Can you send it to me please in my mail:akilledj@yahoo.gr.

Analog Africa No.15 – ANGOLA SOUNDTRACK 2
*Hypnosis, Distortions & Other Sonic Innovations 1969-1978*
Catalogue No. AACD 075 (1xCD)/AALP 075 (2xLP)
CD with 44-Page Booklet / LP with 16-Page LP Size Booklet

In 2010, against all odds, Angola Soundtrack Vol.1 was awarded the German Record Critics’ Prize in the category "Black music". This victory was all the sweeter for its triumph over the predicted winner, Aloe Blacc´s multi platinium record, "Good Things".

Many were surprised that the award was handed to a compilation that covered obscure music, but it didn’t surprise the team behind Analog Africa who believed such award should have come much earlier.

Since discovering the music of Angola 15 years ago, styles such Kazucuta, Rebita and Semba have become an addiction for Samy Ben Redjeb, the compiler, who proclaimed a serious warning in the first edition liner notes:

"Listening to these tracks may cause addiction and provoke heavy rotation!"

The unique blend of incomparable musicianship, passionate delivery and regional rhythms that make these tracks so combustible are no accident.  An exceptional set of circumstances existed in the history of Angola before Independence that created the giant leap in the style and standard of bands and recordings of the time.

When Portuguese repressive measures prevented the small Turmas, street musician groups, from being able to perform in Carnaval celebrations in 1961, a Portuguese civil servant, entrepreneur and Angolan music fan named Luis Montês was already in a position to capitalise on Luanda’s need for a live music scene. His self-designed “Kutonocas”, Sunday afternoon live music festivals, delighted a Luandan population hungry for a communication between the city and musseques (townships). It also forced groups to adapt to a different style of playing that would accommodate large stages and broader audiences. They equipped themselves with electric guitars, and fed on the musical influences from Cape Verde, Congo and the Dominican Republic, while staying patriotically true to their own musical legacy and unique rhythms. 

The intimacy of those participating in this musical revolution meant they playfully and professionally wanted to trump each other’s style; communication between the groups was frequent as everyone studied each other’s records and concerts and players were under a lot of pressure to outdo each other due to the limited recording and performing opportunities.  Development of skill and ingenuity was a must, as well as addressing the highly politicised climate.  The optimism of Independence can be heard in these recordings; a common goal between the audience and musicians.

Upon reading the characteristically generous liner notes of this new Analog Africa release, you will be given more hints of the crucial melting pot that allowed this short period to have such an outstanding productivity.  Featuring 44 pages acquired in coordination with the National Library of Luanda and the art magazine “Note E Dia”, Analog Africa head honcho Samy Ben Redjeb has managed to collect newspaper clips, extremely rare pictures of the bands on stage and printed interviews from the 70s.

The stunning pages of passionate photography and artistic design also include interviews with many of the original artists and their families, biographies of the three labels that made it all possible, and of Luis Montês, who was the pulse of the live music scene in Luanda.

This compilation represents the best of the short lived recording industry in Angola, a brief moment of history between 1969 and 1978, when three recording companies produced approximately 800 limited records, mostly singles. They are rare jewels, each song with a significant story and feel behind it. You will hear exciting music blazed with the anticipation of emancipation, tracks fuelled with a sense of unity, community, importance and immediacy.

This addictive, outlawed music from Angola shakes and grooves with the smoothness of staccato machine gun fire.  Do yourself a favor and submerge yourself into some of the most the addictive music created by mankind!


Senhor Doutor - Quim Manuel O Espirito Santo

12" vinyl available from www.sofrito.co.uk

A1: Dionisio Maio – Corpim Sabe (Alma Negra Edit)
B1: Bulimundo – Santo Antòni La Belèm (Hide & Smile Edit)
B2: Os Kings – Minino Na Tchora

Musical collisions in the Atlantic!
Sofrito kicks off the new Island Series with a celebration of the vital dancefloor sounds of Cape Verde – a mixture of local Funana and Coladeira rhythms, Batuque percussion and psychedelic disco synths.

Musical collisions in the Atlantic!
Sofrito kicks off the new Island Series with a celebration of the vital dancefloor sounds of Cape Verde – a mixture of local Funana and Coladeira rhythms, Batuque percussion and psychedelic disco synths.

