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  • 01. The Homeless Wanderer
    02. The Last Tears Of The Deceased
    03. A Young Girls Complaint
    04. The Mad Man's Laughter
    05. Presentiment
    cover

    GEBRU, TSEGE MARIAM

    Spielt Eigene Kompositionen

    [engl] A most unusual & stunning album. Tsege Mariam Gebru is an Ethiopian nun who has dedicated her life to helping others. She has been composing & playing music on the piano since the 1960’s. Her music is a unique mix of Western classical music in the vein of Erik Satie, Ethiopian music & Religious Christian meditation music. On this reissue of her first LP, originally released in Germany in a very small pressing, we find Tsege Mariam Gebru playing her own compositions solo on piano. She plays with restrained grace & purity. The record invites repeated listening well and is filled with spiritual warmth. We are very proud to present this LP – the first in a series of records we will be releasing with music culled from the monumental Ethiopiques CD series. We firmly believe that she is among the very greatest piano players and composers of all time.
    Format
    LP
    Release-Datum
    01.01.2016
     
  • 01. Terroir
    02. Houmeissa
    03. Dounia
    04. Bororo
    05. Wassa
    06. Takamba
    07. Touareg
    08. Baoura
    cover

    HAMA

    Houmeissa

    [engl] Nigerian composer Hama presents a groundbreaking album of traditional electronic desert folk songs, hovering somewhere between early 90s techno and synthwave. Nomadic herding ballads, ancient caravan songs, and ceremonial wedding chants are all re-imagined into pieces seemingly lifted from a Saharan 1980s sci-fi soundtrack or score to a Tuareg video game. With a deep love and respect, Hama effortlessly takes back and re-appropriates fourth-world ethnoambient music.
    Format
    LP
    Release-Datum
    18.01.2019
    EAN
    EAN 0843563107874
     
  • 01. Bump Lam Phloen
    02. Sa-on Siang Phin
    03. Hongthong Tam Faen
    04. Isan
    05. Lam Ro Rak Chak Saudi Arabia
    06. Hongthong Khanong Lam
    07. Nong Ni Na
    08. Som Tam Chao Kao
    09. Huai A-Ba-Ni-Bi
    10. Bo Mi Phi Thi Isan
    cover

    HONGTHONG DAO-UDON

    Bump Lam Phloen: Essential Hongthong Dao-udon

    [engl] How can we explain the power of music? How can songs delivered in a language which we don't understand move us so? This collection contains the very best songs from Hongthong Dao-udon, one of the great Thai singers of the "third generation" of Molam singers, one of the artists who succeeded in fusing Molam with Luk Thung, thus triggering a new generation of singers; in fact she was the first to sing both genres from the beginning of her career, considering herself to be situated happily between the two styles. But none of this matters, finally, to the listener. This is music, not musicology, and Hongthong Dao-udon sings to us, not the pedants. Her career was brief, and these songs from the late 70s and early 80s are her very best, showcasing her rich vibrato, her masterful control, and the undeniable emotional power of her voice, carrying us from joy and whimsy to melancholy and desolation. Produced mainly by Doi Inthanon, a legendary independent producer, these songs were very popular in Thailand, and it is easy to hear why, with strong melodies, impeccable swing, interesting arrangements, and of course her thrilling voice. Available on CD and vinyl, with two songs previously unavailable on CD, as well as her first recording and her biggest hits, this is essential. What is “luk thung”? A musical genre whose name means ‘country person’s song’ or ‘children of the field’. The name became established in the latter half of the 1960s and now has the status of a national genre of popular song unique to Thailand. The lyrics of luk thung songs deal mainly with the rural idyll, comparisons between the city and the countryside, life in the big city and current affairs. There are certain typical traits to the music, but no official musical form. What is “Molam”? "mo" is an artist and "lam" is a kind of performance art where the artist tells a story using tonal inflexions. In other words, the term molam refers to both the singer and art form. Molam pieces are not strictly speaking "songs".
    Format
    LP
    Release-Datum
    01.11.2015
    EAN
    EAN 4560283217428
     
  • 01. Mashee Kooka
    02. He Eh Lalla
    03. Beesmeellah Beedeet
    04. Moola Nefta
    05. Habeebee Hooa Jooani
    06. Nafta Naghara
    07. Danee Danee
    08. Wa Salaat Alih Hannabee Mohammad
    09. Mabbrooka
    10. Gh*st-track : Galoo Sahara Laleet El Aeed
    cover

    IFRIQIYYA ELECTRIQUE

    Laylet El Booree

    Dein persönlicher Dämon besitzt dein Wesen, und das für immer. Regelmäßig wird er nach deinem Körper fragen und wenn du dich schlecht und unglücklich fühlst, hat er ein zwingendes Bedürfnis nach ihm. Dann kommt die Banga-Gemeinde mit ihren Tänzen, Tchektchekas und Tablas, die Feuer, Benzoe und Wasser tragen, um dich in einem ausgelassenen Ritual auf deine wilde Seite bis zum Totalverlust der Sinne zu bringen. Dein persönlicher Dämon besitzt nun Dein gesamtes Wesen. Es ist ein therapeutisches Ritual von Bessesenheit und Trance, ein Vermächtnis, welches von den früheren schwarzen Sklaven, die vor Jahrhunderten in Tunesien verkauft wurden, aufrecht erhalten wurde. Ein Synkretismus zwischen Animismus und Islam. Sie lassen die Dämonen mit Computern und elektrischen Gitarren kommunizieren, um dieses adorcistische Ritual der Besessenheit zu zelebrieren. Im Bewusstsein, dass so das Bedürfnis sich zu vergessen und sich zu erheben vom Djerid bis in die Diskotheken Ibizas oder Moskauer Rock-Clubs absolut identisch ist. IFRIQIYYA ELECTRIQUE ist mehr als nur ein Konzert. Es ist das wahre adorcistische Ritual von Sidi Marzûq, welches von der Banga Gemeinde praktiziert wird. Neu komponierte Musik, eine transzendentale und postindustrielle Zeremonie. Das erste Album der Ifriqiyya Electrique RUWAHINE wurde von Glitterebat Rec. veröffentlicht. Im Juli 2017 ist das Album "Rûwâhîne" auf Platz 4 der TRANSGLOBAL WORLD MUSIC CHART (USA) und auf Platz 6 in den Top 20 der WORLD MUSIC CHARTS EUROPE. Im Mai 2018 filmte Arte (Fernsehen) ein ganzes Konzert und strahlte es anschließend aus. Ifriqiyya Electrique wurde eingeladen von Festivals wie SZIGET, WOMAD, VIEILLES CHARRUES, WOMEX, FMM Sines, ETHNO PORT, COLOURS of OSTRAVA, OFFEST, PLAI, POHODA...
    Format
    LP
    Release-Datum
    05.04.2019
    EAN
    EAN 4030433607015
     
