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22 novembre 2012 4 22 /11 /novembre /2012 12:00

http://lh3.ggpht.com/-Rot4nRz2f54/T1PW6WMOEDI/AAAAAAAADUE/AM7qRAZ4gzU/s1600/capa_Lucas%2BSanttana_O%2Bdeus%2Bque%2Bdevasta%2Bmas%2Btambe%25C2%25A6%25C3%25BCm%2Bcura.jpg

http://www.lucassanttana.com

Origine du Groupe : Brazil
Style : Alternative World Music

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Tracklist :
1. O Deus que Devasta mas Também Cura
2. Músico
3. Jogos Madrugais
4. É Sempre Bom se Lembrar
5. Se Pá Ska. S.P.
6. Ela é Bélem
7. Vamos Andar pela Cidade
8. Para Onde Irá esta Noite
9. Dia de Furar Onda no Mar
10. O Paladino e seu Cavalo Altar

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24 septembre 2012 1 24 /09 /septembre /2012 12:00

http://www.arteshoy.com/wp-content/uploads/2012/08/LA-NEGRA-La-que-nunca.jpg

https://www.myspace.com/lanegraandband


Origine du Groupe : Spain
Style : Alternative , World Music
Sortie : 2012

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From http://www.elvolcanmusica.com

Amparo Velasco es La Negra, una artista nacida y criada en Alicante. Vivió su adolescencia en América, viajando por Brásil, Méjico y el resto de Norteamérica. Una especie de viaje inciático que sin duda marcaría su futuro sonido. Ya en su primer disco, "La negra" (2006,Casa Limón), se alió con Javier Limón para vertebrar un sutil y elegante tratado de flamenco. Dejándose contaminar por el jazz, el tango e incluso la música brasileña, este debut sorprendió por su inusitada calidez y desparpajo soul. En él brilllaba con luz propia una voz rota y personal que sobresalía en el panoramoa nacional. Un primer asalto musical con el que comenzaba la revolución tranquila de La Negra.

2011 es el año en el que vuelve al estudio de grabación para armar su segundo disco. Esta vez se deja acompañar por Juan Fernández "El Panky", asumiendo las tareas de productor, compositor y guitarrista. También se une Fernando Vacas, del sello Eureka, como co-productor y compositor. Los tres juntos crean La que nunca (2012, El Volcán Música). Un álbum con el que reiventan el sonido gitano de La Negra. Un pop fusión que deconstruye géneros como el flamenco, el jazz o la psicodélia consiguiendo sonar sofisticado y rabiosamente contemporáneo. Así lo demuestra el primer single de adelanto, "La que nunca", con una producción orgánica y accesible que evita lugares comunes y dónde sobresalen unas adictivas cuerdas que arropan la voz de La Negra.
La heterogeneidad sonora que domina las 13 canciones que componen el álbum sirve de perfecto colchón sonoro para unas cuidadas letras. A través de ellas, La Negra nos narra en primera persona la historia de Yukele. Un personaje ficticio, sin género, abstracto, simbólico y universal, que emprende un viaje desde el sur hasta el primer mundo. Un final agridulce le espera al descubrir que lo que ve allí no era lo deseado, llegando a la conclusión que la mejor solución es volver a sus raíces: su única opción para recuperar la felicidad.

Uno de los mejores momentos del disco precisamente es la canción Yukele. Una joya de melodía infecciosa en el que colabora Howe Gelbb a los teclados y que ha sido mezclada por Renaud Letang, productor de artistas como Manu Chao, Feist, Jane Birkin o Amadou & Marian. Otros grandes momentos del disco son el original tratamiento de La costurera, con ese sampler de una fuente que ofrece una de las claves para entender el sonido acuático del álbum, fluyendo como un manantial. A veces la voz y el propio cuerpo de los músicos son utilizados como un instrumento, como en la imaginativa Celos. O en el caso de Gallina en medio del llano, un instrumental que acerca a La Negra al estilo de la Fela Kuti más visceral. En este álbum la voz de la Negra esta tratada de un modo versátil acercándola a territorios poco transitados para ella como la chanson francesa en la sorpendente versión de Black Trombone de Serge Gainsbourg.

