Suche:ex society

South African Mbaqanga And Bubblegum Instrumentals For The Dance-floor. First Time Available Outside South Africa. Cult Favorite Among Collectors. Follows The Successful Reissue Of bafana Bafana' Last Year. Professor Rhythm's 1991 Recording Professor 3 Is A Vivid Reflection Of Urban South Africa As Apartheid Was Ending. Thami Mdluli's Production Project Had Young And Old Dancing To A Sound That Sought To Unite Blacks Within Southern Africa. our Music Gave Hope To The Hopeless,' He Says. Mdluli's Third Instrumental Album (which Contains Some Background Vocals, To Be Exact), Portrays The Moment When The Dominant Mbaqanga And American R&b-based Bubblegum Sounds Being Produced In Johannesburg And Other Urban Centers Were Transforming Into House And Hip-hop-inspired Kwaito. The Pop Of The 80's And All That Went With It—from The Models Of Synths And Drum Machines To The Lyrical Style—gave Way To A Changing Melodic Emphasis And New, Much Slower Tempi Using A Completely Different Rhythmic Skeleton. Upbeat, Chipper Bubblegum, Often With Double-time Breakdowns And Upstroke Syncopations, Faded And The Sounds Began To More Closely Resemble Those Of Contemporary Black America—where Hip-hop Was Slowing Down And The Bass-lines And Melodies Were Getting Moodier, Darker In General. At The Same Time House Music Had Briefly Reached Mainstream Acceptance In The States And That Popularity Continued To Feed Into Awareness Overseas. These Two Influences Blended With The Burgeoning House Music Scenes In Johannesburg And Pretoria As Professor Rhythm 3 Was Being Produced In March 1991 (the Same Year Apartheid Ended). Mdluli Explains, we Were Influenced By Foreign Bands And So People Updated Their Sound.' According To Mdluli, The Evolving Sound Was Bolstered By Widening Availability Of House And Rap Records From Abroad While, Most Importantly, An Increasing Sense That Apartheid Might Soon Be Finished Was Met With A New Positivity Vibe Society. 1991, '92, '93... Mandela Was Released. People Were Upbeat, They Were Happy, The Music Was Good.' Professor 3 Came Out On Vinyl As The Lp Business Was Dying In South Africa And Sold Around 20,000 Copies. It Was Mainly Distributed On Tape, Which Sold Closer To 100,000. With The Help Of Engineer Fab Rosso, The Recording Features Backing Vocalists From Mango Groove. After Making A Half-dozen Records As Professor Rhythm, Mdluli Once Again Shifted His Focus Musically. By The Mid-90's He Had Veered Off Gospel Music— And Left Playing In Bands And Started Making His Own Solo Recordings. His Enormous Success In The Gospel Realm In The Years Since Is A Remarkable Story In Its Own Right, But For Now We Are Only Dancing.

'It is now clear that humans are no longer the most important things in the universe, that their knowledge, creativity and intelligence are ultimately limited.'

The Posthuman realises that the ultimate questions about existence and being do not require answers and accepts that humans have a finite capacity to understand and control nature. Even just to know the ultimate nature of the universe would require knowing everything about the universe, everything that has happened and everything that will happen. If one thing were not known it would imply that all knowledge of the universe is partial, potentially incomplete and, therefore, not ultimate.

Humans privilege to order over disorder on the assumption that the essential laws of nature are gradually being discovered. This is a fundamental error; nature is neither essentially ordered or disordered. What we perceive as regular, patterned information we classify as order; what we perceive as irregular, unpatterned information we classify as disorder. The appearance of order and disorder implies more about the way in which we process information than the intrinsic presence of order or disorder in nature.

The humanist era was characterized by certainty about the operation of the universe and the place of humans within it. The Posthuman era is characterized by uncertainty about the operation of the universe and about what it is to be human.
What is a human Is there such a thing

No finite division can be drawn between the environment, the body and the brain. The human is identifiable, but not definable.
Consciousness, (the interaction body-brain) and the environment (reality) cannot be separated; they are continuous that defines the being.

All technological progress of human society is geared towards the transformation of the human species as we currently know it; the posthumans regard their own being as embodied in an extended technological world. In such 'synthetik' reality power no longer needs to impose physical regulations, as it is able to manipulate and shape up the minds directly, becoming part of it.
There won't be any resistance from the individual, as he will have embodied the needs of the system in his own being, and their ambition will serve the economy.
Currently the output of machines is predictable; the Posthuman era fully starts when the output of machines becomes unpredictable, so that complex machines, apparatus whose workings we do not fully understand or control, become an emerging form of life.

