This track would suit well a techno-cyber Marrakesh landscape. I just love it!

Myth dreams

A nomadic ebony flute becomes a vessel for the animation of life’s honeyed breath; it’s melodic pleas dancing atop a patient, brooding elixir of Turkish oud and the ancient desert rhythms of def & bendir drums.

Shaman's Dream - Executive Producer
Geometrae - Co-Production 
Poranguí - def (frame drum)
Eric Zang - Turkish kaval (flute), Turkish oud (lute), percussion (bendir, darbuka, riq)
Artwork - Adrián, El Tripador
Engineering & Mastering by Eric Zang

Purchase / Download

Shaman's Dream, PoranguÍ, Eric Zang - Nefes

“Olorum” gently invokes the divine presence of the Creator; it brings blessings of Supreme Being in the Yoruba spiritual traditions. A patient serenade of primordial creativity from which vast mountains of infinite possibilities emerge. “Olorum” ebbs and flows, a precious offering to the Ruler of the Heavens, so we may better steward the intricate web of life.

Shaman's Dream, Poranguí, Eric Zang - Olorum

Buy: https://tamikrest.bandcamp.com/album/chatma

'Chatma' is the new album by Tuareg rockers Tamikrest. The album is a fully persuasive sonic document and is filled with sober reflection, moral indignation, musical experimentation, cultural celebration - and the kick of rock and roll. 'Chatma' translates as "Sisters" and the band have 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."

www.tamikrest.net/
twitter.com/Tamikrest
www.facebook.com/tamikrest
www.glitterbeat.com
twitter.com/Glitterbeat_Rec
www.facebook.com/Glitterbeat 
www.youtube.com/user/glitterbeattv

Chatma

Tisnant An Chatma

Tamikrest - Tisnant an Chatma

Sabou

FR-9W1-12-16706

iAfter a long stretch of silence, The Spy from Cairo is back on the scene with a new single to announce his latest album "Animamundi” on Wonderwheel Recordings. "Criminal" features vocalist, activist and spiritual healer Mambe Rodriguez who echoes the theme of the album by staying critical, strong & blessed as spiritual beings in these difficult times. His signature sound of Arabadub, or Reggae from the East, can be felt in all languages in a similar Worldwide struggle to stay hopeful, positive & connected.

Pre-Order the Spy From Cairo's new album "Animamundi" https://thespyfromcairo.bandcamp.com/album/animamund

Pre-Order LP

The Spy From Cairo - Criminal (feat. Mambe Rodriguez)

This is a free download  here and on my bandcamp page .
I will add 2 links below. ONE is my facebook page , if you care to follow me and the other one is the bandcamp page ( also download link )
https://www.facebook.com/arabadub
https://zeb-thespyfromcairo.bandcamp.com/track/temples

Temples

Samba Touré - Ago Djamba. 
From the album ALBALA. Glitterbeat Records 2013

Samba Touré - Ago Djamba

video here :https://www.youtube.com/watch?v=itHWoneN9Vc&list=PLMyB0zUdcYxB7i0bGf6NulWYtYfMjq7fS

Un petit aperçu des premiers titres produits au Maroc. 
Red Room Records Rabat Productions 2014
 Errance dans le port de Tanger
Guitares : Alexandre Bellando
Enregistrement Mixage Arrangement : Antoine Villette

Tanger Custom

Akame Ga Kill - 09 Gekisen OST◄

Akame Ga Kill - 06 Kuwadate OST◄

I made this having some thoughts , the song has a melancholic mood

Lost Memories

Makadem - Remixed 2015 - More Infos, Download & support the Artists:
Santuri Safari (East Africa) www.santurisafari.org
Makadem: www.facebook.com/makadem?fref=ts
Banda Westfalica: @bienenfreund
Clubcruise Music (Austria) www.clubcruisemusic.com

Makadem has become one of Kenya's most prominent contemporary artists.
Simply because he is one of a kind, and yet speaks the universal language of good music. His personality is the one that can transmit messages to small and large crowds alike. Pure energy!
MGanga MKuu was originally created & recorded as a part of a Santuri East African workshop during the Sondeka Festival 2014, and released in its original form on Highlife World Series : Kenya in June 2015.
This track has been made available to members of the Santuri network in order to remix and reinterpret, developing and supporting a collaborative East African platform for artists, producers and DJs.
A version of it found its way on to the digital release of the Highlife package 2015, but these two separate mixes courtesy of Max Doblhoff and Clubcruise Music provide a totally different spin on this bonafide Classic.
Doblhoff (DJ, Producer & Musician) himself is a regular visitor to Kenya and has collaborated with many musicians from the Nairobi scene. Here, along with partner Wiesflecker, his Step by Step Remix aims his sights squarely at the Club with a driving groove that highlights Makadem’s powerful vocals high in the Mix.
Elsewhere the two sublime Banda Westfalica (German Percussion Group) mixes provide a more acoustic take, with a shuffling groove and amazing Marimba Sounds.