En La que nunca han colaborado el ya citado Howe Gelb con su aportación a los teclados, el contrabajo de Thoger T. Lund, Lin Cortés, Kilema, los arreglos de cuerda de Isabel Vida y Fernanda Carmona y una selección de músicos de la costa de Marfil y africanos. que han aportado un sonido poliédrico y fascinante.
La que nunca fue grabado durante un año en los estudios Eureka en Córdoba y ha sido masterizado en Black Salloon por Manday Parnell.

Está previsto que se publique el próximo mes de mayo


Tracklist :
1.Costurera
2.Coda (Costurera)
3.La que nunca
4.A Morente
5.Los Celos
6.Tangos de la caña
7.Black Trombone
8.Perros Desvelados
9.Yukele
10.Al sur
11.La gallina en medio del llano
12.Canción India

 

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19 juillet 2012 4 19 /07 /juillet /2012 12:00

http://www.boomerangshop.com/dvdcover/upc303/0899564001826.jpg

http://www.bibitanga.com
https://www.myspace.com/bibitanga


Origine du Groupe : Republic Central Africa , France
Style : Alternative , Funk
Sortie : 2012

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Parisian groove theorists Bibi Tanga and The Selenites return in 2012 with 40 ° of Sunshine, their second release for the Nat Geo Music label. Due out on late spring 2012, 40 ° of Sunshine was recorded in the studio after a two month African tour, and it’s the group’s most warm, relaxed and deeply poetic recording yet.

“The whole band was in a more sunny and happy place for the recording of this album,” says frontman/bandleader Bienvenu (Bibi) Tanga, “which took place after an African tour that brought us to 12 hot countries. Our relationships as musicians and as friends were reinforced by this long tour, and the album is more sunny than the previous ones. On the first two albums, the moon was our central symbol figure, this time it’s the sun”.

The album’s title track, “40 ° of Sunshine”, was also inspired by this experience, as Bibi explains: “40 ° of Sunshine takes some poetic license. It’s a story that imagines what would happen if alcohol were replaced by liquid sunshine; 40 ounces of bottled sunshine”.

It’s been two years since the world was introduced to Bibi and Selenites on Dunya, their 2010 release for Nat Geo Music, but the group’s unique retro-futurist vision and smooth, Afro-Parisian sound remain intact on 40 Degrees of Sunshine. And their longtime producer and collaborator, le Professeur Inlassable, was once again at the controls in his studio near the banks of the Seine on the left bank of Paris, polishing the group’s sound to a luxurious sheen.

For those who missed out on Bibi Tanga’s international debut, here’s the recap: Born in Bangui in 1969,the dusty capital of the Central African Republic, Bienvenu (Bibi) Tanga didn’t see his homeland until the age of 2, when his parents brought him back from Paris where they moved just after he was born. Growing up, Bibi was one of 7 children and spent his earliest years shuttling from Paris to Africa to Moscow to Washington, D.C., and Brooklyn, thanks to his father’s diplomatic postings. Eventually Bibi’s family ended up living in the suburbs of Paris, where he became a musical omnivore – devouring British new wave, African pop, and American blues and R&B in equal doses. As a teenager, Bibi learned guitar, bass and saxophone – and even took up tap dancing.
In 2000 Bibi – by now fronting his own band – teamed up with Professeur Inlassable (the tireless professor), and never looked back. A student of early decades of French popular music, Le Professeur adds a whole new dimension to Bibi Tanga’s sound, recreating lost musical soundscapes that invoke echoes of Edith Piaf, Jacques Brel and Serge Gainsbourg. Together with Bibi’s band The Selenites – Arthur Simonini on violin and keyboards, Rico Kerridge on guitar and Arnaud Biscay on drums – Bibi and Le Professeur craft an otherworldly sound.
On 40 Degrees of Sunshine the Selenites are tighter than ever, and Bibi stresses that “This record is an even more collective effort than the previous one” stressing that the albums songs emerged spontaneously and naturally from the bands’ informal studio jam sessions.

“The album was recorded over a few weeks in the summer of 2011, during nightly jam sessions,” Bibi explains. “All the tracks emerged from collective jams based around le Professeur Inlassable’s sample techniques. He set the mood with his loops and then the band joins in to create musical background for me to write songs or sing poetry.”

That relaxed, collective approach paid off with funky synchronicities and poetic couplings on tracks like “Poet of the Soul” – built around a slippery funk groove married to lines from poet Walt Whitman’s masterpiece “Leaves of Grass” – and “Laughing Song” – based around a poem by canonical English poet William Blake.