In the Posthuman era, the future never arrives.
..from ´The Posthuman Manifesto´, Robert Pepperel, 1995

Orlando Voorn is back on Tarvisium Electronique with 'Secret Society,' a mysterious, obscure and psychedelic EP exuding the essence of Detroit techno. Side A of the vinyl features the title track in which Voorn melts the analogic rhythm with a spectral melodic pattern. Side B features two tracks; 'Playing for keeps,' a techno bolt of lightning bound straight for the dancefloor and 'Rush,' a track characterized by a mechanical, analogic and highly experimental sound.

To conclude the EP the label manager, Steve Lorenz, has composed a remix of 'Secret society' with an avant-garde fusion of minimal, acid and Detroit techno.

Following the release of Baba Commandant's debut album "Juguya" in 2014 on the mighty Sublime Frequencies label, Mawimbi is proud to present Wasso, one of the best cut from the
album in brand new mixing shape alongsides killer electronic remixes from the likes of Mawimbi signee Loya and Mr. Boom.
A rather eccentric and mysterious character from the Ouagadougou underground scene, Baba Commandant started out as a traditional Bobo dancer, before engaging in a rich musical career and joining Burkinabé star Victor Démé as one of his touring musicians. Influenced by the likes of Fela Kuti, King Sunny Adé and Moussa Doumbia, Baba Commandant plays dozo n'goni, an instrument associated with traditional Donso hunters, bridging the gaps between different generations and strata of Burkinabé society. Recorded at the notorious Ouaga Jungle Studios, "Wasso" is a prime example of the band's unpolished and raw sounds, merging Mandinka blues, dub and Nigerian afrobeat with a punk feel. The A-side also features a remix by Mawimbi signee Loya, whose leftfield reinterpretation moves at
a much higher pace with epic modular synth motifs and subtle organic layers of sounds. The B-side of the record is made of two DJ-friendly remixes with impressive mixing work from Toulouse-based producer Mr. Boom. Stripping the original track down to its most lively elements, both mixes are perfect club-ready weapons for tropical-minded and house DJs alike.

A wonderful companion piece to the totemic Fed, we proudly announce the first ever vinyl edition of Korp Sole Roller by Plush. Liam Hayes' magical fourth full-length LP was previously only available on a rare Japanese import CD. Produced and arranged in 2010 by Pat Sansone (Wilco / The Autumn Defense), it finally arrives in a limited edition of 500 copies.

The common impression of Plush is that of an underground rock myth, lent greater poignancy by the lofty vision that galvanised his music. Yet while he has long been a cult concern, clued-up celebrity fans periodically declare their profound love for Hayes' maverick genius. Indeed, after Jason Schwartzman introduced Plush to Roman Coppola, several stunning songs from Korp Sole Roller soundtracked Coppola's A Glimpse Inside The Mind Of Charles Swan III.

As ever with Plush, it's easy to imagine you are listening to a privately pressed rarity from the mid-late 1970s. Or one of the criminally neglected jewels from the discography of Jimmy Webb or Burt Bacharach. The sound on Korp Sole Roller does differ crucially from Fed, however. It is more streamlined. These 10 gorgeously seductive creations careen around ornate string and wind instrument arrangements and producer Sansone's deft work is likely the reason for this. Yet, brilliantly, it still possesses that sun-warped take on classic pop-rock, that Plush specialises in. That peculiar "down-lifting" phenomenon of performing upbeat songs in an enigmatically mournful way.

Upon completion, Korp Sole Roller barely received anything resembling a release. Press coverage was zero because none of the major magazines or blogs knew of its existence. His management at the time essentially buried the album in order to concentrate on other releases. Looking back on this decision, it really made little sense. Everyone involved in its creation of these near-perfect gems is extremely proud of it. Liam himself has described it as the favourite of his albums. Pat's delicate work is astounding. Remastered especially for this special limited edition, it is presented in a sumptuous gatefold jacket with high-end art photography throughout, including full colour inner sleeves. Finally, here's your chance to own a slice of kaleidoscopic pop history.

