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Perfect bossanova album. No questions asked. Recommended to be used during all times near satisfactional moments like cooking, dreaming and love making.

This one is for the nature lovers!

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“The album begins upbeat with the drumming song Soma, followed by Esukey, a slice of Afro-pop cassette nostalgia with maestro Ismaila Sané on the vocals. A Song For Spring steers into mid-tempo funk, while Meje Ibo is a Turkish style 7-beat with West-African guitars and minimalist choir. The sparkly Ghana-inspired beach dancer Nkoranza and the acidy kalimba disco of Aamuapoltan head straight for the dancefloor, the midpoint of the journey.

Ismaila Sané’s bonfire chant on Ito Urok leads the second half of the album on a nocturnal adventure. The hypnotic African mallets continue their work on the mysterious Jacana. Gbêmen Nayon is a ride down a flowing stream, while Akim Color sings a dirge. The percussive shamanistic hum-along trance of Yara Mantra points the way to the Waina-lead conscious dance anthem Lost Road.

 

Definitely the album for warm summer days and long never ending nights filled with love.

“Sweet post, with a heartfelt reggae/funk influence, analog dub effects and lovely femme-vox. A unique slice of late-70s/early-80s goodness, starring Brenda Ray, whose previous release on EM Records, Walatta, has been embraced by a large number of listeners. Recorded in North West England, D’Ya Hear Me! is warm-hearted, open, fresh and slyly experimental” 

Brenda Ray – naffi years 1979 – 1983 bandcamp page

Pop music from 60’s and 70’s Vietnam is quite hard to come by for obvious reasons. But these two compilations will transfer you to the lively ‘Golden Era’ of South Vietnam – enjoy!

@Spotify: vol. 1 & vol. 2

Rock solid mixture of reggae and soul – new and old. Firmly standing on the roots of these genres but still finding something new.


Jr. Thomas & The Volcanos’ sophomore effort Rockstone is more than just a love letter to the roots of Jamaican music. It’s an actual love letter.


Rockstone isn’t just another throwback record to an era gone by. It’s a record that takes risks within the genre, but more importantly it’s a genuinely honest record.

Text quoted from the albums bandcamp page.

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A new colossal star rises in the twilight of funky soul jazz as Ernie Hawks releases his debut album “Scorpio Man” on Timmion Records. The impressive trombonist/flutist, is known to hold no punches, when performing live in the ranks of The Soul Investigators. Here he delivers a fierce selection of S.O.U.L. and Cymande flavored instrumentals that also bring to mind some of the finest sample-fodder library music.

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The album’s name, “Scorpio Man” might come from the stinging and slightly intimidating style Hawks handles the trombone slide, known to pierce the hearts and souls of the ladies in the front row during his live performances. On this album, Ernie rides to battle equipped only with the flute, but this does not mean we will be exposed to some smooth jazz snooze fest. Rather Ernie handles his instrument with muscular rawness at times and moody ambiance at others, sliding with ease into any groove that the extended Soul Investigators band lays down.

“Scorpio Man” is no one trick pony, and the listener will be shifted around from the exhilarating psych funk of “Scorpio Walk” all the way to the airy moods of “Street of Tears”. Take a chance with the Scorpio Man, his sting will give you a funky high much better than what they sell in the streets.

Text is quoted from the albums bandcamp page

 

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In 1980s black South Africa a local form of pop music evolved as the disco boom died down and slowly mutated. It was often ubiquitously described as Bubblegum – usually stripped-down and lo-fi with a predominance of synths, keyboards and drum-machines and overlaid with the kind of deeply soulful trademark vocals and harmonies that South African music is famous for.

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Compilers Miles Cleret (Soundway) and DJ Okapi (Afrosynth Records) present a selection of 16 rare, handpicked 1980s cuts that highlight the period that nestles in between the ‘70s (where American-influenced jazz, funk and soul bumped shoulders with local Mbaqanga) and the ‘90s when Kwaito and eventually house-music ruled the dancefloors of urban South Africa.

Text is quoted from the albums bandcamp page

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Ladilikan, the new album by Trio Da Kali and Kronos Quartet, represents a landmark in cultural cross-fertilisation that both parties rank among the most satisfying musical experiences of their careers. David Harrington, Kronos’ artistic director and founder, enthuses that the album is “one of the most beautiful Kronos has ever done.” On first hearing their griot grooves being played by violins, viola and cello, Trio da Kali’s musical director Fodé Lassana Diabaté said, “This is going to be the best collaboration of my life.”
Da Kali means ‘to give a pledge’ – in this case to a musical heritage that dates back to the time of Sunjata Keita, founder of the great Mali empire in the early 13th century. The line-up of balafon (xylophone) bass ngoni (lute) and female singer is also based on ancient tradition, although the trio format and its repertoire is now an endangered species in contemporary Malian music.

 

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All three Da Kali members come from celebrated hereditary musical families, and were brought together as a griot ‘super-group’ by Dr Lucy Duran on behalf of the Aga Khan Music Initiative (AKMI), which has an admirable track-record of commissioning and producing a variety of projects involving traditional musicians. Balafon player Diabaté was a long-time member of Toumani Diabate’s Symmetric Orchestra and has recorded with Salif Keita, Taj Mahal and many others. A musician of great subtlety and invention he has honed a virtuosic two-balafon technique to perfection. Bass ngoni player Mamadou Kouyaté is the eldest son of the instrument’s greatest exponent Bassekou Kouyaté, and he holds down the groove in his father’s band Ngoni ba. He is also involved in the thriving Bamako hip-hop scene. Singer Hawa ‘Kassé Mady’ Diabate is the daughter of Mali’s greatest traditional singer, Kassé Mady Diabate, and the power, range and phrasing of her voice led Harrington to compare her to the late queen of American gospel Mahalia Jackson.

The Kronos Quartet – violinists Harrington and John Sherba, violist Hank Dutt and cellist Sunny Yang – have built an enviable reputation as the world’s most adventurous string quartet. Known for their commitment to continually re-imagining the string quartet experience Kronos has released over 60 albums of extraordinary breadth and creativity, and they are no strangers to collaborations with some of the world’s foremost composers and artists. For this project, Kronos turned to the American composer and their frequent collaborator Jacob Garchik to arrange Trio da Kali’s repertoire. Combining the spirit of fearless exploration with expert craftsmanship and skill, Trio Da Kali’s original repertoire has been taken on a fascinating journey, giving a new voice to timeless sounds.

AKMI commissioned the project as part of a long-term collaboration with Kronos that brings them together with leading artists from AKMI’s roster to compose, arrange and perform new music rooted in but not constrained by tradition.

Text is quoted from the albums bandcamp page

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A window into the full-blooded, captivating spirit of music from the Andes, ANDINA shines a fresh perspective on Peru’s multifaceted heritage. A co-release with Strut Records, the album is selected from records originally released between ’68 and ‘78, upending clichéd ideas of Andean music and bringing to light the divergent, exciting traditions to have emerged from Peru’s strip of the iconic mountain range. Encompassing steady-grooving, Peruvian cumbia rhythms, transcendent folkloric harp recordings and Lima big band groups taking influence from their highland neighbours, it boasts a diversity that will appeal to fans of jazz and Latin as well as tropical-minded DJs and deep-digging collectors.

… Read more and buy @ bandcamp

listen @ Spotify