Label: Not On Label - none Format: CD Album, Limited Edition Cardboard Sleeve Country: US Genre: Folk, World, Country
Malian luminaries like Samba Toure, Zoumana Tereta, Aminata Wassidje Traore and Virginie Dembele from the Rokia Traore band, brought exhilarating vocal and instrumental contributions to the collective.
Louder Than War wrote: While the Ben Zabo band is still the core collaborator, the textures and tempos are slower and more opaque. Organics and electronics intertwine and unfold unpredictably. There are less guitars and more liquid sounds.
The outward frustration and fear documented on the previous album has given way to something more insular and pensive. The echoing space between the notes is emphasized and subsequently so are the voices and the texts. Over a swirling dub-scape he intones:.
The 21 st century claims to be borderless. A world of hyper-communication and instant nostalgia that is both celebrated and feared. The collective joy they found in making this music is what mattered most.
Dirtmusic arrived in the Malian capital of Bamako with notebooks of lyrics, but without written songs or preconceived strategies. There are many voices telling stories on Troubles , singing in Songhai, Bambara, Tamasheq and English, stories of war and peace and love and doubt in the shadow of an oncoming storm, and like a musical version of cinema verite , everything is real, in-the-moment and utterly direct.
And Troubles is only the first release from the sessions, with a second volume in the pipeline for a release on Glitterbeat in early Black Gravity 2.
All Tomorrows Parties 3. Ready For The Sign 4. Desert Wind 5. Lives We Did Not Live 6. Unknowable 7. Smokin Bowl 8. Collisions 9. Niger Sundown Bring It Home. Documentary 2. Black Gravity 3. If We Run Audio 6. Bogolon Blue Audio 8. All three members of Dirtmusic have a long lasting history as musicians and songwriters in various bands: Eckman and Race were label mates and in they got together with Brokaw to form Dirtmusic. Eckman had been a fan of African music for years, so when in he found himself silky dunes of Essakane at the Festival of the Desert , it was like a baptism, a revelation, an epiphany.
The two bands found themselves jamming together almost non-stop and discovered that their ideas and music fit perfectly. It was clear that this jam somehow had to continue after the festival.
Connecting in lateral ways, swapping jokes and mixing up English and French and Tamashek the language of the Touaregs , the mutual language of both bands is really music, and the reunion became a jam session, a discussion in word and rhythm — traditional songs, Dirtmusic songs, Tamikrest songs, passing hybrids of the two. Luckily, they recreated this jam in the studio to include on the album.
The blend of sounds and influences on this track is stunning but also feels completely natural. The natural process continued throughout the recording. Other Malian stars paid visits to the studio: And the collaboration continues: Erica Moody 3: The Other Side 5: Sun City Casino 5: Face Of Evil 3: The Returning 5: Still Running 5: Summer Days 3: Ballad Of A Dream 7: No Sorrow More 4: Panther Hunting 2: Wasted On 4: Morning Dew.
Side one: Side two: This is Tuareg music in its most pure and unadulterated form. He sings and plays several of his own compositions and also pays tribute to other Tuareg artists Abdallah Oumbadougou, Hasso, Kedou. Recorded mostly around the campfire, his assembled friends join in on handclaps and undulations. I did that for some years, working wherever I could.
It was completed in two days. A download code is also included. The album is being released in conjunction with the French label Reaktion and has been directly licensed from Bombino. Aziza is both a contemporary sonic poet and a prominent and eloquent spokesperson for the Saharawi people and their ongoing struggle for recognition and justice.
With Soutak Aziza Brahim has delivered an empowered flight to freedom; an alternative world where hope is imminent and dancing is justified. Afrique Alfouleila Tamasheq Tamala Un Jour Senkou Yerma Do Fafa. Tamala is her debut album, recorded in Bamako and released in From an ethnic Songhai family, Aminata started singing as a young child. Her music, like the environment that surrounded her growing up, incorporates various cultures and traditions.
On Tamala , an album she self-produced with the help of the artist Mamadou Kelly and arranger Baba Simaga, she sings in Songhai and Tamasheq.
While northern Mali still suffers the repercussions of religious and ethnic warfare, Tamala sends a message of reconciliation and inclusion. Moving to the Southern capital of Bamako not only enabled her to develop as a musician, backing up well known artists like Baba Salah, Khaira Arby and Afel Bocoum, it also enhanced her vision of a diverse and connected Mali. Tamala is considered a neo-traditional album in the context of the Malian music scene: Hints of Hip Hop and electronic dance music sit side by side with the pentatonic sounds of the interior Niger delta.
Glitterbeat Records is releasing Tamala in a limited vinyl version of 1, It will be pressed on g vinyl with a gatefold sleeve.
The album is coming out in cooperation with Studio Mali, a Bamako based label. This is a song calling for unity among Africans, to work together not against each other, for Peace and progress. Always be straightforward with people. If you are honest and upfront, you will have everything you need. There are many different ethnic groups in Dire. There are great things in Dire, great teachers, healers and wonderful families. Young people need to realize this and stay there. The North needs so many things.
