Afro Beets

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Afro Beets is the hottest new musical genre on the planet: it’s like older African music, but  for our generation.

 

Just kidding: Afro Beets is not a genre. And neither is Afro Beats, the rather silly name coined by some UK radio dj to hype his show that seems to have stuck. What we really have here is Electronic Pop and Dance music from West Africa, specifically Hiplife and Modern Highlife from Ghana, and Naija Jams from Nigeria (with a touch of Coupe Decale from the Ivory Coast and South African House for good measure).

The term “Afro Beats” has the most tenuous of links to its reference – Ice Prince has not much to do, musically, thematically, anything-cally, with Fela Kuti. About the only link between “Afro Beats” and the Afro-Funk/Soul/Rock of the 1970s, what is known as Afro Beat, is that both come from the same place. But the differences are many: 70s Afro Beat was of course Funk and Blues based, while these new styles use beats related to Afro-House and Reggaeton, bass-lines from Highlife and Rumba, and the vocals are a mix of local styles and Jamaican Dancehall and American Rap/R’n’B. While 1970s Afrobeat often included conscious political messages which passionately spoke of social realities and the struggle against oppression, these new forms of pop music have an entirely hedonistic message which passionately speak about sex, glamour, escape, and money.

But whatever we call it, if it even is an “it”, the infectious grooves and irresistible hooks of this action packed music is not only the perfect summer party soundtrack, but simply the most uninhibited fun your money can buy, anywhere. Though of course the download is free :)

01 Artquake – Alanta Instrumental Intro
02 P-Square – Trowey!
03 J Martins ft. Fally Ipupa – Jupa Global Remix
04 Nhyiraba Kojo ft. Sammy – Baba God
05 Ghana Blast – Odwa (Raggao)
06 Obour ft. Morris She & Batman – Konkonti Baa
07 Unknown – Unknown
08 FBS ft. Tinny – Oldman Boogey Remix
09 Bradez & Ephraim – Ego Bee
10 X-Pensive Nframa – Aunty Adoley
11 Baby Jet – African Woman
12 Side 1 – One By One
13 Ruff n Smooth ft. S.K. Blinks – Azingele
14 Bigiano – Eyin’ Temi
15 Ephraim – Follow Follow
16 Stay J – Shashee Wowo (Kaxtro Remix)
17 D’banj – Oliver Twist
18 D’banj – Oliver Twist (Uhuru Remix)
19 Edem – Over Again
20 Joey B, Gary, and E.L. – Ice Cream Girl
21 Focus Allstars – Azonto Decale
22 P-Square – Danger
23 AQ – Wahala Dey
24 Sarkodie ft. E.L. – U Go Kill Me
25 Obumpa Rek, Austine B. Agaspa – U Go Kill Me Version
26 Olamide – First of All
27 Dr. Slim ft. Double – Seke (prod. by Eyoh Soundboy)
28 E.L. – Obuu Mo
29 Blaka – Tozo
30 E.L. ft. Appietus & Geelex – Bend Ya Body
31 Guru ft. Edja – Lapas Toyota
32 Guantoa – Asore Party
33 Double – Walai Talai
34 Unknown – K
35 Double 5.5 – Uhm Ahh
36 Dee Moneey – Kpokpo O Body
37 T.I.V. – Beremole
38 Lil Shaker – Pressure Sorrr
39 Kojo Antwi – Osebo

FUSION 6 – New World

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Under the pavement, the beach, and after Apocalypse, a possible rebirth: these cut-up, mashed-up, re-edited and dubbed out rhythms from different corners of the earth as well as time periods, may form an image, a model, an interconnected rhyzomatic map of our collective hybridized, poly-cultural, high-tech and egalitarian future, where difference is not merely tolerated, but respected and valued, where without loss of individual character, seemingly separate histories, narratives, and cultures cross pollinate and fuse in surprising yet harmonious ways.

01 Francis Bebey – Forest Nativity X Mesak – Postuumi-1
02 Francis Bebey – Flute Aria X Joey Suki – Apster – Stick it
03 Unknown Burkina Faso - Djembe & Drums X Anton Kemmeren – Zorros Fighting Legion
04 Ja Fun Mi X dj Harvey-Drum Groove
05 Speranza X Sideshow Bottletop Dub
06 Unknown Degung Instrumental Bali X Twilight Circus Dub Sound System – 808 vod
07 Sindhi Music Ensemble – Thari Lok Geet X Badawi – Jihad
08 Chemirani Rizzo Montanaro – Balo Tondo (Zhao Edit)
09 Unknown – Pressure Sliding X Moto – Gucci
10 Bilal Abdurahman – Greek Holiday – Clarine, Darabuka, Tambourine X Omar S – Busaru Beats
11 MahndiMadhorama Pencha – Madan Bata Sindhu X Team Shadetek – Yoga Riddim
12 Small Island Pride – Federation (Dj Zhao solidarity Edit)
13 Unknown – Initiation Song and Jews Harp X Aardvaerck – Untitled
14 Tunng_VS_Taraf De haidouks – Homecoming_X Aardvaerck – Untitled
15 Sakou Si Bory – Aminata W X El Macho X Mastiksoul – El Macho Ben Tactic Edit
16 Kasambwe Brothers – Kasambwe Brothers X Negghead – Build it Up (break it down mix)
17 Dub Colossus – Shegye Shegitu (One Drop Mix) X Andy Stott – See In Me

