ROUDANI 434» est l’un des projets réalisés au cours de la résidence. Conçu par Paul Armand- Delille en collaboration avec des musiciens de la vallée du Souss et de la région du Haut Atlas. Les enregistrements ont ensuite été mixés à la SIRA, ancienne imprimerie à Asnières sur Seine et quartier général de MAD Agency.

La pochette a été réalisée par l’artiste Thomas Mailaender à partir d’anciennes photographies africaines. Elle résulte d’un travail de colorisation à l’aquarelle.

￼Dans cet EP, Paul Armand-Delille nous offre un instantané musical de Taroudant, ville-carrefour des cultures l’Atlas marocain. On y retrouve les sonorités gnawa : la basse guembri et le son métallique des caracavas avec Abdallah Roudani et son groupe, les chants de Moncif Bouboul. On découvre également la voix puissante du poète Simo Baala, et le chant inspiré d’Andrey Zouari qui côtoie le Violon berbère, la flute en roseau, ou l’Oud. Paul y pose à son tour, des solos de guitare flamenco, ainsi qu’une production léchée mêlant synthétiseurs analogiques et touches subtiles électroniques.

L’EP « ROUDANI 434 » est l’aboutissement d’un travail d’échange culturel et créatif. Il regroupe cinq titres fleuves où les musiciens s’expriment à tour de rôle, par des solos ou par des textes en arabe, anglais ou français, dans un cercle musical où chacun prend tout à tour la parole comme le veut la tradition gnawa.

La concrétisation du projet s’est traduite par une performance réunissant chants traditionnels, instruments divers et séquences électroniques ; pour le plaisir d’un public roudanais peu habitué à voir sa culture locale revisitée.

Après avoir été diffusé sur des bornes d’écoute pendant les expos du ‘434’, l’EP «ROUDANI 434» arrive sur les plateformes numériques le 21 juin 2013.

The Atlas Collective - Mimoon

The second single from "A Guide to the Birdsong of Western Africa" comes from Senegalese super-group Wau Wau Collectif and features Kora maestro Lamine Cissokho. They made a beautiful track inspired by the Yellow-casqued hornbill, a species that faces a high risk of extinction in the wild, mainly due to habitat loss and hunting. The lyrics call on citizens of the world to mobilise, come together and protect our ecosystems.

Support the project & pre-order the album here: https://shikashika.bandcamp.com/album/a-guide-to-the-birdsong-of-western-africa

A Guide to the Birdsong of Western Africa

Support the project

Wau Wau Collectif Feat. Lamine Cissokho - Yellow-casqued hornbill

A raw journey through long-distance heartbreak—from obsessing over time zones and empty coffee cups to learning to breathe alone. 

Notification Ghost

ISAAC SOTO:
https://www.facebook.com/nombrepersona

Portada: Miguel Camacho

<a href='https://theartistunion.com/tracks/d644ba'>Download for free on The Artist Union</a>

Free Download

Isaac Soto - Bleu

06 La Juga Del Nazareno

Pre-Order VINYL EP - LIMITED 300 COPIES WORLDWIDE.
https://boomarmnation.bandcamp.com/album/seremunia-ep

The debut release from Tunisian producer @LokalAffair  !! 
4 tracks of deep percussive jams, inspired by life in the Sahara desert, evening fire rituals, and ecstatic drumming styles from across the globe. 

Cover art by: Bird of Nothing https://www.instagram.com/birdofnothing/

Lokal Affair - HALA HALA - (PRE ORDER VINYL NOW!)

Thanks to Tito Puente and Dizzy Gillespie for making this track possible.

Elequana

Buy/stream 'Otun' now: montoya.lnk.to/otun

While the internet’s universality means once-inaccessible traditional and indigenous styles of music across the planet can be appropriated, sampled, and commodified with ease; it also means they can be integrated and celebrated, reflecting humanity’s idiosyncrasies as well as our shared communality. Montoya, recently signed to ZZK Records, personifies the very best of this musical globalism.

Montoya, who grew up in Colombia and now resides in Italy, entered music as a classically trained violinist. He’s keen to stress his gratitude for this adolescent education, not only in how it exposed whole new worlds of music, but permitted him travel places and sample different cultures from a young age, including playing at such renowned orchestra theaters as Gran Teatro de La Habana in Cuba and the Musikverein in Vienna. This classical upbringing naturally informed his inclusive, and methodically exacting, attitude to songwriting and production.

The pan-international musicality of his Montoya project is rooted in the musical diaspora of his native Colombia. This diaspora is vast; indigenous folk music hailing from Amazonian and Andean tribes; the cosmopolitan synthesis of modern reggaeton and traditional salsa taking place in Bogota and Medellin, and the Afro-Caribbean stylings of Cumbia and Champeta. Fusing the multi-layered precision of his classical education, his innate curiosity for Latin and “world” music, and affection for melodic electronica; his discography is at once ambitious and comfortingly familiar, as desirous of a catchy harmony as conceptual melding of Latin folk and modern electronics.

