TUTU 2020

Released April 4th 2011 via Tru-Thoughts Recordings

Belleruche-13.6.35 (Natural Self Remix)

"Gimme the Music" Nickodemus feat The Real Live Show & Orchestre Poly-Rythmo
For all the music lovers out there, This one features music by Orchestre Poly-Rythmo & lyrics by Stimulus & Malik Work of the NYC group The Real Live Show! 

*Special thanks to Vincent Ahehehinnou & Analog Africa for making this possible!!

"Gimme the Music" Nickodemus feat The Real Live Show & Orchestre Poly-Rythmo

Out Tuesday, September 23rd
Pre-Order the LP, CD or Digital: http://wonderwheelrecordings.bandcamp.com/album/amansara

Argentian producer Pedro Canale aka Chancha Via Circuito returns from a three-year sojourn with his long awaited third album, Amansara.  Originally coming out of Buenos Aires's famed digital cumbia scene, Chancha has notoriously broken way outside those boundaries to forge unprecedented mergers between Brazilian rhythms, Paraguayan harp, Andean mysticism and the solitude of Argentinian folklore - all processed through his own futuristic style of post-dubstep.  Chancha's sound is without question truly unique and instantly recognizable to the point he has become a key reference point for an entire crop of artists that have begun to carry his genes.
 
Hailed by the Washington Post, The New York Times, Pitchfork, NPR and countless others, Chancha Via Circuito defies even the shrewdest of marketing geniuses.  On one hand, he is something of a cult artist within micro-circles of electronic music, having been invited to perform at Montreal's MUTEK as well as the Roskilde and Vive Latino Festivals. At the same time, Chancha's music has found broad appeal outside of the avant-garde, most notably his magnificent remix of José Larralde's "Quimey Neuquén" which was heavily featured in 2013 as part of the final season of the critically acclaimed television series Breaking Bad. Fans of the show undoubtedly remember Walter White burying his millions in the desert, soundtracked by the wide and gentle grooves of Chancha Via Circuito.
 
Amansara is a natural progressing of Chancha's special strain of electronic South America. Lead single "Coplita" features the haunting vocals of previous collaborator Miram Garcia, while "Sueno En Paraguay" merges Andean folklore sounds with bleeps and blips and pounding drums in a way that sounds completely natural and ordained. "Jardines" features the driving vocals of Lido Pimienta merging with heavy synths, percussion and bells into an unforgettable track, while both "Tarocchi" and "Guajaca" ramp things up into deep, electronic dancefloor inna rainforest territory.
 
Art for Amansara comes from Argentinian psychedelic folklore painter Paula Duro who has crafted the look of all of Chancha’s previous releases.
 
Amansara is out on September 23rd CD, digital and LP in North America and Australasia through Wonderwheel Recordings.


Amansara

Sueno en Paraguay

Sueño En Paraguay

A
1. Calyspo wet
2. Clefs
3. Piou
4. Beijos seus labios – instrumental
5. Orange
6. Le Dramont

Cassette Mouillée - Face A

16. Jazzdelic - Love In Us All

Vinyl, CD and digital. 16 tracks.

A magic mixture of traditionnal Min'yo songs and latin jazz elements. Recorded in Japan between 1958 and 1962.

With its second release, Akuphone keeps exploring Asia with an original compilation of Japanese singer Chiemi Eri. This edition – which is available in vinyl record, CD and digital - includes exclusive liner notes and a rich calligraphed booklet containing the romanization of lyrics. It encourages to (re)discover Chiemi Eri’s recordings. On this compilation, Akuphone has brought together 16 songs from 10 inches albums originally released by King Records (Japan) between 1958 and 1962.

As the daughter of a musician father and a singer mother, Chiemi Eri (1937-1982) grew up in a musical environment. When she was still a teenager, she started a career as a singer on US military bases. She became famous by singing numerous classics from the post-war American musical repertoire. At the age of 14 she recorded the song Tennessee Waltz with King Records, which turned out to be an immediate success, the first of many others.