Two of the album’s tracks, “Kangoya” and “Banda a gui koua” are sung in the Sango language of Bibi’s ancestors. Bibi explains that “kangoya is the name for palmwine in Sango, and the song deals with the beverage in a positive way, as a social and familial means to bring people together. While banda a gui koua is the name of a traditional dish of greens from Central African Republic. The song deals with immigrants’ love of recipes from their native countries.”

“Banda a gui koua” also introduces guest singer Emma Lamadji, who appears on seven of the album’s tracks. A fellow immigrant to France from the Central African Republic, Bibi and the band saw Emma singing with an Afrobeat band while on tour and a friendship was soon forged.

One track, “My Heart Is Jumping.” has a darker backstory than the rest, as Bibi recounts: “the track is built around Professeur Inlassable‘s loops of an obscure 1930s recording, which had a woman singing the words, ‘my heart is jumping’. Two days after le Professeur made the loop he had a little heart attack of his own.”

“Don’t worry” Bibi adds. “He feels better now and this event even had some positive influence on his life. But these kind of magic synchronicities happen frequently when the band is creating, because of our improvised/ free composition process that implies a lot of unconcsious and irrational attitudes.”

It’s this kind of fearless embrace of the creative mysteries that makes 40 ° of Sunshine such a surprising and satisfying listen – you never know where your head will roam, but your feet will always be firmly planted on the dancefloor.


Tracklist :
1. Poet of the Soul (03:28)
2. My Heart Is Jumping (03:48)
3. Banda a Gui Koua (03:34)
4. Can't Handle This (03:53)
5. Laughing Song (03:36)
6. Kangoya (03:01)
7. Do What You Wanna Do (03:29)
8. Dark Funk (04:00)
9. Happy Dustman (04:58)
10. People Are Working (02:24)
11. 40 of Sunshine (02:50)
12. Attraction (01:47)

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11 juillet 2012 3 11 /07 /juillet /2012 12:00

http://c438342.r42.cf2.rackcdn.com/wp-content/uploads/2012/06/Dead-Can-Dance-Anstasis.jpg

http://www.deadcandance.com
https://www.myspace.com/deadcandance


Origine du Groupe : Australia
Style : World Music , Alternative , Dark Wave , Trip Hop
Sortie : 2012

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From Wikipedia :

Dead Can Dance (sometimes referred to as DCD) are a music band formed in Melbourne, Australia, in August 1981, by Lisa Gerrard and Brendan Perry. The band relocated to London in May 1982 and disbanded in 1998. Their 1996 album Spiritchaser reached No. 1 on the Billboard Top World Music Albums Chart. Australian music historian Ian McFarlane described Dead Can Dance as having an ambient style of world music that "constructed soundscapes of mesmerising grandeur and solemn beauty; African polyrhythms, Gaelic folk, Gregorian chants, Middle Eastern mantras, and art-rock."


Tracklist :
01 - Children Of The Sun
02 - Anabasis
03 - Agape
04 - Amnesia
05 - Kiko
06 - Opium
07 - Return Of The She-King
08 - All In Good Time

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26 juin 2012 2 26 /06 /juin /2012 12:00

http://mskstatic.com/386/medias/photos/programmes/moins_de4650000/4646525/anthony-joseph-the-spasm-band-en-concert-chez-fip.jpg

http://www.anthonyjoseph.co.uk
https://www.myspace.com/adjoseph


Origine du Groupe : U.K
Style : Alternative , Spoken Word , Nu-Soul
Sortie : 2012
Durée 01:33:53

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Pour http://www.fipradio.fr

Originaire de Trinidad, le londonien Anthony Joseph est aujourd'hui reconnu comme poète, romancier, musicien et chanteur. Tout en continuant à publier sa littérature, l'artiste enregistre avec son groupe The Spasm Band son premier album "Leggo de Lion" en 2007, puis un second "Bird Head Son" en 2009. En 2011 il sortait conjointement son quatrième recueil de poèmes "Rubber Orchestras" et un troisième album du même nom. Une fusion jubilatoire de soul, de funk, de rock ou encore d'afrobeat à découvrir absolument sur scène.


