happy fuckin music

Saharan

TAMIKREST

Cool Chill

rap hip-hop groove

Let the mushrooms eat me

Flying Things Trapped in the Window

Ludovico Einaudi - Experiences (Starkey Remix) is available to own now: http://po.st/EinSRSciT
The exceptionally talented producer and label manager Starkey remixes Experience from Einaudi's latest album, In A Time Lapse. The Remixes EP is out Monday 16th September 2013.
Join the official newsletter for your free download: po.st/EinSoundCFD

In A Time Lapse - The Remixes

Experience (Starkey Remix)

Buy: https://tamikrest.bandcamp.com/album/chatma

'Chatma' is the new album by Tuareg rockers Tamikrest. The album is a fully persuasive sonic document and is filled with sober reflection, moral indignation, musical experimentation, cultural celebration - and the kick of rock and roll. 'Chatma' translates as "Sisters" and the band have dedicated the album, in their own words, to "the courage of the Tuareg women, who have ensured both their children's survival and the morals of their fathers and brothers."

www.tamikrest.net/
twitter.com/Tamikrest
www.facebook.com/tamikrest
www.glitterbeat.com
twitter.com/Glitterbeat_Rec
www.facebook.com/Glitterbeat 
www.youtube.com/user/glitterbeattv

Chatma

Tisnant An Chatma

Tamikrest - Tisnant an Chatma

Habib Koite Sirata

Gaza

Habib Koité,
le griot moderne

Avec un pied solidement ancré dans le passé et l'autre résolument prêt à évoluer dans le monde actuel, Habib Koité est l'artiste d'une génération qui a été témoin de la chute des barrières culturelles.


Habib Koite And Bamada- Din Di

Akli Yahyaten - Jahagh  Feat Diaz Rabah Donquishoot Zed

aUtOdiDakt & Super Super aka Music To Make Babies To give Tamikrest's Desert Rock groover a boogie stompin Cosmic Disco Re-Edit.

Tamikrest - Aratan N Tinariwen (MTMBT Re-Edit)

It has been such a great summer. Keep those good memories and good vibes in your heart.
---
It would be so awesome if you'd give that song a heart on hypem <3 

http://hypem.com/track/26rbx/Chet+Faker+x+WKND+-+Lover

---
I’ve been working on new sounds, and I am really stoked to share some deep clubby tunes with you in the near future! Awesome collabos are on the way, so keep an eye on my facebook: www.facebook.com/saintwknd 
www.twitter.com/saintwknd
---
Photo made by Lucas Passmore:
www.lucaspassmore.tumblr.com
---
ORIGINAL VIDEO:
https://www.youtube.com/watch?v=KX3MYsc_A98

<a href='https://theartistunion.com/tracks/c67822'>Download for free on The Artist Union</a>

Free Download

Chet Faker x SAINT WKND - Lover

تدارُك (Keny Arkana Echos Instrumental)

In 2014 I was a lot into west African music particularly music from Mali, the Tuareg, and traditional koro music. I am convinced that the origin of all music is somewhere in the Sahara. Nothing can be so much of the soulful expression of humanity as the ordinary songs of the people of the Sahara. Enjoy my rather amateur selections and let me know what you think of them. most of all just enjoy the rythm. again enjoy!!!! 

Tuareg Tamikrest - Aratan N Tinariwen

And the Beat Goes On

The Whispers - And The Beat Goes On

Sarah McLachlan "Fallen" Gabriel & Dresden Anti-Gravity Mix

TAMIKREST - TAKSERA
Record store day 2015
18.04.2015

“Taksera” (which in Tamashek means ‘a celebration with music’) is a rough and ready live album that is sure to give jolt to Tuareg-rock group Tamikrest’s already heady reputation. Recorded on a summer festival stage during their 2014 “Chatma” tour, the album vividly showcases the visceral and improvisational power of the band. The hypnotic grooves of the songs are blissfully extended, and the band’s signature drive and electric guitar telepathy are pushed up front and center.

