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- 02/15/17--12:04: _VA - Soft House Mus...
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- 02/15/17--12:04: _VA - Sunday Brunch ...
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- 02/15/17--12:04: _Van der Graaf Gener...
- 02/15/17--12:04: _Vanessa Carlton - B...
- 02/15/17--12:04: _Vanessa Freeman - S...
- 02/15/17--12:04: _Vaya Con Dios - Roo...
- 02/15/17--12:04: _Voluntary String Ba...
- 02/15/17--12:04: _West Bruce And Lain...
- 02/15/17--12:04: _Willie Nile - The B...
- 02/15/17--12:54: _Hera & Hamid Drake ...
- 02/15/17--13:27: _THE UNDERGROUND YOU...
- 02/15/17--13:46: _Voices in Vinyl: Jo...
- 02/15/17--14:38: _Oleta Adams – Third...
- 02/15/17--14:47: _Ticket Giveaway: No...
Artist: Various Artists
Title Of Album: Soft House Music
Year Of Release: 2015
Label: House Place
Genre: Downtempo, Lounge, ChillOut,Deep House
Quality: MP3 CBR 320 kbps
Tracks: 38
Total Time: 03:29:01
Total Size: 530 MB
Artist: Various Artists
Title Of Album: Soulful House Essentials, Vol. 5
Year Of Release: 2015
Label: LW Recordings
Genre: House, Deep House, Soulful House
Quality: MP3 CBR 320 kbps
Tracks: 25
Total Time: 02:54:53
Total Size: 442 MB
Artist: VA
Title Of Album: Sounds for the Geniculate Ganglion Vol.II - Kesselse Pauwen
Year Of Release: 2015
Label: Xtraplex
Genre: Ambient, Glitch, IDM
Quality: MP3
Bitrate: 320 kbps
Total Time: 00:38:55
Total Size: 82 mb
Artist: VA
Title Of Album: Spring Break 2015 Tech House Music
Year Of Release: 2015
Label: Bacci Brothers
Genre: Minimal/Tech House
Quality: MP3 / Joint Stereo
Bitrate: 320 kbps avg / 44.1 Khz
Total Time: 01:31:52
Total Size: 212,79 Mb
Artist: VA
Title Of Album: Sunday Brunch Lounge Vol 2 Amazing Electronic Jazz Music
Year Of Release: 2015
Label: Karma Of Life
Genre: Downtempo, Chillout, Lounge
Bitrate: CBR 320 kbps Stereo
Total Time: 01:43:06
Total Size: 239,67 MB
Artist: VA
Title Of Album: Toolroom Selector Series 29 Piemont
Year Of Release: 2015
Label: Toolroom Longplayer
Genre: Minimal/Tech House
Quality: MP3 / Joint Stereo
Bitrate: 320 kbps avg / 44.1 Khz
Total Time: 01:40:52
Total Size: 235,50 Mb
Artist: VA
Title Of Album: Trance Global 2015
Year Of Release: 2015
Label: RNM Bundles
Genre: Trance
Quality: MP3 / Joint Stereo
Bitrate: 320 kbps avg / 44.1 Khz
Total Time: 02:01:22
Total Size: 285,49 Mb
Artist: VA
Title Of Album: Underground Series Mykonos
Year Of Release: 2015
Label: Club Session
Genre: Deep House, Chill House
Bitrate: CBR 320 kbps Stereo
Total Time: 01:39:39
Total Size: 230,76 MB
Artist: Van der Graaf Generator
Title Of Album: 7 Albums Collection (Platinum SHM-CD Japan)
Year Of Release: 2015
Label: Charisma Records/Virgin Records/Universal Music Japan - UICY-40134~40
Genre: Progressive rock
Quality: FLAC
Bitrate:Lossless
Total Time: 7 CD
Total Size: 2,57 gb
Artist: Vanessa Carlton
Title Of Album: Vanessa Carlton - Be Not Nobody
Year Of Release: 10 Jun 2002
Label: Polydor Group
Genre: Pop, Piano
Quality: FLAC | MP3
Bitrate: lossless tracks+CUE +LOG +SCANS | 320 kbps
Total Size: 341,48 Mb | 134.89 MB
Artist: Vanessa Freeman
Title Of Album: Shades
Year Of Release: 2015
Label: Chilli Funk
Genre: R&B, Soul,Funk,Nu Jazz
Quality: MP3 CBR 320 kbps
Tracks: 13
Total Time: 00:55:42
Total Size: 141 MB
Artist: Vaya Con Dios
Title Of Album: Roots and Wings
Year Of Release: 1995
Label: Ariola BMG [74321 307132]
Country: Belgium
Genre: Smooth Jazz, Electric Blues, Soul, Latin, Gypsy, Soft Rock
Quality: FLAC (image+.cue+log, scans)
Bitrate: Lossless
Full Size: 468 MB
Time: 47:40
Artist: Voluntary String Band
Title Of Album: If In This Fire
Year Of Release: 2014
Record Label: Self-released Voluntary String Band
Genre: Singer/Songwriter, Americana, Rolk Rock, Progressive Folk
Quality: mp3
Total Length: 00:45:50
Bitrate: VBRkbps
Total Size: ~ 101 Mb
Artist: West Bruce And Laing
Title Of Album: Whatever Turns You On
Year Of Release: 2008
Label: Esoteric
Genre: Rock, Classic Rock, Blues Rock
Format: Flac
Quality: Lossless
Total Time: 37:01 Min
Total Size: 215 Mb
Artist: Willie Nile
Title Of Album: The Bottom Line Archive
Year Of Release: 2015
Label: The Bottom Line Record Company
Catalog: BLRCD010
Genre: Folk Rock
Format: Mp3 / APE (Image)
Full Size: 249 / 635 mb (+5%rec.)