  • 01 Clipo Clipo
    02. Katin
    03. Kango
    04. Minimanle?
    05. Our Garden Needs Its Flowers
    06. Apartheid
    07. African Chant
    08. Solution
    cover

    JESS SAH BI & PETER ONE

    Our Garden Needs Its Flowers

    Erste offizielle internationale Veröffentlichung dieses grandiosen Albums. - Westafrikanische Country-Folkmusik mit Ambient Vibe. - Remastert und in Originalqualität . - Stadionfüllende Hymnen über Frieden und Einheit. - Für Fans von '70s Singer-Songwriter/AltCountry/Folk. Die Elfenbeinküste ist nicht für Country-Musik bekannt. Aber das 1985er Album ,Our Garden Needs Its Flowers" von Jess Sah Bi & Peter One wurde dort ein massiver regionaler Hit und brachte ein wachsendes Interesse an Folk und Americana in den Mainstream. Zwei junge Männer erlangten internationale Prominenz, die in stadionfüllenden Konzerten und Auftritten für die First Lady und andere Würdenträger der Elfenbeinküste gipfelte. Ihre Musik stand in krassem Gegensatz zu den populären afrikanischen Klängen der damaligen Zeit, die von rasanten regionalen Tanzmusikgenres über Ziglibithy bis hin zu Soukous und Straight-up-Funk reichten. Country-Musik und Folk-Rock waren beim Publikum nicht sehr beliebt. Kenny Rogers, Dolly Parton und Don Williams' Musik bekamen Airplay in einigen Radioprogrammen in den großen Städten der Elfenbeinküste und einige jüngere Leute hörten Simon & Garfunkel, Creedence Clearwater Revival, Cat Stevens und Crosby Stills & Nash. Jess Sah Bi & Peter One schufen heimische Country-Musik, um das Bewusstsein der Ivorer zu prägen. Mit Slide-Gitarre, hochfliegendem Gesang und hymnischen, politisch bewussten Texten in drei Sprachen wurde die Aufnahme allgegenwärtig im französischsprachigen Westafrika. "Wir hatten erwartet, dass das Album ein großer Erfolg wird, aber wir konnten uns nicht vorstellen, wie weit es gehen würde", sagt Peter. Nach der Veröffentlichung von ,Our Garden Needs Its Flowers" stieg die Popularität von Jess und Peter schnell an und führte zu Stadionauftritten in Togo, Burkina Faso und anderswo. Ihr Aufstieg wurde von der lokalen Presse und Fernsehsendungen, von Auftritten bei von der Frau des Präsidenten der Elfenbeinküste organisierten Galas, und sogar von einem Auftritt während des ECOWAS-Gipfels 1988 in Yamoussoukro begleitet. Jess und Peter's Lauf dauerte bis in die frühen 1990er Jahre und wurde von der BBC mit ihrem Song ,African Chant` als Titelmusik an dem Tag, an dem Nelson Mandela aus dem Gefängnis entlassen wurde, abgeschlossen. Jess und Peter leben jetzt in San Francisco bzw. Nashville und machen weiterhin selbstständig Musik. Pläne für die Wiedervereinigung des Duos sind noch in diesem Jahr in Arbeit. Awesome Tapes From Africa erfüllt mit der Wiederveröffentlichung die lange anhaltende Nachfrage, vor allem unter ivorischen Fans, die keinen Zugang zu den Aufnahmen in High Fidelity hatten. Alle bislang online erhältlichen Versionen sind unlizenziert und enthalten die verräterische Verzerrung und das LP-Knistern einer Bootleg-Aufnahme und es ist kein Geld an die Künstler gegangen.
    Format
    LP
    Release-Datum
    17.08.2018
    EAN
    EAN 0843563102459
     
  • 01. ADOUNIA
    02. ISHILAN
    03. IMETAWAN
    04. AKALINE KIDAL
    05. ASIN ORAL
    06. TIKARAS
    07. AZAMAN
    08. POESIE
    09. ASSOUF
    10. TIKOUNEN
    11. TEMET
    12. WAR TAFAR
    cover

    KAEDY, AHMED AG

    Akaline Kidal

    [engl] In exile from his city in Northern Mali, singer/songwriter Ahmed Ag Kaedy returns to the origins of Tuareg folk with sessions of stripped down solo acoustic guitar. Mellow pentatonic notes dance over plaintive vocals, intimate and close mic'd, endearing in their simplicity. Drifting from melancholic ballads and pleas for peace, "Akaline Kidal" is a politically charged and poignant recording for a community ripped apart by division and civil war.
    Format
    LP
    Release-Datum
    01.03.2019
    EAN
    EAN 0602318136794
     
  • 01. Yali Yali
    02. Ayrilik Günü
    03. Atsan Atilmaz Satsan Satilmaz
    04. Seher Vakti
    05. Koca Dünya
    06. Sevda Yolu
    07. Eyvah (Kendim Ettim Kendim Buldum)
    08. Günün Birinde
    09. Demiyom Mu
    10. Niyet
    11. Uykuda misin Sevgili Yarim
    12. Arim Balim Petegim
    cover

    KARABÖCEK, NESE

    Yali Yali

    [engl] Nese Karaböcek is a popular Arabesque singer and film / TV star from Turkey. She started singing at a very young age and has a vast recording career. "Yali Yali" is a selection of her grooviest tracks from the 70s, including the massive psych–funk dancefloor bomb title track plus another fabulous examples of Anadolu pop–funk, mixing Turkish melodies and instruments with disco arrangements, Moog keyboards, funky drums...
    Format
    LP
    Release-Datum
    15.11.2019
    EAN
    EAN 4040824089276
     
  • 01. Lam Phaen Bak Song Sao Pha Saeo
    02. Lam Phaen Motorsai Tham Saeb
    03. Lam Phaen Pen Taa O O
    04. Lam Phaen Nai Khon Bo Mi Ongsa
    05. Lam Phaen Saraburi Liao Khua (Liao Khwa)
    06. Lam Phaen Sak (Kabua) Bin
    07. Lam Phaen Salab Toei
    08. Lam Phaen Chip Cikko
    cover

