More extensive posts about East Africa will follow. For now, just a few photos.
More extensive posts about East Africa will follow. For now, just a few photos.
Join us for ECK IM SAVANE at Promenaden Eck on Saturday night for a special night of Cosmik Grooves from the Motherland and beyond. The collectiv Tropical Timewarpwith BestMate? and Bela Patrutzi will heat things up with their impressiv vinyl collection and will give service with an Afro beat – Afro funk mix then Léon Leon from FINOW ZOO and dj zhao will take us deep into the night with their multi-dimensional drum science.
8:00pm – 5:00am
Promenadeneck Schillerpromenade 11, 12049 Berlin, Germany
And on Sunday, we come together for Umbenennungsfestival (renaming festival),on the block where the infamous Berlin Conference of 1884 took place, to enjoy the afternoon and agitate for refugee rights, against Pegida, and the changing of the historic “Mohrenstr.” (N***er Street) to “Nelson Mandela Strasse”. There will be many speakers and artists, and like last time i will contribute with a dj set and a talk on Culture as a Global Process and Dismantling Eurocentricity.
2:00pm – 8:00pm
mohrenstr, berlin 10117 Berlin, Germany
So that’s the first meme i’ve ever made, hope it goes “viral” :) What do you think? GF thinks it’s too “polarizing”, but i think it’s kind of a necessary illustration of the false dichotomy.
Also, for the entirety of the month of October I will be touring in East Africa: mostly Kampala and Nairobi, playing at festivals and clubs, and working with local musicians. Super excited!!!
Mashup, an exhibition of artworks by contem- porary artists from Africa generated during the research and exhibition project Mashup the Archive at Iwalewahaus in Bayreuth, Germany.
It’s nice to get booked for the core of what i do. Will be playing alongside many very talented artists such as Miss Eve, Otieno Gomba, Délio Jasse, Raphael Kariuki, Nita., Thenjiwe Niki Nkosi, Simon Rittmeier, Kevo Stero, Pamela Sunstrum, and Uche Uzorka.
and last weekend Karnival was fun…
The climate in Nairobi is cool and perfect all year round, despite being on the equator, due to its high altitude. The East African Rumba sound is also often cooler, sans the fiery horn sections of Congolese Soukous. The focus here is on a reduced palette of rhythmic guitar and vocal refrains over driving, insistent 4 on the floor kicks. The motorik, hypnotic motifs and modular progression of this original minimalist dance music here is mostly from 1950s to 1970s, and i play it in the seamless style of techno.
There is a lot more going on here than the predominantly Luo popular style known as Benga: also golden classics from the Kikuyu, Kamba, Luhya, and other tribes of Kenya. Grooves so sweet they ache the heart as they move the feet… Sounds difficult if not impossible to find outside of East Africa.
“I started playing music in school, and I had a cousin, Aoka Meja, who had a guitar. We copied the style of Adero Onani, who played traditional music on the guitar. In 1958, I got my first acoustic guitar and played Rumba. In 1965, I started to play Benga.
Benga was influenced by the beat of the nyatiti, and we interpreted that on the guitar. We also borrowed from the orutu, which followed the voice of the singer … I formed Sega Sega, and we … did a huge amount of studio work. And as Benga became popular, the three of us played on a lot of other people’s songs. This meant that our Luo sound was getting on a lot of records. The early ‘60’s was mostly about studio work, but by ’70 to ’71, when Benga was really at its peak, the Sega Sega band was very big. We were always performing at events and functions. We did okay, and I made enough to buy my farm and build the house in which I still live . . .”
and the following is from the liner notes of “D.O. MISIANI and SHIRATI JAZZ, THE KING OF HISTORY, CLASSIC 1970S BENGA BEATS FROM KENYA” (Sterns Music):
“Guitars had started gaining popularity in Kenya in the 1950s and it wasn’t long before Benga started taking form in the Luo speaking areas surrounding Lake Victoria in the early 60s. Misiani (commonly known as the “King of HIstory” and father of Benga, whose band is also on the cover of this mix – Zhao) was actually born across Kenya’s southern border in Tanganyika in 1940 in the Luo community of Shirati. His earliest years as a musician brought him numerous clashes with uthority and several escapes to safer ground to avoid punishment. It seems he and his music were very popular with schoolgirls and young women, but the parents weren’t too keen on his seductive love songs and the authorities didn’t appreciate the fights among the young men over the girls. Misiani recounted several times that his guitars were seized and smashed, and that he had to leave the village quickly. He would disappear for a while, wait for things to settle down and then return.
