Cerca:baba

avorite Recordings proudly presents Natureza, first album of Joao Selva. The story of Natureza is made of the meeting between two passionate artists who are Jonathan "Matuto" Da Silva and Bruno "Patchworks" Hovart.Born and raised in Ipanema and son of a pastor, Jonathan Da Silva grew up in a community of ex-prisoners and converted artists. He made his first guitar notes before his 10th birthday, under the watchful eye of Wanda Sa (muse of the bossa nova), and influenced by a father who in addition to his work, was also a true music lover with a collection, where black music, rock and classical meet. From the age of 18, Jonathan began a life of entertainer, traveling the world to offer shows for disadvantaged children and intensively practicing the Brazilian traditional music arts (Capoeira Angola, Maracatu, Samba de Roda, Coco de Roda...). It was later in France and in Lyon that he put down his instruments. There he formed the trio Forro de Rebeca in 2008, touring the all country and winning many praise in media. The trio recently joined forces with American producer Maga Bo on the project Sociedade Recreativa, whose album was released in 2016 on The Jarring Effects label.Bruno Hovart is a recognized producer, multi-instrumentalist, and remixer. After passing through Angers, Birmingham and London, he's based in Lyon since 2001. Bassist and guitarist for various bands, he switched to production in the mid-90s. Passionate about music and tireless creator, Bruno has practiced in almost every imaginable style, when it comes to groove music, collecting many aliases and projects for more than 10 years: Patchworks, Voilaaa, Uptown Funk Empire, Mr President, Taggy Matcher, Mr. Day, Hawa, John Milk, Lightnin 3, The Dynamics or Metropolitan Jazz Affair ... Nothing resists and escapes his talent and production skills. Thus, when he discovered and met Jonathan and his music, Bruno saw an immediate opportunity to broaden the spectrum of his discography a little more, by looking at Brazil. Beyond its traditional heritage, Brazil has always been a land of extremely varied music, influenced by the international scene. Soul, Jazz and American Pop did inspire many local stars such as Chico Buarque, Carlos Jobim, Gilberto Gil, Tom Zé, or Erasmo Carlos. Both fervent lovers of this movement and these names, it's with the idea to pay them a faithful tribute, that Jonathan and Bruno began the Joao Selva adventure. Together they gave birth to Natureza and embark us for a trip into the heart of the Tropicalist Pop influences of Jorge Ben and Caetano Veloso, the intoxicating Funk of Tim Maia, and the social poetry of Vinicius de Moraes.

Awa Poulo is a singer of Peulh origin from Dilly commune, Mali, near the border with Mauritania. Largely pastoral and often nomadic, Peulh- (or Fula-)speaking peoples are found from Senegal to Ethiopia but predominate in the Sahel region of West Africa. Awesome Tapes From Africa is proud to release Poulo's newest recording of highly virtuosic folk-pop, fresh from the studio, broadcasting her vision of Peulh music beyond the grazing grounds and central markets of her remote home region in southwestern Mali. It's not very common to find a female singer performing publicly among the Peulh. But Poulo's mother's co-wife is Inna Baba Coulibaly, who is a celebrated singer most Malian music fans know. Coulibaly herself was brought into music by forces outside her control when a regional music contest required an entry from her village and she was chosen to be a singer. So, set in motion by a surprising series of events, young Poulo's entree into the music world was auspic ious as she gained popularity across the region. After several locally released tapes and CDs, this record is Poulo's first internationally-distributed record. On Poulo Warali, she and her band combine the hallmarks of Peulh music—warm flute floating over cross-rhythmic n'goni (lute) riffs and resonant calabash gourd hand percussion—with broader Malian sounds like lightly-distorted guitar and a heavier, rollicking inertia. Shapeshifting layers of rhythm and woody overtones match Poulo's commanding voice in a jocular yet deliberate dance. This is a relatively rare example of Malian Peulh music played in a modern, cosmopolitan context, reflecting the mixed society of Dilly, where Bambara, Soninke and Peulh-speaking people live among each other. Poulo's conscious lyrics about community concerns speak to the distinctive identity of her broadly-flung people. While Peulh represents less than 10% of Mali's melting pot of languages, the dynamic music here powerfully resonates well beyond the linguistic borders.

With half a century of existence, Beninese band Poly-Rythmo can easily be considerate as legends of the African music alongside Sela Kuti and Tinariwen. Drawing their name from the extensive mix of influences that forged their sound (American soul and funk, Nigerian afrobeat, French chanson, Congolese rumba, etc.), they are known to be impressively productive as they released from 1969 to 1980 hundreds of EPs and dozens of albums. In 2014, orchestra conductor Florent Mazzoleni visited the band and decided to produce this new album recorded in the legendary African studio Satel. With its warm tone and mastery of rhythm variations, 'Madjafalao' ("watch out") will instantaneously become a classic of afrobeat and Poly-Rythmo will share their warm joie de vivre with thousands of people during their European tour starting in late October.

