LPs//EPs

Out on Vinyl and Beatport on Oct 21 via Silence Music.

Downtown Party Network - Space Me Out (Mario Basanov Remix) 12''

Artists: Cesare vs Disorder & Quenum
Title: Just For Fun
Rel. Title: Wide Close Up Ep
Label: Serialism
Cat.N. : Serialism 021

The 21st release on Serialism Records comes from the founder of the label himself, Cesare Marchese aka Cesare vs Disorder. Wide close up is a 5 tracker ep of trippy spaced out ?' Crossover-Tech-Funk, driven by a vibrant range of clubby grooves. It includes a collaboration with Cadenza co-founder Quenum as a prelude of the forthcoming album on Serialism in November and a mystical remix by Perlon's favourite Maayan Nidam

Cesare vs Disorder & Quenum - Just for Fun [SER021]

Bixiga 70 ‘Ocupai’ CD/LP/DL – to be released May 2014
Bixiga 70 ‘Ocupai / Kalimba' 7” – to be released March 2014

Bandcamp: http://maisumdiscos.bandcamp.com/album/ocupai
iTunes: http://smarturl.it/5yd1pf
Amazon: http://www.amazon.com/Ocupai-Bixiga-70/dp/B00J92CVCK/ref=sr_1_2?ie=UTF8&qid=1399394810&sr=8-2&keywords=bixiga+70

“We always looked at Afrobeat through Brazilian eyes. We can't do it like them, we have our own African references that are all around, but it just don't sound the same – it always comes out sounding like Brazilian music for us.” 
Mauricio Fleury, Bixiga 70

Bring together ten professional musicians eyes deep in the diaspora of influences of the Bixiga neighbourhood in São Paulo. Give them a creative itch to scratch and plenty of rehearsal time and this is the result: a heart stopping carnival of Afrobeat and Brazilian funk where Ethio-jazz, brass bands, polyrhythmic paeans, Bootsy Collins jams and Saharan grooves combine to produce a riotous joy of stomping rhythms and horns. Welcome to BIXIGA 70.

Coming from a Brazilian culture steeped in the Yoruba rhythms of candomblé, the group felt a natural affinity for the Afrobeat sound. Yet whilst their Afrobeat influence means they enjoy comparisons with groups such as Antibalas Afrobeat Orchestra and Jungle by Night, their dedication to musicianship and rhythm means they can also be grouped with bands like the El Michels Affair, as well as Will Quantic’s Combo Barbaro and Soul Orchestra projects. But there’s definitely more to it than that. Bixiga 70’s wide palette of influences from across West Africa and both South and North America marks them out from any other ‘funky orchestra’. Mauricio explains: “Bixiga 70 is all about freedom and collectiveness. We use heavy rhythms and improvisation, to explore boundaries and blur the lines between genres”.

They combine the obvious touch points of Fela Kuti (the band's name tips a hat to the most famous incarnation of his band) and Tony Allen (with whom Mauricio Fleury from the band studied with) and bounce through boundaries to harvest textures of mandingo from Guinea and Mali, soukous from the Congo and ethio-jazz – all the while pulling in threads from the pioneers who first caught their ear; Pedro Sorongo, Os Tincoãs, Gilberto Gil, João Donato, Baden Powell, Deodato, Orchestre Poly Rythmo, Miles Davis and Lee Perry. “We all love Afrobeat” explains Mauricio.” but it was never the only thing we thought of or the only thing we listened to, we always talk about rap, reggae, dub, jazz, Brazilian folk music or Hermeto Pascoal. But whether it’s Afrobeat or Malinké, it’s the African influence that draws us to it. From samba we come to Semba, from Angola. When we decided to cover  ‘Tincoãs’ half of the band said it is ‘Cangira’, a genre of Candomblé. I mean, we actively try to discover other musical styles, but eventually, when you find them, you realize that they were part of your life already.”

This discovery of commonality brings us a result that’s something more than a Brazilian twist on an existing genre. Using Afrobeat as a process, the band push, and squeeze it through their array of influences to deliver a unique São Paulo sound with the loose, funky feel of a 70’s Lagos foot stomper. Mauricio from the band says himself, “that's why we call ourselves Bixiga 70, because that's our address, even though it is a funny joke with Afrika 70 we could never pretend we are not here in central São Paulo creating our music now”.