The songs of the early 70s have a lighter percussion with the beat kept by tapping on the rim of a snare drum. They also mastered a rhythmic clicking sound using the electric guitar pick-up that is heard in a number of pieces. From about 1976 this sound changes with the use of a full drum kit and the deeper sound of the kick drum, with now the high hat receiving most of the attention from the drummer’s sticks. The saxophone heard in some of the earlier songs is gone. By the late 70s, we’re into the mature benga sound exemplified by ‘Wang Ni To Iringo’ that propelled benga through the 80s and into the 90s.
Misiani was a composer without fear in an environment that threatened free speech and critical thought. In his early years, it was his love songs in his home village that had got him in trouble, and in the Shirati Jazz years (essentially the rest of his life after leaving the village), he was known for biting commentary on Kenya’s political, social, and economic institutions. However such criticism was never direct. His songs convey meaning at a deeper level. He would use a theme such as a verse or parable in the Bible, a piece of African history, a prophecy, or an animal fable that would allow listeners to draw a meaning relevant to the current events of the day. Periodically, when one of his songs could be interpreted as presenting the government or a politician in an unflattering way, the authorities would pick up Misiani and take him off to jail. At one point he was deported to Tanzania. Another time he was arrested – though not convicted – of being an illegal Tanzanian immigrant. Nairobi’s Nation newspaper quotes him in 2006 as saying: “Tell me, is there anything wrong with singing about what’s going wrong in our society? I just sing about what is happening and if some people are not happy, I can do little about it.” It is in this arena, I think, where Misiani really merits his King of History title. With its multiple layers of meaning, it accurately portrays both the status and the mechanism by which he achieved that status: keep it sweet, keep it entertaining but, at all times, keep it relevant.”
These tracks came from many different sources, sorry for lack of artist and title for some:
01 Kakai Kilonzo & Les Kilmambogo – Kilinga Munguti
02 Kakai Kilonzo & Les Kilmambogo – Ngungu Na Muol
03 Les Kilmambogo – Serah Ngungembeti
04 Kakai Kilonzo & Les Kilmambogo – Mutwawa Niwatwawa
05 Ken Wa Maria – Unknown
06 Ken Wa Maria – Unknown
07 Unknown Kamba Song
08 Ken Wa Maria – Syaamba Kala
09 Ken Wa Maria – Kuu Ni Ilovi
10 Unknown Kikuyu Song 1
11 Unknown Kikuyu Song 2
12 Unknown Kikuyu Song 3
13 Osito – Jehova Kings
14 George Ramogi – Unknown
15 Owino Misiani & Shirati Jazz – Piny Ose Mer
16 (Luo) Emily Makaya – Fagilia To Ipar Odi
17 Elisha Nyarugenya – Mazadijo
18 Princess Julie – Dunia Mbaya
19 Princess Julie – Unknown
20 (Luhya) Misiko – Come We Stay
21 Misiko – Khubekha Mukhali
22 Unknown – Unknown
23 Unknown (Mukunguni) – Pepo Mlume
24 Kapere Jazz Band – Lando Nyajomere
25 Jacob Omolo – Ogwang Lelo Okoth
26 Owiny Sigoma Band – Nyiduonge Drums
27 Kalambia Sisters – Katilina
The Guardian fails to pin-point the unique significance of Funky: it was the very first time that explicitly African rhythm patterns had been prominently used in, and defined, an entire style of “Western” dance music. This failure is part of a larger pattern. In the following sentence, the journalist clearly denigrates African-ness as the least significant aspect of Funky, in typically Euro-centric fashion: “…’a make-do sound’, patched together by and for an uneasy alliance of shiny-shoes “real house music”-lovers, grime kids craving something less macho, hipsters looking for a new buzz after dubstep, and those raised on the riotous party sounds of dancehall, soca and west African music.” ——— the influence of African music is a less important factor than “real house”, than grime, than hipsters (!); and also less important than Dancehall and Soca. And in this sentence, African-ness is completely omitted: “All were united by a pumping house undercurrent, clattering grime and dancehall rhythms, and car-window-rattling bass” ——– Since Funky started to get coverage, journalists have referred to the style as mostly or entirely Caribbean derived — But if you know music, you know the beats in UK-Funky is much, MUCH more derived from African music than from Dancehall or Soca.