New York City has had a long history of dance music fused with confrontational performance. Whether it came from within the late 70's No Wave canon projected through venues like the Mudd Club or the downtown avant-garde galleries such as The Kitchen, the feeling that influences and infects Brooklyn-based duo Wetware's overall being as a cohesive and confrontational unit is as much enigmatic as it is familiar. Formed in 2015, Wetware eased into its performative role with their live shows around their home base of Brooklyn, NY.

Vocalist Roxy Farman, who's familiar voice was last seen on Drew McDowall's 'Unnatural Channel' album, stole audience's attention from the moment they started, using her body in tandem with her voice as a weaponised vehicle for the band's anxiety filled performance. Matthew Morandi cut his teeth in the electronic music world through his solo tech-industrial project Jahiliyya Fields and partner to Inhalants, the techno collaboration of Morandi and Max Ravitz (Patricia). The synergy that developed between Farman and Morandi has been explosive. Wetware's live antics and behaviour has caused alarm and envy amongst their local audiences, causing Wetware the group to 'not be missed' on any particular bill that they are allowed to take part in.


Wetware stepped out from their live persona and self-recorded a selection of songs that viewers had grown accustomed to and were debuted on the flawlessly curated Primitive Languages imprint. Shortly following their recorded premier was an EP collection of demo recordings on the much praised Bank NYC label. Once the band reconciled with documenting their work, they set out, with the help of engineer Kris Lapke (Alberich / Hospital Productions) to formalise their most recent output in the context of their first full length album entitled 'Automatic Drawing'.

Given Wetware's penchant for endurance, as displayed by their 3 hour long production at Koenig & Clinton Gallery in the Summer of 2017, one would expect the usual restlessness on Wetware's debut full length. All of the apprehension and unease in Wetware seems to have been channeled into a string of cohesive electronic statements found on songs 'Frequent Dreamlands' and 'Ode to Joe'. Industrial dance rhythms bounce around Farman's poetic stance on 'Where Ever You Were', causing flashbacks of an early 80's dystopia that jumps around a confusing, uncomfortable backdrop. Inter-spliced with modular electronic instrumentals like the album's opener 'Pantomime', Wetware's devastating portrait is that of a society in peril.

Camarão - The Imaginary Soundtrack to a Brazilian Western Movie 1964 - 1974
In 1960 we received an invitation to play in Recife, a wonderful, exciting and dangerous place, often described as a social jungle'.

The Forró party took place at Caxangá´s neighbourhood theatre, on the first floor, with its high ceilings, wooden floors and balconies, the place was perfect for these kinds of events. When all the windows were wide open, there would be a wonderful breeze during the hot tropical evenings.

Since everyone was looking for amusement, the place was packed on weekends. People from all corners of society would arrive nicely dressed, animated and chatting loudly over the sound of clinking glasses.

Pernambuco´s Cachaça, considered by many, especially by the locals, to be the best in the country, had started flowing generously and the popular sugar cane based alcohol lives up to its reputation.

We always had a few shots to warm up before performing and by the time the place was packed we were already in a very good mood.

Our local cachaça had loosened the bodies and minds of everyone in the room, people started to pair off and twirl around to the sound of forró music, smiling and sliding their feet off the floor - a reflex picked up from dancing in rural villages to avoid kicking up the dust'.

The fourth installment in John Osborn's DRED RECORDS series will be from fellow UK producer Harsh Puri who goes under the moniker Reformed Society. DRED 004 consists of six tracks in total - three that will appear on the vinyl release, followed by another three that will be digital-only exclusives. Harsh Puri aka Reformed Society debuted in 2015 with this being his sixth consecutive release in order. Harsh's productions caught John's eye, or rather ear, after being sent to him last year and resulted in this release of six solid prime time deep house stompers. Packaged in an understated matte white sleeve with a black and white picture of Brahma (the four headed Hindu god of creation) handstamped on each cover by the label owner himself, this being a continuation of the human skull DRED logo. 'ONE LIFE' opens the 'DIMENSIONS' EP and is the track given to label boss John Osborn for deconstructing and remoulding into his own specific vision - each release will contain a rework from Osborn. If you are familiar with John's previous work you will immediately recognize his characteristic resonating percussion, the tune being a deep house sci-fi storm expedition driven by a full luscious kick covering the tracks of chords from unsettled pads. The EP's title track has ambient sonic rays flowing through it, being aptly named 'DIMENSIONS' - it is also the record's warmest adventure; distorted percussion juggles sparse subaqueous melodic moments, and from here we go into the 12s final moment, 'CHASING TITANOID". Reformed Society goes in with full yet silent force on this one. A warped bassline co-creates the groove with a particularly bouncy beat with sharp strings piercing though.

