ladina

world

Tout & rien mais que du bon !

TROPICAL#AFRO BEAT

Découvertes...

YAI!

latin vibes

mix_fiesta

Cametá, a historical little Amazonian town on the shores of the river Tocantins, is the birthplace of the scorching music known as “Siriá”; a cross pollination between the music of the inhabitants of the quilombos, a Brazilian hinterland settlement founded by escaped slaves of African origins, and the indigenous people of the Amazon rainforest. It is a breathing, pulsing, emphatic beat, and the modernised version of this local music, created by Mestre Cupijó, has been igniting street parties and traditional festivals across the state of Pará in Northern Brazil for decades. And at last in 2014, the combustible sound of Siriá will be celebrated internationally as the feverish, tropical sound of the summer!

Foretelling his talent to flow between cultures, Cupijó was named after a local river when he was born in 1936, into a family of musicians. His father, Mestre Vicente Castro, was also known as Mestre Sicudera, the musical director of Centennial Euterpe, one of Brazil ́s oldest bands, founded in 1874. 

At 12, Cupijó started to play the clarinet. He also became proficient at the piano, mandolin and guitar, although the instrument that came to personify his sound was the alto saxophone. Waltz, bolero, cha cha cha and an assortment of dance hall music became part of Cupijó's repertoire, but it was Carimbó and Siriá, the music played by the black communities of Pará, that had the strongest impact on the young musician.

To grasp the soul of this music, Cupijó went to its source and lived with the quilombolas (maroon) community of the Amazon. Upon his return, enriched by this life-changing experience, he founded the band "Jazz Orquestra os Azes do Ritmo" with the goal of reinventing Siriá and modernising Samba de Cacete, Banguê and other folkloric music of the state of Pará. Airwaves from the Caribbean and Latin America had also brought the cumbia sound of the mighty Colombian orchestras, Merengue from the Dominican republic and Cuban music to the Amazon, all of which had an impact on the music of Northern Brazil, Mambo especially! Mestre Cupijó took these influences and mixed them in with the ingredients he had studied in the Quilombos. That fusion – as we are witnessing on this record – had explosive effects.

His fresh new sound became the soundtrack to Cametá's legendary Carnival and soon his troupe were invited to other festivals along the river. Transportation to these concerts was via small boats, where three or four musicians would share a vessel with their instruments tucked between their legs. In those days there were no posters or radio adverts to promote the shows in any way, yet Cupijó’s shows became notorious. In an interview one of his band members explains: "Whenever there was a party – on a Saturday for example – and it was known that Mestre Cupijó would play, the news would spread incredibly fast, just by word of mouth. We didn’t understand how that was possible, but it certainly was amazing."

After the initial wave of enthusiasm, the first two LPs were recorded with rudimentary equipment in a dance club in Cametá. However, it was the third attempt, recorded in a studio in Belém, which would trigger a phenomenal success. "Caboclinha Do Igapo" and "Mambo do Martela", included on this record, became instant hits. A year later, "Mingau de Açai", one of Cupijo ́s most popular tunes, took the region by storm. In total six LPs were recorded by Mestre Cupijó.

He then created "Concurso de Musicas Carnavalesco de Compositores Cametaenses”, a contest for carnival music composers. The songs composed expressly for these contests in the 70s are still performed today during carnival season. In addition to evolving the Pará music culture in this way, he also owned a makeshift soundsystem, "Musicolor", to spin the discs of local artists before his own shows to the frenzied crowds. Mestre Cupijó proved himself a philanthropist as well as a conductor for the people’s music, and acted as a provisional lawyer for the city of Cametá, specialising in help for the poor. He also had a short spell in politics and was elected by a vast majority to the station of Municipal Councillor of Cametá.
Master Cupjó, the pillar of Pará's festive culture, and a humble pop icon who was ushered prominently into the country’s history books, passed away on 25 September 2012, at the age of 76.