The material on “Taksera” visits all three of the band’s acclaimed studio albums and gives a sharply focused argument as to why in the last few years Tamikrest has been one of the most lauded young bands from the African continent. Their 2013 album Chatma reached the No.1 position on the World Music Charts Europe and graced year-end “best of” lists at Uncut, Mojo, Les Inrocks and The Quietus. Songlines magazine went even farther and gave them their “Best Group Award” for 2013.

“Taksera” was engineered and mixed by Jean-Paul Romann, who has produced seminal albums by Tuareg music legends Tinariwen and Terakaft. The album was recorded at the Burg Herzberg Festival in Alsfeld, Germany on August 1, 2014.

This RECORD STORE DAY LP is a limited edition pressing of 1500 on 180-gram audiophile vinyl with a gatefold sleeve and download code. 

“Taksera” is in every way the celebration that the album title promises. It energetically underlines Tamikrest’s unique cultural mission and their commitment to explore new possibilities for Tuareg music.  It shows a band full of hard-earned confidence and swagger; a band in love with turning up their amps and letting it rip.


Tamikrest - Aratan N Tinariwen (live)

Tamikrest - Toumast Anlet

US & EU 2015 Tour Dates at: 
http://wearenotsales.com/

artwork by Alana Questell (www.alanaquestell.com)
facebook.com/wearenotsales
twitter.com/wearenotsales

big sis

Lyrics:
You’re not twenty and detached now
Way too easy to push your chest out
Well I’ve been watching you
From way across the room
I like the way your body moves
They’re pushing like a riot
Acting like you like it
I would leave if I were you

But I won't let you down
(I said) I won't let you down

I wear glasses so that I can see you better 
I put shoes on so that we can walk together
Late at night when all I see are spinning faces
I wear glasses so that I can see you better

Wait, don't just sit down
Here's your drink, come and dance now

I've been watching you
from way across the room
I like the way your body moves
You don't need anyone
To tell you that you're done
You know just what you wanna do

I won't let you down
(you know that) I wont let you down

I wear glasses so that I can see you better 
I put shoes on so that we can walk together
Late at night when all I see are spinning faces
I wear glasses so that I can see you better

Facebook: facebook.com/matingritualsounds
Twitter: twitter.com/ritualmating
Instagram: instagram.com/matingritual
Spotify: open.spotify.com/artist/4ZeB1hzT2mSZrf7wszOqHs

Mixed & Mastered by Jason Suwito
Drums by Rob Humphries
Additional Vocals by Lizzy Land
Written by Ryan Marshall Lawhon & Taylor Lawhon


I Wear Glasses

upcoming 2016 tour with american wrestlers
11/12 - Marquette, MI @ NMU w/ Beach Fossils
12/1 - Omaha, NE @ Slowdown
12/2 - Minneapolis, MN @ 7th Street Entry
12/4 - Toronto, ON @ The Garrison
12/5 - Montreal, QC @ La Divan Orange
12/6 - Allston, MA @ Great Scott
12/7 - Brooklyn, NY @ Baby's All Right
12/8 - Philadelphia, PA @ Boot & Saddle
12/9 - Washington, DC @ DC9 Nightclub
12/10 - Lakewood, OH @ Mahall's
12/11 - Chicago, IL @ The Empty Bottle

http://varsitytunes.com
http://varsity.bandcamp.com

So Sad, So Sad

Born out of an impromptu studio session in New York, Touristes brings together Malian singer and guitarist Vieux Farka Touré with American vocalist Julia Easterlin. 'A B'ashiye' is one of the album's most powerful illustrations of Touré's reputation as the 'Hendrix of the Sahara' and Easterlin makes no qualms in letting it take centre stage. 