Optimo Trax reaches no. 33, the final number in the series (although reserving the right to return at some point). The last release is a 3 track EP from Montreal's Solitary Dancer that ends the label's run with a distinctly non 4/4 feel. We asked Solitary Dancer to say a few words about this EP to which they responded with - "Recordings inspired by archetypes existing within a hypothetical matriarchal society and how that may pertain to our present day reality.'

Nat Birchall charts new paths toward spiritual communion, connecting jazz with classical Indian influences guided by the wistful flow of the harmonium.

Cosmic Language sees the UK-based saxophonist, composer and arranger return to Jazzman Records with a cross-cultural approach: an exploration of the parallel musical paths of jazz and Indian ragas. Here he takes influence from spiritual jazz forebears such as Alice Coltrane and Yusef Lateef and introduces the Indian harmonium to his band, where it takes the place of the piano. Making new connections to realise his transcendental ambitions, it's a logical next step in making music as spiritual cleanser.

The idea for the album was spawned from a one-off performance at a meditation centre, the Maharishi Golden Dome in West Lancashire. Seeking to bring a band set-up that was fitting to the quiet-minded setting, Birchall brought the harmonium with him. A small pump organ, it's an instrument he'd been in possession of for many years but hadn't previously used in his music. Building on the spiritual context of that show, and the associations of that instrument, it led naturally to the musical approach undertaken on the album.

Both the album and the show which preceded it were recorded with the same tight-knit group of players which have featured on Birchall's previous albums. All members of the group are part of the same like minded circle of Manchester-oriented jazz musicians, sharing stages and acquaintances with the likes of Matthew Halsall (a longtime collaborator with Birchall) and GoGo Penguin.

Birchall has always channeled wide-ranging ideas into music that's simple to understand, and this album is no exception. Album opener 'Man From Varanasi' is an ode to Bismillah Khan, one of Birchall's heroes of Indian music who hailed from the northern Indian city named in the title. It also sees him taking cues from the Indian raga tradition which, as with most other traditional Indian music, is a foundation which underpinned Khan's music.

Crucially, the ragas tap into the idea of of music as a means of spiritual release. As Birchall explains, "The whole act of making music is a spiritual experience. It's during performance and when playing music that I look for a kind of truth. It's with music where I find myself feel closest to attaining that 'enlightened' kind of feeling." "On rare occasions I've actually felt as though I was listening to the music being played rather than being involved in making it, almost like an out-of-body experience."

This natural feeling comes from Birchall's attitude toward jazz music. He sees it as an essential part of day-to-day life: instead of brightly-lit, occasional entertainment in lugubrious concert halls, he considers it an everyday, vital source of inspiration. At a moment where jazz-influenced music is undergoing creative renewal and wider appreciation, it's an important perspective that's found resonance elsewhere. His experiences and the world around him are filtered through his music, and he looks to have his music - be it live or on record - absorbed in the same quotidian way. "To me, it's an integral part of society, an everyday thing," he says. "You should hear the music every day."

With its seventh release, NEW YORK TRAX welcomes the revival of John Selway's 'Semblance Factor' alias. Selway became an indispensable element of the history of the New York sound by virtue of building an extensive catalog of high quality releases spanning almost three decades and multiple genres of electronic music. From his first electronic band Chaotic Sound Matrix, to his major contributions to the early productions of Deep Dish; from his first success in the techno world as part of the seminal New York duo Disintegrator to the most successful of his collaborations, Smith & Selway, and his deep and minimal techno label CSM; from the intelligent electro-funk of Synapse and Serotonin Records, the electro and synth-pop of Memory Boy to the wild improvisational eclecticism of the Rancho Relaxo Allstars, Selway has created one of the richest bodies of work in the world of electronic music.

'Defiance EP' is a venture into hard-hitting electro, acid, and raw industrial-leaning and experimental sound. Below the intense threshold of sound, there is a message for today's complacent society...