Fatima Al Qadiri is a multidisciplinary artist and musician from Kuwait. In just a few years, she has quickly built a reputation as a conceptual artist, exploring themes informed both by her own background and global pop culture, through a number of highly acclaimed EPs, multimedia projects and writings. She is also a founding member of the production team Future Brown. Fatima's debut album is called 'Asiatisch', and as the track titles suggest, the record provides a simulated road trip through an imagined China. Musically, the album is an homage to that quietly influential sub-strain of grime, often loosely termed 'sinogrime' due to its preoccupation with Asian motifs and melodies, pioneered by the likes of Wiley and Jammer at the beginning of the 2000s in East London. 'Asiatisch' is a provocation which asks more questions than it answers. The title is the German word for Asian. Unlike its title, however, the music on 'Asiatisch' revolves around the fantasies of East Asia as refracted through pulpy Western pop culture, in particular Hollywood, literary fiction, music, cartoons and advertising. Fatima asks what is meant by the term 'Asian' in a digital age of viral interchange and the hi-speed trading of cultural bytes; the concept of 'shanzhai' proves pivotal, a term whose meaning stems from a wild, out of control zone of banditry, but which has come to be used to refer to the Chinese counterfeiting of Western brands and goods. While a number of producers have made takes on 'sinogrime' over the last few years, 'Asiatisch' is really the first record that attempts to articulate this weird complex of sonic interchanges between the West and China. With the exception of the opening track, 'Shanzhai', a haunting cover of 'Nothing Compares to You' with nonsensical Mandarin lyrics, and the shimmering 'Loading Beijing', 'Wudang' and 'Jade Stairs' which sample and distort classical Chinese poetry staging an epic confrontation between China's ancient soul and the onslaught of the industrial factory machine, most of the tracks blend mallets, bells, gongs, flutes, steel drums and choral atmospherics with the searing synth-brass and the skittering drums of grime, playing melodies that are inflected as much by classic R&B as to synthetic versions of traditional Chinese music. On "Dragon Tattoo" for example, stereotypical iconography of imagined China is slotted into a threatening, robotic R&B format. The carefree pirating of Western brands blurs into a soft-synth pirating of Chinese musical signs.'Asiatisch' is wrapped in pristine artwork by Babak Radboy from Shanzhai Biennial, and the music was given a 3D sheen by in demand mixer Lexxx. Proclaiming both its love of both ancient and imagined China, 'Asiatisch' is a rare album that is both icily beautiful and conceptually layered.

Hello listeners, blunt heads, fly ladies and prisoners..... This is the future of the music industry. Not the music, just the idea of the artists writing their own PR faffle. Next year I'll probably have to carry my own bags on tour too.......tragic. I have had a few years of working on other projects and shuffling about in loose trousers, but now I feel the time has come to release some more music for feet and floors. What I should say is that every time I tried to write techno/house/moonbeat in the last couple of years, everything came out as shitty tech-house.....The brain was just in an alternate mode, a mode for classical music and melody, but now it seems to have come back to techno so I here present some of its recent outpourings. It belched out Polka the first night I got back to Scotland, having left London. BabaYaga is named after a sinister-as-hell witch from a Russian story book we had as kids (check http://en.wikipedia.org/wiki/Baba_Yaga) clearly designed to traumatise young minds. My traumatised mind made this tune, so it has come full circle. Mu is slower, for lazy, emotional dancers. I hope you will enjoy them and the excellent Sons of Tiki mix of Polka that accompanies them..... Send all hate mail to Vakant, I don't read it. Alex

SK 011, 444, Centralbron, Midsummer Night, Babar, Russian Folksong, Carbon Oxide, I Love Water, all those brilliant Tiga productions... We really don't know what else to say - just try to imagine the history and future of this dance music thing we're all involved in without Jesper Dahlbäck... Nah, rather not, right Being part of Jesper's discography is the greatest thing that has happened to Studio Barnhus up until now and these two tracks, Fransson and DX2 RMX, are up there with all those previously mentioned masterpieces.

We’re extremely proud to present Leaving Time, a new EP by Christoph de Babalon. The EP has all the menace and grit that the Hamburg-born, Berlin-based producer is known for, but packs a potent, dance-ready punch that breaks new ground.

Leaving Time begins with the snarling subs ‘The Upper Hand’, and momentum builds through the panoramic breakbeats of ‘I Trusted You’ and dubwise groove of ‘Steps Into Solitude’ to reach the symphonic release of ‘Got to Let Go’.

This record encapsulates everything we love about Christoph’s music – it’s doom-laden, introspective and crafted with intent.

In short, it’s CDB on a 140 / fwd tip - fuck the chairs!

About Christoph de Babalon:

Christoph de Bablon first became known for his work on Alec Empire’s Digital Hardcore Recordings in the early 1990s and has championed a misanthropic take on drum and bass that has stood the test of time.

A punk-influenced fusion of jungle, breakbeat and dark soundscapes, his signature sound has become the stuff of legend – Thom Yorke once said Christoph’s pioneering debut album 'If You’re Into It, I’m Out Of It’ was the “most menacing record” in his collection.

After a brief hiatus composing music for theatre (we’d like to hear what that sounded like), recent releases on labels such as A Colourful Storm, V I S and AD93 have sparked renewed interest in the German producer, and with much excitement from his loyal following of die-hard supporters.