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” – 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…
Rumba traveled back to Africa via Cuba and Haiti in the 40s and 50s, later developing into the faster and more dancefloor sound of 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 legacy 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.
Also check out the related but different beautiful grooves of East African Rumba and the sound of Benga, in NGOMA Classic Vol. 3 here.
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 light, for the truth is, something Africans have known all along, that ultimately the most powerful revolutionary force, of which the powers are afraid, that can break every chain and destroy every oppression, is not anger — it is love.
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
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.
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
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
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.
// 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.
// back cover (with track listing)
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.
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)
Dj Zhao: Edits, Mixing and Selection (Berlin)
Werner Puntigam: Trombones (recorded in Linz, Austria)
Marcel: Percussion (recorded in Berlin)
A hybrid musical entity made of dj and live instrumentation consisting of 2, 3, 4, or 5 members, NGOMA Soundsystem fuses Ancestral Rhythms, Acoustic Textures, and Urban Bass Pressure. Drawing from both the wealth of sonic traditions from Africa and beyond as well as up-to-the-minute street sounds worldwide, NGOMA Soundsystem exists in the tension between electronic composition and live improvisation, creating unique “Ancient-Futurist” musical experiences for both concert hall and club, often at once mind expanding and dance-floor smashing.
this recording is a 1 hour studio edit of the 3 hour live performance at Fusion Festival:
In the era of branded lifestyle packaging, still sometimes something happens which makes us question our ideas of who makes/listens to what, what that means, where the lines are drawn, how this informs the construction of social identity, whose values are projected by which aesthetic, and which “genres” are assigned to what class and ethnic group. I think the release of this documentary film may be one of those times, and i hope this mix which goes with it is one of those things, demonstrating the connectedness between Rock and Roll and its African roots, between power chords and dance beats, between decades past and today, between defiant youth in London and defiant youth in Zimbabwe – and that the same rhythmic blood and spirit of revolt runs in all of our veins.
these 75 minutes include exclusive mashups and re-edits, and go from Punk to heavily Africanized Rebel Rock to Post-Punk, Dance-Punk, Political Dub, Punk Step, 60s Afro-Garage Techno, Bass Music and beyond, features remixes of Congotronics and a couple of tunes not from the motherland, but surely in keeping with the Afro-Punk spirit.
before you listen and download: how much is this product worth to you? if possible, please make a donation.
01 [South Africa] National Wake – Black Punk Rockers
02 [South Africa] National Wake – Mercenaries
03 [South Africa] KOOS – Is Jy N Moegoe
04 [South Africa] National Wake – Dreams In My Head
05 [Zimbabwe] Chikwata 263 – Dudumduri
06 [South Africa] Dread Warriors – Xighangu Xamina
07 [South Africa] National Wake – Tchindi (live]
08 [UK] Andy Moor – From E to F + Pinch – Warlord
09 [South Africa] Kalahari Surfers – Don’t Dance (Live) + Bass Boy – Stamp
10 [DR Congo] Docteur Nico & African Fiesta – Save Me
11 [Mozambique] 340ML – Shotgun (Zhao Fix)
12 [Zimbabwe] Evicted – Mapurisa (Remix) –
13 [Zimbabwe] Chikwata 263 – In the Jungle
14 [South Africa] National Wake feat. Warrick Sony – Bolina (Kalahari Mix) + Cyrus – Manhatten Blues
15 [UK] Andy Moor – Ella Speed + Unknown
16 [DR Congo] Kasai Allstars – The Incident At Mbuji-Mayi (Bass Clef Remix)
17 [DR Congo] Kasai Allstars – Mukuba Special (Shackleton Remix)
18 [France / UK] DJ Rupture & Andy Moor – Broken Minded
19 [South Africa] Powerage – Waiting For the War
20 [South Africa] Powerage – Freedom + FilthyBeatz – Bounced
21 [Angola] Acromaniacos – unknown
22 [South Africa] KOOS – Ek Is My Dilemma
23 [South Africa] Fuzigish – Burn the Fucking House Down
24 [South Africa] Wild Youth – All Messed Up
25 [South Africa] Wild Youth – Wot About Me
26 [Tanzania] Jagwa Sound System – Watu na Maisha Yao
27 [South Africa] A-Cads – Down The Road
28 [South Africa] The Dynamics – Garlic Baloney
thanks to the following blogs for support!!!