We at Analog Africa are ferociously proud and honoured to have the chance to present these carefully selected tracks from Mestre Cupijó’s six studio albums. We hope that his music captivates you with the magic and bewilderment that is has us. We recognise his compositions as true anthems of life and vitality, vibrantly encouraging all to drink and dance until sunrise! Let go of your inhibitions and immerse yourself in the wonderful world of Mestre Cupijó........ Segura!!!

Mingau de Açai - Mestre Cupijo (OUT NOW)

Order CD / LP (+CD): http://tiny.cc/rhrh6w
Order digital: http://tiny.cc/vmrh6w

Lobi Traoré - Bamako Nights: Live at Bar Bozo 1995
Release date: November 15th, 2013 on Glitterbeat Records

Bamako Nights captures the incendiary genius of Lobi Traoré, a soulful singer/songwriter and blazing electric guitarist of Mali, who died too young - just 49 years old - in 2010. Lobi produced five studio albums during his career, as well as four live releases, including the solo acoustic session Rainy Season Blues (Glitterhouse 2010). But Bamako Nights offers the deepest and most intimate record of this artist’s astounding power on stage in a small Bamako nightclub.

In 1995, the Bar Bozo was a unique destination. Mali’s democracy was just a few years old, and people were finding new ways to exercise freedom. The bar was an unglamorous, downtown nightspot, dark and often crowded. It didn’t cater to elites, but working people, who came to drink and dance and enjoy a live band long into the night. Lobi Traore was still emerging as a popular artist in Bamako. His earthy blend of Bambara roots and edgy electric guitar, and his philosophical songs of social life and the challenges rural people face in the city, were made to order for Bar Bozo. No wonder he packed the place on a weekly basis.

Lobi had begun recording albums by that time, and performing in Europe with an acoustic ensemble. But at Bar Bozo, he and his small electric ensemble were developing a new, rawer sound, one that would make Lobi a staple of Bamako’s live scene, and a legend of African blues celebrated around the world. You can hear in this smoldering session Lobi’s joy at having recently acquired a flanger pedal. His solos build to soaring, ecstatic heights, as unhinged as anything in African rock since.  

The set starts out slow and meditative with “Ni Tugula Mogo Mi Ko,” conjuring a trance atmosphere that Lobi elevates systematically with his keening vocal and eloquent picking. You can almost feel the weight of a sweltering Bamako night as Lobi forcefully guides his band though musical catharsis. By the time they kick into high gear on “Sigui Nyongon Son Fo,” the weight has lifted and spirits are flying. 

It’s hard to say enough about Lobi as a guitar stylist. His sound echoes older Malian pentatonic guitarists, notably the iconic Zani Diabate, whom Lobi accompanied briefly. And there are clear rock echoes; Lobi was a fan of AC/DC’s Angus Young! But in the end, Lobi’s guitar voice is his own, unmistakable, deeply informed by tradition and graced with sparkling personal epiphanies - even with the flanger set to 110%.

A few weeks after this recording was made, Bamako authorities closed down the Bar Bozo, and Lobi had to move his joyful party to an obscure venue on the outskirts of town. Bamako Nights is a time capsule recording. It evokes an artist, a time, and a place that came together with amazing potency, and can never be recreated.

www.glitterbeat.com
www.facebook.com/Glitterbeat

Lobi Traoré - Dunuya

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

From <i>Haiti Direct</i>, compiled by Hugo Mendez of Sofrito. Out now on Strut Records.
Order: <a href="http://georiot.co/5oB">iTunes</a> • <a href="http://georiot.co/3ZL">Amazon</a> • <a href="http://bit.ly/HaitiDirect_StrutStore">Strut Store</a>

Founded by saxophonist Carmin Bichotte in the summer of 1967 in the Carrefour suburb of Port au Prince, Les Fantaisistes celebrated their more egalitarian roots and promoted themselves in opposition to the more uptown milieu of groups like Les Shleu Shleu, scoring numerous hits with lead singer Ricot Mazarin. The spaced-out "Panno Caye Nan Bois Chêne" - with vocals by Haitian singer and poet Ansy Derose - is taken from an album recorded whilst on tour in Guadeloupe in the early 70s and riffs on the local biguine rhythm to haunting effect.

