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Back in 1986, Stephan Remmler of the cult German new wave band Trio released his iconic ‘Schlager’ “Alles hat ein Ende (nur die Wurst hat zwei)” (everything has an end, but the sausage has two), which basically boils down to saying that everything must come to an end. The phrase and song, now staples of German pop culture, have since taken on a life of their own, which brings us to a certain Joe Fleisch aka Jossi Reich, frontman and controversial [...]

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Joe Fleisch: Vocals / Yiddish
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Joe Fleisch X Ori Toledano – "Als Ding hot a Soff, nur baym Wursht senen zway"
Petite Meller – "Icebear (Waysser Behr)" feat. Joe Fleisch
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Everything Has an End, But the 'Wursht' Has Two

Video Premiere: Joe Fleisch Teams Up With Ori Toledano & Guy Bolandi To Turn Stefan Remmler's '80s Hit Into A Yiddish Chart-Breaker
Greedy

Ever heard of Stephan Remmler and his band Trio? Maybe not. However, you may have crossed paths with his German new wave hit “Da Da Da”, released at the ultra-coolish, icy beginnings of the '80s; a monotonous, [...]

Ever heard of Stephan Remmler and his band Trio? Maybe not. However, you may have crossed paths with his German new wave hit “Da Da Da”, released at the ultra-coolish, icy beginnings of the '80s; a monotonous, semi-callous, numb, yet cynically funny anti-love song with that now iconic, recurring line, quasi spoken by a deep and seemingly indifferent male voice in the same repetitive groove as the Da Da Da bass: “Ich lieb Dich nicht, Du liebst mich nicht” (I don’t love you, you don’t love me). The strength, authenticity and honesty of this track propelled it to worldwide recognition, as an English version was in high demand.

One moment later in history, with the '80s in their finishing round, Michael Jackson, Madonna and Prince were very much alive and kicking, new wave and punk were past their peak, while former B-movie actor Ronny Reagan was in full swing, poised to crush Gorbachev’s Soviet Empire with his “Star Wars”-ish arms race; it was around that time in the year 1987 that Stephan Remmler’s band Trio released “Alles hat ein Ende (nur die Wurst hat zwei)” (Everything has an end, but the sausage has two), a comical and once again deeply cynical ‘Schlager’, which basically boils down to the grim insight that almost every relationship must come to an end, save for the sausage, which literally has two ends. The track to this day remains a hit, on the national level at least. It may have overdosed on that particular kind of humoresque German primitivism, that is less understood elsewhere, but the phrase and song, now staples of German pop culture, have since taken on a life of their own.

Which, almost 30 years later, brings us to a certain Joe Fleisch (pronounced ‘flysh', meaning meat or flesh in German) aka Jossi Reich, frontman and controversial crooner of the notorious Jewish Monkeys. 

Immodestly, Joe Fleisch, the self-proclaimed “neo-Yiddish singer”, claims his singing in the old language “is how Yiddish Pop would have sounded, had Hitler never been born”. A son of Jewish-Polish Holocaust survivors, who after the war found a new home in Germany of all places and who then emigrated to Israel in the late 90s, Joe had always been obsessed with an aspiration to transform the German hits of his youth into Yiddish tunes. Hence, the German sausage, alias “Wurst”, turned into the Yiddish “Wursht”. It just so happened, that Joe approached one of his closest buddies, the video clip director Guy J. Bolandi, who put him in touch with composer/producer Ori Toledano, both acclaimed artists on the Tel Aviv scene.

The latter outfitted Joe Fleisch’s tune with a contemporary, electro-oriental club sound, while Guy J. Bolandi, one of Israel’s most sought after commercial directors for all kinds of tasteless and less tasteless consumer products, always trigger-happy when it comes to doing something provocative, set up a dark, nightly forest scenery and filled it with a bunch of mind-bogglingly erotic female models, who in turn, having just escaped their teens, symbolize that lurking temptation facing millions of poor, horny, heterosexual men on a daily basis, once they have decided to stay true to their chosen one for the rest of their lives.