OCORA Africa Mega Post

don’t have time for cover art and little write ups, so you will have to deal with the list dump style of this post (cover art and sometimes scans of liner notes should be in most archives).   Includes 2 versions of the much sought after and rare Dogon vinyl, with substantial differences in tracklisting, which among the first wave of awesome recordings was never reissued on CD.

For the uninitiated, OCORA was one of, if not the, most well researched and presented labels which dealt with indigenous sounds from all over the earth, and i made the promise, which i still do intend on keeping, of making the entire past catalog of 500+ recordings available on this blog.  there has been quite a few South Asian and African posts already, just look for it.     To be continued.

For more Ocora awesomeness, head over to Aaseance.

Heart of Light

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“Heart of Light” – the last words uttered publicly by democratically elected first president of newly independent Congo Patrice Lumumba at his inauguration address, 3 months before his murder by Belgium and CIA, because he dared to oppose the Western forces of oppression and planned to keep the wealth of the Congo for the Congo.  Freedom and hope was killed in 1961, with disastrous consequences that last until today, but The Heart of Light can never die…

MORE OPTIONS – STREAM:  MIXCLOUD

Rumba traveled back to Africa via Cuba and Haiti in the 40s and 50s, later developing into Soukous, arguably peaking in the 60s and 70s, and lived on well into the 90s with a more streamlined and modern sound. This mix is only a tiny slice of this glorious sound from the later periods: 4 on the floor, with enough bass for modern dance floors.  Excluded are examples from the ocean of older, incredibly varied recordings, of supreme beauty and artistic merit but many of which sadly have poor sound quality, as the best musicians in the world were, and are, often recording under the worst conditions and with the worst equipment.

Despite being the biggest African music export in history, African Rumba is still criminally under exposed in the Northern Hemisphere.  Yet this music is crucial, and should be very important to anyone interested in Dance Music, anyone interested in Pop, in Rock, in Soul,  in Jazz, in Funk, in Reggae, etc.  Objectively speaking, in terms of raw musicianship, in terms of composition and arrangement, and if we break down the rhythms and melodies to mathematical patterns and study them, these highly evolved structures are perfectly designed and executed in every way.

I grew up with Industrial Noise, Punk, and Metal, and it wasn’t until my late 20s/early 30s until i was emotionally mature enough to appreciate amazing sounds like this. Please leave your cynicism at the door and embrace this music, for the truth is, something Africans have known all along, that ultimately the most powerful revolutionary force, of which the powers are afraid, is not anger — it is love.

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01 Sam Mangwana – Liwa Ya Niekesse
02 Orchestra Makassy – Kufulisika Sio Kilema
03 Papa Noel – Bel Ami
04 Kosmos Moutouari – Liberte
05 4 Stars – Mayanga
06 Kanda Bongo Man – Ebeneza
07 Mpongo Love = Femme Commerçante
08 Unknown – Zoum
09 Sam Mapangala – Dunia Tuna Pita (We’re Just Passing Through the World)
10 Kanda Bongo Man – J.T.
11 Bilenge Musica Du Zaire – Wazazi Wangu
12 Empire Bakuba – Nazingi Maboko
13 Alain Kounkou – Soukouss Grands Effets
14 Nyboma – Maya
15 Elali – Mawa (Ngai Mawa)
16 Synthez – Virée aux Antilles
17 Fifi Map – Libala Ya Bomwana
18 Africa Maestro – Na Decide
19 Bicko Tchéké – C’est chic
20 Kanda Bongo Man – Sango
21 Meiway – Nanan
22 Luambo Lwanza Makiadi & L’Orchestre TPOK Jazz (Franco) – Casier Judiciare

March in Berlin

4 events coming up to ask ancient African gods for sunshine and warmth.

vulkandance

Friday, March 22, 2013 11:10pm // VULKANDANCE @ Party Obsessed People……. Kleine Präsidentenstraße 4a, Stadtbahnbogen 157-158 (hackescher markt)

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AFRICAINE 808 – ( W.T. Records/ Vulkandance ) (LIVE)
current release : 
http://pitchfork.com/reviews/tracks/15094-africaine-808-tummy-tummy/