More from Strut Records:
<a href="http://www.strut-records.com" target="_blank">Home page</a>
<a href="https://www.facebook.com/pages/Strut-Records/20359830443" target="_blank">Facebook</a>
<a href="http://www.youtube.com/user/strutrecords" target="_blank">YouTube</a>

Les Fantaisistes de Carrefour - Panno Caye Nan Bois Chêne [from Haiti Direct]

Free Download: http://bit.ly/2aur04U
Spotify: http://spoti.fi/1q5SQad

Get monthly tracks, remixes, sample packs, mashups, remix stems & more starting at $1/mo: patreon.com/victorniglio

@victorniglio
- facebook.com/victornigliomusic
- twitter.com/victorniglio
- instagram.com/victorniglio
- youtube.com/victornigliotv

@mrman2thatop
- twitter.com/mrman2thatop
- instagram.com/mrman2thatop

Free Download

Victor Niglio feat. Mr. Man - Jiggy (VIP)

Get the album now: http://glitterbeat.com/glitterbeat_store/

Voiced with deep passion and grace, Aziza Brahim's music adeptly travels the expanse between her Western Saharan roots and Barcelona, the European cosmopolis where she now lives. Aziza is both a contemporary sonic poet and a prominent and eloquent spokesperson for the Saharawi people and their ongoing struggle for recognition and justice.

Born and raised in the Saharawi refugee camps lining the frontier between Algeria and Western Sahara, Aziza’s life has been marked by both daunting hardship and inspired will. Fleeing from these camps and the regime of political oppression that followed Morocco’s 1975 invasion of Western Sahara, as a young teenager Aziza travelled to Cuba for her secondary school studies. There she experienced first hand the deep Cuban economic crisis of the 1990’s and the subsequent denial of her request to pursue a university degree in music.

Music had been Aziza’s passion since she was a small girl and despite this setback she returned to the Saharawi camps in Algeria and began singing and playing in different musical ensembles, a process that continued when she moved to Spain in the year 2000. There she founded the eclectic Saharawi/Spanish band Gulili Mankoo with whom she released two acclaimed self-produced recordings: the EP “Mi Canto” (2008) and an album “Mabruk” (2012) both on Reaktion, a French label specializing in Saharan music. In the last years Aziza has performed extensively appearing at major festivals and venues including WOMAD Cáceres (2012) and Queen Elizabeth Hall in London (2009).

Aziza’s new album Soutak (“Your Voice”), her debut for the Glitterbeat label, is her first recording to predominantly focus on the cadence of her majestic voice and the soulful critique of her lyrics. The album was produced by Chris Eckman (Tamikrest, Ben Zabo, Dirtmusic) and was recorded live and direct in Barcelona in June of 2013.

In the liner notes to the album Aziza describes her vision for Soutak: 

“Feeling the need to make an acoustic record, I imagined a somewhat modest musical outline, which would not involve too many instruments and in which the voices would take the expressive emotional lead. I wanted to further explore the range of possibilities found in the Haul, the Saharawi’s traditional rhythmic sources, played on the tabal and a source of inspiration for the Desert Blues.”

The hand picked band she assembled for the album consists of Spaniards Nico Roca (percussion) & Guillem Aguilar (bass), Malian Kalilou Sangare (acoustic lead guitar), Aziza’s sister Badra Abdallahe (backing voice) and in addition to singing, Aziza contributes acoustic rhythm guitar and the tabal, the traditional Saharawi hand-drum.

The music on Soutak is a powerful and nuanced mixture of musical cultures and features Malian, Spanish, Cuban and contemporary Anglo-European motifs all held together by Aziza’s deeply rooted knowledge of traditional Saharawi song and sound.  