    KHWANTA FASAWANG

    That Goddam Mortorsai!: The Best of Lam Phaen Sister No. 1

    [engl] The best of Khwanta Fasawang, the heart and soulful Sister No. 1 of 1980s Lam Phaen, queen of the cassette era. She was chosen, from over a thousand demo tapes, by legendary producer and songwriter Doi Inthanon, who wanted to create a new, streetwise dance style of molam(*) music. The Lam Phaen genre was the result, and Khwanta Fasawang was the singer he chose to be its representative. Combining earlier musical trajectories with electronic elements and lyrics dealing with drinking and love, money and motorcycles, Khwanta led the cassette-format Lam Phaen boom of the early 80s, gaining great popularity in both her native Isan and across the whole country. A change in lyrical concerns and the use of electronics has parallels with Jamaican Dancehall, and this music can be heard as one of the roots of Lam Sin, the Thai Bass Music which began in the 80s and 90s, but these recordings are not mere musicology. This is living music, and very fine music at that. Queen Khwanta, Sister Fasawang. She can't be denied.
    Format
    LP
    Release-Datum
    01.11.2015
     
  • Africa Needs Africa
    Wekana
    1000 Can Die
    Grandfather Song
    Dapagara
    Wine Lange
    Anka Yen Tu Kwai
    Yalma Dage Wanga
    Ndeema
    cover

    KING AYISOBA

    1000 Can Die

    King Ayisoba, etwas über 40, ist ein ghanaischer Musikstar. Er stammt aus Bolgatanga im Norden Ghanas, lebt aber in Accra, der Kapitale des Landes. Aus der Provinz in die Metropole - diese Bewegung kennzeichnet auch Ayisobas Werk. Für dieses ist die zunehmende Verbindung traditioneller Musik mit den modernen Beats des Hiplife charakteristisch. Hiplife kombiniert Highlife und Hip-Hop und stellt das populärste Genre Ghanas dar. Ayisobas Instrument ist die Kologo, eine einsaitige Laute, die gewöhnlich bei Hochzeiten und Beerdigungen gespielt wird. Dazu trägt er, mehr gerufen als gesungen, in den landesüblichen Idiomen Frafra und Twi sowie Pidgin-Englisch seine unverstellten Botschaften vor. Seit "Wicked Leaders" von 2014 produziert der King seine Songs mit Band, was diesen einen funky Einschlag gibt. Diesen Weg setzt "1000 Can Die" fort. Auf dem Album wird Ayisoba von vier festen Bandmitgliedern an Dorgo, Sinyaka, Guluku, Dundun, Djembe und Bemne sowie diversen Gastmusikern, darunter Lee "Scratch" Perry und der nigerianische Saxofonist Orlando Julius, begleitet. "1000 Can Die" wurde von Arnold de Boer, bekannt als ZEA und Sänger von The Ex!, produziert. Zum Instrumentarium bemerkte dieser: "King Ayisoba and his band know that traditional instruments are stronger than anything modern. Playing them is a gift from God."
    Format
    LP
    Release-Datum
    31.03.2017
    EAN
    EAN 4030433604410
     
  • 01. Seremende
    02. Ha-Madi
    03. Moussa
    04. Kaira
    05. Djonol
    06. N'na
    07. Dioula
    08. Hadjiatu Mari N'Djaye
    cover

    KOITE, SOURAKATA

    En Hollande

    [engl] Senegalese kora master Sourakata Koite began music from pretty much day one. "All the Koite are musicians!," he says. Indeed he is a member of a family of djeli (or griot in french), the hereditary caste of musician-storyteller-historians in West Africa. After moving to Paris in the late 70s he began to play in different bands and for musicians like Manu Dibango, Toure Kounda, Mangala, Mah Damba and more. During a festival in Holland, a music producer form Plexus Records heard him and asked to make a recording. In 1984 in an old chicken coop near Delft, Koite recorded the entire album in one take, including overdubs. The rich sonics and deep sound beautifully presents Koite's virtuosic and entrancing renditions of traditional and original tunes. With the reissue of en Hollande, Awesome Tapes From Africa continues its mission of bringing tapes posted on the ATFA website over the years, including this one, to music fans all over the world.
    Format
    LP
    Release-Datum
    18.01.2019
    EAN
    EAN 0843563109885
     
  • 01. Magnetismo
    02. Carnabalito
    03. Atormentada
    04. Chicha roja
    05. Fragil
    06. Hoy
    07. Suenitos
    08. Arde
    09. Dejate llevar
    cover

    LA YEGROS

    Magnetismo

    Die argentinische Sängerin Mariana Yegros brilliert in Musikbereichen, die gewöhnlich von Männern dominiert werden: Cumbia und Chamamé. Und das so beeindruckend, dass ihr mittlerweile der Beiname "The Queen of Nu Cumbia" anhaftet. La Yegros_ÇÖ europäisches Debütalbum "Viene De Mi" erschien im Juni 2013 bei ZZK. Hierauf mischte die Künstlerin auf Basis eines elektronischen Gerüsts von Chamamé über Cumbia und Milonga bis zu Rap verschiedene musikalische Genres zu einer dynamisch-mitreißenden Einheit, die auch verkaufstechnisch ein breiteres Publikum fand. Ihr zweites Album, das via Soundway in die Läden kommt und auf den Titel "Magentismo" hört, setzt dem Ganzen in Sachen Eklektizismus noch einen drauf und erweitert das Klangspektrum mit modernen Beats und Punk-Attitüde in Richtung argentinische Folklore. Für La Yegros ist es eine Herzensangelegenheit, mit ihrer Musik Verbindungen zu knüpfen. "Magnetismo" macht diesem Ansinnen alle Ehre. Nicht zuletzt deshalb, weil zahlreiche Koryphäen an den Aufnahmen beteiligt waren. Neben den Produzenten King Coya und Daniel Martin, die auch das Debüt auf den Weg brachten, sind das unter anderem der argentinische "Tango-Star" Gustavo Santaolalla oder die französische Sängerin Sabina Sciubba vom Electro-Pop-Duo Brazilian Girls.
    Format
    LP
    Release-Datum
    04.10.2016
     