DJ ZHAO – ( Ngoma collective / Bejing )


DJ NOMAD – (Vulkandance)
www.vulkandance.com

HOSTED BY: SEMTEX MC (SRBE):



http://srbe.org/

Norouz

Saturday, March 23, 11:00 // Norouz Party @ BALLHAUS – Naunynstr. 27, 10997

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DJ Zhao (Ngoma, Beijing/Los Angeles)

“Norouz” is the Persian New Year and the Spring Festival, so expect a night heavy on North African and Middle Eastern vibes!  (sponsored by http://www.deutsch-plus.de)

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Friday, March 29, 2013 11:00pm // AFROHEAT @ Cookies Berlin………………………. Friedrichstrasse / Unter den Linden, 10117 P1010049 P1010051 64182_356656224436614_408825474_n 479961_356654651103438_1174634781_n 524858_356654721103431_1281266859_n 529579_356654267770143_1594494887_n 546003_356655334436703_1239238292_n

Main Floor – Afrobeats, Hip hop, RnB, Dancehall
DJ Steve-N (Düsseldorf)
DJ Cambel Nomi ( Stuttgart)
DJ Zyto (Berlin)
Hosted by U-Gin

Mini Floor – Afrohouse
DJ Zhao (Beijing/L.A.)

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Saturday, March 30, 2013 1:00am // DRUM @ Club GRETCHEN (2nd room)
Obentrautstr. 19-21, 10963 Berlin, Germany
Rhythm and Bass at the intersection of urban electronics and timeless tradition: DRUM brings the sweetest beats and sickest flows to Berlin.

NGOMA Soundsystem featuring:

DJ Zhao (Ngoma/Beijing)
DJ Nomad (Vulkandance/Berlin)
Marcel, percussion/drums (Tropicfusion)
Kovo M22 on mic and mbira
Tamara and her dancing monkeys

entry will be 8 euros (together with the big room), so send me your guest list requests early, to – ngomasound at gmail.  we have some free and many half price spots.

Back in the JOZI 14-18 FEB

Pretoria girls really knock me out, They leave the west behind
And Soweto girls make me sing and shout, That SA’s always on my my my my mind!
Yes it will be nice to escape cold Europe for 4 days of gigs in the Jozi summer time vibes!
the main show is a day time concert with lots of amazing acts, check the website for soundbytes, and here is the facebook event. (check back for details of other shows)
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Date: 2013-02-16 14:00:00
Address: 14-16 Twist Street,Johannesburg
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LIVE:
Thath’i Cover Orkestra
Dirty Paraffin
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DJ’s:
Dj Zhao (Ngoma / DRUM / Berlin / BeiJing)
Mma Tseleng (JHB)
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R65 pre-sale tickets
R80 at the door
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‘Track Record’ forms part of ‘Call & Response’ – a project that marks Keleketla! Library’s five-year practice with a series of interventions, screenings, exhibitions, conversations and performances in February 2013. The project aims to re-visit the Keleketla archive of work produced over the last five years to imagine the changing nature of libraries and knowledge dissemination, realised in partnership with the Goethe-Institut South Africa and with additional support from the Department of Community Development/Arts, Culture and Heritage, City of Joburg.

Funds raised through the concert will support future programmes at Keleketla!

NGOMA 15 – DRUM Amandla

DRUM_amandla_600 Rougher and tougher twin of the previous DRUM volume, Amandla explores the somber and serious side of contemporary electronic dance music from South Africa and Angola.  In 2013 capitalist brainwashing and new waves of cultural and economic imperialism replaces the overtly oppressive policies of Apartheid and colonialism; inequity, injustice, and corruption still pandemic on the African continent; but the indestructible beat of Soweto, Pretoria and Luanda lives on.  These new urban sounds express the frustration, longing, joy and hope of a new generation, the continuing struggle and POWER of the people.  Rhythm as a weapon, music as a weapon: a real weapon in the concrete sense.  Africa!  Mayibuye!  Amandla!

OR: STREAM: MIXCLOUD //// DOWNLOAD: MEDIAFIRE

01 Osunlade feat. Bajka – Argy (Stripped Mix)
02 Dj Vinny Q feat. Minister – Amazulo (Wave Drumz Calling)
03 Dj Vetkuk Vs Mahoota – Istokvela
04 Afrikan Roots ft. Buckz – Sesha
05 Dj Vetkuk & Mahoota
06 Infinite Boys – Cina
07 DJ Djeff feat. Maskarado – Elegom Bounsa (Filipe Narciso Deepduro Remix)
08 Onyenze – Ogidi (Djeff & Silyvi Remix)
09 Spikiri – Follow Me
10 Dj Malvado feat. Eddy Tussa – Zenze (Maphorisa n Clap Uhuru Remix)
11 Strong Root feat. Zulu – Matimba (Dj Hp Afro Mix)
12 Dj Satellite – Boss In Beat (Original Mix)
13 Black Motion ft Zulu – Bhana Shilolo (Dj Satelite Remix)
14 Black Motion – Banane Mavoko
15 Dj Dorivaldo Mix e Dj Helio Baiano ft. Maya – Átabomeky (Bokoyébate)
16 Dj Znobia – Baza
17 Dj Znobia – Africa
18 Cabo Snoop – Windeck (Black Motion Remix)
19 Dj Malvado – Ka-Tuki
20 Big Nuz – Serious