Throughout Soutak, the band frames Aziza’s voice with dignified restraint and leaves unvarnished space for her lyrics, lyrics which range from the sharply political “Gdeim Izik” (named after the “Camp of Dignity” crushed by the Moroccan-backed authorities) to the whispered enigmas of “La Palabra/The Word” (“Cradled by the wind it left/ it went around the world and returned/ and there beyond the word was heard”)

The song “Julud,” dedicated to Aziza’s mother, is possibly the most emblematic song on the album combining intimate and stark desert poetry with an unyielding faith in the Saharawi political struggle:

You are like the night and the stars/ Your voice goes beyond the top of the clouds/ 
You are the smiling breeze of today/ You are an example of humanity and of fight.
Resist, immortal, resist.

Though the songs on Soutak can be unsparing in their details of oppression, there is more often than not a “smiling breeze” to be found. Aziza’s essential voice, headstrong commitment and subtly inventive music are that breeze. 

With Soutak Aziza Brahim has delivered an empowered flight to freedom; an alternative world where hope is imminent and dancing is justified.


Aziza Brahim:
Homepage: http://aziza-brahim.blogspot.com/
Facebook: https://www.facebook.com/aziza.brahim.official
Twitter: https://twitter.com/AzizaBrahim1

Glitterbeat Records:
Homepage: http://www.glitterbeat.com/
Facebook: https://www.facebook.com/Glitterbeat
YouTube: http://www.youtube.com/user/glitterbeattv
Twitter: https://twitter.com/Glitterbeat_Rec

Aziza Brahim - Julud

Qool DJ Marv's 2-hour mix dedicated to The Roots, originally broadcast on WURD Philly. Marv's thoughts on 2 supporting inspirations:

One - I was telling my mom about The Roots making it from playing music on a South Street corner to becoming a band that travelled all over the U.S. and the world and is now the house band of the new Tonight Show with Jimmy Fallon. She wasn't aware of them and their journey. One idea behind this is a Roots mix for the older generations.

Two - I imagined this scenario between a Dad and his son. Dad's hipping son to the hip-hop of his day. Thanks to a cool mix from a DJ named Marv, Dad played his boy the entire mix on a drive from Philadelphia to New York (because they scored tickets to the Tonight Show).

After each and every song, son asked "That's them too?"
"Yes, that's them too," smiled Dad.
"They sound so different, every song," the boy with the eager ears said.
"Well, they are musicians and their main voice, Black Thought, what a name eh(?), he's more than a rapper, he raps poetry, stories, information and encouragement."
"I thought rappers just talked about themselves and how they the best," said son.
"They are best at self-aggrandizement, I always needed more son," taught Dad.
(The Seed 2.0 starts playing)
"Oh who is this? Are we finished listening to the Roots," asked son.
"That's them too," beamed Dad while reaching for the + sign on the volume control.
"Wow, that's them too," said son with a voice that trailed off as he looked out the window and saw New York City on the horizon.
(Narrator: "Each time [son] asked "That's them too," in his mind's eye, heart & soul and deep in his consciousness, he was actually saying, "That's me too. That's me too. That's me, too. That's me.")

Qool DJ Marv - The Roots Mix

Out April 22 on Juno

Mastering/ https://soundcloud.com/inkobeats
Illustration/ Lee Hodges (http://www.leeho.co.uk/)


If you were wondering why there hadn't been much action from Panama Cardoon and the Carnibal Records stable recently, here's your answer.
 After a few years of booties and remixes on such labels as Resense, Bombastic Jam and Danny Massure's Spring Strut, Carnibal one half Cardoon is releasing his debut LP 'Hasta La Wiggle' on which he gives full rein to his twin loves of latin breaks and reggae beats. 
While there might be no surprises in terms of the sort of content to be found on 'Hasta La Wiggle' though, you might raise an eyebrow at its brevity - thirty nine minutes is hardly an odyssey. Yet the canny Athenian manages to squeeze in ten tracks and still leave you wanting more. Highlights include - well - most of it to be honest but
especially reggae reboot 'Upnaked', the centrepiece of 'Don't Let Me Know' (massive bashment beat, cheeky rhyme from BnC and a super catchy female hook), the fat latin breaks on 'El Ausente', retro laundry-anthem 'Dubbydeo' and the dubbed-out 'Besame' complete with west coast psychedelic trimmings. 
Most similar to efforts by fellow travellers Daytoner and Andy Taylor this is a shoe-in to appeal to a similar audience. 
Hasta la wiggle, baby! 