Experimental Spanish composer and multi-instrumentalist Pepo Gala´n makes his vinyl debut with an exquisite record of carefully orchestrated ambient pieces.
Conceived as a fierce response to the gradual decay of our society, "Human Values Disappear" takes us on a trip to the darkest corners of a dysfunctional world, painting a broken landscape with deeply arresting and meditative drones.
Composed initially on a vintage Casiotone, the album was further enriched with lush and spacious arrangements, giving the songs a newfound intensity. In this effort, Pepo Gala´n surrounded himself with talented artists Lee Yi and David Cordero, each of whom bring their unique approach to composition into play. The result is an eclectic, yet deeply cohesive palette of sounds that flow seamlessly into each other, creating a moody ambiance that permeates everything.
Despite the bleak tones and subject matter, Pepo Gala´n is able to strike a balance between darkness and hope, allowing glimpses of light ("Half Moon", "Old Testament") to filter through the sheer sonic intensity of the fiercest tracks ("We Are All Welcome Here", "Almost Alone in this Life"). This transition is better exemplified on the album's centerpiece "Sacred Autumn", a collaboration with David Cordero that starts off with an elegant string section, gradually building into a guitar feedback climax that slowly fades off, paving the way for an epic closing number.
By the time we hear the last sounds of "Few Dollar More", the emotional impact of the record is undeniable. "Human Values Disappear" is indeed one of the most sincere, enigmatic and life- affirming records that Pepo Gala´n has ever produced.

Restive Plaggona recently released a brand new studio effort - a full-length album featuring 10 original tracks and a
remix from Ancestral Voices, with a dark and melancholic twist, as the title of the project might imply. Connected by a commonality of despair, nostalgia and desolation, Restive Plaggona elevated these elements into its maturity. At its core, each track has a soul-stirring significance, and is embalmed by titles that fringes on a political dimension.

* Opening number 'Intimacy is Violence' does a remarkable job capturing the vibe of the album, serving as a great
introduction. The track has a very industrial tone, with a strong cinematic feel to it. The following track, 'Rote Zora,' follows suit with a more percussive and colorful arrangement, with a more substantial focus on rhythmic patterns.

* 'Cut Off From Modern Society' its combination of dark atmospheres, lush melodies, and glitchy beats. 'Sudden Burst of Safety' is another excellent track worth mentioning, due to its stadium-sized drums and saturated sounds, adding an
aggressive feel to the music. All in all, the album is a real sonic journey, begging to be enjoyed from start to finish!

* Set for release in both physical and digital formats on December 15th, Silently Hopelessly marks Restive Plaggona's first LP for Swiss-based record company Thrènes (which takes its name from the Greek word for funeral lament) and are a label dedicated to the release of tenebrous electronica and techno.

Text: Masscomm & Andrea Caccese

The title track "Empty Dancefloor" combines a thumping kick drum, stuttering hats and mesmeric chords, a combination that prove to be the perfect backing track to a captivating synth solo. It's extremely difficult not to find yourself lost in this enchanting track. Fracture" is a track where Skygaze really showcases his ability to combine broken beat, complex drum patterns with bewitching chords, magical marimbas and a curious bassline.
It is a track that really keeps you guessing throughout and one that can really add variety to any DJ set.
First up on remix duties is Jonna, who has put his own stamp on "Empty Dancefloor".
jonna is a DJ, Producer & one of the Label owners of City Fly Records, his sets are prominently House but take in influences from Disco, Techno, Hip-Hop, Funk, Jazz... Basically any music with Soul.
His first artist EP dropped early 2016 on 'Shadeleaf Music' & featured the incredibly talented Erik Rico on vocals with remixes by Atlanta's Kai Alce. The EP achieved great success & Sold Out in the first Month & was supported by heavyweight's Recloose, Derrick Carter, Jimpster & Osunlade to name a few.
Collab Singles (with Samwell) 'Henry Western' Featuring Lady Blacktronika followed on City Fly which was supported heavily on BBC 6 Music, that followed by 'Alright' on 'Future Society', a compilation curated by Seven Davis Jr on R2 Records and more recently the Luke Soloman Edit of 'Through The Night' again on Shadeleaf Music.
He has been busy in the studio since with a release on Secret Crunch (Austria) & 2 EP's forthcoming on Marcel Vogel's excellent Intimate Friends (NL).
The remix of "Empty Dancefloor" is one that is done in the unmistakable Jonna style, it's got groove! By chopping and changing the chords from the original, Jonna has created an entirely new melody, which when combined with rolling bongos and punchy bassline, you can't help but tap your feet.
The all too familiar synth solo from the original resonates throughout and pulls the track together, creating a guaranteed hit on any dance floor. Last, but certainly not least is Chicago based, Garrett David. The Smart Bar Resident has taken time out from his A&R / House buying duties at the famous Gramaphone Records to conjure up a bumping, yet dreamy remix of "Fracture".
He has previous releases on labels including Distant Hawaii, Residual Recordings, Night Sea Journey as well as his own imprint Stripped & Chewed and has really brought some Chicago flavours to the table with this one.