FEB: 2 nights in London

AFRO BEAT PARTY webFollowing the success of last year’s party at Floripa, OneTaste is bringing back the afrobeat vibes to London for this unforgettable party packed full of exciting big bands and DJs.

FRIDAY 8th FEB. 2013

Electric Jalaba
Awalé
DJ Zhao
DJ My Therapist

£7 tickets in advance HERE

£10 on the door

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Electric Jalaba
Ancient songs from the Gnawa tradition about mysterious women, men that divide oceans and armies of soul conquerers weave themselves among enormous infectious grooves, analogue effects and warped guitars. The sound of the camel skin Guembri and Lagnawi’s impressive vocals will transport you to another world as the band boil relentlessly through a range of beautifully unearthly grooves. Expect inexhaustible energy, moments of soulful calm and pinnacles of ecstatic mayhem, plus some dance moves, you’ve definitely never seen before.”

Awale
Formed in London in 2009, Awalé is a reflection of London’s multiculturalism. With members from Tunisia, Cuba, France, Slovakia and England, influences come in turn from Afrobeat, Balkan music,
North African Amazigh music, Congolese Rhumba, Ethio Funk, Jazz and Cuban music, blended in their unique style. Through their music they take the audience on a journey across continents celebrating diversity and hope for mutual understanding of different cultures. The name Awalé, meaning “love each other”, comes from an ancient African game played in hundreds of versions around the world. Like the game, the music is played in turns and cycles of various length which echo themselves, sometimes very intricately and sometimes in unison. Heavily horn based, with the colour and excitement of 70′s funk and with Balkan inspired odd time signatures and melodies.

DJ Zhao
DJ Zhao brings the best contemporary and classic dance music together from wildly different times and places, with focus on Africa. Informed of up-to-the-minute global street styles such as Afro-Electro, Angolan-House, Kuduro, Coupe Decale, Naija, Rai, and Cumbia, as well as drawing upon the wealth of sonic traditions worldwide such as Juju, Gwo Ka, Rumba, Taraab, and Persian Classical, Dj Zhao fuses ancestral rhythms and urban bass pressure. Amateur ethno-musicologist and professional booty shaker, Dj Zhao is an International Sound Ambassador not only talking about, but demonstrating through raw sound experience, the underlying unity of all earth cultures.

DJ My Therapist
A short while back I, admittedly, visited DJ Yoda in the DJ booth to find out about what track he was playing a few too many times. Only to be welcomed with “Why don’t you go and get your own f**king tunes!”
I started building a deep vault of funk, soul, hip-hop, reggae, breaks and drum ‘n’ bass to provide all the best people with all the best music that I could find and the collection keeps on growing. I’ve played at Glastonbury, Bestival, Lovebox, Shambala, Secret Garden, Standon Calling and am a regular fixture keeping the crowd rocking before and after every OneTaste and Beatroot Rendez-Vous gig. Come up and ask me what I’m playing any time, I’ll be proud to tell you.

PUNK-NUMBI+name-440x440NUMBI: AFROPUNK!

Sat 9 February 8pm till late

at RICH MIX

£10 adv, £12 door, £5 concs or student / Main Space / Standing

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Many things make NUMBI an extraordinary, transformative night out. The funky music: the sexy, vivacious dancing: the stunning performers culled from Funk Town, a place where spoken word, sinuous grooves and straight badassery collide to create an irresistible mix. The next NUMBI is no different.

This time we’re celebrating Afropunk and giving you a chance to truly rock out and express yourself on the dance floor. We’ve got the sultry sounds of chanteuse, Miryam Solomon. We’ve got the vibrant, shake-your-tail feather rhythms of Bronzehead, the band that puts the funk in punk!

We’ve got the linguistic sexiness of writer and artist, Diriye Osman, who will be hosting the evening. The incredible Zena Edwards, Malaika Booker, Elmi Ali our poets for the night tasked with bring you the word complete with mohawks. We’ve got the ultra-fabulous choreographer and dancer, Funmi Adewole doing her thing with the often imitated, never duplicated DJ Bradley Zero. Our special guest Dj Zhao to take you to the Afropunk 2light.