DJ Zhao (CN/US, Ngoma Soundsystem) http://soundcloud.com/djzhao
Secousse Sound System (FR, Etienne Tron & Mo DJ, DJ) http://soundcloud.com/secousse
Jess & Crabbe (FR, Mental Groove, DJ) http://www.mentalgroove.ch/press/bazzerk/
this is the way it went down:
and after that dj Zhao will be doing a set from 2AM – 3:30 at this:
In Yoruba spiritual traditions (contemporary Ghana, Togo, Benin, and Nigeria) as well as its descendant Afro-diasporic faiths like Vodou, Santeria/Lukumi and Candomble, Eshu is the divine messenger between Gods and Man, the gatekeeper, protector of travelers, guardian of the Crossroads, offering choices and reveals possibilities. Often identified by the number three, and the colours red & black, Eshu represents the balance of nature, Day and night, creation and destruction, old age and youth. Yet more than conduit between this and other worlds, Eshu is also a spirit of Chaos and a devious trickster, playing games and serving up mischief with the ultimate aim of waking people up and teaching them lessons.
So, in the spirit of Eshu, FUSION 3 represents the balance between traditional and modern, “east” and “west”, listening and dancing. This mashup album stands at the crossroads between the musical worlds of Yoruba talking steel drums, Cuban piano, Indonesian Gamelan, Cameroon Mbira (thumb piano), Black Panther poetry, South African Jazz, etc., and the House and Techno club sounds of today.
I think it will play a few tricks on minds which insist on seeing the world in discontinuously separate compartments.
01 [Nigeria/Germany] Etubom Rex Williams – Uwa Idem Mi <> Maurizio – M1
02 [Pan-Africa/USA] Guem & Zaka – L’Abeille <> Oasis – One
03 [Indonesia/Cuba] Django Mango – the wisdom of the fool <> Fast Vision Soul – Babatunde
04 [Burundi/South Africa] Chant d’enfant accompagne d’un arc musical umuduri <> Spikiri feat. Hugh Masekela – Spiyanko Bonus Beats
05 [Nigeria/UK] Wahabi Arowoshila – Gbogbo Musulumi Ododo (Fuji) <> Hector and Bryant – Tension
06 [Cameroon/Germany] Frances Bebey – Africa Sanza <> Basti Grub – oma vovo
07 [Cameroon/UK] Frances Bebey – Bameda <> AudioFly – Sweeter Than
08 [Indonesia/Germany] Sambasunda – Sumimaula <> Liapin – BlackMamba
09 [USA/Italy] Sarah Webster Fabio – Glimpses / Nigger Sweat <> Double Dash – Mas
10 [Nigeria/UK] Madam Mujidat Ogunfalu & Her Waka Group – Ololo Nise Awo Won Ni <> Chris Wood and Frank Leicher – Into the Jungle
11 [South Africa/USA] Ricky Rimbiandarison – Imamohamana Dry (The Wake Up Drum) <> Cpen – African Jack
12 [Ghana/USA] Charles Kofi Amankwaa Mann – Funky Hi-Life <> Yonurican – Lucha Machete (Ricardo Miranda Drum Mix)
13 [Mali] Oumou Sangare – Yala (Zhao Fix)
14 [Ghana/Netherlands] Guy Warren – BUILSA <> Gregor Salto – Classic Beat
15 [USA/Nigeria] Sarah Webster Fabio – Boss Soul <> Osunlade – Native Tongue
16 [Mali/Sweden] Ahmed Fofana – Balani <> Jamtech Foundation – Too Fast (Zombie Disco Squad Remix)
17 [Ethiopia/Germany] Bole 2 Harlem – Home <> Booka Shade – Hide and Seek In Geishas Garden
Traditional and contemporary music from 5 continents, 25 countries, mashed up, refixed, and dubbed out.