Chiemi Eri is considered as one of the most famous Japanese singers of the 20th century, more precisely of the Showa era (1926-1989), named after the Japanese emperor of the time, better known under his westernized name Hirohito. Both a singer and an actress – she played in more than 50 films, as well as many theatre plays – she definitely made a mark in the post-war Japanese cultural landscape, along with fellow singer-actresses Izumi Yukimura and Hibari Misora.

The success of these true national icons, who were nicknamed « the three sisters », can be connected to the specific context of the time, that is the cultural opening of Japan which, although initiated a century before, accelerated with the US military occupation of the archipelago (1945-1952). This period saw the import of popular musical styles of the time: jazz, be-bop, swing, mambo, etc, as well as the development of a hybrid musical style - the Kayokyoku - which consists of a delicious mix of so-called “western” music with Japanese music. 

Combining vocal jazz, Latino rhythms and Japanese folk, this new compilation of Chiemi Eri offers an original musical syncretism. Supported by Tadaaki Misago and the Tokyo Cuban Boys – the oldest and most prolific latin-jazz group in Japan – Chiemi Eri sings themes, in Japanese, that are mainly taken from the traditional folklore. Thus, the drums and brass of the Cuban arrangements are mixed with the Min’yo, which shows how rich these folk songs are: every region, every local tradition, every event is celebrated by a particular song or dance. Chiemi Eri also reveals the vocal prowess specific to the Min’yo, in particular the kobushi, a sort of melisma – this vocal technic that consists in singing a single syllable while moving between several different notes in succession.

This compilation, which surprisingly blends Min’yo and latin-jazz elements, invites to the discovery of the archipelago from a different perspective.

more information here : akuphone.com

Chiemi Eri : Otemo-Yan

Stream / buy "Beautiful Strangers:" https://kevinmorby.bandcamp.com/album/beautiful-strangers-b-w-no-place-to-fall 

This release is dedicated to and written for all the people I have never met but have only read about. The innocent people who were out living their lives and one day, without warning, had them taken away from them. People who liked to laugh, dance, and love in the way that we all do, but cant anymore. All those names and faces, all those beautiful strangers...
 
So here are two songs, "Beautiful Strangers" as well as my cover of Townes Van Zandt's "No Place To Fall" that I have been closing my live show with over the past year. Any purchase of these two songs will go to support the work of Everytown For Gun Safety - an organization I have followed for quite some time. I believe in and support them in their efforts to make the world a safer place. So if you wish - you can donate as little or large as you'd like and I do hope you enjoy the songs. Do it for the kids.
 
Love and peace,
Kevin Morby

Kevin Morby - Beautiful Strangers

From: WOJTEK MAZOLEWSKI QUINTET London/Theme De Yoyo  12” LQ 007

Side B: THEME DE YOYO - Composed by Noreen Beasley, Lester Bowie, Malachi Favors, Roscoe Mitchell



Order:
https://lanquidityrecords.bandcamp.com/album/wojtek-mazolewski-quintet-london-theme-de-yoyo-12-lq-007

WOJTEK MAZOLEWSKI QUINTET - Theme de Yoyo

‘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

Fathili & The Yahoos came out of Kenya. Licensed from Melodica music stores courtesy of our great friend Abdul Karim. 

The Wings were a Nigerian band. 'Gone With the Sun' featured on their 1974 album 'Kissing You So Hard'.