And to kick it all off the Numbi Film Corner is Back with a super special screening of Documentary Film PUNK IN AFRICA directed by Keith Jones and Deon Maas.

NGOMA 14 – DRUM

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This edition in the Ngoma Mix Series focuses on new 125 bpm African Electronic Dance Music.  As i have argued in the “Real Roots of Kwaito” piece for This Is Africa, American and European Disco, House, and Hiphop were crucially influential in the beginning stages of development of post-Apartheid South African urban music, but since then SA House and Kwaito have matured and grown into its own skin, much more an extension of indigenous rhythm cultures than related to “Western” dance music.  For example the beat patterns in these tracks are distinctly different: the constant off-beat high hats found in the US and Europe are almsot entirely absent; and with much more rich and developed rhythm elements and very different emphasis, this music should probably be thought of as simply new African dance music, with not much to do with what is traditionally known as “House” or “Techno” at all.  

OR: STREAM: MIXCLOUD //// DOWNLOAD: ZIPPY OR MEDIAFIRE

Selections come mainly from South Africa and Angola, with lots of percussion, many balafons, a touch of jazz, some diasporic elements from Cuba and Colombia, couple tunes made in Spain, and a  shot of Nigerian Pop at the peak.  This is the first part, relatively bright in feel:  stay tuned for DRUM 2 – the dark side.

01 Dj Shimza & Cuebur Ft 340ml – Let The Sunshine (Reprise)
02 Invaders Of Africa – Impi Yamakhanda
03 Culoe De Song – Tsonga Song
04 Pro Tee – Thee Broken Keys
05 Dj Small Jon – Return Of the Drum
06 Black Motion feat. Nqobi  – Second Thoughts
07 Dr Ada T feat. Muzaic – Ewe
08 Jason Cheiron – Primal
09 Monocles, Slezz – Umba Kayo (Dj Alpha Kazu Dub)
10 Mbuandje – Mbuandja (Reprise) + Zozo – Totos Dance
11 Pablo Fierro – Agua (Nuevayorkquinas Mix)
12 Pablo Fierro – Sandulivi
13 Kosha Roots – Revival
14 Homeboyz Muzik – Samburu (Jungle Drums Original)
15 Dj Ad feat ZB E PJ – Patagoloza
16 Heavy K feat. Sarah Webster- The Gun Song (A Lesson Twice Learned Edit)
17 Lvovo – Original
18 3G Music – Vagabos
19 Pinto Dos Santos – Ma’e
20 Dj Kapiro & Mad Aksoul – Akanela (Oliver Twist Theme) + Estelle ft. D’banj – Oliver Twist (Remix)
21 Big Nuz – Rockafella
22 Franklin Rodriques – Para Na Wey
23 The Busy Twist – LDN Luanda
24 Dj Satellite & Dj Patrick – Malembe, Malembe
25 Boddhi Satva feat. Mangala Camara – Nankoumandjan (Dekalstrumental Mix)

OCORA INDIA – New Uploads 1

Kushal Das – Sitar

From slow meditative burners to dizzying fast numbers, Kushal Das’ every phrase is clearly pronounced, the celestial and crystalline music has an orderly, intellectual feel – simply beautiful.

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Kushal Das – Raga Marwa

Sitar playing of a very different character than the above recording: in a lower register, much more visceral and emotionally expressive, with more grit and texture – alternating between long bluesy passages and crazy drunken (but always poetic) rants. (new 320k file added!  thanks to comrade Morgen)

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Mithila – Love songs of Vidyapati

A cappella songs of love and devotion by mainly male, and 2 femail, vocalists in a steady and evenly paced manner, never venturing into cries of passion or lapse into melancholy.  Not sure if the love expressed is sacred or profane, but it is for sure of an eternal nature.  (musically not one of my favorites)

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Voyage Intérieur – Sheila Dhar

Performed according to the principles of the Kirana Gharana school of singing, this amazing woman takes us on an epic dreamlike inward journey during the course of this double CD.

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Troupe de Kutiyattam du Kalamandalam – Kutiyattam

Kutiyattam is a 2000 years old form of Sanskrit theatre, traditionally performed in Hindu temples of the state of Kerala.  Musically this is pretty wild stuff: intense percussion with dramatic and often “dissonant” singing/narration.  Not for the faint hearted or those only looking for “beautiful” Indian music.

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L. Subramaniam - Le violon de l’Inde du sud

(this may be a re-post) Virtuoso violin playing by the master.  Enough said.

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L. Subramaniam – En Concert

actually on the whole a lot more relaxed and calm than the studio recording above, a superb live session.