<a href='https://theartistunion.com/tracks/874179'>Download for free on The Artist Union</a>

Makadem - MGanga MKuu (Doblhoff & Wiesflecker - Step By Step RMX

FREE Download

Makadem - MGanga MKuu (Doblhoff & Wiesflecker - Step By Step RMX) Free DL!!

Buy/Stream : https://linktr.ee/SibuAthens
Opunga album : https://sibu.bandcamp.com/album/opunga

Produced & Mixed by Sibu
Mastered by Funkanizer
Artwork by George Tsatsaragos

Jasmin

Meet Nuri on FB: https://www.facebook.com/nurivibes
All tracks composed, recorded and mixed by Nuri
All samples used by permission
Mastered by Benoit Courribet
Cover artwork & design by Sarah Ennouri
℗ & © Shouka 2017 – All rights reserved
Under exclusive licence to Shouka

Drup

Bouderbel

Download

Nuri - Bouderbel

“As far as I’m concerned, it’s Tinariwen who created the path,” declares Ousmane Ag Mossa, frizzy-locked leader of Tamikrest, in a pre-emptive strike against a thousand inevitable questions. “But the way I see it, if younger bands don’t come through, then Touareg music will eventually die. They created the path and now it’s up to us to walk down it and create the future.”

Ousmane was born twenty-seven years ago in a village called Tin-Zaouaten, a solitary speck squeezed up against Mali’s northeastern border with Algeria. It’s a remote marginal place. Or to put it another way: there’s distant, there’s remote and beyond both of those there’s Tin-Zaouaten. 

To an outsider, the village would appear to be nothing more than a motley collection of one storey adobe and breeze-block houses, huddling together for protection against the burning sun, the black rocky hills and the lonely immensity of the surrounding desert. But to Ousmane, it’s home. 

Like its ‘neighbour’ Tessalit, two hundred and fifty kilometres to the west, Tin-Zaouaten is blessed with a water table that lurks benignly just below the surface of the gritty soil. Dig a few metres and you can usually find water in abundance. That’s why Tin-Zaouaten, or ‘Tinza’ for short, is famed in the desert for its gardens and garden produce. Ousmane’s father Mossa was born a nomad out in the bush, but by the time Ousmane arrived he had settled in Tinza, making a living from growing onions, beetroot, carrots and dates, and selling them in the local markets.

In 1985 drought shook desert life to its core. The rains had failed for several seasons and the village was haunted by famine. “I was born in a time of calamity,” says Ousmane. “In the middle of dreadful events for the Touareg people. My parents knew so much hardship. Then when I was five years old the rebellion broke out. It was 1990, the year of war. I was a child, and I used to hide in amongst the rocks with the other women and children, just a few kilometres north of the village over the Algerian border. When I think of that time, it’s as if it’s all still happening in front of me.”

Thus Ousmane’s childhood was buffeted by the searing winds of recent Touareg history. The droughts of ‘68 to ’74 almost destroyed the animal herds and with them the ancient nomadic way of life of the Touareg. The drought of ’84 to ’85 almost dealt the final blow. Thousands of young men fled into exile in Algeria, Libya, Burkina Faso and beyond. That’s where the modern Touareg guitar style of music was born and then nourished by anger, homesickness, frustration and dreams of a better life. It was this generation of Touareg men, known as the ishumar, who returned to Mali and Niger in 1990 to rebel against the callousness, corruption and arrogance of the governments in the distant capitals of Bamako and Niamey. 

At first Ousmane just listened to traditional Touareg music at home, and the newer guitar music on battered old cassettes. “I well remember hearing my first Tinariwen songs. I was about five. After the death of my mother, my father was obliged to take me to live with my grown-up sister. One morning I was sitting in front of the house and this guy walked by singing a song by Inteyeden called ‘Imidiwan Kel Hoggar’ (‘My Friends the Hoggar People’). It went straight into my brain…ha ha ha.”

A few years later Ousmane began to play the guitar himself, and write songs. He was attending a school in Tinza called Les Enfants de l’Adrar, set up by a French NGO and a local man turned community leader called Hama Ag Sid Ahmed. At the end of every school year the children would create and perform musical plays about pressing themes like ignorance, drought, education and culture. 

Hama bought the school an acoustic guitar, and Ousmane adopted the instrument. With his constant friend Cheikh Ag Tiglia, he would write songs and perform them at the school shows. He learned the Tamashek guitar style by listening to a particular cassette which Tinariwen’s leader Ibrahim ‘Abaraybone’ had recorded in Algeria back in 1998. 