(Tony Lansdowne - April 2014/ monkeyboxing.com/ Mako & The Hawk)

Carnibal 009 Panama Cardoon - Hasta La Wiggle (snippet)

Bogota's Meridian Brothers return to Names You Can Trust with a brand-new double-sided single. Having made their mark on the local scene in Colombia for over a decade, the last few years have brought Eblis Álvarez and his strange brew of tropical rhythms, wonderfully outrageous electronic sounds and unique, playful vocal style into the consciousness of a world wide audience. Building on the success of their previous album 'Deseperanza' as well as the upcoming 'Salvadora Robot' (both out via Soundway Records),  Álvarez has concocted two new gems exclusively for this NYCT release.

Recorded inside Álvarez's Isaac Newton Studios, these quirky yet seductive experiments in cumbia are further proof that Meridian Brothers and their rare style are unmatched in the modern landscape. Lamento Calavera, a mostly instrumental, electronic beat and synthesizer infused study on cumbion (fast cumbia) builds at a frenetic pace until the choir (as done by Los Maravillosos) resets. El Faraón Miente, a jazzy mid-tempo cumbia, rides along effortlessly with its carousel-like melody and bubbling Peruvian-influenced guitar riffs. With a cover illustration by Álvarez himself, this is another automatic collector's piece from Meridian Brothers and Names You Can Trust.

Releases worldwide on May 26, 2014 on Digital / 7" vinyl.
Supreme weight picture cover package on Recycled Board.
Limited Edition 500 press.

Meridian Brothers - Lamento Calavera

7" available now from www.sofrito.co.uk

Originally from the island of Boa Vista, Abel Lima was part of a large wave of Cape Verdean migration to Europe in the late 60s – fleeing the political turmoil that accompanied the end of Portuguese colonial rule. Settling in Paris, he recorded several albums with ‘Les Sofas’ a multinational group featuring musicians from France, Senegal, Cameroon, Angola and Guadeloupe.

Arranged by Camerounian star Eko Roosevelt Louis, Corre Riba Corre Baxo (what goes up must come down) is taken from the 1977 album ‘Cantam nos Bida‘ and combines a rock-solid bassline with a hypnotic guitar riff.

Nos Maos – arranged by Guadeloupean pianist Roland Louis – has more of a Caribbean feel, bringing elements of Cadence in to the mix. The politically-charged lyrics – half in French and half in Portuguese – deal with European complicity in economic and social problems in the developing world

Combining the Morna and Coladera styles of Cape Verde with Jazz, Cadence, disco and West African styles, Abel Lima’s output reflected the rich mixture of musical styles and cultures that was (and still is) present in Paris. Both tracks are dancefloor classics.


Sofrito Island Series // Abel Lima e les Sofas 7" // Cape Verde

Just a small mix to celebrate the fact that we will attend and create the fantastic Campcosmicfestival in sweden 8-10 August.   http://www.campcosmic.com/

If you have any questions about the tracks in the mix, just ask. 

BonchanceCampcosmic2014

01. Dj Inko - La Cadencia
02. Vida G - Cumbida
03. Umoja - Orere
04. St. Mutante - Fankeke

Mastering: Dj Inko
Illustration: Lee Hodges

Carnibal 010 Various Artists (Snippet)

Yaad feat. Chamkila (Rock Universe Mix)

1. Dj Inko - Te Quiero
2. Dj Inko - Abekabe
3. Dj Inko - Mi So Bailar
4. Dj Inko - Zulu

All tracks remixed and mastered by Dj Inko
Artwork by Lee Hodges

CARNIBAL 12 Dj Inko (preview) Out 9/2

My KCRW radio show is every Wednesday night 12-3am, so for the past 5 years I've never been able to go to Low End Theory. Gaslamp Will and I said enough is enough, and planned it so I can take the night off and rock w/ some old friends that I never get to play with, and feel the energy of Low End Theory.