FUSION 5 – هلاك / Apocalypse

neocolonialism. exploitation. corporate greed. systemic oppression. global warming. over population. rising oceans. resource depletion. military conflict. economic collapse. mass extinction. hurricanes. famine. disease. hunger. war. annihilation.

OR: STREAM: MIXCLOUD // DOWNLOAD: MEDIAFIRE

01 Amina Alaoui & Jon Balke – Itimad X L-Wiz – Smogged
02 Ora Sittner & Youval Micenmacher – Dror Iqra X Scuba – Sleepa
03 23 Skidoo – G-2 Contemplation X Marc Ashken – Roots Dyed Dark (Skream Remix)
04 Kambarkan Folk Ensemble - Jygach Ooz Komuz X Dj Distance – Nomad
05 Sarah Webster – A Lesson Twice Learned / Drum Talk X Pinch & Loefah – Broken
06 JilJilala – Unknown X JuJu – Iroko
07 Fawzy Al-Aiedy – Milad X Toasty – Like Sun
08 Hossam Ramzy & Phil Thornton – Immortal Egypt X dj quest & eskimo – Speakers Corner (Instrumental Death Edit)
09 Unknown – Arab Flute X Zen Militia – Pull of Guilt (Scuba Remix)
10 Unknown – Morocco Belly Dance X Substep Infrabass Monotonium
11 Guem – Royal Dance X Shed – Panamax Remix
12 Unknown – African Tribal Drums X Unkown – UK Grime
13 Reda Darwish – Raqset El Banat X Headhunter – Drop The Waste
14 Remko Scha – Machine Guitars Slam X Skream – Backwards
15 Andy Moor – Uganda Fly X Loefah – Fire Elements
16 Sir Richard Bishop – Blood Stained Sands X Tunnidge – Face Melt
17 Sijano Vodjani – Dedication X King Midas Sound – Earth a kill ya

Music Is Not Music

“… with people who are into music, for some it is about partying, for some it is about relaxation, for some it’s a spiritual thing, for some it’s an intellectual thing, and for others it’s an emotional outlet, etc. For people like me, music has to be about all of these things, as much of them at the same time as possible. Like in many African traditions: Music is Not Music.  It is play, it is mathematics, it is magic, it is politics, it is get-your-freak-on, it is spirituality, astronomy, sports, theater, intoxication, sensuality… Music embodies all of these, and performs all of these functions, often at the same time.”

“… People sometimes tell me that I’m “open minded”. I guess because i’m a Chinese dj who works with African music. But no. Fuck that. I’m not “open minded”. I only recognize quality where ever i find it, and don’t allow myself to be restricted by bullshit boundaries, by incidental, meaningless, senseless borders.”

Rest of it here – i do try to say different stuff at these things so y’all don’t get bored.

Concert reviews: Jagwa, Ebo Taylor, Jaliba Kuyateh, Antibalas

Berlin has been blessed this Fall/winter with many truly amazing out of this world vibes from the motherland and diaspora.  Here are some brief personal accounts: Image

Jagwa Music: flux power trance vibration from Dar es Salaam, Tanzania, playing a style of music with Chakacha roots known as Mchiriku, in Ritter Butzke, to a well attended but not packed house — Simply the most mathematically advanced and spiritually evolved music on earth in 2012.  4 percussionists produces robust, intricate, lattice work of dizzying interlocking rhythms: bass drum powerfully driving with the force of a monsoon, but no steady kicks, instead coming in unpredictable yet intuitive waves of intense clusters; smaller drums bang out unfathomably complex patterns not easily recognizable yet infinitely swinging — constantly changing yet always staying the same.  1 keys player emits sonorous sustained tones from a little keyboard, dexterous and serpentine, sounding somewhere between a church organ and Acid Mother’s Temple.  On top of it all is the singing/yelping of the vocalist, the very embodiment of defiant ecstatic energy.  Fierce and urgent: we have no time to waste, and must transcend tedious quotidian planes of existence NOW, simultaneously feeling the moments of this reality with more intensity.  I talked 2 random guys standing outside asking “what kind of music is it?” into coming in, and they were jumping and getting soaked in sweat with me in the very front for the entire show, and then bought CDs after.  The skill, beauty, energy and sheer spirit of this music is undeniable to anyone, with specialized tastes or not.  They do have slower songs too but the expression “Ape-Shit” would be an understatement in describing my behavior during some parts of the evening…  Now my other all time favorite live band in the history of the universe, besides Konono No. 1: Jagwa Music Rocks harder than Rock, is Funkier than Funk, and more danceable than dance music.