Artistes : Anthony Joseph (voix), Andrew John (guitare basse), Christian Arcucci (guitare), Colin Webster (saxophone), Marijus Aleksa (batterie) • Réalisateur : Sébastien Lefebvre • Cadreurs : Sébastien Bergé, Christian Beuchet, Simon Bonnet, Lucie Laurent • Son : Philippe Castetbon, Pierre Monteil, Philip Merscher, Philippe Thibaud • Production : Radio France

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30 avril 2012 1 30 /04 /avril /2012 15:00

http://www.cdmail.fr/medias/3999/39/99/0602498273999/0602498273999xr.jpg

http://www.sergeteyssot-gay.net


Origine du Groupe : France , Turkey
Style : Alternative Fusion World Music , Instrumental
Sortie : 2005

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Pour http://www.regie2c.fr

C’est à Damas en avril 2002, lors de la tournée de Noir Désir au Moyen Orient qu’eut lieu la première rencontre entre Serge Teyssot Gay et Khaled Al Jaramani. Chacun écoute avec une extrême attention le concert de l'autre : ils décident de se revoir pour travailler ensemble, dès que possible.

Ce projet se concrétise en octobre 2003. Sergio ne sait pas l’arabe, Khaled ne sais pas le français : c’est tout naturellement en musique que leur dialogue s’incarne. Beaucoup parlent de « fusion », au risque de la confusion et des petits arrangements de la world music. Un rocker et un musicien oriental échangent, ils ne fusionnent pas ; leur culture musicale respective ne se fond ni se confond. Avec Interzone, c’est donc bien un dialogue que l’on entend.

Au moment où beaucoup ne voudraient nous laisser le choix qu’entre le communautarisme et la standardisation, il est particulièrement réconfortant et salutaire de constater qu’un guitariste de rock, n’aseptisant pas son jeu et un joueur d’oud, puisant le sien aux sources de la musique orientale, l’un venu d’Europe, l’autre du Moyen-Orient peuvent, par la sincérité et la qualité de leur dialogue, produire de la beauté. Portés par une même et profonde exigence d’honnêteté, Khaled All Jaramani et Serge Teyssot-Gay ont réussi avec Interzone un magnifique dialogue.


Tracklist :
1. Shataraban
2. Wings
3. Ayeb
4. Vitalité
5. Indian Raga
6. Rencontre
7. Out Of Walls
8. Helice Mouvement
9. On The Road

 

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15 mars 2012 4 15 /03 /mars /2012 15:00

http://www.ilovemusic.co.il/pictures/products/big/KnG.jpg

http://www.earthsync.com
https://www.myspace.com/kartickandgotam


Origine du Groupe : Israel , India
Style : Electro World Music , Alternative
Sortie : 2009


From http://www.cdbaby.com

Nowhere near home, Kartick & Gotam were traveling from South India to a remote village in Aceh, Indonesia, in a journey through Asia recording indigenous music forms. An overbooked flight and unexpected luck landed them in business class luxury. In transit in Singapore, they applied for the visa to Indonesia, and the Special Permit to travel to Aceh. It was to take 3 hours. 6 hours later, the flight left without them. 3 days later, they were still waiting, neither at home nor destination, stuck somewhere in between. They waited indefinitely at the airport - Business Class Refugees without passports, identity, and stateless - sipping free champagne in the airline lounge or aimlessly roaming Singapore Airport’s duty free arcades and coffee shops... sometimes homesick, sometimes worried, but mostly, making music on their laptops.

Business Class Refugees is now a global, collaborative project by music producer Kartick (Patrick Sebag) and sound designer Gotam (Yotam Agam), who mix local music from around the world with electronica… electro - folk without borders, global flavours, and a cross-cultural mixture of emotions, realities, styles, languages - and irresistible grooves.

The project has no end. Taking their base tracks around the world, Kartick & Gotam collaborate with local musicians to overlay local artistic interpretation and signatures. This album is where Kartick & Gotam’s journey began: India.

Patrick Sebag and Yotam Agam have collaborated on many successful albums, films and shows, most notably Laya Project, EarthSync’s award-winning audio-visual documentary celebrating the music and cultural traditions of 6 countries affected by the 2004 Asian Tsunami. They also worked together on the recent EarthSync releases Voice Over The Bridge and Nagore Sessions, which Rolling Stone magazine called “fantastic world music”.