...I was super hyped that some other friends, Mark de Clive-Lowe and Jonti were both gonna be performing as well, and THEN, once I got there I heard word that JAMES BLAKE was yet another special unannounced guest. Damn I'm a master at being in the right place at the right time.

So obviously this is a distorted recording and I was pushing the system hard since I didn't often go full buggout like this back in those days, but if ever a crunchy recording would work, it's one of crunchy tunes like these.

Live at Low End Theory (12/14/11)

Original version released on The Original Sound of Cumbia (Soundway), comp compiled by Will "Quantic" Holland. LINK: www.soundwayrecords.com/catalogue/the-original-sound-of-cumbia.html

Jeremy Sole VS Hermanos Tuiran - "Lluvia Duro"

Buy it here: http://bit.ly/1LMEIwG

The reigning champs of instrumental SOUL are back with the follow up to their funky masterpiece, “Pure Cane Sugar."  Featuring members of SHARON JONES & THE DAP-KINGS.

The Sugarman 3 - Rudy's Intervention

https://www.mediafire.com/?a979od84boauprc

Casha Hyde : Conjunto Miramar (Casha Hyde Rework)

Menahan Street Band - The Crossing

This year, the legendary "High Priestess of Soul", Ms NINA SIMONE, would be 80 years old. A woman who changed the social and political fabric of America with her fearless songs, her yearning voice, and her raw, worn soul.

Perhaps what has always moved me about Nina's body of work is that her recordings, even her fame in itself, were all auxiliary - just a means to support her continuing education and aspirations of becoming a classical pianist. Her songs had their own meanings and subjects of course, but by reflecting on her life's work as a whole, you can plot the points between these songs like a constellation. They were rungs on the ladder of her ever-climbing journey. You can hear in each recording a completely pure reflection of how she was feeling - passionate, strong, devoted, frisky, suspicious, proud, or just downright tired.

THIS FRIDAY NIGHT, JULY 5TH 2013, Los Angeles gathers for a sure-to-be-epic evening of free music and revelry around this particularly authentic high priestess. Join us all at GRAND PERFORMANCES for "YOUNG, GIFTED, and NINA", featuring LA's deepest musical luminaries from the Jazz, Soul, Blues, Poetry and recording world as we come together for this majestic tribute.

This event is produced with unmatched dedication by JONATHAN RUDNICK, and the visionary music direction of DEXTER STORY,  the men behind last year's also epic "PEACE GO WITH YOU, GIL" tribute to Gil Scott-Heron. Yours truly will be opening the evening with an invocation DJ set, and speaking throughout the show.

AS A GESTURE TO CHRISTEN THIS MOMENTOUS OCCASION, I'VE AGREED TO MAKE MY REMIX OF NINA SIMONE'S "BE MY HUSBAND" A FREE DOWNLOAD FOR ALL TO HAVE. I HOPE YOU ENJOY AND SPREAD THE SOUNDS, SPREAD THE WORD, AND WE'LL SEE YOU FRIDAY NIGHT.

For more Blues-infused works, check for my forthcoming "REVIVAL" EP Series. Blues remixes for the discerning dancefloor. Those and more at www.soundcloud.com/jeremysole

buy  on bandcamp

Be My Husband (Jeremy Sole Remix)

Breton has announced the release of a brand new single ‘Population
Density’, due for release on 5th November 2012 on FatCat Records.
Recorded between festivals over the summer at the band’s creative HQ The
Lab, the band road tested it for the first time at the Route Du Rock festival
in France last month in front of 7,000 people – it was one of the highlights of the
set.There are two additional tracks on the single – ‘Governing Correctly’,
taken from the band’s debut much laude album ‘Other People’s Problems’
and a dub remix of ‘Governing Correctly from Ed Banger head honcho Busy
P.

The band have been playing festivals all over Europe throughout the summer
and have just embarked on their first headline tour of the States, Canada and
Europe, including a show at the Scala in London on 24th October.