  • 01. Eghass Malan
    02. Inssegh Inssegh
    03. Imigradan
    04. Jori
    05. Tihilele
    06. Abadrarass
    07. Telillite
    cover

    LES FILLES DE ILLIGHADAD

    Eghass Malan

    Fatou Seidi Ghali ist die wahrscheinlich erste Gitarristin unter den nordwestafrikanischen Touareg und Bandleaderin der Formation Les Filles de Illighadad. Wie der Name durchblicken lässt, handelt es sich hier um eine Frauenband, deren Mitglieder aus Illighadad stammen. Die kleine, von der Welt abgeschiedene Gemeinde liegt am Rande der Sahara in Niger. Hier kommt eigentlich niemand mal so zufällig vorbei, und umgekehrt gibt es selten einen Anlass für die Bewohner Illighadads, das ländliche Heimatdorf zu verlassen. Umso erstaunlicher, wie modern "Eghass Malan" klingt. Nach dem gleichnamigen, 2016 live vor Ort von Sahel-Sounds-Chef Christopher Kirkley aufgenommenen Debüt ist "Eghass Malan" das erste Studioalbum. Es erscheint beim selben Label und wurde im Anschluss der ersten Europatournee der Frauen ganz direkt und ohne nennenswerte Verwendung von Effekten aufgenommen. So blieb der rohe, charmant-spontane und authentisch-originäre Gestus, der die Songs von Les Filles de Illighadad auszeichnet, erhalten. Hypnotische Gitarrenriffs, rasante, vorzugsweise auf der Zweihandtrommel Tende gespielte Rhythmen, Klatschen und polyphoner Gesang bilden dabei das Gerüst für sieben Stücke, die heimische Traditionen so organisch wie natürlich an die westliche Welt anschließen.
    Format
    LP
    Release-Datum
    09.02.2018
    EAN
    EAN 4030433690116
     
  • 01. Achabiba
    02. Erilegh Iflassakh
    03. Eliss Wan Anas
    04. Douban
    05. Telilit
    06. Tarha
    07. Tende
    cover

    LES FILLES DE ILLIGHADAD

    Fatou Seidi Ghali & Alamnou Akrouni

    [engl] Recorded in Illighadad, Niger, 2014. The vinyl release includes the track 'Tarha', which does not appear on the digital edition. Artists: Drum [Tendé] - Alamnou Akrouni // Guitar, Drum [Tendé] - Fatou Seidi Ghali
    Format
    LP
    Release-Datum
    22.02.2016
    EAN
    EAN 0602318136725
     
  • 01. El Aguajal
    02. Tu Boda
    03. Esperanza De Amor
    04. Volveras Mi Niño
    05. Mal Amigo
    06. En La Selva
    07. Borrachito Borrachon
    08. Mi Tallercito
    09. Angelita
    10. Como Un Errante
    11. Si No Regresa
    12. Perdidos

    LOS SHAPIS

    Los Auténticos Shapis

    [engl] Los Shapis, a legendary group of tropical Peruvian music, will be relaunching their first LP ’Los auténticos’ (1981) on the 23rd of December. The revival of this album, which was one of the pioneers of Andean Cumbia, will commemorate the 36th anniversary of the band led by Julio Simeón ("Chapulín el Dulce") and Jaime Moreyra and will include emblematic songs such as ’El Aguajal’ and ’Como un errante’. The relaunching of ’Los auténticos’ forms part of a project to rescue and revive Discos Horóscopo, a record label founded 40 years ago by Juan Campos Muñoz, and which boasts one of the most important catalogues of chicha music from the 70s and 80s. The label was created and can be recognized as the main driving force of Andean cumbia in Lima, as it took on producing albums of artists that gambled on not only creating a new sound, but also molding a new type of aesthetic, led by Chacalón y La Nueva Crema, Los Shapis, Pintura Roja and Los Ovnis. Formed in the city of Huancayo on February 14, 1981, Los Shapis – whose name was inspired by a traditional dance, "Los Shapis de Chupaca" – were hailed as ambassadors of chicha when they toured throughout different countries, which gave birth to the internationalization of Peruvian cumbia in the early 1980s By 1983, the band was based out of Lima. Its members composed iconic songs about the provincial and profound identity of Peru, in a time marked by racism and classism from the most privileged sectors. A rhythmic tradition that would accompany the two most conflictive phenomena of the era: terrorism and economic debacle, reasons that motivated the massive migration from the countryside to the city. "It is a culture that alludes to disorder and popular excess, drunkenness and chaos, but also a way of appropriating while simultaneously mocking the west, " says researcher Alfredo Villar, collaborator of the project to revalorize Peruvian cumbia.
    Format
    DoLP
    Release-Datum
    22.03.2019
     
  • 01. Falaw
    02. Bbni
    03. Foret
    04. A Tara
    05. Tolobana
    06. Indienfoli
    07. Kodouma
    08. Badjan
    09. Djessou
    10. Sitanba
    11. Deli
    cover

    LUKA PRODUCTIONS

    Falaw

    [engl] Luka Productions presents Falaw, an innovative take on West African Hip Hop and sample-based folktronica. A follow up from the acclaimed Malian "new age" inspired Fasokan (2017), Luka Guindo turns his focus to the rich cultural heritage of Manding music. Eschewing wholly PC-based sequencing, Falaw invites a number of traditional performers to join him in the studio. Griots recount sage stories over Luka's sweeping synth pads while Ngonis shred pentatonic solos to the crash of sequenced drum samples. Paying homage to the storyteller, combined with regional styles of lyrical Hip Hop, Falaw offers advice on modern living, with heartfelt songs about loss, love, and life. The effect is both otherworldly while seemingly organic. In a genre where all too often the "modern" is synonymous with outsider collaborators, Falaw is a groundbreaking entry into homemade fourth world and a sign of future Malian music to come.
    Format
    LP
    Release-Datum
    24.05.2019
    EAN
    EAN 0602318136831
     
  • 01. Zerzura Reprise
    02. Akaline Akaline
    03. Issikita
    04. Imejar
    05. Igrawahi Assouf
    06. Targhat
    07. Y'a Elwan
    08. Zerzura Theme I
    09. Igrawahi Assouf Reprise
    10. Toumast
    11. Tchimitar
    12. Azal N'emgre
    13. Derhan
    14. Zerzura Theme II
    cover