Business Class Refugees features distinguished artists from around Asia and the Middle East such as Mahesh Vinayakram, Erez Lev Ari, Navin Iyer, Yoav Bunzel, Anuradha Viswanathan, Murad Ali & Mishko M’Ba.

Some Press Voices

"This is not only heavenly, it's beautiful" (DJ Pathaan, BBC Radio, June 2009)

“Kartick and Gotam cleverly graft their sound to the countless collaborations they encounter along their journeys to make a truly global musical tapestry. Propelling a listener around the world from the comfort of a pair of headphones, Business Class Refugees strikes out on a musical journey that is utterly captivating. Business Class Refugees is astonishingly good, but then we'd expect nothing less from EarthSync” (WorldMusicCentral, June 2009)

“A fresh and different sound” (The Hindu, May 2009)

“Classy, enchanting music; a mélange of Indian and Western styles of music” (The Times of India, June 2009)

“Israeli duo with unchecked enthusiasm for Indian sounds” (The New Indian Express, June 2009)

“Global in form and spirit, the album boasts of indomitable energy, its core is Indian but with an unmistakable electro-funk influence, there’s an earnestness and ebullience that is admirable” (Economic Times, May 2009)


Tracklist :
1     Bonjour
2     Tamil Bossa
3     Boye Boye
4     Heer
5     Shiva Sheva
6     Door Open Door
7     Vellai Thaamarai
8     Supreme Chaos
9     Rututu
10     Hear Comes The Funk

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11 mars 2012 7 11 /03 /mars /2012 11:00

http://195.178.113.21/mondomixmp3/disk2/albums/20436/images/cover300.jpg

http://www.azamalimusic.com
http://www.myspace.com/azamali


Origine du Groupe : Iran , Canada
Style : Alternative Fusion World Music , Electro , Experimental
Sortie : 2006


By Christina Roden from http://www.amazon.com


For this, her second solo album, Azam Ali, lead vocalist of Vas and Niyaz, takes her patented polycultural blend of ancient and contemporary influences even farther beyond the stratosphere. That she is now a veteran of numerous film scores, including Children of Dune, Earthsea, and Matrix Revolutions, perhaps explains her present more cinematic direction. Born in Iran, reared in India and the US, and gifted with a voice of improbable tonal breadth, flexibility, and beauty, she is backed by collaborators like Trey Gunn (King Crimson), Chris Venna (Nine Inch Nails), Turkish DJ/composer Mercan Dede, the Japanese ensemble Kodo, and Grateful Dead drummer/world percussion enthusiast Mickey Hart. One of the more interesting conundrums inherent in Ali's work is that no matter how much electronic technology she employs, her immersion in her heritage unfailingly comes across loud and clear. Whether she is singing in English, which predominates on these sessions, Farsi, or another language, a prayerful sensuality informs every note. It's as though a sexy Tanagra temple figurine or silk-clad court lady from an antique parchment were to suddenly turn her lovely head and step daintily into the modern world, unfurling precisely the kind of voice one expected but never could have imagined.


Product Description :

"Elysium For The Brave", Azam's second solo album, signals a new turn in her musical evolution. The album, her most ambitious work to date, brings together musicians from varied musical backgrounds performing in diverse permutations. The result is a highly coherent body of work that seamlessly weaves together all of Azam's cultural and musical influences into a haunting tapestry of atmospheric rock, electronic, and global sounds. Singing predominantly in English for the first time, the songs are based on lyrics written by Azam herself and reveal a poetic lyricism heard only in glimpses in her previous work.


Tracklist :   
1 Endless Reverie 5:47
2 Spring Arrives 5:17
3 In Other Worlds 6:07
4 Abode 5:59
5 Forty One Ways 6:09
6 The Tryst 6:04
7 From Heaven to Dust 4:19
8 I Am a Stranger in This World 7:24
9 In This Divide 5:18