Whereas the first Fusion volume was global traditional music fused with Dubstep and Grime, this second one clocks in at 105 BPM and explores the marriage of ancestral sounds and mid-tempo dancehall/moonbahton/hiphop derived beats. Some of the juxtapositions include Mongolian Throat Singing with screwed Techno, Uzbek vocal pop with Norwegian Skweee, Tribal African chanting over Hiphop, and Brazillian tinged percussion with Angolan Urban Beats. The mood is often overcast and cloudy with occasional bursts of heavy thunderstorms.
The FUSION series is decidedly more for listening compared to the dancefloor oriented NGOMA series, but there are certainly some bangers in here for you to scrunch up your face to, alongside more tripped out and lyrical numbers.
01 [Ghana] Gordon Odametey – Flying Gods (Zhao Edit)
02 [Liberia] Seku Bundah, Troupe, and Townsmen of Jonjah – Topical Song (Zhao Edit)
03 [Cameroon/France] Francis Bebey – Binta Madialio >< Agoria – Solarized (dub mix)
04 [Turkey/UK] Yaşar Akpençe – Dreams >< Demdike Stare – Haxan Dub
05 [Unknown Africa/SA] Unknown – Patricia >< Sibot – Famon Nigiri
06 [Malaysia/Germany] Anggi anak Alang, Entirong Bayang , Enggang anak Sandom, Kira anak Rabong – Serunal/Taboh >< Log – Out 2
07 [Colombia/Spain] Cumbia Moderna De Soledad – Shacalao >< Lerosa and Donato – acid snake
08 [Algeria/USA] Flûtes-gasba du Nord-Est de l’Agérie – Hwa Mrabet Did Chabbi >< Omar D – Busaru Beats
09 [Nubia] Al-Nûbatiyya – Mann Koudoud Toa Yaa Naas (Zhao Edit)
10 [Morrocco] Unknown – Unknown (Zhao Edit)
11 [Egypt] Ahmad Adaweya – Salametha Omm Hassan (Zhao Edit)
12 [Algeria] Unknown – Danse Bédouine (Zhao Edit)
13 [Nigeria/Angola] Guem & Zaka – Nostalgie >< Dj Maginho – TarraxO 100 percent Agressivo
14 [Brazil/Angola] No Sapatinho – Batugue >< dj nuxito – nova inspiracio
15 [UK/Japan] Ian Middleton – Cycle AND Sakuteiki – Viewing Infinite Space
16 [USA/Japan] Dubadelic – Rise of the Fall >< Sakuteiki – Viewing Infinite Space
17 [Syria/UK] Lena Chamamian – Sariri Hovim Mernem >< King Midas Sound – I Dub
18 [Mongolia/Spain] Black Horse – Chingges Khaanii magtaal (with huumii) >< Lerosa and Donato – Gas Snake
19 [Uzbekistan/Sweden] Yulduz Usmanova – Schoch Va Gado >< Daniel Savio – Tough Guy Music
the first 8 volumes in this Reboot.fm radio series. for tracklisting please go to the soundcloud pages for each show. to download of course simply click the downward aarow on the right side of the player for each show.
before you listen and download: how much are these products worth to you? if possible, please make a donation.
RADIO NGOMA 1 – Live from Krakow
RADIO NGOMA 2 – Mid Tempo Trip Around the World
RADIO NGOMA 3 – Moody Booty
RADIO NGOMA 4 – Righteousness and Rudeness (Reggae Special)
RADIO NGOMA 5 – Ancestral Rhythms
RADIO NGOMA 6 – Afro Futurism
RADIO NGOMA 7 – Global Dub Resistance
RADIO NGOMA 8 – Trans-Atlantic Rhythm Passage