Their self-titled debut album topped many Brazilian tastemakers best of lists for 2011 and since they burst onto the scene then they’ve shared the same stage as their heroes Antibalas, Ebo Taylor, Tony Allen, Gilberto Gil and Q-tip as well as collaborating with Souljazz Orchestra, Criolo, Emicida and Banda Black Rio. Then in 2013 they set sail across the Atlantic for some rave-review festival appearances at Denmark’s Roskilde, Sweden’s Sommarscen Malmö, Amsterdam’s Paradiso and France’s Aux Heures d’Été. They’re now back with their sophomore album ‘Ocupai’ and ready to deliver another slab of soulful African rhythms shot through with Brazilian funk and folklore.

BACKGROUND: The story begins with a group of musician friends working out of the Traquitana studio in the bohemian São Paulo bairro (neighbourhood) of Bixiga – a place where artists, musicians and performers from São Paulo’s biggest samba school rub shoulders with the workers of the city to a bustling music soundtrack that blasts from the cars, bars and restaurants that line the streets.  

In a hiaitus from recording for Pipo Pegoraro, Décio 7 (a percussionist and drummer steeped in traditional African and Brazilian rhythms), Cris Scabelo (a guitarist with a style that swings from psychadelic dub to carimbó to funk) and Marcelo Dworecki (bassist, producer and rock and roll injection) joined forces with Mauricio Fleury – a guitarist and keyboardist who’d also studied under Tony Allen. Experimenting for an afro-tinged rhythm track for Ben Lamar, the groove clicked and the Bixiga 70 journey began. Mauricio remembers the moment it came together, “Décio said, ‘that's it. That's what we are gonna do. We're gonna put together a big band to play that kind of joint.” 

Decio 7 handpicked more joiners from the great and the good of Traquitana studio stalwarts – guys who’d cut their teeth playing on records for local, national and international artists: Romulus Nardes, percussionist and true encyclopedia of Afro-Brazilian and West African rhythms, history and traditions; Gustavo Cék, virtuoso percussionist, performer, dancer and hype man; Cuca Ferreira, baritone sax and expert flautist; Daniel Nogueira, elegant tenor saxophonist and big band leader; Douglas Antunes, insanely talented trombonist and Bixiga 70 ‘secret weapon’ and Daniel Gralha, a hip hop aficionado and soulful soloist.

With the line-up set, they started to have a little fun. Breaking out of the confines of a pop music format, Bixiga 70 gave them the feeling of playing live they all craved, as well as providing them with an outlet to explore the myriad of influences that were smashed together with the group's formation.

Decio 7 explains: “As a band, we’re following parallel paths but exchanging information all the time – which actually makes the record a more rounded piece. We had the common ground of Afrobeat and Brazilian music, obviously. Starting the record with Os Tincoãs (“Deixa a gira gira”) was a nod to that. But then we started to explore this universe of African music derivatives, because Africa is the birthplace of the world. All these songs we love originate from Africa.”

With weekly rehearsals designed to crystallize the sound and trajectory of Bixiga 70, they exploded onto the scene with a killer debut album and electrifying live shows. Meeting critical acclaim as well as party-going popularity the band wanted to take it to the next level, holing up to tighten up the sound and hone the collaborative writing process. Mauricio defines their ambition, “We’re not trying to copy Fela Kuti. We don’t want to pretend we are in Nigeria in the 70s. It’s more that we want to follow the journey of the sounds that have influenced us. It could be Fela’s sound, Gilberto Gil or Nacao Zumbi.”

Recording against the backdrop of the recent civil disturbances in Brazil and the local neighbourhood, the record became imbued with the raw energy of protest and rebellion – clearly stated in the single ‘Ocupai’. Cuca explains. “We were actually mixing one day and stopped everything to join the demonstration that was passing behind the studio. As a band, we could feel the vibe of occupation and it was this massive coincidence that it was happening at the same time.”