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10 mars 2012 6 10 /03 /mars /2012 11:00

http://ecx.images-amazon.com/images/I/51PCeBemHqL._SL500_AA300_.jpg

http://www.dacruzmusic.com
http://www.myspace.com/dacruzmusic


Origine du Groupe : Brazil
Style : Alternative
Sortie : 2011


From http://www.amazon.com/Sistema-Subversiva-Cruz/dp/B004QDD130

The ensemble Da Cruz is a collaboration between vocalist Mariana Da Cruz (a Paulista with Bahian roots) and Swiss producer Ane H. Together with their band, they merge Brazilian music, Electro, Afro Beat, Breakbeats, Ethiopian Grooves, Kuduro and other forms of dance music. Da Cruz stand for a modern, curious and proud Brazil , says Mariana. There are so many boring clich‚s about my country. With my music I try to show that there is a Brazil far away from Carnival, bikinis and samba-plumes there is also an urban, progressive, open but still romantic Brazil with a sane respect towards its traditions and culture. The new album Sistema Subversiva pushes the boundaries of Brazilian Fusion with harder, throbbing bass tones and punchy kick drums underlying Mariana's dynamic lyrics, one moment soft and dripping, another punctuated and demanding. We both wanted to create something new without giving up all our past. Da Cruz is the result of this trying. Ane H sums it up best when he says We wanted to make a danceable album. An album that is both funky and electronic. The music of Da Cruz is not sunny and nice and undisturbing. The African side is also accentuated, much tougher than what we have done before. We wanted to show that there is a Brazil far from the postcard idyll- a modern, rebellious, open and urban Brazil. The album has many, many facets.


Tracklist :   
01.Boom Boom Boom
02.Jangada
03.Curumin
04.Papo De
05.Zero A Zero
06.Warm Leatherette
07.Ethiopia
08.Chega
09.Tudo Bem Aqui
10.Tschu Tschu
11.Vestida De Amor
12.Sexta-Feira
13.Balada
14.Falo Pouco
15.Moça Feia
16.Papo De (Filewile Remix)

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9 mars 2012 5 09 /03 /mars /2012 11:00

http://ecx.images-amazon.com/images/I/411T5EXV56L._SL500_AA300_.jpg

http://www.myspace.com/issabagayogo
http://zutique.com
http://sixdegreesrecords.com


Origine du Groupe : Mali
Style : Alternative Fusion World Music
Sortie : 2004


By Rose Skelton   from http://www.bbc.co.uk

'The album is a stimulating and soothing journey into an incongruous collaboration...

With Issa Bagayogo there's really no middle ground. Either you think his gravely voice, call-and-response female backing vocals, kamele ngoni strings and wild flute bursts go with French producer Yves Wernerts electro-beats or you don't.

"Take Dya" for example. The track opens with a flute call so vital that you can almost see the lips upon the instrument, followed by the kamele ngoni, the raw vibration of the strings conjuring up images of the calabash and skin instrument that hails from Issa's home of Mali. Then enters an array of synthesised beats and peeps so recognisable from the middle of the mainstream road that my irritation buds are tickled almost to distraction. With his voice, the flute (a highlight throughout the album) and his playing of the kamele ngoni so strong, one has to ask, why?

Well, why not? In music, there's no sin greater than boring music and this album, a whopping fourteen tracks, at least challenges the listener and presents music from rural Mali in a new and exciting, if not totally aesthetically pleasing to all ears, way. Issa Bagayogo comes from a farming family in southern Mali and discovered his love of the instruments that were available to him, namely the kamele ngoni. After two unsuccessful recordings in Bamako, Mali's capital, at the same time training as a bus driver, there followed a period of alcoholism and desertion by his wife (so the sleeve notes tell us). Issa became depressed. Then came producer Wernert and collaboration with a guitarist from Ali Farka Touré's band and the result was Afro-electric (personally, the name alone creates a shudder). However, it was a great success and after two albums, Issa won an award that recognised him as Mali's brightest new hope. Afro-electric had worked.

The album is a stimulating and soothing journey into an incongruous collaboration that at times works very well. In "Nderi", Mama Sissoko's guitar solo, consistently strong throughout the album, rises above Issa's poetry-like vocals, added to by an ethereal sound that might have leapt right off super-cool French band Air's Moon Safari. The final track comes as a wind-down, complete with wave sounds and lullaby-like female cooings. The only thingleft for the listener then is to decide whether or not Techno-Issa, as he is affectionately known by his fans at home, is your cup of tea.


Tracklist :   
01  Ciew Mawele
02  Diama Don
03  Koroto
04  Numu
05  Kanou
06  Djigui
07  Kalan Nege
08  Dya Bana
09  Dya
10  N'Deri
11  Touba
12  Chauffeur
13  Furu
14  Joola

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