ImageLegendary Highlife guitarist Ebo Taylor from Ghana and his band Afrobeat Acadamy played to a packed house in Kater Holzig.  Not as typically classic Ghanaian High Life as i would have preferred, but this timeless polyrhythmic West African funk was of course irresistible.  With the horn section not as in your face as with some other bands, and the guitars taking a more important role, the music is sweet as it is funky with a sensuous groove.  A band like this, playing 70s African styles sells out big stages in Paris and medium ones in Berlin: this means western audiences need 30 to 40 years to catch up to Africa.  So at this rate, by 2040 or 2050 Jagwa will be rocking the kind of huge crowds in Europe they should be doing right now – when band members are in their 70s.

photo by DJ Matar

Complex, masterful, and deeply funky music not pandering to simplistic Western tastes and not sanctioned by the hipster elite: Jaliba “King of Kora” Kuyateh and his awesome 8 piece Mbalax band from Senegal played for 50 local Gambian and Senegalise expats in a classroom of a Turkish community center, complete with unstable florescent lights: either super bright like in a super market, or plunging the room in total darkness.  Beautiful, stately, and sublime performance despite bad conditions and technical difficulties: in a just world this concert would have been in Staatsoper Unter den Linden (state opera house).Jaliba comes from the Mande tradition but has updated the sound to include a drum set, and bass guitars, making a fusion type of music which is to be sure primarily Senegalise, but sometimes with a touch of reggae and funk influence.  As each tune gets going, the culturally attired audience would, according to tradition, all get up off of their seats to make US dollar bills rain on the musicians, and sometimes sticking them into the man’s Kora as he is playing it (see photo above).

These behaviors which to the uneducated Western eye perhaps seem strange or even respectless and characteristic of low-class entertainment (strip clubs come to mind), are of course signs from a vastly complex and nuanced tradition which date all the way back to the Malian Empire of the 14th Century.  Curious about the Griots’ art and tradition, i am reading the book Griots at War: Conflict, Conciliation, and Caste in Mande, by i think the only Western person to ever become accepted as a Griot in Mali.  The entire volume of her fascinating experiences which tell of an ancient culture and its interwoven socio-political as well as artistic aspects is downloadable in E-book form here.

Sunday night at Bi Nuu, Antibalas Afrobeat Orchestra played a largely secret last show of a European tour.  Their take of Afrobeat is much more angular, rigid, and rawkus compared to Ebo Taylor’s band, and making often use of the 1-2 duple rhythm as one would expect from North America. Intensely political, with lyrics about the global prison state of mind and other forms of pandemic oppression, the music is fast and fiery.  The sound guy was mixing them as a rock band, with the Congas barely even audible until i actually requested to him that they be turned up louder…  This music seems to fill and struggle against the very boundaries, limitations and framework of the genre, so tight as to leave no breathing space, imbuing a sense of claustrophobia as well as anxiety and frustration, which is appropriate for the subject matter of the songs.

Sonic Liberation Front

Made this for ultra cool international / art / architecture / concept / urbanism / fashion / music / design organization Platoon: United rhythms towards a borderless future: African House and European Acid, Hungarian Folk and Korean Pop, Cumbia Electro and Arabic Techno, Avant Jazz and Street Bass – international beats for dance floors and head space – against prejudice and xenophobia.  DOWNLOAD:  mediafire

Ocora Africa repost part 1

A few out of print treasures from Ocora (RIP), probably the best global music label ever in terms of selection, recording quality, documentation and general dependable professionalism (The French perhaps always were the colonialists who paid the most attention to the cultures of those they conquered and continue to exploit, with Napoleon’s encyclopedia of Egypt still being the most comprehensive hundreds of years later), were first uploaded on my old blog a long time ago, and now have been revived by the kind soul who runs SEANCE (a place where you will find much more amazing gems).   I will also be re-upping many things from Africa, Asia, Middle East, South America, etc. in the days to come.

Gambie – L’art De La Kora
Jali Nyama Suso, The Gambia’s legendary kora player, for twenty years well known for his weekly program on Radio Gambia, touring England, France, Sweden, and Germany in the 1980s, died in 1991.  In 1971 he recorded the first solo kora album, later re-released as a CD (here), containing three new recordings with Jali Nyama and other musicians in Gambia in 1970.

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Namibie – Bushmen Ju’hoansi, Musique Instrumentale - Music from the  Dobe Ju/’hoansi, the pre-tribal, band-level nomadic gatherer/hunters (Bushmen) of Southern Africa, among the oldest surviving ethnic groups on earth, inheritors of the “Original Affluence”, whose lifestyle which i think is very important to study as our state-level societies head toward collapse and catastrophy, i have written about here.
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Bruitset Ambiances d’Afrique One

// back cover (with track listing)

2 volumes of very rare 12″ vinyl releases consisting of field recordings and atmospheres: villages, children, animals, work, markets, etc.

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Bruitset Ambiances d’Afrique Two

// back cover (with track listing)

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Anthologie de la Musique du Niger

A panorama of the vocal music of the Haoussa, Djerma and Songhay, as well as Touareg and Fula musics, based on lutes and percussion instruments.