In order to make the depth of his Yiddish lyrics more comprehensible, Joe urged Bolandi to add some karaoke flair to his “Wursht”. This inspired Bolandi to not only body-paint his actresses with the English translation to Fleisch’s lyrics, but to even take things one step further and integrate a typographic visualization into this stunning lyrical metamorphosis from German to Yiddish. Bolandi combined visual elements usually found in works by contemporary graphic design artists with strong references to the works of Robert Brownjohn, one of the pioneering title-sequence-designers of his time (i.e. James Bond, “Goldfinger”). 

The result is an innovative pop music video, likely to become the very first international Yiddish chart-breaker of the past seven or more centuries (ever since Yiddish came into being, sometime in the dark, German, medieval ages). Yeah!

In closing we say, cursed be the one, who almost exterminated this language. His body may have been burned to ashes after he committed suicide, but his genocidal legacy lives on, be it in the killing fields of Cambodia, in former Yugoslavia, Ruanda, Darfur, Syria, etc. But this shall not be our concern. Instead, we care about fashion, love and ecstasy. So have no fear. Even though the end is near, Joe Fleisch’s “Wursht”, from the hands of Ori Toledano and Guy J. Bolandi, will be sure to console us and keep us afloat, as Global Warming and unfortunate wars threaten to melt and burn us very soon; to ashes. Enjoy!

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Waysser Behr

Joe Fleisch And Petite Meller Give Grauzone's "Eisbaer" A Neo-Yiddish, Europop Makeover
Greedy

With temperatures in the Eastern and parts of the Western Hemisphere leaning towards zero these days, who wouldn't want to be a polar bear?!

Just the time for us to return to the vaults and dig up this frosty little [...]

With temperatures in the Eastern and parts of the Western Hemisphere leaning towards zero these days, who wouldn't want to be a polar bear?!

Just the time for us to return to the vaults and dig up this frosty little gem for you.

Let us fill in the blanks: Back in 2014, the enigmatic artist still known as Joe Fleisch (front-runner of the Jewish Monkeys under his real name Jossi Reich) teamed up with budding French pop arrival Petite Meller, an enticing singer/songstress in her own right, to give Swiss 'German New Wave' outfit Grauzone's iconic song "Eisbaer" (polar bear) a dreamy, neo-Yiddish, Europop makeover, alias "Icebear" or "Waysser Behr" (white bear), co-produced with the JewRhythmics in yes, you heard right, Yiddish.

Petite Meller's husband, the renowned director Asaf T. Mann, then proceeded to stage the two artists in a winter wonderland, equally beautiful as theatrically absurd, and perfectly in line with the song itself.

What's more, Grauzone's former drummer was so excited to hear this revamped version of his band's cult song, he sent Petite Meller a short note via Facebook Messenger in 2015 reading:

"Wow, this is the best Eisbaer version I ever heard...I was the former drummer from Grauzone (1979-1981). Thank you & kind regards from Switzerland, Marco"

We're guessing, you may want to see and hear for yourself. We thought so. Well, here you go:

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The Bongo Hop

A Vibrant Afro-Caribbean Travel Diary From Colombia By French Trumpetist Etienne Sevet And Friends

Just recently we shared a post with you, covering the infamous Cut Chemist's exploration of record crates found in Cali, Colombia. Today, we return with another musical venture that also has its roots in Cali. [...]

Just recently we shared a post with you, covering the infamous Cut Chemist's exploration of record crates found in Cali, Colombia. Today, we return with another musical venture that also has its roots in Cali. Enter The Bongo Hop, a swingin' afro-caribbean project by Bordeaux-born/Lyon-based trumpetist, journalist, film maker, university teacher, DJ, and digger Etienne Sevet. Sevet spent eight years in Colombia as a Cali resident, where in 2003 he chanced upon the remarkable vocalist Nidia Gongora, now better known as the voice of Ondatropica and Quantic. While working as a South American correspondent for French magazine World Sound and learning to play the trumpet, it was actually his friend, the acclaimed Britisch producer Will "Quantic" Holland, who encouraged Sevet to make his own music. 