Read more: http://www.stampthewax.com/2015/10/29/premiere-vieux-farka-toure-julia-easterlin-a-bashiye-its-alright/
Listen on Youtube: http://bit.ly/a-bashiye
Buy: http://www.touristesmusic.com/sounds/

Follow:
@sixdegreesrecords

Vieux Farka Touré & Julia Easterlin - A'Bashiye (It's Alright) (STW Premiere)

Akhenaton / Edd Abbas / Asifeh - Marche
Produced by Stormtrap Asifeh
Written & performed by Akhenaton, Edd Abbas, and Asifeh
Mixed and mastered by Aras Levni Seyhan
Cuts by Kolonel Blip
Artwork by Amer Amin
English translation of lyrics available here: https://drive.google.com/file/d/0B73_6DjHwT5QUmFjOUtma2FvbU0/view?usp=sharing


Marche (Akhenaton X Edd Abbas X Asifeh)

Tinariwen- Iswegh Attay

يو ماين ~ youmine

Ian Ruhala, better known as HALA, has been writing and recording music for several years now and at the
young age of 19, he is already a singer/songwriter veteran.

With several releases already under his belt, even before graduating high school, Ruhala has created some
buzz with his solo, at-home/DIY recording style that relates well with music from artists like M. Ward,
Mac DeMarco and Travis Bretzer.

After attending college at Central Michigan University for a semester, Ruhala’s mind was more on lyrics than
on school-work. Writing over sixty songs during this time period, Ian decided to fully immerse himself into his passion to manufacture his first proper debut, Spoonfed.

The meaning behind Spoonfed, as Ruhala explains, is about dealing with the things and ideas that people feed you when you are young, and trying to do your best to not repeat the norm. Songs like “Phone Calls,” and
“Not Your Modern Man” discuss topics like marrying young, and society’s fear of face-to-face interaction
with each other, with lyrics that you will be surprised to find out, came from an 18 year old kid from Michigan.

Every song on this album tells a story; heart-break is talked about in the ironically upbeat song “Reruns,” and the track “Just Because,” shows HALA’s appreciation for the simple things in life, with the line, “Sunday morning, Dad’s at home, watches football and paints his toes, will I ever be?” One thing is for sure, it is extremely refreshing to see someone so young be able to produce something of this magnitude; Ruhala’s future is bright.

Get your bowls, and a spoon, because this Indie singer/songwriter says, "breakfast is served."

©Balaclava Records. All rights reserved.

Phone Calls

Track 1 from our debut EP, 'Superclean Vol. I'.

themarias.us
instagram.com/themarias.mp3
facebook.com/themariasmp3
twitter.com/themariasmp3

I Don't Know You - Single

I Don't Know You

Oumou Sangaré's single "Yere Faga ft. Tony Allen" is out on all platforms
To stream/download the single and pre-order the album 'Mogoya' on iTunes [Out 19 May] 
▷▷ idol.lnk.to/Mogoya

Oumou Sangaré - Yere Faga feat. Tony Allen

follow Clairo : @ccottrill
the second single off my new album 'Never Been Cool', out April 13th
premiered over at Hearing Gold - www.hearinggold.com/

follow me on tweeter :) : https://twitter.com/JamesDeenMusic
like me on the facebooook - https://www.facebook.com/JamesDeenMusic/

Girl Feat. Clairo

Buddy Holly Greatest Hits

Everyday

ONRA!

I do not own this track, it belongs 100% to the man ONRA himself.

ONRA - The Anthem

J Dilla - Sun In My Face (Instrumental)

Kingdom Hearts - Simple and Clean (opening song)

“As far as I’m concerned, it’s Tinariwen who created the path,” declares Ousmane Ag Mossa, frizzy-locked leader of Tamikrest, in a pre-emptive strike against a thousand inevitable questions. “But the way I see it, if younger bands don’t come through, then Touareg music will eventually die. They created the path and now it’s up to us to walk down it and create the future.”

Ousmane was born twenty-seven years ago in a village called Tin-Zaouaten, a solitary speck squeezed up against Mali’s northeastern border with Algeria. It’s a remote marginal place. Or to put it another way: there’s distant, there’s remote and beyond both of those there’s Tin-Zaouaten. 

To an outsider, the village would appear to be nothing more than a motley collection of one storey adobe and breeze-block houses, huddling together for protection against the burning sun, the black rocky hills and the lonely immensity of the surrounding desert. But to Ousmane, it’s home. 