As music continuously evolves, times change and new ideas and movements come & go. All of this functions in tandem with scientific, technological, social and political advancements in our society. The biggest component to that evolution is the people. There are creators and consumers. One cannot exist without the other. Throughout art, the audience defines quality, but artist has the power to introduce change and shift perception. Execution is key. The masses are always hungry for something fresh. Sometimes we're at the forefront of new trends and sometimes we find comfort innovating the past. No matter what, musicians have a responsibility to bridge the gap. Raw Poetic and Damu the Fudgemunk meet all of the above. Produced entirely by the artists, the new album "The Reflecting Sea" revisits sonic textures of yesteryear and combined with their own distinct ears for music, have created something uniquely foreign for the music world in our time. Speaking of the times, Raw Poetic's lyrical subject matter is nothing short of relevancy. Speaking from an observatory perspective in addition to his own personal experiences, the album's content is infinitely relatable. Although known primarily as hip hop acts, both Damu and Raw P stretched out to expand what the genre is known for. The combination of elements from the mix of live instrumentation, improvisation and sampling to the range of styles including jazz, fusion, rock, electronic and soul make The Reflecting Sea unlike anything else. Captured and recorded in it's rawest form, the album is honest expression. Masterminding the festival sounds is Damu the Fudgemunk. His voice is absent from the recordings, but his presence is immediately noticed throughout the 40 minute exhibition. Packed with tons of beats, tons of scratching, original compositions, upbeat and signature atmosphere, there's no question who's behind the boards. With the average tempo of over 100bpm, this is one of the most energetic releases in Redefinition's catalog. Raw P and the Fudgemunk aim to revitalize listeners of all types with their original sound. They call it "The Reflecting Sea: Welcome to a New Philosophy." Raw Poetic (MC), hails from the DMV area by way of Philadelphia. In addition to several collaborations with Damu the Fudgemunk, he's recorded 6 albums as a member of Panacea, 1 album with K-def, 1 album with Kev Brown and recent features with Brous One in which all have been met with critical acclaim. Damu the Fudgemunk (producer/DJ) is a DC native who co-owns and operates Redefinition Records. With several successful releases as a solo artist, his music has garnered a reputation in the last decade for it's consistent quality and conceptual structure.

The wait is finally over. The greatest living female voice in African music, Oumou Sangare releases a new album "Mogoya" (meaning "people today") on a new record label with an all-new production team and a wonderful new set of songs.

The power of Oumou's voice and the potency of her message remain as strong as ever and, while her sound is rooted deep in the continuity of Malian tradition, Mogoya has a strong new sound. Co-produced by Andreas Unge in Stockholm and by the French production collective A.l.b.e.r.t. (who have worked with among others Air, Tony Allen, Charlotte Gainsbourg, Beck, Franz Ferdinand) in Paris, it draws on a rich musical heritage whilst also looking to the future.

"We wanted to emphasise the raw power of Oumou's voice and songs. We wanted to find a new modernity" says co-producer Ludovic Bruni, one of the three members of A.l.b.e.r.t. with Vincent Taurelle and Vincent Taeger.

On the album, traditional African instruments - the kamele n'goni (harp), karignan (metal scraper) and calabash percussion - are augmented by electric guitar, bass, keyboards and synths with Tony Allen on drums. As Oumou puts it, "This time round I wanted to go for more of a modern sound, to satisfy young people in Mali but being careful, all the while, to respect my culture and tradition".

The songs describe what Oumou knows best human relationships. She addresses difficult topics with incredible frankness - jealousy, ingratitude and betrayal never afraid to sing about the day-to-day problems faced by African society, particularly women.

Oumou has a high international profile, touring all over the world, collaborating with artists such as Alicia Keys, Tracy Chapman, Bela Fleck and Dee Dee Bridgewater and featuring on the soundtrack of Toni Morrison's Beloved. She is a Goodwill Ambassador for the United Nations Food and Agricultural Organisation and has three businesses in Mali a range of SUVs called 'Oum-Sang', a hotel in Bamako and 'Oumou Sangare 769, Rice', grown in her own fields.