Years later, at the tail end of 2016, Etienne Sevet and The Bongo Hop released their debut longplayer "Satingarona Pt. 1", a  9-track "musical travel diary" of sorts as well as Sevet's "personal take on tropical tempos, as he launches a storm of infectious grooves, ranging from high life to vallenato-meets-dub, dance hall, afro beat, kompa...". On "Satingarona Pt. 1" he is joined by friends, including rapper Maikcel, the prolific producer/multi-instrumentalist Patchworks aka Bruno Hovart and of course the aforementioned Nidia Gongora, who can be heard on the album's title track, "a powerful [piece], mixing Benin afro funk vibes with 6/8 rhythm patterns, drawn from the Colombian Pacific coast's traditional music".

The Bongo Hop unites 'the cream of the crop' from Lyon's local scene such as tenor sax player and theatre sound designer Olivier Granger and drummer Remy Kaprielan as well as Colombian musician the likes of cumbia singer Paola Barreto or percussionist Mario Vargas (Bigre!). Find a detailed list of live shows here, stream/download "Satingarona Pt. 1" on Bandcamp and listen to "'Tite Jeanne (ft. Nidia Gongora)" below. Time for a trip down memory lane...

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Lusafro

Furthering Artistic Exchanges Between Lusophone Africa & Germany

Kicking off in Cologne on Monday (July 17, 2017) is part two of this year's LusAfro festival, curated by the likes of Daniel Haaksman, Francis Gay and José da Silva. The festival, promoting the musical and cultural [...]

Kicking off in Cologne on Monday (July 17, 2017) is part two of this year's LusAfro festival, curated by the likes of Daniel Haaksman, Francis Gay and José da Silva. The festival, promoting the musical and cultural exchange between artists from Portuguese-speaking 'lusophone' Africa (Angola, Cabo Verde, Guinea-Bissau, Mozambique, São Tomé and Príncipe) and Germany, enters stage two, as part of the Cologne-based Cosmo Radio's (formerly Funkhaus Europa) Odyssee Festival, which will feature a LusAfro stage with joint performances by the LusAfro roster of artists. 

Part one took place on the Cape Verde Islands back in April, within the framework of this year's Atlantic Music Expo (AME), including Cabo Verde artists the likes of Dino D'Santiago, Rapaz 100 Juiz, Nissah Barbosa, Fattú Djakité, Alberto Koenig, Ceuzany, Batchart and Helio Batalha as well as German artists such as Sasha Perera, Africaine 808, Seiji, Kalaf (formerly of Buraka Som Sistema) and, last but not least, Daniel Haaksman himself. Also joining in the fun were artists from Mozambique, Portugal and Angola, namely DJ Marfox, Tony Amado, Buruntuma and Dama do Bling. 

Following initial rehearsal and studio time at Cologne radio WDR's studios the Odyssee open air festival will travel the North Rhine-Westphalian (NRW) region to perform in the cities of Hagen (July 19th), Recklinghausen (July 20th), Mülheim (July 21st), Bochum (July 22nd). The Odyssee roadshow lineup will include performances by up-and-coming Cabo Verde vocal talent Fattú Djakité (Guinea Bissau / Cabo Verde), Creole rapper Helio Batalha (Cabo Verde), Berlin-based electronic soundsystem Africaine 808, Cape Verde rap duo Rapaz 100 Juiz, raucous tropical two-piece Gato Preto (Mozambique / Germany), the multi-talented Dama do Bling (Mozambique), Man Recordings' Daniel Haaksman, the great Cesaria Evora's heiress, singer Lucibela (Cabo Verde / Portugal), emerging DJ/producer Buruntuma (Guinea Bissau / Portugal) and gorgeous vocalist Ceuzany (Cabo Verde).

Check out the LusAfro SoundCloud page to sample a few of the artists involved or check out Fattú Djakité's "Bendedera di Sol" below. 

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Funaná

Daniel Haaksman Drops Release #100 On Man Recordings & Presents Two 'Cabo Verde'-Inspired Summer Anthems
 

Friday is release day, as we all know. Release from all the work week's woes and of course the release of new music all across the globe. That being said, one of our favourite musical globetrotters, the one and only [...]