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Cameroon – Flutes Of Mandara Mountains

In this presentation of music of the animist peoples of the mountains and the plains, we selected the most commonly found instrumental ensembles along with encounters of a more singular kind, proposing an instrumental and vocal range, representative of the multitude of sonorities, languages, and customs to be found in this region. The musics recorded come from ritual or profane repertoires, and do not necessarily accompany dancing. In the Mandara Mountains, the musical instruments used depend on the agrarian cycle, their playing being determined by different stages in the growing of millet: the Ouldeme flutes, for example, are played in turn for sowing time at the end of the harvest. ( – liner notes)

The Real Roots of Kwaito

(bigup This Is Africa for publishing this!)

The few times western publications have written about Kwaito and South African House, styles which have thrived for many decades, the story is almost always told in terms of a unidirectional migration of House Music from the United States to Africa.  This is problematic because 1 central factor is not only understated, but entirely missing, including from the South African voices sometimes interviewed.

This central factor is the wealth of Southern African musical traditions which was the real precedent, the main cultural lineage, the Mother (with Chicago perhaps being the Father, which might be an exaggeration) of Kwaito and SA House.

Mbaqanga, Township Jive, SA Jazz, music styles from Tsonga (Shangaan), Xhosa, Tswana, Zulu, Swazi, Venda, Sotho, Ndebele, etc., tribes, numerous other Southern African 20th Century and traditional styles, and influences from other parts of Africa, these are the true ancestors of contemporary urban electronic music.

In many classic, pre-80s South African jams you can hear the 4 to the floor kick, the consecutive high-hats (sometimes done with clapping), the off-beat snares (as opposed to on the 2), additional percussion, distinct baselines, driving chants — all elements which live on in today’s SA dance music.  Many older recordings sound almost exactly like Kwaito played on acoustic instruments:

modern Kwaito:

2 examples of unmistakeable precursors to SA house, 1 of traditional music, the other of classic Jive:

During the earliest days of new urban music in the townships, as a new wave of Afro-American and Afro-European imports landed in the form of disco and house, SA artists took a lot of inspiration from these refreshing electronic sounds, incorporating the influences and sometimes outright imitating.   Western sounds had the effect of an initial stimulant and inspiration, but its impact did not last, and soon after this initial phase, Kwaito, and a little later SA House, began to mature, and became its own thing, less and less influenced by outside sources, more and more taking ideas from indigenous Southern African musical heritage.  Eventually, as African musical roots fully manifested themselves, these genres took their rightful places in the history, the lineage, the continuum, of South African music.  Important was the shifting of rhythmic emphasis: as early as the 90s, Kwaito started to use more and more the homegrown “Dembow” rhythm pattern with offbeat snares, distinctly different from the mechanical Duple 1-2 beat of Western House.

Today, if one looks at canonical artists of SA House, those most emblematic of the genre, such as Dj Cleo, Dj Clock (most recent releases of these 2 artists excepting), Black Motion, or Dj Vetkuk, the music is clearly, much more than anything else, the descendent of deep African roots, with American or European characteristics largely left behind, almost as if it was never there.  Indeed, a very good case can be made, through analysis of musical form, that South African House is now a related but entirely different breed from Chicago House, with its own rhythm signature, its own palette of sounds, attributes, textures, and stylistic conventions; its own family tree, genealogy, and history.

Yet western journalism to this day nearly always focus entirely on the American Father, to the point of completely neglecting the African Mother.  Franky Knuckles was surely seminal (unlikelihood of the gay brother impregnating anything aside), but this influence needs to be seen in the context of a larger cultural womb rich with musical nutrients which nourished and gave birth to modern SA music, and its limits recognized.   Too much importance, as always, is given to Western exports, as if SA is only doing an African version of an American thing, as if Kwaito is only “Slowed Down US House” – a distorted view so common that it is on the Wikipedia page.  Even more extreme, This article absurdly compares the relationship of SA House to Chicago to that of the Rolling Stones to Muddy Waters, demonstrating plain ignorance and ethnocentricity. Grossly over-simplified, reductionist, and simply false claims such as these are made too frequently, perpetuating structurally West-centric points of view.  Even those with the best of intentions, such as Dj Lynnee Denise, often subconsciously take the hegemonic position, inadvertently denying Africans of cultural and historical agency.   And it is not surprising that South Africans themselves often reproduce these skewed perspectives, being a people recently liberated, and still largely in awe of everything from the wealthy people up north, often under valuing their own, in every way much more significant cultural heritage.

When it comes down to it, African Mother is much older and possessive of much larger bodies of deeper and more varied musical knowledge than American Father; the later being himself, of course, only one of her many children.