She has released six albums on the World Circuit label: Moussolou, meaning "women"(1990), Ko Sira (1993), Worotan (1996), Oumou (2003), Seya (2009) and Kounadi (2012).

Music is at the absolute centre of Oumou's life: "without it I'm nothing and nothing can take it from me" and Mogoya represents an exciting new chapter in her career, something which she approaches with a mixture of boldness, humility and confidence."It was new for me because my music has never had this kind of arrangement and sound before. I've been totally in the tradition for years now so to get out of that and have a look around elsewhere was a total pleasure," Oumou Sangare.

Following a run of local transmissions from A Sagittariun, Crump, Rob Smith and Atki2, Idle Hands turns its attention to Berlin and the straight-up, no-nonsense techno thrust of Johanna Knutsson and Hans Berg. Both respected artists and DJs in their own right, the pair have been turning out 12"s together for The Free Spirit Society, Klasse and Crime City Disco over the past few years, but most importantly they've been steering the excellent UFO Station Recordings as a vessel for their punchy, primal techno tracks.

The sound on this EP taps into the pure form of stern, dark dancefloor tackle favoured at Idle Hands - no extraneous filler, plenty of space in the mix, but equally built with warmth and personality rather than monochrome functionality. If you need further proof, just look to the fact the EP is named after a Swedish soap opera from the 90s.

The bleeps and bass tones that pulse through "Taggen" are so finely crafted they need not skip and dance around the arrangement. The melodic interplay on "Klimax" is subtle but ultimately uplifting and optimistic where so much techno concerns itself with oppressive gloom. "Bimbo" finds the pair embracing a more psychedelic approach, but even here the modulating effects processes are kept within certain boundaries so as to not dilute the impact on the floor. After all, this is music to dance to, to be felt over a large system (where possible).


Moving from leftfield bass excursions to minimalist 2-step, UK techno and now onto this much more continental sound, theMälarviken EP continues to widen the range of Idle Hands' musical tastes without losing sight of the complete picture.

Underground Jazz, Street Funk & The Roots Of Rap 1968-79. Soul Jazz Records' new release 'Soul of a Nation: Afro-Centric Visions in the Age of Black Power' is released in conjunction with a major worldwide art exhibition, Soul of A Nation: Art in the The Age of Black Power which takes place at the Tate Modern, London, UK (July-Oct 2017) and The Brooklyn Museum, New York, USA.

The album shows how the ideals of the civil rights movement, black power and black nationalism influenced the evolvement of radical African-American music in the United States of America in the intensely political and revolutionary period at the end of the 1960s following the assassinations of Malcolm X, Martin Luther King and the rise of the Black Panther party.

Featuring groundbreaking artists such as Gil Scott-Heron, Roy Ayers, Don Cherry, Oneness of Juju, Sarah Webster Fabio, Horace Tapscott, Phil Ranelin and many others, Soul of A Nation shows how political themes led to the rise of 'conscious' black music as new afro-centric styles combined the musical radicalism and spirituality of John Coltrane and radical avant-garde jazz music alongside the intense funk and soul of James Brown and Aretha Franklin and the urban poetry and proto-rap of the streets.

The Soul of a Nation exhibition draws on the links between Black art forms - art, music, poetry - and how they came together during the civil rights and black power era as part of the wider black arts movement across the United States.

Iconic African-Amercian revolutionary figures such as Martin Luther King, Malcolm X and Angela Davis, John Coltrane, Muhammad Ali all appear in the radical artworks of Barkley L. Hendricks, Romare Bearden, Norman Lewis, Lorraine O'Grady and Betye Saar.
A selection of original radical jazz record sleeves artworks which appear in Soul Jazz Records' earlier groundbreaking Freedom, Rhythm and Sound - Revolutionary Jazz Original Cover Art book will also be on show at the Tate, London throughout the exhibition. The Freedom, Rhythm and Sound book is also newly back-in-print in conjunction with this major exhibition and the release of the Soul of a Nation album.

Stuart Baker (founder of Soul Jazz Records) will appear on the panel of Jazz for Soul of a Nation: Art in the Age of Black Power discussion at the gallery as part of the show. Soul of a Nation comes with extensive sleeve-notes and exclusive photography in a large 36-page outsize booklet and slipcase. Double gatefold vinyl album edition comes with full colour inners + bonus download code and includes full sleeve-notes/photography.