Friday is release day, as we all know. Release from all the work week's woes and of course the release of new music all across the globe. That being said, one of our favourite musical globetrotters, the one and only Daniel Haaksman, drops his spanking new Funáná EP today, which also happens to be the festive 100th release of his Man Recordings imprint. In honour of his record label's anniversary and after several musical episodes in Brasil, Angola, Mozambique and pretty much everywhere in between, Daniel Haaksman decided it was time, to embark on a new musical journey: 

"The "Fun Fun Fun / Aná Aná Aná" single presents his take on the hi-speed dance sound of Cabo Verde called Funaná. Cabo Verde is the beautiful island archipelago in the Atlantic Ocean, which is located at the very geographical center of South America, the Caribbean, North America, Africa and Europe. In short, it's in the middle of the sphere called the Black Atlantic, a zone of vast musical and cultural exchange [...]." 

After spending a few weeks in Cabo Verde earlier this year "to initiate the upcoming international Lusafro music festival [to take place this July 17th-22nd in Cologne], which brings musicians from Portuguese speaking countries together with artists from Germany", the good time spent triggered his latest release, which is already gaining momentum on the international club and festival circuit. "Single 'Fun Fun Fun' mixes beats and accordion sounds of Funaná with trap and Euro bass music components" and is quite possibly "one of the biggest tropical bass summer tunes of 2017. 'Aná Aná Aná' [on the other hand] is inspired by Cabo Verde´s Kotxi Pó genre, the hardcore, electronic and instrumental version of Funaná, sometimes up to 30 min long, which currently dominates Cabo Verde´s airwaves and dancefloors."

Minds blown over here. We are sure you will love this and would like to tip our hat to Daniel Haaksman and the Man Recordings family. Time to celebrate!

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Sacred Horror In Design

Sote Readies New Folkloric Electro-Acoustic Album On Opal Tapes
 

Known for its more abstract sonic curation of electronic productions ranging from house and techno to 'other', UK-based independent imprint Opal Tapes is set to release a new album by Hamburg-born and currently [...]

Known for its more abstract sonic curation of electronic productions ranging from house and techno to 'other', UK-based independent imprint Opal Tapes is set to release a new album by Hamburg-born and currently Tehran-based electronic music composer and sound artist Ata 'Sote' Ebtekar. Sote made his extraordinary debut on the label last year, when he released his "Hardcore Sounds From Tehran" LP and will follow that up on July 28th with his latest feat on Opal Tapes entitled "Sacred Horror in Design". And we can't say we've ever heard something quite like it: 

"Developed from a commission by CTM Festival as an audio/visual project in collaboration with Tarik Barri, and inspired by their 2017 theme of ‘Fear Anger Love’ and its relationship to his childhood following the 1979 Iranian revolution, the record reveals a dramatic blend of acoustic Persian instrumentation and contemporary electronics. [...] Now living in Tehran, his music has frequently grappled with the strict cultural restrictions imposed in his country over the past few decades, finding a space and setting to nurture new developments in experimental sound and performance. [...] Sote aims to devise an idealised fusion of the musical heritage and tradition of Iran with the forward-thinking vision which has propelled his storied career producing techno, hardcore and computer music [...]." (Opal Tapes)

The first two tracks are already available on Bandcamp and we can't wait to hear the remaining four as Sote is joined by Arash Bolouri on santour (Persian hammered dulcimer) and Behrouz Pashaei in "on the long-necked, four stringed setar. Sote frames and responds to their traditional artistry. On occasions he directly manipulates the music emanating from their ancient instruments, cultivating and thickening up a surreal and beautiful tonality plucked from their strings with a series of processing techniques, but mostly each track is a peaceful arrangement and partnership, Sote electro-acoustically augmenting their movements within his own cybernetic framework." What more could we possibly say other than 'yes, more please!' For more information, head over to Bandcamp, but before, listen to "Segaah" in the player above.

 

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Lufunki

Canada's The Souljazz Orchestra Premiere First Track Off Forthcoming Album On Strut
 

We are more than honoured to call dibs on The Soul Jazz Orchestra's brand new track off the Canadian ensemble's forthcoming album "Under Burning Skies", to be released via Strut Records in all its pink glory (the [...]

