please contact Music in the Mail on fb!!  DJ Kipli, from FRSC

Thomas de Pourquery "Supersonic" sextet
"PLAY SUN RA" 1st album out january 2014
Quark Records/L'Autre Distribution
Thomas de POURQUERY - alto & soprano saxophones, lead vocals
Laurent BARDAINNE - tenor & barytone saxophones, percussions, vocals
Fabrice MARTINEZ - trumpet, flugelhorn, tuba, vocals
Arnaud ROULIN - keyboards, piano CP 70, vocals
Frederick Galiay - bass , electronics, vocals
Edward PERRAUD - drums, electronics, vocals

Supersonic -LOVE IN OUTER SPACE-

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! 

Avante Juventude - Os Anjos

PRE-ORDER FROM THE SOUNDWAY STORE AND GET AN INSTANT FREE DOWNLOAD OF 'TEOY SALAP PAMAA' 

Soundway’s second foray into South East Asia is focused on North-East Thailand, the epicentre of Molam and Luk Thung Isan music. Hypnotic phin & khaen riffs, pulsing, electrified country rhythms and heartfelt vocals punctuate another journey into the lesser known reaches of 1970s Thai music. 

The first volume of The Sound of Siam, released in 2011, was the first introduction for many to the artistry and innovations of modern Thai music. One of the most popular compilations on Soundway Records the music even made it onto the big screen with ‘Mae Jom Ka Lon’ by Dao Bandon featured on the soundtrack of ‘The Hangover Part II’.  In an interview with LA Times Mick Jagger spoke of discovering the collection that “some nutter put together” after hearing the riff from Jumpin’ Jack Flash on one of the tracks from the compilation.

In this second volume of The Sound of Siam the focus is firmly on the music the sounds of north-east Thailand, or Isan and attempts to show how a genre evolved and developed from essentially an acoustic tradition with specific geographic roots, to one that started to incorporate other instruments and influences that reached out to the Isan diaspora around the country.

The term molam is actually two separate words pushed together: Mo meaning ‘expert’ or ‘doctor’ and lam meaning ‘to sing’. Hence the literal translation means ‘singing expert’. Many molam records have extended intros that allow a vocalist to establish the theme of the song, as well as flex their improvisational muscles.

Luk thung (literally ‘song of the countryside’)is a much broader, rural style that had a bigger impact nationally. Artists like Saksiam Petchompu began fusing this style with molam, a move which propelled him to national fame. You can hear the influence of western funk, as well as Thai arrangements, on the luk thung Isan (as the hybrid became known) smash Jeb Jin Jeb Jai included here.

The Sound of Siam 2 - Molam & Luk Thung Isan from North-East Thailand 1970 - 1982’ features 19 tracks, many appearing outside of Thailand for the first time. Both CD and double LP & is accompanied with detailed liner notes written by compilers Chris Menist and Maft Sai.

PRE-ORDER:  http://www.soundwayrecords.com/product/sndwcd058-the-sound-of-siam-2---molam--luk-thung-isan-from-north-east-thailand-1970---1982

Always a peak record at any Paradise Bangkok event, 'Teoy Salap Pamaa' is another melodic mode. Pamaa is actually the Thai (and Isan) word for Burma, implying that this teoy might have taken its lead from a Burmese rhythm or melody. There is frenetic interplay between the khaen and cymbals creating an urgency tempered only by Kunchai’s ever-authoritative performance with her post- Ubon Pattana Band group, Mueng Dok Bua. Once again, she has the relationship blues as she decries men as being perennially untrustworthy liars.

Pre-order

Angkanang Kunchai - Teoy Salap Pamaa

Most fans of the blues believe it was born in the Mississippi delta shortly before 1900. They are definitevely wrong.The blues had its roots in other forms of older black music that are traced to the music of West Africa. In that sense, Mali music constituting the DNA of the blues and the griots can be identified as the direct ancestors of the rural bluesmen.Baba Sissoko is from Mali and he is the last undisputed griot alive.His voice evokes the lost vibe of the deepest and wildest side of west Africa. A magic land that he largely crossed since his childhood in singing and playing with his legendary grandfather Djeli Baba Sissoko. 

With the help of the soulful voices of Djeli Mah  Damba Koroba  and Djana Sissoko, respectively his 78 y.o. mother and his young daughter he recorded  “Three Gees”.

They are the voices of the past, the present and the future living in the twilight zone where the malian roots blooms into a new sound of hope and happiness.

Involved are also Fernando "Bugaloo" Velez on percussions and the grammy winner Corey Harris on slide guitar.

Somebody called it as Bambara Mystic Soul, we dig it and really hope you enjoy listening this album as much as we have enjoyed making it.




Three Gees

Aiulado

BUY YOUR COPY HERE !

Baba Sissoko - Aiulado

1973 afro-cuban sounds from enigmatic Guinean percussionist/singer Amara Touré on Frankfurt-based label Analog Africa.

Read more: http://www.stampthewax.com/2015/06/30/premiere-amara-toure-temedy/

Follow:
@analog-africa

Buy Now

Premiere: Amara Touré - Temedy

Featuring Tata Din Din Jobarteh, Ed "Preachermann" Holley and the Antibalas Horns

Written and Produced by Jon Fine
Ed "Preachermann" Holley: Vocals
Tata Din Din Jobarteh: Kora and Vocals
Jon Fine: Bass, Guitar, Keys
Stuart Bogie: Saxophone
Martin Perna: Saxophone
Jordan Mclean: Trumpet
Nathan Hank: Drums
Matt Hauser: Percussion

Mastered by Joe Lambert at Joe Lambert Mastering,  Brooklyn NY
Engineered by Jon Fine and Lee Weinberg at Feet First Studios
Additional Engineering by Mark Bengston
Recorded at Creature Studios NYC and Tata Din Din’s in Brikama, The Gambia

https://www.facebook.com/theholyforest
https://www.theholyforest.com


©2015 Mighty Fine Music

Africa Calling

Cymande - Dove

Khun Narin - Lam Phu Thai #1

"Sighs Over Sunday" from "Lambarene Schweitzer", 1993. 
(Ceddia/Night & Day)

Francis Bebey - Sighs Over Sunday

Emahoy Tsegue Maryam Guebrou - The Homeless Wanderer

both songs are written and performed by 
Kees Berkers & Yves Lennertz
aka YĪN YĪN

One Inch Punch 
recorded by Gino Bombrini
mixed by Gino Bombrini
Mastered by Christian Bethge

The Grey Chamber of Hinachō Otome
Recorded at Rama Tonstudio by Christian Bethge
Mixed By Gino Bombrini
Mastered by Christian Bethge

One Inch Punch

MUSIC FROM PLANET EARTH: PAST, PRESENT & FUTURE

Angkanang Kunchai - Teoy Salap Pamaa

Soundway Records

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