂᚓᚈᚆ ᚐᚑᚅᚐᚅ

DjMaxoid

William Kelleher

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