Chaque jour de la semaine dans Takeover, c'est un.e membre d'un crew ou un.e artiste proche qui prend les commandes pour une heure de White Label Radio.

Et cette semaine, on reçoit le label https://soundcloud.com/curuba-records, avec pour premier artistes : https://soundcloud.com/psychotropiques

Artiste 👉 https://soundcloud.com/psychotropiques
Crew 👉 https://soundcloud.com/curuba-records
White Label Radio 👉linktr.ee/whitelabelradio

WLR.PODCASTS.T088 Psycho Tropiques [Curuba]

Shika Shika is very proud to share our last release of 2021 - “Labalamer”, a four track EP created between the sun and the waves of the indian ocean by Reunionese drummer and producer Eat My Butterfly.
Labalamer was composed during 2021 after Dilo’s return to her native La Reunion island and her roots. The release shows the textures, simplicity and slow movement of this re-encounter with her homeland, embracing the traditions of La Reunion and its maloya music. On “Labalamer” she creates an unique, emotional and intimate sound, exploring the lines between Dilo’s own roots, her instrument (drums and percussion) and electronic music. In a dialog between downtempo & maloya, each track presents its own entrancing universe and colour. Meanwhile themes like bereavement, expatriation and an inner journey of discovery are threaded through the release. 
Eat My Butterfly has emerged as one of the most exciting young artists to emerge from the flourishing and diverse scene on the island and in the Indian ocean and the EP also features a selection of fellow Reunionese artists such as Christine Salem, Aleksand Saya and Justine Mauvin ‘aka’ Sibu. They are joined by names from further afield such as French artist Dal, Corsican bass player Alix Guglielmi and a special collaboration with Shika Shika co-founder El Búho

PreOrder Vinyl

Eat my Butterfly - Caleb (ft. DAL)

Papé Nziengui et son Groupe: modernized traditional music from Gabon (1989)
Pre orer LP/CD/Tape/Digital https://linktr.ee/PapeNziengui

Kadi Yombo, published in 1989, is the most successful album in the quest for a fusion between tradition and modernity in Bwiti harp music of the Tsogho people of Gabon. Combining beating rattles with a layer of synthesizers, Papé Nziengui blends in a contrapuntal dialogue characteristic of harp playing: male song in appeal and female choir in response, male voice of the musical arc and rhythms of female worship. But above all it’s Tsogho ritual music and modern studio orchestration. The result is an initiatory itinerary of 10 musical pieces which are all milestones likely to be simultaneously listened to, danced, meditated on, and soon acclaimed. In the years since, Nziengui has traveled he world from Lagos to Paris, from Tokyo to Cordoba, from Brussels to Mexico City to become a true icon, the emblem of Gabonese music.   
Like Bob Dylan, "electrifying" folk and Bob Marley mixing rock with reggae, some purists have criticized Nziengui for having distorted the music of harp by imposing a cross with modern instruments. They even went so far as to claim that Nziengui was just an average harpist covering his shortcomings with stunts that were only good for impressing neophytes; like playing a harp placed upside down behind his back or playing two or three harps simultaneously. Sincere convictions or venomous defamations, in any case, Nziengui never gave in to such attacks, imposing himself on the contrary to pay homage to the elders (Yves Mouenga, Jean Honoré Miabé, Vickoss Ekondo) while instructing the maximum of young people. He is thus the promoter of many young talents, the most prominent of which is certainly his nephew Jean Pierre Mingongué.
In a conservative society where the sacred is confused with secrecy, exposing the mysteries of Bwiti in broad daylight can be punished by exclusion or even execution.
Papé Nziengui has always claimed that he faces such risks because he never felt enslaved to a community that governs his life, that regulates his conduct, that has a right of censorship over his activities. Like Ravi Shankar, the famous sitarist, Papé Nziengui is a man of rupture but also of openness, a transmitter of culture. As proof, he has established himself in Libreville, Gabon’s capital, as the main harpist for sessions and concerts, accompanying the greatest national artists (Akendengué, Rompavè, Annie-Flore Batchiellilys, Les Champs sur la Lowé, etc.) as well as foreign artists (Papa Wemba, Manu Dibango, Kassav', Toups Bebey, etc.). In 1988, he was the first harpist to release an album in the form of a cassette produced by the French Cultural Center (Papé Nziengui, Chants et Musiques Tsogho). At the same time, he created his own group (Bovenga), combining traditional music instruments (musical bow, drums, various percussion instruments, etc.) in the framework of a true national orchestra, which gave the first concert and the first tours of a traditional music that was both modern and dynamic, thus "democratizing" the harp, to the dismay of certain purists.
On the other hand, in modern music, dominated by the logic of profit or even commercialism, artistic creation must often be adjusted for a specific audience based on reason rather than heart. But instead of allowing himself to be distorted, Papé Nziengui has always tried to produce music that is not a caricature, worthy in its expression as in its content, of the sacredness and transcendence of the music of the Origins. This is what makes Nziengui—not only the musician, but the man—someone whose age hasn’t altered any of his freshness or authenticity.