Like its ‘neighbour’ Tessalit, two hundred and fifty kilometres to the west, Tin-Zaouaten is blessed with a water table that lurks benignly just below the surface of the gritty soil. Dig a few metres and you can usually find water in abundance. That’s why Tin-Zaouaten, or ‘Tinza’ for short, is famed in the desert for its gardens and garden produce. Ousmane’s father Mossa was born a nomad out in the bush, but by the time Ousmane arrived he had settled in Tinza, making a living from growing onions, beetroot, carrots and dates, and selling them in the local markets.

In 1985 drought shook desert life to its core. The rains had failed for several seasons and the village was haunted by famine. “I was born in a time of calamity,” says Ousmane. “In the middle of dreadful events for the Touareg people. My parents knew so much hardship. Then when I was five years old the rebellion broke out. It was 1990, the year of war. I was a child, and I used to hide in amongst the rocks with the other women and children, just a few kilometres north of the village over the Algerian border. When I think of that time, it’s as if it’s all still happening in front of me.”

Thus Ousmane’s childhood was buffeted by the searing winds of recent Touareg history. The droughts of ‘68 to ’74 almost destroyed the animal herds and with them the ancient nomadic way of life of the Touareg. The drought of ’84 to ’85 almost dealt the final blow. Thousands of young men fled into exile in Algeria, Libya, Burkina Faso and beyond. That’s where the modern Touareg guitar style of music was born and then nourished by anger, homesickness, frustration and dreams of a better life. It was this generation of Touareg men, known as the ishumar, who returned to Mali and Niger in 1990 to rebel against the callousness, corruption and arrogance of the governments in the distant capitals of Bamako and Niamey. 

At first Ousmane just listened to traditional Touareg music at home, and the newer guitar music on battered old cassettes. “I well remember hearing my first Tinariwen songs. I was about five. After the death of my mother, my father was obliged to take me to live with my grown-up sister. One morning I was sitting in front of the house and this guy walked by singing a song by Inteyeden called ‘Imidiwan Kel Hoggar’ (‘My Friends the Hoggar People’). It went straight into my brain…ha ha ha.”

A few years later Ousmane began to play the guitar himself, and write songs. He was attending a school in Tinza called Les Enfants de l’Adrar, set up by a French NGO and a local man turned community leader called Hama Ag Sid Ahmed. At the end of every school year the children would create and perform musical plays about pressing themes like ignorance, drought, education and culture. 

Hama bought the school an acoustic guitar, and Ousmane adopted the instrument. With his constant friend Cheikh Ag Tiglia, he would write songs and perform them at the school shows. He learned the Tamashek guitar style by listening to a particular cassette which Tinariwen’s leader Ibrahim ‘Abaraybone’ had recorded in Algeria back in 1998. 

In 2002, events once again undermined the tenuous calm and stability in Tinza. The village was home to one of the southern desert’s most infamous freedom fighters and warlords, Ibrahim Ag Bahanga. For this reason it became a military no-go zone. Ousmane’s father left to live with his eldest sons in Libya, and both Ousmane and Cheikh went south to Kidal

Kidal is the capital of the far north east of Mali, a region known as the Adagh des Iforas (‘The Mountains of the clan Iforas’). With its wide sandy streets and dispersed one storey earthen houses, Kidal has the feel of a frontier town. For the Adagh Touareg, it’s where it all happens. 

Ousmane and Cheikh played the guitar and sang in hidden corners of Kidal, around a fire, drinking bittersweet Touareg tea with their friends. Their reputations grew very slowly, steadily, without wild leaps or fanfares. After a while they heard that a local cultural centre called the DDRK or ‘Maison du Luxembourg’, founded by the Duchess of Luxembourg who had fallen in love with the town when she visited it in 2001, was offering music classes. The teacher turned out to be Juhan Ecaré, a musician from Ivory Coast. 