In 2002, events once again undermined the tenuous calm and stability in Tinza. The village was home to one of the southern desert’s most infamous freedom fighters and warlords, Ibrahim Ag Bahanga. For this reason it became a military no-go zone. Ousmane’s father left to live with his eldest sons in Libya, and both Ousmane and Cheikh went south to Kidal

Kidal is the capital of the far north east of Mali, a region known as the Adagh des Iforas (‘The Mountains of the clan Iforas’). With its wide sandy streets and dispersed one storey earthen houses, Kidal has the feel of a frontier town. For the Adagh Touareg, it’s where it all happens. 

Ousmane and Cheikh played the guitar and sang in hidden corners of Kidal, around a fire, drinking bittersweet Touareg tea with their friends. Their reputations grew very slowly, steadily, without wild leaps or fanfares. After a while they heard that a local cultural centre called the DDRK or ‘Maison du Luxembourg’, founded by the Duchess of Luxembourg who had fallen in love with the town when she visited it in 2001, was offering music classes. The teacher turned out to be Juhan Ecaré, a musician from Ivory Coast. 

Then this French theatre troupe called La Calma arrived in town and enrolled over fifty young people to perform a massive theatre piece featuring sketches about a host of local issues. It went down a storm in January 2006 at a local festival called ‘The Saharan Nights of Essouk’. Although Ousmane didn’t take part in the project, claiming disinterest in theatre (“I’m a musician…theatre’s not my thing”), Cheikh went along and played with a local percussionist called Aghaly Ag Mohammedine and a bass player called Ibrahim Ahmed, aka ‘Pinnochio’ or ‘Pino’ for short. 

On their return, Pino proposed that they form a proper band and record a demo at a small studio, which had been set up at the Maison du Luxembourg. They also decided that they needed a name, and agreed on ‘Tamikrest’, which means the knot, the junction, the coalition, in Tamashek, the language of Touareg. “Each of us came from a different place, a different zone,” explains Ousmane. “Cheikh and I from Tinza. Aghaly and Mossa Maiga from Kidal. Pino from Gao. But we found each other and we had the same ideas, the same intentions. We were like a coalition.”

On the 23rd May 2006, the army garrison in Kidal was attacked by a new Touareg rebel movement called the Alliance Démocratique pour le Changement (ADC). “It was a hard time for me,” remembers Ousmane. “I woke up early that morning and discovered that the town had turned into a nightmare. Those who wanted to join the rebels had already done so. But, in general, that wasn’t the choice of me and my friends. Because we’d never been in the army. We were musicians, not people who carry arms.”

By the end of the year a fragile peace had been restored, although Tinza’s recalcitrant son Ibrahim Ag Bahanga refused to compromise and remained on the run with his own splinter militia. Tamikrest performed at the peace Forum in March 2007, when the Touareg rebels met with the Malian government and thousands of community representatives in Kidal to map out a way forward. 

The group were developing their style and their fan base, which consisted mainly of Kidal’s younger generation. They knew the Tamashek guitar style intimately, but they were also deeply into rap, metal, Maghrebi pop and afro-disco music from Ivory Coast. They had new tastes, new desires, new ambitions and Tamikrest was their band. 

Pino was quite a mover and shaker. In late 2007 he contacted Manny Ansar, the director of the now world-famous Festival in the Desert and clinched a gig for Tamikrest. The band found the money to transport themselves the 600 miles eastward to Timbuktu. In the silky dunes of Essakane they met Dirtmusic, a group of rock’n’roll veterans from the USA and Australia. It was one of those meetings fashioned by fate in the workshops of destiny. 

Chris Eckman of Dirtmusic remembers the meeting thus: “On our first morning in Essakane we woke up hearing music, so we went across the sand to the tent opposite ours and that’s where Tamikrest was playing. Chris Brokaw grabbed his dobro and headed over, then Hugo and I eventually did the same and basically for three days we didn’t leave.”

Once again music overflew all barriers of language, culture, style, shyness and reticence. The friendship formed at Essakane grew in the following months and lead to an invitation by Dirtmusic to come to the Malian capital Bamako to make an album, and contribute to Dirtmusic’s own oeuvre. After another epic journey of 1,200 miles, by car and bus, Ousmane, Aghaly and crew entered their first professional studio and ‘Adagh’ was born.

“It felt very natural to play with Dirtmusic,” asserts Ousmane. “I’ve always appreciated all kinds of different music and it was such a pleasure to play with a different kind of band. Music isn’t something you study; it’s something you learn with your ears. I’d been listening and playing along to Bob Marley, to Marc Knopfler and Dire Straits, to Tinariwen for years. We’d been listening to so much international music and that’s why the marriage with Dirtmusic worked.”