We are more than honoured to call dibs on The Soul Jazz Orchestra's brand new track off the Canadian ensemble's forthcoming album "Under Burning Skies", to be released via Strut Records in all its pink glory (the record will also be released on pink vinyl) on October 6th, later this year. Having gained international acclaim with their scorching blend of Afro, Latin and tropical grooves during the past 15 years, the groundbreaking collective prepares to release what promises to be "one of their finest albums to date" /Strut Records.

"Turbulent times call for strong voices and The Souljazz Orchestra’s new set packs a suitably heavy lyrical punch, with wry observations and an urge for progressive change. Musically, the band continue to push the limits, dusting off ‘80s vintage synthesizers and early drum machines for the first time, bringing lo fi disco, boogie and electro touches to their trademark horn arrangements and earthy analogue sound. The fruits are a-plenty and the group sound at their confident and versatile best from start to finish." /Strut Records

This is definitely one to look forward to. And if the premiere of "Lufunki" is any indicator of what to expect from their newest 10-track effort, then oh are we in for a wild ride: "Lufunki" is a sultry B-Boy banger that Bronx-legend Crazy Legs would tear apart on the tarmac. It's full steam ahead as an Ethio-flavoured chorus pushes the tempo on a bouncing funk-filled beat that would make ol' Nucleus proud. And quite frankly, we have had this on repeat for the past days. "Lufunki" is a surefire floorfiller if we've ever heard one...

The Souljazz Orchestra continue to take the planet by storm, after all, as saxophonist Ray Murray puts it: “Souljazz is more than just a band for us, it’s a way of life.” 

Catch them this fall, when they embark on a full European tour, accompanying their album release. You can find a detailed list of dates over here.

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Kink Gong

Laurent Jeanneau Releases A Fascinating Collage Of Tibetan Buddhist Rites

What on earth did we just listen to?! Released in May on French independent label Akuphone, specializing on "rare global pop and folk music from the early 1950's to the late 1980's", the imprint itself simply [...]

What on earth did we just listen to?! Released in May on French independent label Akuphone, specializing on "rare global pop and folk music from the early 1950's to the late 1980's", the imprint itself simply describes this one-of-a-kind acoustic display as a "puzzling collage of Tibetan Buddhist rites". What we have here is a departure into the realm of ritual and ceremonial music by a certain Kink Gong, aka Laurent Jeanneau, "a nomadic musician and DIY ethnographer". Jeanneau combines his studies of ethnic minorities, particularly from South East Asia, with electroacoustic experiments. Recorded in Tibet and Yunnan (China) between 2006 & 2013 and recomposed in Berlin in 2016, Kink Gong's latest feat reconstructs a vast collection of field recordings, Buddhist chants, psalmody, small bells, big cymbals, horns, gongs and drums to hypnotising effect, thus paving the way to a mystical state of trance. His "Tibetan Buddhism Trip" comprises two twenty-minute tracks, innovative soundscapes drawing from the unknown to reveal the fascinating. Stream in full / order here.

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More Than Cumbia

Cut Chemist Puts Together A Free-Download Compilation Of Colombian Treasures

We love finding amazing music from around the globe, especially when you have an acclaimed record digger such as the notorious Cut Chemist take a trip down South to unearth the rich musical spirit of Colombia and [...]

We love finding amazing music from around the globe, especially when you have an acclaimed record digger such as the notorious Cut Chemist take a trip down South to unearth the rich musical spirit of Colombia and put together a selection of songs for the 'greedy' ones among us. That being said, we were more than ready to feast our ears on these vibrant tropical remixes and would love for you to do the same. But before we share that link, here's a short comment on the artists to be found on this release:

"Our trip begins with folklore Colombiano favorites Los Corraleros de Majagual over a crunchy boom-bap by Co. Fee from Los Angeles’ beat collective, My Hollow Drum. Dance Kill Move (Stockholm, Sweden) adds some serious low end to Los Jovenes de Hierro’s classic charanga, 'Ritmo Sabroso.' Ubiquity recording artist, currently residing in Colombia, Bosq and Yukicito of La Junta (Los Angeles) contribute absolute party starters, while El Dusty’s 'Mi Chola' give Los Teen Agers a taste of Corpus Christi, TX. Atropolis (Queens) pays homage with a heavy stripped down edit of Julio y su Combo’s 'Lamento Cumbiambero' and Los Chicos Altos (Barcelona) add in some rub-a-dub flavor on Los Hermanos Tuiran’s 'Lluvia.' In addition we explore national treasures and the lesser known, new styles of chirimía, porro, pachanga, salsa and cumbia as interpreted by Sumohair (Los Angeles), Gabe Real (Pomona CA) and Greece duo SUPERSAN (aka Panama Cardoon & Mister Kentro)."

Head over to Bandcamp now and grab your free digital copy of "Going Back To Cali: Cut Chemist's Colombian Crates Remixed"! More than Cumbia...

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Tel Aviv Hold'em

Limited Edition Jewish Monkeys Playing Cards Available Now
Greedy

What's new from the Jewish Monkeys, you ask? Well, as a matter of fact, this tireless bunch just upgraded its merch game. Last week, the band released a brand new, 52-piece set of customised playing cards with all [...]

What's new from the Jewish Monkeys, you ask? Well, as a matter of fact, this tireless bunch just upgraded its merch game. Last week, the band released a brand new, 52-piece set of customised playing cards with all eight band members on deck and looking as spiffy as ever. Limited to 500, the cards feature the designs/collages of Israeli artist Naomi Shalev. You may recognise her art from the band's recently released second longplayer "High Words", which you can download/stream in full over here. That being said, head over to Bandcamp now and order your personal deck of Jewish Monkeys playing cards. A perfect addition to your next poker night or visit to the beach. 

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Tchashm-e-Del

Parisian Imprint Collapsing Market's Co-Founder Unearths A Pre-Revolution Tape By Iranian Composer Morteza Hannaneh
 

Little is known about this rare recording by Morteza Hannaneh, co-founder of the Tehran Symphony Orchestra. Rediscovered on tape by his grandson, this 1960's recording for Tehran Radio, which had previously been [...]

Little is known about this rare recording by Morteza Hannaneh, co-founder of the Tehran Symphony Orchestra. Rediscovered on tape by his grandson, this 1960's recording for Tehran Radio, which had previously been considered lost, is now seeing a limited reissue on vinyl via Paris-based imprint Collapsing Market. Read an interview with the label's co-founder and Hannaneh's grandson Cyrus Goberville here.

"Without definitive records to go from, 'Tschashm-e-Del' was presumably recorded in the ‘60s (certainly pre-revolution) and quite possibly broadcast on Radio Tehran. Now restored from the original reels, it reveals a gorgeous and important suite of music set to a Ghazal - an ancient Arabic ode, or poetic expression of the pain and beauty of love, loss or separation - written by Hatef Esfehani, who was a famous Iranian poet of the 18th century. The ghazal deals with the founding principles of Sufism and monotheism through a love story between Hatef and a Christian girl, with Morteza Hannaneh’s musical arrangement matching the specific rhyming structure of its ancient classical form, itself rooted in tradition stretching back to at least the 10th century, whilst also incorporating string elements of western orchestration relating to Hannaneh’s background in composing for cinema." 

The now somewhat mystical ten track release evokes an era of profound historical importance and cultural value, while unearthing the modernist musical legacy of the late Morteza Hannaneh. Listen to a preview of "Tchashm-e-Del" in the SoundCloud player above or stop by Boomkat for a more comprehensive introduction to the LP. 

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Ennanga Vision

Jesse Hackett & Albert Ssempeke Deconstruct Traditional Ugandan Music

Earlier this month, UK-based independent record label Soundway Records, home to a multitude of styles by acclaimed acts such as Ondatrópica, Lord Echo, Ibibio Sound Machine and many more, released the latest [...]