    MADASSANE, AHMOUDOU

    Zerzura

    [engl] Soundtrack to the Saharan acid ethno-Western Zerzura. Instrumental soundscapes invoke a surreal fever dream of the desert. Reverbed electric guitar, subliminal drones, and ghostly percussion. Free form improvisations from Ahmoudou Madassane (Mdou Moctar, Les Filles de Illighadad) offer an entirely new vision of the familiar Tuareg guitar genre.
    Format
    LP
    Release-Datum
    23.11.2018
    EAN
    EAN 0843563107843
     
  • 01. Mon amour il est gentil
    02. Ecoute moi camarade
    03. Je n'aime pas le jour je n'aime pas la nuit
    04. Daag Dagui
    05. Je pense a celle
    06. Si massoud (je t'aime et je t'aimerai)
    07. L'amour Mâak
    08. Tu n'es plus comme avant
    09. 20 ans en France
    10. Je suis seul
    11. La Madrague
    12. Clichy
    13. Cherie Madame
    14. Dis moi c'est pas vrai
    15. Adieu la France
    16. Mini jupe
    cover

    MAZOUNI

    Un Dandy En Exil - Algerie/France - 1969/1983

    [engl] 1958, in the middle of the liberation war. While the rattle of machine guns could be heard in the maquis, in the city, the population listened at low volume to Algerian patriotic songs broadcast by the powerful Egyptian radio: "The Voice of the Arabs". These artists all belonged to a troupe created by the self-proclaimed management of the National Liberation Front (FLN), based in Tunis and claiming to gather a "representative" sample of the Algerian musical movement of the time, among which Ahmed Wahby (who sang Wahran Wahran, a song popularized by Khaled) and Wafia from Oran, Farid Aly the Kabyle, and H'sissen, the champion of Algiers’ Chaâbi. The same year, singer Ben Achour was killed in conditions that have never been elucidated. Algiers, by a summer evening in 1960. Cafe terraces were crowded and glasses of anisette kept coming with metronomic regularity, despite the alarming music of police sirens heard at intervals and the silhouettes of soldiers marching in the streets. The mood was good, united by a tune escaping from everywhere: balconies, where laundry was finishing drying, windows wide open from apartments or restaurants serving the famous Algiers shrimps along with copious rosé wine. Couples spontaneously joined the party upon hearing "Ya Mustafa", punctuated by improvised choirs screaming "Chérie je t’aime, chérie je t’adore". The song, as played by Sétif-born Alberto Staïffi, was a phenomenal success, to the point that even FLN fighters adopted it unanimously. Hence an unfortunate misunderstanding that would trick colonial authorities into believing Mustafa was an ode to the glory of Fellaghas. In 1961, Cheikh Raymond Leyris, a Jewish grand master of ma’luf (one of Algeria’s three Andalusian waves) who was Enrico Macias’ professor, was killed in Constantine, making him the first victim of a terrorist wave that would catch up with Algeria at the dawn of the 1990s by attacking anything that thought, wrote or sang. Mohamed Mazouni, born January 4, 1940 in Blida – “The City of Roses" both known for its beautiful ‘Blueberry Square’ (saht ettout) in the middle of which a majestic bandstand took center stage, and its brothels – had just turned twenty. He was rather handsome and his memory dragged around a lot of catchy refrains by Rabah Driassa and Abderrahmane Aziz, also natives of Blida, or by 'asri (modern music) masters Bentir or Lamari. He would make good use of all these influences and many others stemming from the Algerian heritage. The young Mohamed was certainly aware of his vocal limits, as he used to underline them: "I had a small voice, I came to terms with it!". But it didn’t lack charm nor authenticity, and it was to improve with age. He began his singing career in those years, chosing bedoui as a style (a Saharan genre popularized among others by the great Khelifi Ahmed). July 1962. The last French soldiers were preparing their pack. A jubilant crowd was proclaiming its joy of an independent Algeria. Remembering the impact of popular music to galvanize the "working classes", the new authorities in office rewarded the former members of the FLN troupe by appointing them at the head of national orchestras. In widespread euphoria, the government encouraged odes to the recovered independence, and refrains to the glory of "restored dignity" sprung from everywhere. Abderrahmane Aziz, a star of 'asri (Algiers’ yé-yé) was a favorite with Mabrouk Alik ("Congratulations, Mohamed / Algeria came back to you"); Blaoui Houari, a precursor of Raï music, praised the courage of Zabana the hero; Kamel Hamadi recalled in Kabyle the experience of Amirouche the chahid (martyr), and even the venerable Remitti had her own song for the Children of Algeria. All this under the benevolent eye (and ear) of the regime led by Ahmed Ben Bella, the herald of the single party and vigilant guardian of the "Arab-Islamic values" established as a code of conduct. Singers were praised the Egyptian model, as well as Andalusian art intended for a nascent petty bourgeoisie and decreed a "national classic"; some did not hesitate to sell out. These Khobzists – an Algerian humorous term mocking those who put “putting-food-on-the-table” reasons forward to justify their allegiance to the system – were to monopolize all programs and stages, while on the fringes, popular music settled for animating wedding or circumcision celebrations. Its absence in the media further strengthened its regionalization: each genre (chaâbi, chaouï, Kabyle, Oranian...) stayed confined within its local boundaries, and its "national representatives" were those whose tunes didn’t bother anyone. The first criticisms would emanate from France, where many Algerian artists went to tackle other styles. During the Kabyle-expression time slot on Radio Paris, Slimane Azem – once accused of "collaboration" – sang, evoking animals, the first political lines denouncing the dictatorship and preconceived thinking prevailing in his country. The reaction was swift: under pressure from the Algerian government, the Kabyle minute was cancelled. Even in Algeria, Ahmed Baghdadi aka Saber, an idol for fans of Raï music (still called "Oranian folklore"), was imprisoned for denouncing the bureaucracy of El Khedma (work). For his part, Mazouni was to be noticed through a very committed song: Rebtouh Fel Mechnak (“They tied him to the guillotine”). But above all, the general public discovered him through a performance at the Ibn Khaldoun Theater (formerly Pierre Bordes Theater, in the heart of Algiers), broadcast by the Algerian Radio Broadcasting, later renamed ENTV. This would enable him to integrate the Algerian National Theater’s artistic troupe. Then, to pay tribute to independence, he sang “Farewell France, Hello