September

7th – The Middle East – Cambridge, MA, USA
8th – Casa Del Popolo – Montreal, Canada
9th – The Rivoli, Toronto, Canada
11th – Magic Stick Lounge – Detroit, USA
12th – The Empty Bottle – Chicago, USA
13th – The Electric Owl – Wanvouver, Canada
14t - Barboza – Seattle, USA

15th - Rotture – Portland, USA
16th – The Echo – Los Angeles, USA
18th – Black & Mortar Hall – San Francisco, USA
21st – Festival Zikametz – Metz, France
22nd – Festival Jour et Nuit – Grenoble, France
23rd – Le Consortuim – Dijon, France
24th – Le Grand Mix – Lille, France
25th - Lun Des Pirates – Amiens. France
26th 6 par 4 laval, France
27th - Gaite Lyrique – Paris

28th – Temp Machine – Tours, France
29th – RDV De Terres Neuves – Begles, France

October
2nd – Abart – Zurich, Switzerlans
3rd – Yverdon – Amalgame, Switzerland
4th – Rockhouse Yeah Club – Salzburg, Austria
5th – B72 – Vienna, Austria
6th – Lucema – Prague, Czech Republic
8th – Rotor Salon – Berlin, Germany
10th – Ekko- Utrecht, Netherlands
11th - Botanique/Orangerie – Brussels, Berlgium
13th - Insanitus/Fluxus Ministerija – Kaunas, Lithuania
17th – Le Vauban – Brest, France
18th – Antipodes – Rennes, France
19th – Chabada – Angers, France
20th – Le Normandy – Saint Lo, France
24th – Scala – London, UK

December
7th – Club Control – Bucharest, Romania
11th – Les Adventuriers – Salles Jacques Brel – Fontenay-sous-Bois,
France

For further information please contact Heather Finlay at Sainted on 07747
611110 or at heatherfinaly@saintedpr.com.

Breton - Population Density

Teasin' mix for the Groener Gras October 27th Dia de los Muertos event in Eindhoven, heaaaavy Caribbean disco & Cadence, African funk, Psicadelia Latina & other deepdancing grooves !

Teasin' mix Disco Tropic for Groener Gras

https://www.facebook.com/events/413992308655069/

Petit mix pour la soirée Avenida Brasil à la BELLEVILLOISE, samedi 17 Novembre 2012, au menu, forro, samba, sambalanço, funk, twist et samba soul, le tout made in Brazil ! 

Line UP : SHEYLA COSTA & SAMBATIDA PERFEITA dans la Halle, dans le CLUB, KARSTEN JOHN, TOM B et moi. 

Mix Avenida Brasil 17 Novembre 2012

Teaser Mix Tropicalia grooves party , Toulouse, France, November 16th, feat. live by Batê pa tu + DJ Sasso & Greg de Villanova. http://www.facebook.com/events/193564097446135/

Mix Tropicalia Grooves

José José José - imprudente (con Kryone)

B Side to "Going Underground".........all about the journey. :)

Da Lata "Places We Go"

Teaser Tropical NOCHES DE LA GROOVALIZACION, 8 DECEMBRE 2012 

** LA DAME DE CANTON PARIS ** FRANCE

w/ CUCURUCHO & MR TOUBAB

https://www.facebook.com/events/245308762265564/?ref=ts&fref=ts

LINE-UP
*************************************************
CUCURUCHO
http://soundcloud.com/musicasmigratorias
GREG DE VILLANOVA
http://soundcloud.com/greg-de-villanova
MR TOUBAB
www.mixcloud.com/mrtoubab

Ecoutez RADIO GROOVALIZACION
www.groovalizacion.com

Mix Noches de la Groovalizacion

P18 - "La Verdolaga (Jeremy Sole remix)'

TROPICAL DISCOTEQ CARNIVAL SPECIAL 

12.02.2013 PARIS FRANCE w/ EMILE OMAR, HUGO MENDEZ, DON CAMILO & GREG DE VILLANOVA

Dedicated to the late HENRI GUEDON, we all miss you !