Then this French theatre troupe called La Calma arrived in town and enrolled over fifty young people to perform a massive theatre piece featuring sketches about a host of local issues. It went down a storm in January 2006 at a local festival called ‘The Saharan Nights of Essouk’. Although Ousmane didn’t take part in the project, claiming disinterest in theatre (“I’m a musician…theatre’s not my thing”), Cheikh went along and played with a local percussionist called Aghaly Ag Mohammedine and a bass player called Ibrahim Ahmed, aka ‘Pinnochio’ or ‘Pino’ for short. 

On their return, Pino proposed that they form a proper band and record a demo at a small studio, which had been set up at the Maison du Luxembourg. They also decided that they needed a name, and agreed on ‘Tamikrest’, which means the knot, the junction, the coalition, in Tamashek, the language of Touareg. “Each of us came from a different place, a different zone,” explains Ousmane. “Cheikh and I from Tinza. Aghaly and Mossa Maiga from Kidal. Pino from Gao. But we found each other and we had the same ideas, the same intentions. We were like a coalition.”

On the 23rd May 2006, the army garrison in Kidal was attacked by a new Touareg rebel movement called the Alliance Démocratique pour le Changement (ADC). “It was a hard time for me,” remembers Ousmane. “I woke up early that morning and discovered that the town had turned into a nightmare. Those who wanted to join the rebels had already done so. But, in general, that wasn’t the choice of me and my friends. Because we’d never been in the army. We were musicians, not people who carry arms.”

By the end of the year a fragile peace had been restored, although Tinza’s recalcitrant son Ibrahim Ag Bahanga refused to compromise and remained on the run with his own splinter militia. Tamikrest performed at the peace Forum in March 2007, when the Touareg rebels met with the Malian government and thousands of community representatives in Kidal to map out a way forward. 

The group were developing their style and their fan base, which consisted mainly of Kidal’s younger generation. They knew the Tamashek guitar style intimately, but they were also deeply into rap, metal, Maghrebi pop and afro-disco music from Ivory Coast. They had new tastes, new desires, new ambitions and Tamikrest was their band. 

Pino was quite a mover and shaker. In late 2007 he contacted Manny Ansar, the director of the now world-famous Festival in the Desert and clinched a gig for Tamikrest. The band found the money to transport themselves the 600 miles eastward to Timbuktu. In the silky dunes of Essakane they met Dirtmusic, a group of rock’n’roll veterans from the USA and Australia. It was one of those meetings fashioned by fate in the workshops of destiny. 

Chris Eckman of Dirtmusic remembers the meeting thus: “On our first morning in Essakane we woke up hearing music, so we went across the sand to the tent opposite ours and that’s where Tamikrest was playing. Chris Brokaw grabbed his dobro and headed over, then Hugo and I eventually did the same and basically for three days we didn’t leave.”

Once again music overflew all barriers of language, culture, style, shyness and reticence. The friendship formed at Essakane grew in the following months and lead to an invitation by Dirtmusic to come to the Malian capital Bamako to make an album, and contribute to Dirtmusic’s own oeuvre. After another epic journey of 1,200 miles, by car and bus, Ousmane, Aghaly and crew entered their first professional studio and ‘Adagh’ was born.

“It felt very natural to play with Dirtmusic,” asserts Ousmane. “I’ve always appreciated all kinds of different music and it was such a pleasure to play with a different kind of band. Music isn’t something you study; it’s something you learn with your ears. I’d been listening and playing along to Bob Marley, to Marc Knopfler and Dire Straits, to Tinariwen for years. We’d been listening to so much international music and that’s why the marriage with Dirtmusic worked.”

The end of 2009 finds Tamikrest on the cusp of the world and the next chapter in their great adventure. “This opportunity to go to Europe feels like a big responsibility,” says Ousmane. “I feel like someone who’s done this exam and is now waiting for the result. We’ve already achieved quite a bit, but the hardest is still ahead.”

One thing is certain: Ousmane is clear about the band’s mission. “The situation of the Touareg is very difficult right now,” he declares. “Even before I played the guitar and started recording, I had this ambition to be a lawyer or you might say, an ‘advocate’. I wanted to be capable of expressing the hurt I felt in my heart, and speak out about the situation, even at the United Nations. Because we’re a people who don’t have journalists, we don’t have advocates. But it was only later that I realised that a musician can play that role.”