Fathili & The Yahoos - Mabala Part 1

01 I Feel Good, Put Your Pants On - Jackson Jones

The Mabon Dawud Republic
Limited Edition 12" Vinyl LP
ORDER >>> https://budabeats.bandcamp.com/album/the-mabon-dawud-republic

A&R: Dj Gandharva & Von Yodi
Mixed by Tamás Czirják
Mastering: Anders Peterson (GS Mastering, Stockholm)

Label: Budabeats Records
Cat. number: BUBE-040
Release date: 02. 03. 2020

Following their first 7” in 2018 Budabeats Records is proud the release the debut LP of pioneering Hungarian afrobeat supergroup, the Mabon Dawud Republic. The band started out as the Fela Kuti tribute band for the very first Felabration event in Budapest. In the past two years they created an impressive repertoire of own tunes, the rawness you can hear on their early recordings transformed into a more mature and sophisticated sound, still deeply rooted in the traditions of West-African music. They even toured in Ghana where they had the chance to record with highlife legend Pat Thomas, as you can hear on ‘Gyae Abrabo’. On ‘Na Lie’ they are joined by Fela’s original Egypt 80 band member, keyboard player and singer Dele Sosimi. Other guest performances include Ghanaian vocalist and kologo player Stevo Atambire (on ‘Mawadidoh’ and ‘Talk to Me’) and vocalist Abate Berihun (on ‘Nanu Nanu Neye’).

Stevo Atambire - vocals, kologo
Joseph Ajusiwine - vocals, doorega

Ernő Hock - bass, percussion
Szabolcs Bognár - keyboards, percussion
Dávid Szarvas - percussion
Sebestyén Harangozó - guitar
Dávid Somló - guitar
András Halmos - drums
Ádám Meggyes - trumpet
Fanni Zahár - flute, alt sax, vocals
Gábor Weisz - sopran & tenor sax
Gergő Kováts - baritone sax

The Mabon Dawud Republic - Talk To Me (feat. Stevo Atambire, Joseph Ajusiwine)

the second-single from Moroccan Gnawa-master (maâlem) Rabii Harnoune and Frankfurt electronic producer V.B.Kühl. Taken from their magical collaborative debut ‘GNAWA ELECTRIC LAUNE’(out 8th May Via Tru Thoughts), “Baniya” fuses traditional North African Gnawa with the sonic pleasantries of modern club music. More info here.

http://www.musicamacondo.com/2020/04/premiere-rabii-harnoune-v-b-kuhl-baniya/

Premiere: Rabii Harnoune & V.B.Kühl - Baniya

Stream/Buy here https://lnk.to/lesmouches 
Worldwide Award winners First Word Records are pleased to welcome back Souleance; a duo that have been releasing music with us for a decade now, and triumphantly returning to the fold with some brand new music for 2020.

Expanding on the original Normand-Parisian super-duo of Fulgeance and Soulist, the Souleance crew now includes Vincent Choquet on synths and Guillaume Rossel on drums as part of their live outfit. Whilst sonically their style remains unchanged, the formation into a full band sees the Souleance sound become bigger, more realised and more formidable than ever.

The title track 'Les Mouches' sets off the EP in a playful disco manner - a chugging bassline, assorted synthesisers, disco claps and a four-to-the-floor drum track, inspired by the likes of Larry Levan and Candido. Meaning "flies", Les Mouches was a legendary Manhattan club that existed around the era of Studio 54, and was infamously a hangout spot for Imelda Marcos. The club itself was named after a play by Jean-Paul Sartre.

Next up is the single 'Aquarelle' (meaning watercolours), which contains more layers than a Bob Ross painting. With its various elements splayed across its aural canvas, sprinkled with...  more
credits
released October 9, 2020

All Tracks composed by Souleance
Florian Pellissier plays Prohet 6 on “Les Mouches”.
Nicolas Delahaye plays guitars on “Les Mouches”.
Vincent Choquet plays Rhodes & Juno60 on “The Bounce” and “Maneuvers”.
Charlie Vetter aka 21Filters plays Korg MS10 on “Maneuvers”
Fulgeance plays jazz bass, SE1 synth bass & leads, Korg Poly61 & MS10,
Elka, Rhodes, Wurlitzer & Clavinet.
Cuts & Scratches by Soulist
Programming by Fulgeance & Soulist

Mastered by Dj Vas
Artwork by Alice Dufay

Les Mouches EP

Stream / Buy

Aquarelle

Record label. Record shop. Film label. Since 1989.

Fathili & The Yahoos - Mabala Part 1

Mr Bongo

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