Earlier this month, UK-based independent record label Soundway Records, home to a multitude of styles by acclaimed acts such as Ondatrópica, Lord Echo, Ibibio Sound Machine and many more, released the latest project by London producer Jesse Hackett, whom you may remember from the Kenyan-/Luo-influenced Owiny Sigoma band. Alias Ennanga Vision, Hackett's latest musical venture takes him into the heart of Uganda (or rather Buganda), where he joins forces with multi-instrumentalist/singer Albert Ssempeke as well as assorted vocal legends from North Ugandan to produce a "post-modern African soundtrack" of sorts, or as Soundway puts it:

"Deconstructed royal-court music from the forgotten kingdoms of the Buganda, reconstructed electronic wedding music, fluorescent pink African pop, crunched 8-bit drum machines and a 10-foot long monster xylophone are just a few of the many sounds of Ennanga Vision. The music blends a fully electronic sensibility with unusual, hand-crafted, African one-string fiddles, a 200-year-old harp and an enormous, group-played xylophone. It mixes traditional Ugandan folk songs and modern pop forms into a new PLASTIC ORGANIC VISION."

Indeed, Ennanga Vision's eponymous debut offering is nothing short of amazing, a diversely layered approach, combining modern-day production with traditional bits and bites that should intrigue clubgoers and audiophiles alike. Albert Ssempeke, "son of a prestigious royal court musician who played in the days of the old Buganda kingdom, [...] plays over ten traditional Ugandan instruments including Amadinda (xylophone), Ngindidi (fiddle), Edongo (harp) and the Ennanga (flute)". On their debut single "Otim's War", Hackett and Ssempeke are joined by North Ugandan singing legend Otim Alpha, an ex bare-knuckle boxer. Watch the effervescent video below and stream the full album here:

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Sembene!

A Prize-Winning Documentary On The ''Father Of African Cinema"

Just ahead of yet another week's end, we would like to recommend this brilliant 90-minute documentary film to broaden your cinematic horizon. Thanks to Daniel Haaksman for tipping us off! 

"Some say we are made of [...]

Just ahead of yet another week's end, we would like to recommend this brilliant 90-minute documentary film to broaden your cinematic horizon. Thanks to Daniel Haaksman for tipping us off! 

"Some say we are made of flesh and blood. I believe we are made of stories", goes the opening line of the official trailer to "SEMBENE!", a 2015-released, prize-winning documentary about the masterful Senegalese director, producer and writer Ousmane Sembene: "SEMBENE! tells the unbelievable true story of the self-taught 'father of African cinema,' who fought enormous odds to return African stories to Africa." 

The film can be rented/streamed here for 3.65  €, which is a fair deal, for such an inspiring biography: “The moral judgment of his biographers is rigorous … a major step in drawing attention back to a titan of world cinema, whose influence was never contained by the frame, or the screen.” –Indiewire

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Modern Choro

Brazilian Mandolin Phenom Danilo Brito Plays NPR's Tiny Desk At Lightning Speed

Hailing from São Paulo, 32-year-old Brazilian mandolin soloist and composer Danilo Brito is best known for his dextrous and virtuosic choro renditions, a popular Brazilian instrumental music genre said to have [...]

Hailing from São Paulo, 32-year-old Brazilian mandolin soloist and composer Danilo Brito is best known for his dextrous and virtuosic choro renditions, a popular Brazilian instrumental music genre said to have originated in 19th century Rio de Janeiro's streets and back yards. Choro (meaning 'cry' or 'lament' in Portuguese), despite its name, is usually marked by a fast-paced rhythm, a style that was an invaluable source of inspiration to many Brazilian greats, including the likes of Antonio Carlos Jobim or Heitor Villa Lobos. 

After capping off their recent North American tour, Danilo Brito and his fellow musicians (Carlos Moura on 7-string guitar, Guilherme Girardi on guitar, Lucas Arantes on cavaquinho and Brian Rice on pandeiro), delivered a scintillating live performance for NPR Music's Tiny Desk Concert Series at lightning speed. 

Tune in below to watch the entire five-track set, consisting of the following pieces: "Sussuarana", "Lamentos", "Tica", "Melodia Sentimental", "Pega Ratão".

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