Hailing from the island of Sao Vicente and originally released in the early 80s, Dionisio Maio’s anthemic Corpim Sabe is stretched into a 12” mix by the Alma Negra collective – bringing the thumping bassline to the fore and tweaking the piano-led groove into a slice of cosmic Coladeira-disco perfection.

On the flip the dynamic Hide & Smile duo (aka Frankie Francis & Miles Cleret) splice an early track from trailblazing Santiago-based group Bulimundo into a percussive workout that prefigures the sounds of Kuduro and Coupé Decalé.
Os Kings (from the island of Sao Vicente) complete the EP with an ode to struggling youth, anchored by sweet guitars and a slick bassline.

Fact fans:
The Republic of Cape Verde is an island chain situated 500 km off the coast of Senegal. Uninhabited before Portuguese colonization in the 15th century, the country was a staging post for the transatlantic slave trade and occupies a unique cultural position between Africa, Europe and the Caribbean.
There are large Cape Verdean communities in Paris, Lisbon, Rotterdam and Boston and as a result the music of the French Caribbean (in particualr zouk) is extremely influential.
Extra fact:
One of the most popular drinks in Cape Verde is a pint of gin and tonic.

Sofrito Island Series: Sound of Cape Verde // O Som de Cabo Verde EP

Analog Africa No.15 – ANGOLA SOUNDTRACK 2
*Hypnosis, Distortions & Other Sonic Innovations 1969-1978*
Catalogue No. AACD 075 (1xCD)/AALP 075 (2xLP)
CD with 44-Page Booklet / LP with 16-Page LP Size Booklet

In 2010, against all odds, Angola Soundtrack Vol.1 was awarded the German Record Critics’ Prize in the category "Black music". This victory was all the sweeter for its triumph over the predicted winner, Aloe Blacc´s multi platinium record, "Good Things".

Many were surprised that the award was handed to a compilation that covered obscure music, but it didn’t surprise the team behind Analog Africa who believed such award should have come much earlier.

Since discovering the music of Angola 15 years ago, styles such Kazucuta, Rebita and Semba have become an addiction for Samy Ben Redjeb, the compiler, who proclaimed a serious warning in the first edition liner notes:

"Listening to these tracks may cause addiction and provoke heavy rotation!"

The unique blend of incomparable musicianship, passionate delivery and regional rhythms that make these tracks so combustible are no accident. An exceptional set of circumstances existed in the history of Angola before Independence that created the giant leap in the style and standard of bands and recordings of the time.

When Portuguese repressive measures prevented the small Turmas, street musician groups, from being able to perform in Carnaval celebrations in 1961, a Portuguese civil servant, entrepreneur and Angolan music fan named Luis Montês was already in a position to capitalise on Luanda’s need for a live music scene. His self-designed “Kutonocas”, Sunday afternoon live music festivals, delighted a Luandan population hungry for a communication between the city and musseques (townships). It also forced groups to adapt to a different style of playing that would accommodate large stages and broader audiences. They equipped themselves with electric guitars, and fed on the musical influences from Cape Verde, Congo and the Dominican Republic, while staying patriotically true to their own musical legacy and unique rhythms.

The intimacy of those participating in this musical revolution meant they playfully and professionally wanted to trump each other’s style; communication between the groups was frequent as everyone studied each other’s records and concerts and players were under a lot of pressure to outdo each other due to the limited recording and performing opportunities. Development of skill and ingenuity was a must, as well as addressing the highly politicised climate. The optimism of Independence can be heard in these recordings; a common goal between the audience and musicians.

Upon reading the characteristically generous liner notes of this new Analog Africa release, you will be given more hints of the crucial melting pot that allowed this short period to have such an outstanding productivity. Featuring 44 pages acquired in coordination with the National Library of Luanda and the art magazine “Note E Dia”, Analog Africa head honcho Samy Ben Redjeb has managed to collect newspaper clips, extremely rare pictures of the bands on stage and printed interviews from the 70s.

The stunning pages of passionate photography and artistic design also include interviews with many of the original artists and their families, biographies of the three labels that made it all possible, and of Luis Montês, who was the pulse of the live music scene in Luanda.