Kadi Yombo

Papé Nziengui et son Groupe — Moghogho

Reprise - ROYAL CADET, Jean-Louis Murat

Je ne l'ai rencontré qu'une fois. On faisait sa première partie avec Encre au Grand Mix à Tourcoing, c'était en 2004. J'étais secrètement fan du Murat aux arrangements dépouillés, dans son plus simple élément, les piano-voix, les guitare-voix à peine effleurés comme enregistrés dans la brume du réveil, j'y avais été converti par un vieil ami. Sans lui, je serais complètement passé à côté. Je savais que c'était quelqu'un de pas facile d'approche, on m'avait prévenu. Je crois que je m'étais préparé à être aussi con que lui. De ce point de vue, je pense que ce fut une réussite. J'étais encore dans le jusqu'au-boutisme de la vingtaine, c'était pas dur et plutôt dans mes habitudes à moi aussi. Ce soir là, il nous fit du Murat à la hauteur de sa réputation. Je me le rappelle lisant du Lautréamont(?) à son lighteux qui n'en avait strictement rien à foutre, puis à la responsable du catering... Lorsqu'on l'y croisa d'ailleurs, il fit un couplet sur nous, les intermittents, qui bouffions tout et qui se la coulions douce, qu'il aimerait bien pouvoir en faire autant... ce qui nous avait particulièrement énervé.es car on l'était pas encore, toujours au RMI à l'époque, pour celles et ceux qui ne bossaient pas à côté : c'est à dire, euh, moi. Du 11000ème degré, peut-être, ou pas, mais les 3 minutes et demi de balance qu'il nous avait octroyées nous avaient laissés peu enclins à ce genre d'arithmétique de l'humour. Histoire de rivaliser de connerie, je crois me souvenir avoir fait la majorité du concert dos au public qui ne m'avait pourtant rien fait. Puis vint le concert du monsieur. J'étais quand même décidé à lui rendre un peu la monnaie de sa pièce. Par moments, je ne détestai pas trop, subis un peu « le cri du papillon » et le wok'n'woll, mais bon...Puis vint le piano-voix, « on va se mettre aux anges », entre autres. Sublime. Itinéraires de tournée oblige, on rentrait sur Paris et devions donc filer avant le rappel. Je le vis qui sortait de scène et l’interpellai, sans doute encore assez mégalo et suffisamment saoul pour considérer qu'il était de mon devoir de rectifier un de ces grands déséquilibres du monde : « ah ben tu vois, là c'est magnifique quand tu es tout seul au piano, j'en ai la chair de poule, ça nous change de quand tu te prends pour Calexico alors que tu fais du rock à papa tendance ZZ top ». C'était pas la vanne du siècle et il y avait moyen de se satisfaire du caractère hautement lèche-cul de la première partie de mon axiome en levant les yeux au ciel sur le reste. Mais  la stratégie machiavélique de dire à quelqu'un qu'il est nul avant le rappel a dû payer. Et on peut pas dire qu'il l'ait bien pris. Ses musiciens qui me toisèrent d'un « allez, on retourne faire du rock à papa » avant de remonter n'avaient pas l'air enchantés non-plus. Je filai donc comme un lâche avec la troupe, qui venait visiblement de pisser sur son tour bus (qui en tremble sans doute encore, plutôt tendance Plageman qu'Avengers, donc), probablement très fier de moi et laissant l'équipe du Grand Mix essuyer une bonne tirade incendiaire sur notre compte, j'appris plus tard. Mes plates excuses d'ailleurs... mais bon, c'est pas moi qui l'avais invité 😉. 
Bref, savez quoi ? J'ai surtout vraiment beaucoup de peine d'apprendre sa disparition, et malgré ces quelques potacheries, j'ai toujours pensé que c'était un parolier et songwriter  incontournable, l'un des meilleurs que ce pays ait enfanté, et je pense que l'on est nombreux à lui devoir beaucoup, même si c'était certainement la dernière personne à qui il fallait le dire. 
R.I.P. Jean-Louis, tu vas manquer.  Je poste cette modeste reprise de mon morceau préféré de toi, je l'ai enregistrée hier soir. J'en profite car tu es plus là pour m'engueuler. Allez, pas besoin de lever les yeux au ciel maintenant que tu y es. M'est avis que je suis pas le premier, ni le dernier et que tu vas en recevoir des pelletées...