The end of 2009 finds Tamikrest on the cusp of the world and the next chapter in their great adventure. “This opportunity to go to Europe feels like a big responsibility,” says Ousmane. “I feel like someone who’s done this exam and is now waiting for the result. We’ve already achieved quite a bit, but the hardest is still ahead.”

One thing is certain: Ousmane is clear about the band’s mission. “The situation of the Touareg is very difficult right now,” he declares. “Even before I played the guitar and started recording, I had this ambition to be a lawyer or you might say, an ‘advocate’. I wanted to be capable of expressing the hurt I felt in my heart, and speak out about the situation, even at the United Nations. Because we’re a people who don’t have journalists, we don’t have advocates. But it was only later that I realised that a musician can play that role.”

“What is the weakest part of any nation or people? It’s ignorance. We are stuck in our ignorance. I see the world changing, racing ahead, and leaving us behind. And the only thing that is holding us back is our ignorance. As artists, it’s our duty to make our problems known to the world, to sing songs about the nomadic life, about our traditions and culture. But above all, revolutionary songs, about what we see, about what the government is doing to our people, which makes no sense to me.”

There it is…Tamikrest, the knot, the coalition, the future. 


Tamikrest - Aratane N'adagh

OUT NOW: https://snd.click/Tribe

from Tribe, released November 20, 2020 through Desert Trax
Ney Flute: Avishai Barnatan @avishaibarnatan
Production: Temple Step Project
Audio Engineering: Temple Step
Mastering: Pete Robinson
motivmusic.com

With over 2 years in the making and 9 musicians and producer collaborators, this is Temple Step’s biggest release to date. Featuring 11 tracks, this diverse album ranges from global bass to ethnic house, tribal downtempo and world cinematic. An album with a track for everyone filled with passion and heart.

Drawing energy from the shifting sands of global music, sonic alchemist Temple Step beckons listeners on a sensory journey through movement, ritual, and binaural sound in his 2020 album, ‘Tribe.’ A fusion of influences bygone and new, this visionary offering invokes the spirit of ceremonial sound as it beams through the lens of tribal electronica and conscious dance culture, incorporating elements of global bass, organic house, emotive downtempo, and shamanic music into a dazzling tale of styles traversing the shapeshifting landscapes of time. Sewn with old-world instrumental work, mesmerising vocals, and surges of deep, undulating bass, Temple Step’s dynamic compositions balance force and elegance with a storyteller’s precision to unearth the magical, healing essence of world music as it bends to humankind’s unshakeable desire to move, meditate, and create across times luminous and dark.

A special thanks to Pete Robinson for his work with me to complete this album with mix reviews, mastering, emotional support and pure brotherhood. Thanks buddy I could have done it without you.

And last but not least a special thanks to my beloved Madhu Honey for all your support from behind the scenes and keeping me so real. I love you.

05 Raqsā (Feat. Avishai Barnatan)

One of the amazing things about the deeply Jamaican music called Dub is its ability to act as a conduit. From its early days as stripped down versioning of popular Reggae tunes to its indoctrination into late 80 / early 90s UK Soundsystem & Dance Music culture, to its current massive mutation (with the “Step” planted firmly in its behind); Dub has shown itself to be not only a musical art form that stands strongly on its own, but also a vehicle of sorts that can transport and connect disparate musical universes. And it’s at the unique nexus of Dub and Arabic music that the Spy From Cairo sits the most comfortably. 

The Spy From Cairo aka Zeb is the kind of musician that fits perfectly in with the downtown NYC music scene – Italian by birth, Gypsy by heritage, and Brooklynite by residence, he has been closely associated with the Turntables on the Hudson scene for close to 12 years – producing dozens of albums as Zeb, the Spy From Cairo and the Organic Grooves project, as well as remixing for everyone from Baba Maal to Tosca to Billie Holliday to Novalima, steadily garnering a worldwide collective of fans and followers 

The Spy’s new album, “Arabadub” is perhaps his most realized vision of deep Middle Eastern and Jamaican sounds coalescing into something that sounds right and natural – because it was conceived and produced in just that natural way. There are no samples used on the album, and Zeb has programmed everything, as well as playing traditional Middle Eastern stringed instruments called the Oud, Chifteli and the Saz himself. Check the opener “Alladin Dub”, with its echoed out skanks, pulsing bassline, and majestic strings – and the deepness that is “Taksim Square”, complete with swirling, psychedelic accordion. Other highlights include the tense four-to-the-floor stomper “Desert Tears”, the rolling dub of “Sons of Hannibal” with it’s beautiful Middle Eastern vocal chants, the nostalgic “Egyptian Pulse” with its Steppers sound and melancholy vibes, and the dancehall vibes of “Prince Ahmed” – sounding like 3AM Kingston wrapped in a Bedouin Tent!
credits


Temples

Zebda-The spy from Cairo

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