This compilation represents the best of the short lived recording industry in Angola, a brief moment of history between 1969 and 1978, when three recording companies produced approximately 800 limited records, mostly singles. They are rare jewels, each song with a significant story and feel behind it. You will hear exciting music blazed with the anticipation of emancipation, tracks fuelled with a sense of unity, community, importance and immediacy.

This addictive, outlawed music from Angola shakes and grooves with the smoothness of staccato machine gun fire. Do yourself a favor and submerge yourself into some of the most the addictive music created by mankind!

FATIMITA - Urbano de Castro



Estamos muito orgulhoso e felizes em anunciar o lançamento do nosso segundo LP e nossa primeira parceria com a grande Analog Africa;
uma coletânea de faixas raras da lendária banda beninense, a Orchestre Poly-Rythmo de Cotonou!

LANÇAMENTO OFICIAL DIA 20 DE MARÇO

Lado A:
- Mede Ma Gnin Messe | Afro-Beat | 6'01''
- Iya Me Dji Ki Bi Ni | Jerk Fon | 4'12''
- Assibavi | Sato | 4'43''
- Sê Tché Wê Djo Mon | Jerk Fon | 4'12''
- Zizi | Pachanga | 3'59''

Lado B:
- Djanfa Magni | Afro-Beat | 9'51''
- Adjro Mi | Cavacha Fon | 5'50''
- Écoute Ma Mélodie | Afro Bossa | 7'25''

www.gomagringa.com/product/orchest…thmo-de-cotonou

A Orchestre Poly-Rythmo de Cotonou é, sem dúvida, o segredo mais bem guardado da África do Oeste. Sua produção, tanto em termos de quantidade e qualidade, foi espantosa, gravou mais de 500 canções entre 1970 e 1983.

A riqueza cultural e espiritual da música tradicional beninense teve um imenso impacto na construção moderna daquela. Benin é o berço do Vodun. Os cultos são sempre acompanhados de música.

Dois ritmos de Vodun dominam a música da Orchestre Poly-Rythmo: o Sato, um surpreendente e energético ritmo tocado num tambor vertical gigante, e o Sakpata, um ritmo dedicado ao deus do mesmo nome, o Vodun da Terra, que também é deus da varíola e protege as pessoas contra todas as doenças eruptivas. Esses dois ritmos são misturados pela banda com Funk, Soul, o som maluco do órgão e rifes de guitarra psicodélicos.

Nenhuma dessas faixas foram divulgadas fora do Benin durante o período de ouro da banda. Por causa do custo, a maioria destas gravações raramente se beneficiaram de edições maior do que 500 cópias.

A música desta compilação não é apenas extremamente rara, mas também ilustra como a Orchestre Poly-Rythmo, com o apoio dos selos locais, prosperou misturando o melhor do funk, do soul, do latino e do ritmo Vodun para produzir um som novo que não reflete apenas a herança musical e cultural do Benin, mas a transforma e faz deste pequeno país um incrível “melting-pot” musical.

A produção gráfica da capa recebeu e atenção cuidados especiais.

Utilizando como referências umas capas originais de compactos da banda, nós trabalhamos com exatamente as mesmas técnicas como as usadas na época para recriar uma réplica perfeita do design.

Assim, graças à ajuda e conhecimento inestimável da LetterPress Brasil, as capas foram impressas com clichês, montagem tipográfica, Linotipo e impressão LetterPress (baixo relevo).

Todo o processo de produção será documentado em breve com fotos e vídeos! Fique ligado!


Assibavi - Orchestre Poly-Rythmo de Cotonou | GGLP-002

Tchobari online:
Soundcloud: @tchobarioficial 
Facebook: www.facebook.com/Tchobarioficial
Instagram: instagram.com/tchobari
youtube: www.youtube.com/user/buedbeats

Buy:
iTunes: itunes.apple.com/ca/album/kwatsiru/id941060777
Amazon: www.amazon.com/Kwatsiru-Tchobari…keywords=kwatsiru

Stream:
Spotify: open.spotify.com/album/46JNV1UGb5fKzaiSKIoaFW
Deezer: www.deezer.com/album/9146057

Tchobari (@tchobarioficial) is the Angolan duo made up of rapper Sarissari and producer Tchoboly, who’s worked with many of Angola’s top artists, from Anselmo Raph (kizomba) to Game Walla (kuduro) to Kalibrados (hip hop). As these collaborations suggest, Tchobari blends diverse styles and sounds into what Tchoboly dubs kwatsiru.