Quality: CBR 320 kbps / Lossless
Time: 01:36:56
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THE UNDERGROUND YOUTH
WHAT KIND OF DYSTOPIAN HELLHOLE IS THIS - 2017
Psych rockers απο Αγγλια στο ογδοο αλμπουμ τους.
Ξεκινωντας απο μια ψυχεδελικη βαση επηρεασμενη
απο Velvet Underground, Jesus and Mary Chain, και
The Brian Jonestown massacre, δημιουργουν με σκοτεινη
και μελαγχολικη διαθεση, διαφορα μουσικα τοπια με
στοιχεια απο την post punk, τη goth και shoegage, τη
garage, τη lo-fi, μεχρι και την ονειρικη και αιθερια ποπ.
Ψυχεδελικη και gothic ατμοσφαιρα, jangle αλλα και
fuzz κιθαρες, πειραματικη διαθεση, το πνευμα του Ian
Curtis πανταχου παρων, υποβλητικες μελωδιες και
στιχοι με ευαισθησια.
Σπουδαια κυκλοφορια.
Record-hunter Tasha Goldberg continues her saga of searching for rare vinyl in Johannesburg, South Africa. Read Part One here.
The hours I spent at Collector’s Treasury in Johannesburg, South Africa still mystifies me. Sometimes, when I close my eyes at night, I can still see the walls of books and records lining the rooms of the eight-story warehouse. I can still smell the crowds of vinyl hunched against walls, seemingly spent from years of being on the road. Inside of realm where the only voices are recorded, a place where stories are church, I can still feel the bruises on my knees from the proper posture of a digger. Each slight turn of my head brought me to another place of worship. Traveling through Jozi introduced me to nations and generations, all with the drop of a needle.
Scoring a good find in a big dig is harder to work for, therefore the sweeter to savor. I had miles to cover, digging through records by the thousands among the eight stories of collections. It was a group of fat little jazz cats atop a cover that flagged my eye to the 10-inch Penny Whistle Jive. It took me all of about 20 seconds to add the treasure to my “for sure” stack. I have always been particularly fond of the flute, the way tight vibrations of sound dovetail into high pitches that literally fly above the base of its song. Admittedly, I have fallen in love in blue-lit basements with my eyes closed, chasing trails left by a flute. I have danced alone among crowds, mesmerized by the sweet shimmering sound of a whistle. And jive? Well, that’s pretty much an open-door invitation. If you feel it, you know it. Don’t have the words? Make them up, just make them up pretty. When I flipped the album over and found that this wax was actually a compilation of famous penny whistle jive-jazzers from Jozi, the deal was sealed. Yes! Yes to an introduction to a new place in sound, one where by feeling good, I was there.
Jive has one of those circular histories where it seems that early African-influenced music met up with blues, jazz and swing to form a new patois: a patois with cross-racial appeal that everyone could dance to. African and American seeds formed a hybrid that hitched to Europe on the backs of soldiers and radio waves where the U.K. blokes named it jive.…or something like that. In South Africa, a similar blend of street music, marabi township jazz, evolved into what is known as kwela. In Zulu, kwela is a call to “get up,” referring to the blended beats that invite all to join. During the shadow of apartheid rule in South Africa, police vans were also called kwela-kwela in Zulu. So a band playing in the street had homies positioned down the block to warn them when police were around. Not as a game, but as dedication to protecting their sanctuaries of sound. In neighboring Malawi, where many of the known kwela producers hail from, the Chichewa word means “to climb.” Both jive and kwela stamp sounds with the notion that unity is achieved through the harmony of diversity.