Royal Cadet (Jean-Louis Murat Cover)

A Mop Mop Mixtape
FREE DL 4 a limited time

Photo by Rafal Karcz
Model - Natalia Krukurka

Previous Volumes --> http://bit.ly/1u3vKAG

www.mopmop.com
www.facebook.com/mopmopofficial

The Bastard Side Of Jazz Vol 4 *FREE DL*

Moonlit Planetarium

Snippets

spell my name

today we will learn how to make the Multidimensional soup
miso tape available at CHILLMOUNTAIN

Microscopic Cookbook

Order

Footprints

Single from the upcoming full length "Akaline Kidal"
Coming March 1st
https://tinyurl.com/akalinekidal

Ahmed Ag Kaedy - Imetawan

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Dumela dreamers!

When it’s grey and / or dark outside for the most part of the hours, that growing melancholy inside of you is completely natural. Don’t bewail but rather embrace it.
Day feels like night, so why don’t you start dreaming already?
Right... You’re missing the soundtrack!

Well, we know a thing or two about coincidences.
And what we have here for you seems like a lucky one of those!

There is a thing whose size does matter and that is…. You guessed it: a music release!
If you’ve been around our catalogue you might already have noticed that small isn’t quite our thing. But if there’s one thing we enjoy more than big EPs, it’s albums. And – oh person – do we have a great one for you.

Nelson Bell is not only a good friend of us, but also an amazing producer, who has finally finished his debut album “Reveries” which we now have the honour of delivering to your replay devices.
In his own words he describes it as the fruiting body of a mushroom, who’s mycelium has stretched far and wide and connected many places and organisms until it came out of the ground to release its spores.
So pull down your mask for a second and breathe them in, so we can all share the same dream. Maybe one of a brighter future. Who knows?
It’s really up to you.

Forever yours,

The dreamy Drosssels

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All tracks written & produced by Nelson_Bell
- additional vocals on "Moon" by Eva Conte
- additional vocals on "Staub" by @RomanoLicker
- saxophone on "Staub" by @NilsHerres
- additional vocals on "Schritte" by Ricardo Domeneck (https://www.literaturport.de/wab/Ricardo.Domeneck/)
Mastering by Tilmann Eimicke (@Haunted_Water)
Artwork by @lsDaensen

Royal Cadet (Jean-Louis Murat Cover)

Stranded Horse

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