Algeria”. June 19, 1965: Boumediene's coup only made matters worse. Algeria adopted a Soviet-style profile where everything was planned, even music. Associations devoted to Arab-Andalusian music proliferated and some sycophantic music movement emerged, in charge of spreading the message about "fundamental options". Not so far from the real-fake lyricism epitomized by Djamel Amrani, the poet who evoked a “woman as beautiful as a self-managed farm". The power glorified itself through cultural weeks abroad or official events, summoning troubadours rallied to its cause. On the other hand, popular music kept surviving through wedding, banquets and 45s recorded for private companies, undergoing censorship and increased surveillance from the military. As for Mazouni, he followed his path, recording a few popular tunes, but he also was in the mood for traveling beyond the Mediterranean: "In 1969 I left Algeria to settle in France. I wanted to get a change of air, to discover new artistic worlds". He, then, had no idea that he was about to become an idolized star within the immigrant community. France. During the 1950s and 1960s, when parents were hugging the walls, almost apologizing for existing, a few Maghrebi artists assumed Western names to hide their origins. This was the case of Laïd Hamani, an Algerian from Kabylia, better known as Victor Leed, a rocker from the Golf Drouot’s heyday, or of Moroccan Berber Abdelghafour Mociane, the self-proclaimed “Vigon”, a hack of a r&b voice. Others, far more numerous, made careers in the shadow of cafes run by their compatriots, performing on makeshift stages: a few chairs around a table with two or three microphones on it, with terrible feedback occasionally interfering. Their names were Ahmed Wahby or Dahmane El Harrachi. Between the Bastille, Nation, Saint-Michel, Belleville and Barbès districts, an exclusively communitarian, generally male audience previously informed by a few words written on a slate, came to applaud the announced singers. It happened on Friday and Saturday nights, plus on extra Sunday afternoons. In a nostalgia-clouded atmosphere heated by draft beers, customers – from this isolated population, a part of the French people nevertheless – hung on the words of these musicians who resembled them so much. Like many of them, they worked hard all week, impatiently waiting for the weekend to get intoxicated with some tunes from the village. Sometimes, they spent Saturday afternoons at movie theaters such as the Delta or the Louxor, with extra mini-concerts during intermissions, dreaming, eyes open, to the sound of Abdel Halim Hafez’ voice whispering melancholic songs or Indian laments made in Bombay on full screen. And the radio or records were also there for people to be touched to the rhythm of Oum Kalsoum’s songs, and scopitones as well to watch one’s favorite star’s videos again and again. Dumbfounded, Mohamed received this atmosphere of culture of exile and much more in the face. Fully immersed in it, he soaked up the songs of Dahmane El Harrachi (the creator of Ya Rayah), Slimane Azem, Akli Yahiaten or Cheikh El Hasnaoui, but also those from the crazy years of twist and rock’n’roll as embodied by Johnny Hallyday, Les Chaussettes Noires or Les Chats Sauvages, not to mention Elvis Presley and the triumphant beginnings of Anglo-Saxon pop music. Between 1970 and 1990, he had a series of hits such bearing such titles as “Miniskirt”, “Darling Lady”, “20 years in France”, “Faded Blue”, Clichy, Daag Dagui, “Comrade”, “Tell me it’s not true” or “I’m the Chaoui”, some kind of unifying anthem for all regions of Algeria, as he explained: "I sang for people who, like me, experienced exile. I was and have always remained very attached to my country, Algeria. To me, it’s not about people from Constantine, Oran or Algiers, it’s just about Algerians. I sing in classical or dialectal Arabic as much as in French and Kabyle”. Mazouni, a dandy shattered by his century and always all spruced up who barely performed on stage, had greatly benefited from the impact of scopitones, the ancestors of music videos – those image and sound machines inevitably found in many bars held by immigrants. His strength lay in Arabic lyrics all his compatriots could understand, and catchy melodies accompanied by violin, goblet drum, qanun, tar (a small tambourine with jingles), lute, and sometimes electric guitar on yé-yé compositions. Like a politician, Mazouni drew on all themes knowing that he would nail it each time. This earned him the nickname "Polaroid singer" – let’s add "kaleidoscope" to it. Both a conformist (his lectures on infidelity or mixed-race marriage) and disturbing singer (his lyrics about the agitation upon seeing a mini-skirt or being on the make in high school…), Mohamed Mazouni crossed the 1960s and 1970s with his dark humor and unifying mix of local styles. Besides his trivial topics, he also denounced racism and the appalling condition of immigrant workers. However, his way of telling of high school girls, cars and pleasure places earned him the favors of France’s young migrant zazous. But by casting his net too wide, he made a mistake in 1991, during the interactive Gulf War, supporting Saddam Hussein’s position through his provocative title Zadam Ya Saddam (“Go Saddam”). He was banned from residing in France for five years, only returning in 2013 for a concert at the Arab World Institute where he appeared dressed as the Bedouin of his beginnings. At the end of the 1990s, the very wide distribution of Michèle Collery and Anaïs Prosaïc's documentary on Arabic and Berber scopitones (first on Canal+, then in many theaters with debates following about singing exile), highlighted Mazouni’s important role, giving new impetus to his career. Rachid Taha, who covered Ecoute-moi camarade, Zebda’s Mouss and Hakim with Adieu la France, Bonjour l’Algérie, as well as the Orchestre National de Barbès who played Tu n’es plus comme avant (Les roses), also contributed to the recognition of Mazouni by a new generation. Living in Algeria, Mohamed Mazouni did not stop singing and even had a few local hits, always driven by a “wide targeting” ambition. This compilation, the first one dedicated to him, includes all of his never-reissued “hits” with, as a bonus, unobtainable songs such as L’amour Maâk, Bleu Délavé or Daag Dagui.
    Format
    DoLP
    Release-Datum
    25.04.2019
    EAN
    EAN 3521381553604
    Format
    CD
    Release-Datum
    25.04.2019
    EAN
    EAN 3521383453599
     
  • 01. Shemonmuanaye
    02. Sewnetuwa
    03. Laloye
    04. Wegene
    05. Hari Meru Meru
    06. Amrew Demkew
    07. Anchin Alay Alegn
    08. Ambasel
    09. Hebo Lale
    10. Belew Beduby
    11. Shilela
    cover