“What is the weakest part of any nation or people? It’s ignorance. We are stuck in our ignorance. I see the world changing, racing ahead, and leaving us behind. And the only thing that is holding us back is our ignorance. As artists, it’s our duty to make our problems known to the world, to sing songs about the nomadic life, about our traditions and culture. But above all, revolutionary songs, about what we see, about what the government is doing to our people, which makes no sense to me.”

There it is…Tamikrest, the knot, the coalition, the future. 


Tamikrest - Aratane N'adagh

Album Ma Ya
World Music
Mali
West-Afrika

Habib Koite & Bamada - Manssa cise

Nujabes - Feather

Tamikrest-Adagh

Get the album here: http://glitterbeat.com/glitterbeat_store/

Tamikrest means “crossing” in the language of the Kel Tamashek, a traditionally nomadic Saharan people that are commonly referred to as the Tuaregs. It is an apt name for a band that so successfully merges the values of their timeless culture with the sounds and visions they have encountered on a headlong journey to the concert stages and ipods of the world. 

Since the band emerged onto the international scene four years ago with their debut album “Adagh”, they have been in constant motion, moving between the Sahara and Europe as though these places were next-door neighbors. All the while, during this same time period, their homeland has suffered increasingly profound and catastrophic events. Originally hailing from Kidal, in the northeast of Mali, as the result of ongoing war, persecution and political collapse most of the band now lives in exile in Algeria. 

These last years have been intensely vivid for Tamikrest, defined as they have been by both tragic sadness (families and friends turned refugees, the brutal imposition of Sharia law in their hometown) and collective growth (their musical dreams building one upon another). 

Their new album “Chatma”, their third, deftly navigates these experiences and fashions them into a fully persuasive and poetic musical document. The album is filled with sober reflection, moral indignation, musical experimentation, cultural celebration and the kick of rock and roll.

“Chatma” is also Tamikrest’s first album to be wholly written around a defined theme. In Tamashek “Chatma” means “Sisters” and the band has dedicated the album in their own words to: “the courage of the Tuareg women, who have ensured both their children's survival and the morals of their fathers and brothers.” 

The opening track “Tisnant an Chatma (The suffering of my sisters)” is a heartbreaking homage: « Who can estimate the suffering felt by the soul / of one who sees her sisters exhausted from waiting/ of one who sees her sisters exhausted from waiting between countries, in deep distress /and daily oppression? « 

Fittingly for an album so lyrically evocative, “Chatma “ also delivers Tamikrest's most wide-screen and wide-ranging sonic statement to date. The infectious, sing-along rock stylings of "Imanin bas zihoun", the acoustic seduction of “Adounia tabarat”, the Pink Floyd influenced montage "Assikal" and the lush, melancholy ambiance of the albums finale, “Timtar”, all add up to a sustained audio adventure. Echoes of dub, blues, psychedelia, funk and even art-rock are seamlessly weaved by Tamikrest into their increasingly individual take on the Tuareg musical tradition. 

And on an album where the title translates as "Sisters", it makes perfect sense that this time around we hear the full emergence of the haunting voice of female vocalist Wonou Walet Sidati in tandem with lead vocalist Ousmane Ag Mossa. A new guitarist, Paul Salvagnac has also joined the band, bringing with him fresh textures and possibilities.

Contemporary Tuareg music has produced several unforgettable albums in recent years and "Chatma" certainly deserves to be ranked with these. But one also gets the sense, when listening to “Chatma” that there is something uniquely innovative and exploratory about Tamikrest's musical quest and that at last they have stepped into a wide-open space of their own.
 
www.glitterbeat.com
www.tamikrest.net
www.facebook.com/Glitterbeat
www.facebook.com/tamikrest
www.twitter.com/Glitterbeat_Rec
www.twitter.com/Tamikrest


Tamikrest - Toumast Anlet

Mehdi Mersni