In these parameters, the story of Brazil pulsates with every beat. Traditional orixas are effortlessly re-imagined; enveloped in horns, driving bass and rhythm. Through purely instrumental tracks, vignettes of Brazil and the life of its people are conjured as if sound-tracking a film not yet made; and if that doesn't have you testifying to the joy of their vibe, the unbridled energy that bursts from every bar of sweat-dripping soul will. Is it Afrobeat? Afro-Brazilian beat? Frankly, when it's this good, who cares what you call it? 

INFO: http://www.maisumdiscos.com/

Bixiga 70 - Kalimba

17.03.2014 Vinyl record at MTN Shop - www.mutingthenoise.com and digital at Beatport 
31.03.2014 Record store & digital release date worldwide

Mastering by Bo Kondren at Calyx 
Design by Innervisions

Produced by:
David August

Released by Innervisions
Release/catalogue number: IV50.III

Digital
http://www.beatport.com/release/epikur-ep/1253483

Distributed by MutingTheNoise

IV50.III David August - Epikur - Epikur EP

http://www.facebook.com/pages/Matt-John/123716930997463?ref=ts

B2 Matt John "Dolphins" Bar25-17

Steffi | Pip

Greg Chin - Dashboard Angels taken from the Music For Machines compilation by John Beltran
http://www.delsinrecords.com/release/4598/john-beltran-presents/music-for-machines

The coming months will see celebrated ambient artist John Beltran jointly release not one but two vinyl compilations on Delsin Records in association with his own Dado label. The compilations, named Music For Machines Part 1 and Part 2, will take the form of two vinyl LPs released apart, with both releases complied together onto one CD available at a later date. 

John Beltran Presents: Music for Machines

Dashboard Angels

Buy @ Delsin Shop

Orquesta - Dona Sandra (ft. Zuzuka Poderosa)

Âme - Fiori (Club Edit)

Outputs under certain constraints.
A collection of experimental endeavors.

Audio data is CC BY-SA 4.0.

r247

VQ027 A1 Footprintz - Uncertain Change

Stunning new package from Ibadan as Jerome Sydenham entrust "Timbuktu" to Sonar Kollektiv/Innervisions men of the moment Âme

Âmedelivers no less than four remixes (!), spanning a range of house moods and grooves, from beatless excursions to Sonar Kollektiv dance floor subtleties, laced with thick electronic percussion and a minimal mentality.

(P) & © Ibadan Records, 2016
All rights reserved. Unauthorized reproduction is a violation of applicable laws.
Licensing: license@ibadanrecords.com

Timbuktu - The Complete Collection incl. the Âme Remixes

♫ Buy on Ibadan Store

Ferrer & Sydenham Inc - Timbuktu (Âme Main Mix)

This is a remix I did for Jamie Lloyd, one of Sydney's most talented musician. 
                  The track came out in January 08 on Future Classic, backed up with a Soultourist remix of "You're Out or In?". In other words, it's a Drumpoet release in disguise. The virus keeps spreading ;-)
                  Concerning my remix, I wanted something with more "ooomph" than my previous tracks...judge it for yourself, but I think this one is on a rave tip!

Buy on Bandcamp

Jamie Lloyd / May I? (Quarion RMX)

Agoria Feat. Scalde-Singing (Dixon Mix)

<a href="http://i-donline.com/2012/07/i-d-online-july-2012-mixtape/">i-D online: July 2012 Mixtape </a>

i-D adores girls, doesn’t everyone? 

Techno empress Nicole Moudaber headlines July’s <a href="http://i-donline.com/2012/07/i-d-mix-12-07-12/">i-D MIX</a> night, and a fit army of females rule this month’s mixtape. Separating the babes from the boys, Azealia Banks, M.I.A., Kelly Rowland, Rochelle Jordan, Angel Haze and Angelina Lucero bring the bass and brawn with their sweet sounding MP3s. Switch this on.

facebook.com/iDmagazineofficial 
twitter.com/iD_magazine 
youtube.com/user/idmagazineonline

dOP - Kisses (Instrumental)

Beautiful Place

Contact / demos policy: https://www.ostgut.berlin/label/contact/

Yoga Therapist - Restorative - Yin - Nidra - Yang
Visual Artist

Steffi | Pip

Ostgut Ton | A-TON | unterton

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