    MERGIA, HAILU

    Hailu Mergia & His Classical Instrument: Shemonmuanaye

    HALU MERGIA ist eine Einmannband. 1985 veröffentlichte der Meisterakkordeonspieler und altgediente Bandleader/Arrangeur/Keyboarder die Kassette ,Hailu Mergia & His Classical Instrument". Voller Nostalgie für den alten Akkordeonsound seiner Jugend verlieh MERGIA der äthiopischen Musik ein neues Gesicht. MERGIA wurde schon für den bahnbrechenden Ethio-Jazz der Funkband WALIAS BAND aus Addis Ababa gefeiert und perfektionierte zeitgenössische Techniken, um den Sound von damals aufzupolieren. Ein Moog-Synthesizer, eine Rhodes E-Orgel und ein Drumcomputer machten den harmonischen Sound seines Akkordion noch satter; MERGIA erschuf elegant arrangierte, geisterhaft psychedelische Instrumentalstücke. Die Songs gründeten sich auf traditionelle und moderne äthiopische Songs, in denen MERGIA auf fantastische Art und Weise Melodien von Amhara, Tigrinya und Oromo mit Geschmäckern aus der ganzen Welt, mit Jazz und Blues vermischte und damit eine üppige, futuristische Soundlandschaft errichtete. MERGIA balancierte die melodische Form äthiopischer Musik mit analogen Synthie-Elementen, die sich um minimale Rhythmustracks ranken.
    Format
    DoLP
    Release-Datum
    28.06.2013
    EAN
    EAN 0656605560410
     
  • 01. Kamane Tarhanin
    02. Asshet Akal
    03. Inizgam
    04. Anna
    05. Takamba
    06. Tarhatazed
    07. Wiwasharnine
    08. Ilana
    09. Tumastin
    cover

    MOCTAR, MDOU

    Ilana (The Creator)

    [engl] Born in a nomad camp in Niger and now a leading figure of desert rock, Mdou Moctar has enjoyed one of quickest rises to success. In contrast to the polished style of Imarhan or Bombino, Mdou Moctar trades in unrelenting gritty rock and has no qualms about going full shred. But Mdou's success is not confined to guitar theatrics alone. From his experiments in autotune, DIY field recordings, to a starring role in a Saharan remake of Purple Rain, Mdou stands out amongst his peers. Tuareg guitar has rock music in its genes, owing as much to traditional desert ballads as 70s classic rock. Mdou doubles down on these origins, pushing Tuareg guitar into an ever louder direction. If early innovators looked to Mark Knopfler, Mdou has an affinity with Eddie Van Halen. Recorded in Detroit at the tail end of a tour, the band jumped right into frenetic non-stop sessions. Accompanied by an all-star band with Ahmoudou Madassane's lighting fast rhythm guitar, Aboubacar Mazawa dje machine gun drums, and Micheal Coltun's supportive low-end bass, Ilana (English: The Creator) captures the spirit of an Agadez wedding, a studio recording with just the right amount of grit.
    Format
    LP
    Release-Datum
    29.03.2019
    EAN
    EAN 0602318136862
     
  • 01. Kansas City
    02. Shanana
    03. Beat
    04. Take It
    05. Funky Fly
    06. Work Is Done
    cover

    MOVERS, THE

    Kansas City

    Nachpressung von 1979 mit extrem rarer, südafrikanischer Disco-Funk-Fusion. Obwohl die Movers während der Siebziger in den Townships Südafrikas eine große Nummer im Disco-Sektor waren und am laufenden Band höchst erfolgreich zahlreiche Schallplatten veröffentlichten, ist die Formation heute nur noch Spezialisten wie den Experten bei Soundway ein Begriff. Den Londoner Archivgräbern um Labelchef Miles Cleret haben wir nun die Nachpressung der erstmals 1979 herausgebrachten LP "Kansas City" zu verdanken. Die bietet exakt den Sound, für den die Movers seinerzeit berühmt waren, nämlich eine zündende Fusion aus Funk, Disco, Jive und Marabi, einem etwa 1920 in Südafrika entwickelten Genre, das afrikanische Musikstile und afroamerikanisch geprägten Jazz verband. Das Line-up der Movers wechselte häufig. An den Aufnahmen der sechs Stücke auf "Kansas City" waren Jabu Sibumbe, L Rhiko, Lloyd Lelosa und Sankie Chounyane beteiligt. Die Produktion verantwortete David Thekwane.
    Format
    LP
    Release-Datum
    15.09.2017
    EAN
    EAN 5056032310407
     
  • cover

    ORCHESTRE LES MANGELEPA

    Last Band Standing

    Das Orchestre Les Mangelepa ist eine der bekanntesten Originalbands der ostafrikanischen Rumba, auch Rumba Lingala genannt. Sie wurde vor rund vier Jahrzehnten von Exilkongolesen in Kenia gegründet. Damals, in den 70er- und 80er-Jahren, veröffentlichte die Formation Hit auf Hit und eroberte die Dancefloors von Uganda über Sambia bis Tansania und Kenia im Sturm. Es war die goldene Ära der Rumba. Bands wie Orchestre Les Mangelepa, Super Mazembe oder Viva Makale begeisterten die Menschen mit entspannten Rhythmen und dreistimmigen Gesangsharmonien. Jahrelang trat das stets elegant gekleidete Orchester als Hausband in den größten Hotels Nairobis auf. Dem großen Erfolg zum Trotz verdiente die Band um die drei Sänger Kabila Kabanze, Kalenga Nzaze Vivy und Luthuli Kaniki Maky mit ihrer Musik nie großes Geld. Der Grund: Musikpiraterie. Dadurch verschwand die Band zwar fast in der Versenkung. Aber eben nur fast, denn sie hörte nie ganz auf zu performen. Sie ist die "Last Band Standing" und spielt noch heute jenen klassischen Rumba-Sound, der jeden Tanzboden in Bewegung versetzt - selbst wenn dieser von einem deutlich jüngeren Publikum bevölkert wird.
    Format
    DoLP
    Release-Datum
    27.10.2017
    EAN
    EAN 0730003315916
     