So far, under the moniker Montoya, he’s produced the stirring 2015 album Iwa and 2016 Ep Lux, where you can detect him refining his cooking skills of the indigenous and the electronic. He’s also remixed the gifted Ecuadorian Nicola Cruz’s pleasantly plodding “Cumbia del Olvido”, adding another layer of melody with a soothing string arrangement. Moreover he’s played Sonar Bogota and Musicbox Lisbon, and various European venues, but his latest album Otun looks set to both break him properly on the continent, and produce his best work so far; a fiery and flavourful gourmet dish, with British expat producer Richard Blair providing refinement as a proverbial sous chef.

On Otun, the breadth of Montoya’s influences and tastes is at its most striking; the dulcet techno hum of “La Pastora” is perforated by sprightly flutes and percussion, while lead single “Solo Quiero” deploys a languid reggaeton pattern beneath Bogota rising star Pedrina’s distorted, wilting croon anticipating a euphoric synthesiser-lead climax. The title track, featuring a sultry guest vocal from Nidia Gongora, is a fierce and vigorous club anthem, amplified by hissing synth pads and sordid breakbeats. Even a more straightforwardly techno track like “Tatacoa” is stylized with intoxicating Indian vocal samples, and more traditional folk selections like “Orun” still use an inobtrusive bassline drone. Montoya’s palette is simultaneously expansive and curious, yet coherent, with a steadily melodic electronic through-line running through Otun’s duration.

Montoya absolutely sustains ZZK’s pedigree of platforming the most exciting and inventive electronic artists from Latin America, joining the storied legacy already built by the likes of Nicola Cruz, Chancha Via Circuito, and King Coya. Whether it’s through the intricate patterns of his synthesisers or the analogue beauty of his violin, what unifies his instrumentation is the candid expression of Montoya’s experiences, ideas and dreams: “I want to feed me of all these emotions, composing and putting into music all that I’ve lived.”

Otun

Montoya - Hey Avi!!

This is the 21st release from Frente Bolivarista. 

This time we have a magical EP from the talented Brazilian artist EXZ based now in Germany. EXZ delivers three outstanding fluid, organic and obscure tracks alongside two remixes crafted carefully by the master Xique-Xique and label-owner Pigmalião. 

Cover Art - Marina Carneiro (http://www.pixiequark.net/)
Original tracks by https://soundcloud.com/e_xz 
Remixes by https://soundcloud.com/piglion and https://soundcloud.com/djdunwich 
Mastered by Schallzentrale GmbH Soundstudio (http://www.schallzentrale.ch/)

Buy on Bandcamp!

EXZ - Areia (Pigmalião Remix)

Digital Kabar - 18 tracks compilation available on June 21, 2019 in CD/LP and all digital formats. https://IDOL.lnk.to/Digital_Kabar 

At once sacred and secular; sometimes calculated but often improvised; formerly clandestine but now manifest: the Kabar is now an integral part of the Réunionnais landscape, eschewing any of the labels that are slung its way. The genre is like a snapshot of Island life, with its artisanal musical instruments, its block parties, its ritual dances and its pamphleteering lyrics. A Reunion, in all senses of the term. A musical union, which, in spite of its raw essence, strives to evolve, incorporating new sounds that will carry its indomitable, forever moving spirit forward into the future.

Born from the musical union of maloya and electronic music, Digital Kabar is a compilation at the crossroads of cultures, porous to all sound experiences. It's also the result of a friendship that drives InFiné at the festival Les Electropicales, from the fascination of a small team dedicated to the independent musical cause for a musical scene and its diversity.

+++ https://soundcloud.com/jako-maron

℗ & © 2019 InFiné

Buy & Stream

Patrick Manent - Kabaré Atèr (Jako Maron Remix)

https://soundcloud.com/elmagomusic
Singer and producer El Mago debuts on YNFND with a 4 track gatefold LP entitled `Kanénas ́. 
Based half in Thessaloniki and half in Berlin, he ties between two identities as greek and german. 
Transfusing the roots of urban Greek music `Rembetiko ́ with modern electronica, he symbolises his personal journey with the connection of his two cultural identities.

On entrance we start with `Gígantes ́, a fusion of vibrant humming, synthetic pops, crackles and the poetic voice of Plastelini. From the get-go we witness a vocal story written about the relationship with your demons, and how to live beside them. Interrupted by erratic gun- shots and bass-heavy shuffles, the message provokes a somewhat conflicting reaction.

Stepping into what seems like a distorted cave, `Thálassa ́ takes us into tripped beats, off-time glitches and synthesised brush strokes. Swaying between looming hums and a pull and release of echo as it comes to it’s end.

As we flip the record, a dissonant sample leads us into `Filakí ́, with what can be described as ancient bass. Vocal fragments shout but whisper as they are broken up by explosions. 
By the time the song reaches climax, you sense the origin of El Mago’s roots.

The finale entitled `Potámi ́ boasts delicate guitar strings, followed by laid-back rhythms and El Mago himself on vocals. A bygone tale comes to mind as Potamós embraces Mago’s musical past as a performer in the more traditional sense, an ode to Rembetiko once again. 
You may think that `Potámi ́ marks the end of his musical odyssey, but in truth it is just the start. He is not Kanénas* yet.

*translated as `Nobody ́

The release is accompanied by 4 tarot-themed cards depicting each track with poems written by Lina Rococco, alongside 1 secret track on vinyl only.