Kwatsiru is also the name of this much anticipated debut album, two years in the making since the release of Tchobari’s singles É Male and Quem Mandou Me Nascer in 2012.

The pair playfully flirts with many Angolan genres, and feature a slew of gracious voices to support their vision: Tchobari insist on making music people can relate to, music which is both familiar and innovative. They fuse typical Angolan elements, semba guitars, kizomba grooves, afrohouse or ndombolo beats, into a distinct brew which not only sets them apart from current Angolan trends: Tchobari is redefining Angolan pop music.

iTunes

Tchobari - Nzaya Feat. Daniel Nascimento & Viviane Chantel

Tom & Dito - Vinte Meninas

here is a new song
hope you like it, please give feedback :)

please don't copy my music track

ust have to play this over and over again versjon 5

Antônio Dos Santos - Djal Bai Si Camin (edit)

Merengue - Tulipa Negra

Rosalia De Souza - Carolina Carol Bela (M. Midnight Monti and G. Gotta Soul Gottardi Remix)

At home, in the islands of Cabo Verde, there was grog, or grogu, a strong sugarcane moonshine not dissimilar to Colombian aguardiente, copiously consumed at Funaná parties. 

In the diaspora, in Europe, there was leite quente (hot milk). 

“I can still remember the taste of the first leite quente I drank in Lisbon,” says Antonino Furtado Gomes, Pilon’s drummer and current band leader. 

Synthesize the Soul, Ostinato Records’ second compilation, revealed chapter one of the Cabo Verde cultural story in Europe, zooming in on visionaries like Paulino Vieira who made Lisbon the headquarters spearheading the musical revolution taking place within Cape Verdean emigre communities across Europe in the 1980s. Musicians from across the diaspora would eagerly travel to the Portuguese capital to record. 

Grupo Pilon represents the second chapter of the Krioulu diaspora story. In smaller pockets, second generation musicians were independently contributing to one of the most lush periods of cultural innovation by immigrants in Europe. In Luxembourg, in 1986, a group of teenagers formed the largely unknown (outside of Cape Verdean circles) but consistently brilliant band named after the blunt instrument used in the islands to pound corn for Cabo Verde's national dish, cachupa. 

With only five members, Pilon combined searing estilo Krioulu drumming and the hybrid ColaZouk style with blissful synth work and rugged guitar licks, creating a stripped-down, addictive sound that masterfully straddled two worlds, a seductive electro-Funaná carnival born from the first few sips of hot milk. 

The band drew from the inspiring political changes of the day: the release of Nelson Mandela in South Africa and the fall of the Berlin Wall. The right to democracy became a constant theme in Pilon’s songs. 

With access to better opportunities than their parents’ generation, Pilon’s roster were part time musicians. Music was not part of their academic upbringing nor a full-time gig. Their rhythm and style were wonderfully imperfect, made out of rawer skills and inexperience. Pilon did not follow the templates established by revered Cabo Verde bands. Keyboard player Emilio Borges played off beat and the band preferred arranging their songs to start from the beat normally heard in the middle of a composition rather than the beginning. These two elements made Pilon’s music simple, unique, and inimitable. 

From 1997 to 2015, a lack of concerts and professional musicians proved near fatal. Today, Antonino and what remain of the original quintet are slowly piecing back together the puzzle of their once mighty outfit from an unlikely pocket of Europe. In its heyday in the 90s, Pilon serenaded audiences in Paris, Lyon, Marseille, Lisbon, Rotterdam and Frankfurt, securing their reputation as a respected and unifying cultural force. 

This LP, drawing from the six most powerful songs from Pilon’s three-album catalog, is the serving of still fresh leite quente to spice the summer and maybe even fuel the next generation of musicians in the Krioulu corners of Europe. 

Pilon are back in the studio refining their sound to revive their journey that looked all but lost to the world's ears two decades ago. 

Produced by Ostinato Records 
Mastering & Lacquer by The Carvery 
Design by Pete 'Piwi' White 
Licensing courtesy of Antonino Furtado Gomes 
Interview translations & transcriptions by Alexandre Tondina

Rosalia De Souza - Carolina Carol Bela (M. Midnight Monti and G. Gotta Soul Gottardi Remix)

M. Midnight Monti

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