  • OSAMU KITAJIMA

    The Early Years

    [engl] These special editions are only available in presale - Only the preordered copies will be manufactured! Presale starts NOW and ENDS on 31st MAY 2019 – Release date end of June – order now. In late June 2019 Everland Music will release a mindblowing, strictly limited and hand numbered boxset with Osamu Kitajima's first 5 highly acclaimed and superrare albums. All 5 albums are taken from the ORIGINAL MASTERS, provided by Mr. Kitajima himself. All LPs come in embossed, coated and hotfoil printed superheavy 1200g/m2 carton covers. The 5 LPs will be housed in a beautiful box with magnetic lock, the box will also contain all inserts of the original LPs. About OSAMU KITAJIMA and his first 5 albums: Osamu Kitajima was born in Chigasaki, Japan on February 3rd 1949 and studied classical guitar and piano already in his childhood days. Later on in the 1960s, when Beat and Rock music became the hot stuff in the popular music circuit, he joined his cousin's band "The Launchers" with his brother, before graduating from university. Osamu's cousin, Y?z? Kayama, is a famous Japanese film actor and musician. In 1971, when Osamu was already a successful composer of TV advertising jingles, he moved to England for a year and developed an obsession for British Rock music, especially in the Psychedelic field. The Beatles, The Bee Gees, Jimi Hendrix, Deep Purple and The Zombies became his major influences and inspired him to start a solo career under the name „Justin Heathcliff“, which he adopted for it’s typical English sound. His 1971 eponymous album was a typical Pop Psyche effort for it’s time, but not long after he returned home to Japan, Osamu abandoned the English sounding name and further on merged Western Progressive and Electronic music with Japanese Folk sounds. Shinchugoku (1972) - This is a beautiful early 1970s Psychedelic Folk Rock effort, on which Osamu Kitajima cooperated with Fumio Miyashita (aka FAR OUT) and members oft he very popular FAR EAST FAMILY BAND, to create a bunch of mind altering colorful tunes with a mellow, yet intense approach. Benzaiten (1976) - This album is called his masterpiece by many aficionadoes of 1970s Progressive Rock, with it’s mixture of haunting Japanese Folk elements and skillfully played spacey Rock music that takes you on a spiritual journey to the center of your mind. Osamu (1977) - His third album marks another change in direction. Still Japanese elements and some haunting melodic Space Rock elements flow gently into another, but by incorporating Jazz, Funk and even Reggae, Osamu broadens the whole musical colour palette by far. Masterless Samurai (1980) - Osamu completely abandons the Space Rock aspects here and takes a turn into Jazzrock with a Progressive edge, that he still combines with these totally exotical sounding Japanese Folk elements. Dragon King (1981) - The step from Masterless Samurai to Dragon King has not been such a big one as it has been with the albums before. We experience a softer version of Osamus Jazzrock / Japanese Folk Fusion, that often even shows Soul Pop aspects, typical for it’s time.
    Format
    LP
    Release-Datum
    15.07.2019
     
  • Sao Sakit Mae
    Roob Lor Pu Tai
    Kwang Noi Chaolay
    Studio Lam Plearn
    Diew Phin Rotfai Kwamreo Soong
    Lam San Disco
    Zerng India Prayuk
    Kiew Sao Pu Tai
    Diew Khean Tidsoot
    Show Wong Molam International
    cover

    PARADISE BANGKOK MOLAM INTERNATIONAL BAND, THE

    21st Century Molam

    Molam fürs 21. Jahrhundert: Debütalbum der Band der beiden "Sound Of Siam"-Compiler. Im Nordosten Thailands, in der Region Isan, sind die Molam beheimatet, Volksliedsänger, die einen eigenen Gesangs- und Musikstilstil entwickelt haben. Die Paradise Bangkok Molam International Band (PBMIB) greift diesen traditionellen Musikstil auf und überführt ihn in das 21. Jahrhundert. Gegründet vom DJ Maft Sai und dem Perkussionisten Chris Menist (beide stehen auch hinter den "Sound Of Siam"-Compilations), tourte die Band bereits zweimal in Europa, in Berlin supportete man Damon Albarn. Die Molam-Musik erweitert die PBMIB auf ihrem Debütalbum "21st Century Molam" mit Elementen aus Trance und unterfüttert das Ganze mit tanzbaren Grooves. Eine einmalige, mitreißende und hypnotisierende Mischung.
    Format
    LP
    Release-Datum
    16.10.2015
    EAN
    EAN 730003133916
     
  • 01. Pintura Roja - El Teléfono
    02. Sola
    03. Petiso
    04. Te Olvidaste
    05. Recuerdos
    06. Oh Virgen María
    07. Padre Olvidado
    08. El Chinito Nº 2
    09. Ayúdame Tu.
    10. Pintura Roja - Pinceladas Musicales

    PINTURA ROJA

    Pinceladas Musicales

    [engl] The nickname is superb, as unappealable: The University of Chicha. It is not an exaggeration that, 32 years after the release of Pinceladas Musicales, their second LP, the cumbia band Pintura Roja continues to be recognized as a monumental institution in the history of Peruvian music. Since its foundation in 1984, Pintura Roja has served as the quarry of the greatest exponents of "chicha" music, cultivating in the classrooms of its academy artists like Princesita Mily, considered one of the first women to integrate a chicha band, and Muñequita Sally, the disappeared queen of Andean folk, in addition to the legendary vocalist Toño Centella and the remembered Jhonny Orosco, founder of Grupo Néctar. Pintura Roja is revolution, innovation, success. It is a commitment to originality, as well as a history of defections and tragedies. But above all, Pintura Roja is Alejandro Zárate Espinoza, its founder, director, composer and lead guitarist. He’s "The Gentleman of Cumbia". In 1984, Pintura Roja is called by Discos Horóscopo to record an LP before the end of the year. The group begins to capture the attention of the public, otherwise, curious about the voice of a woman that they initially confuse with the voice of a child, or perhaps attracted to their lyrics that reflected the dramas and common situations experienced daily by migrants and their first generations in Perú’s capital: the abandonment of parents and sentimental counterparts, the incipient poverty and the uncertain present in which they lived. The woman as a fighter, capable of facing alone adversity and triumphant over sexism, appears in some songs, giving it greater relevance the fact that a woman with the power that her voice gave her, sang to them from the top of the stage. In 1985, Pintura Roja gained popularity on the radio and acquired a one-hour program on Radio Inca called "Pinceladas Musicales". That year, readers of the newspaper El Popular choose it as the favorite band of the year. It is for the second production that Zárate decided to seek support for Mily, who at that time danced and sang for up to six hours in each presentation. Zárate signs Sara Barreto, a 14-year-old huayno singer known as "Natachita", and gives her a new artistic name: La Muñequita Sally.
    Format
    DoLP
    Release-Datum
    22.03.2019
    EAN
    EAN 8517441224497