TROPICAL DISCOTEQ 12.02.2013

TO DOWNLOAD THE FULL MIXTAPE GO TO: http://www.mediafire.com/download/ade9q499feh291p/Branko_-_Drums_Slums_&_Hums_(Mixtape).zip

Produced by Branko
@Brankoofficial

Vocals by Njena Reddd Foxxx
@njena-reddd-foxxx

Original song produced by WNDRDBRD (https://soundcloud.com/njena-reddd-foxxx/silly-bitch)

Branko - (One More) Silly Bitch (feat. Njena Reddd Foxxx)

My plan was to not remix, but re-play the song in a full live setting, as if in 1975 Bowie recorded the original and then flew to Brooklyn (or even Jamaica) to cut another take with my players. Everything was recorded 100% analog to tape. All on equipment that was available before 1975. My approach was to take influence of the Jamaican musicians (and recording styles) of the mid-seventies, and their infatuation with American Soul music. If you dig it, that would be great. Knowing that BOWIE digs it, I’m over the moon.

DAVID BOWIE - Golden Years (Jeremy Sole remix)

Get the album here: http://glitterbeat.com/glitterbeat_store/

'Troubles' is the new album from Dirtmusic - Chris Eckman (The Walkabouts) and Hugo Race (Fatalists/True Spirit/Bad Seeds) - recorded in Bamako, Mali, in September 2012 during the high-tension and tragic recent crisis - hence the name, 'Troubles'.

Originally a trio with Chris Brokaw (Come/Codeine), Dirtmusic released their eponymous debut in 2007, a gritty collection of acoustic ballads drawn from their American and Australian frontier roots. The band's explorations of raw, psych-folk-rock then took a radical detour out to the Saharan desert, to Timbuktu, performing at the legendary Festival-au-Desert.

Dirtmusic's encounter at the Festival-au-Desert with the Tuareg band Tamikrest was the catalyst for the second album, BKO (2010), a classic, one-of-a-kind trip through the interzone between 'western' and Tamasheq desert rock. The two bands toured Europe extensively and the album received major shout outs from both the rock/pop and "world" music press:

"BKO is a collection of dusty, yearning songs growled out over a nicely fused acoustic/electric mix... The atmosphere is infectious" - Uncut

"A different take on African rock... it's not Africa subsumed by the west but a genuine, equal meeting" - Froots

With the departure of Chris Brokaw, Race and Eckman decided to head further 'upriver', composing and recording an album from scratch in full collaboration with a select crew of Malian artists. Dirtmusic arrived in the Malian capital of Bamako with notebooks of lyrics, but without written songs or preconceived strategies. Drawing on musicians from the Ben Zabo and Samba Toure bands as a core rhythm section, Race and Eckman produced the sessions on the dance floor of Salif Keita's Moffou Club, inviting in guest vocalists including not only Ben Zabo and Samba Toure, but also Virginie Dembele (from the Rokia Traore ensemble), rising star Aminata Wassidje Traore and soku-master Zoumana Tereta.

There are many voices telling stories on 'Troubles', singing in Songhai, Bambara, Tamasheq and English, stories of war and peace and love and doubt in the shadow of an oncoming storm, and like a musical version of cinema verite, everything is real, in-the-moment and utterly direct. Inspired by the collision between West African rhythms, digital sorcery and rock'n'roll, Troubles is a singular and border-slicing musical journey. And Troubles is only the first release from the sessions, with a second volume in the pipeline for a release on Glitterbeat in early 2014.

http://www.glitterbeat.com/
http://www.facebook.com/pages/Dirtmus...
http://twitter.com/DirtmusicBKO
http://www.facebook.com/Glitterbeat
http://twitter.com/Glitterbeat_Rec

Dirtmusic - La Paix

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
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www.facebook.com/tamikrest
www.twitter.com/Glitterbeat_Rec
www.twitter.com/Tamikrest


Tamikrest - Imanin bas zihoun

Sofrito Super Singles // Island Series // Percussions  // DJ mixes & sessions