Jive and kwela have mechanic logic, taking whatever you have, and making it good enough that folks around will get up and dance. In music of a people, accessibility is king. The first documented use of a penny whistle reaches back to the year 1790. The penny whistle has been an instrument easily available to any- and everyone, giving individuals with sonic tendencies a chance to hear what the music inside them sounded like. “Musicians who could not afford band instruments imitated big-band music on penny whistle [and] several of South Africa’s jazz saxophonists started their musical careers on this instrument.” (Lara Allen, Circuits of Recognition and Desire in the Evolution of Black South African Popular Music: The Career of the Penny Whistle). Penny Whistle Jive features a selection of greats who pressed songs through a flageolet or flippie flute, a simple cylindrical pipe with a mouthpiece at one end and open at the other. The instrument intrigues by being generally a wind instrument, cradling breath to song. But it also has a percussive element: the tapping of fingers over small round holes, and the rhythmic space in between breaths often catches a drum-like beat.
According to record liner notes “…. Jim doesn’t know all this, he just calls it a Penny Whistle, and blows ‘lo jive’ on it…!” Facts were filtered from European promoter Alfredo Papo in such a way that he seems to gain a bit of shine for putting the world to it. A genuine jazz cat himself, born in Milan to a Sephardic Spanish family, he held the free form of jazz as a symbol of resistance during Nazi invasion. His family was forced to flee from home in 1943 and resettled in Barcelona. Taking jazz with him, he ran the Hot Club of Barcelona, internationally known for hosting American jazz greats like Duke Ellington and Count Basie. Perhaps most remarkable in his tale of survival was that he loved jazz—but not just for himself, for everyone. Valuing that the ability to find freedom by the lead of jazz was cathartic, a portal of knowing, and something that everyone should be able to access. Inspired by his ethos, he managed to work out some sponsorships to keep ticket prices low.
The discovery of penny whistle jive was probably as easy for Papo as it was for my “for sure” stack—it had the jazz he loved and the level playing field he respected. Papo saw a window to tap into the international appeal of jive and jazz and bring something special, the South African sounds. And he was absolutely on target, kwela rose to international fame easily and quickly. According to the Electric Jive blog, by the end of the 1950s kwela was global, from the U.K., U.S., Argentina, Spain, Singapore to France, Germany, Rhodesia and, of course, South Africa.
Audio: “Black John”
The album was compiled in 1959. Each track is so authentic it feels familiar, proud sounds of sweet souls. One of my favorites is “Black John,” played by Peter Makana. According to Papo’s liner notes, Makana is the Cool Boy accompanied by the experimenter of new sounds, Ben Nkosi, who, although also a penny whistler, plays guitar on this track. The trot takes the listener on a journey in the heart, rather than delivering us directly to the moment of love. The result is a spectrum of sound that far outreaches the expected narrow palette of what a whistle can blow. The track was popular, being released four times on different albums.
Audio: “Comin’ Home Baby”
The penny whistle could have a connection to the emerging Afrojazz scene to which Herbie Mann brought heat. On the back of the Best of Herbie Mann album, it recalls Mann’s 1959 debut playing flute with the Afro Jazz Sextet, a band “without precedent or parallel in contemporary music” that opened at a New York club. A few years later, he toured 15 African countries under the State Department. And what came of that? For one, a sensibility of traveling the world and relating to it with sonic stylings. An automatic “yes…let’s find the pocket.” The sounds of flute and whistle have held herders’ heads high in South Africa, broken barriers among races in jazz clubs across the U.S., and hung hope in the air in war-torn Europe. Lucky for us, with the drop of a needle, we still have access to unity, to the jazz in jive.
Oleta Adams releases “Third Set” …Her first new album in eight years
“At this point in my life it’s kind of cool that I don’t have to ask anybody’s permission anymore about what I want to sing.” – Oleta Adams
Noura Mint Seymali is one of the most internationally acclaimed traditional African singer of recent times, captivating audiences all over the world for a decade now. The Mauritanian griot is also a songwriter and instrumentalist, who started her career at age 13, supporting her stepmother, the legendary Dimi Mint Abba, with backing vocals. She is also a master of the ardin, a nine-string harp instrument.
As Noura continues to enthrall audiences all over the world, we are happy to announce that she will be performing on Feb. 24 at Le Poisson Rouge in New York at 8 p.m. DJ Henri of radioafricaonline.com will be opening the show.
Afropop is giving away two pairs of tickets to Friday’s show, which is sure to be energetic and spellbinding. You can enter to win a pair to see the sensational Noura Mint Seymali by sending an email to info@afropop.org with Noura Mint Seymali in the subject and your full name in the body of the message. Good luck!
For more information about the show check here.