The people who are causing problems are from the North. Why are they causing problems wrecking their country. There are no roads. The north is underdeveloped. The north needs everything, everything that was started has been stopped.
The history of the Maiga and Toure families, and how they solved their conflicts to live in peace. Un Jour: The young man has lots of questions and worries, and the young women assures him that one day it will all work out and they will be together. Making fun of someone who has less is wrong, remember, it is God who gives and it is God who takes it away. Yerma Do Fafa: This is a song about having a strong family and the relationships between brothers and sisters.
Family members should always be there for each other. Named after their bandleader , Ben Zabo, they are about to release their self-titled debut album, full of funky and gritty tunes, wonderful musicianship, and songs of peace and hope that could not be more timely or necessary. The album is also a testament to the lesser-known culture of the Bwa people; it is the first international release of a Malian of Bo descendant with all songs in the Bo language and rhythms.
Born into nobility in in the Segou region of Mali, Ben real name Arouna Moussa Coulibaly chose music as a career because of his passion but against the wishes of his parents who wanted him to pursue a career as a pharmacist. In , whilst trying to establish himself as a guitarist, singer and songwriter, Ben also started working as an assistant sound engineer at the famous Studio Bogolan in Bamako.
The kora majesty of Toumani Diabate, the Songhi blues of the late Ali Farka Toure, the singer-songwriter tropes of Rokia Traore and the dusted, acoustic meditations of Tinariwen on their most recent album are a demonstration of this point. Even the later albums of the once exuberant Salif Keita have grown more melancholy and ethereal. The music of Ben Zabo is a clear break from this quietude.
His music is a string of firecrackers igniting on the dance floor of a midnight party. It is a music that has been perfected in the loud, sweaty, open-air clubs that line the outskirts of Bamako, places where the competition to get heard is fierce, and the chances of moving upward and outward are next to none.
Its direct physicality, its polyrhythmic complexity and its raw but focused energy set it apart. Electric guitars and James Brown motifs stood side by side with age-old storytelling. It was a music made out of a complex dialogue: Just to satisfy my own curiosity, I once asked Ben Zabo if he had ever listened to Afro-beat and its Malian offshoots.
His face lit up and his answer was quick and to the point. He went on to acknowledge the deep debt he felt towards the musicians of all stripes that have come before him. This album is the first album ever to be released by a Malian of Bo descent.
They are funky, charismatic and committed. They are not going to give up easily. Bwa power has arrived! Ben Zabo and his band have a mission which they intend to accomplish through their music.
It is to promote their Bo culture at a national, African and international level with music, dance and Bwa traditional apparel. While perpetuating the traditions of his native Bwatun, Ben Zabo developed a mixed style of rhythms and melodies of Bwa in which one can detect sounds and influences from other modern and western musical styles: Afrobeat, funk, reggae, blues, rock and even jazz.
The Bwa are an ethnic minority group living in a small territory called Bwatun Bwa country , which straddles the border between Mali and Burkina Faso. The Bwa of Mali occupy the area southeast of the Segou region, specially encircling San Tominian and serves approximately , people.
The rhythm of the music of Ben Zabo encourages dancing. It is both an expression and assertion of cultural identity. It is also the voice and form of a social conscience and ethical pride. In his compositions, Ben Zabo develops themes relating to social values such as brotherly love, peace, justice, tolerance, solidarity, work and good governance. All of those are for him sustainable human development factors, which remain the only guarantee of integrity and social cohesion.
At the same time he strongly denounces greed, hypocrisy, discrimination and demagoguery, the principal evils which undermine the stability of our society and deprive some citizens of freedom, dignity and well-being. On the political front, Ben Zabo encourages all African countries, especially Mali, to become more involved in a true democracy and freedom of people. That every individual and every people have an inalienable right to speak and the sovereign decision of their own destiny.
For women, they are not forgotten in the songs of Ben Zabo: He also writes about their beauty, bravery, love, charm and tenderness. A mysterious two-song release, licensed directly from a group of Bamako musicians who, with the exception of the Souku master Zoumana Tereta, choose to remain anonymous. In the last years, the political turmoil in Mali has caused many of the cities clubs to shutdown and dried up other sources of musician income like weddings and festivals.
With less work and more downtime, small recording projects like this one have been given more of a chance to happen. The situation continues to be desperate, but the music remains a powerful force: These two Black Mango tracks are ethereal, hard to classify artifacts, seemingly influenced in equal parts by Ali Farka Toure and Lou Reed.
The backstory of how and why these two tracks came into being remains untold, and we are left to purely enjoy them as moments captured. We can only hope that this is not the last musical transmission we will hear from Black Mango. With partner Moritz von Oswald, Ernestus spearheaded two legendary projects: In addition to his remixes for Konono no. Ben Zabo on the other hand, is a relatively new name. Belonging to the Bwa ethnic group, a culture whose musical traditions are more poly-rhythmic and energetic than most Malian music, Zabo released his first album in May of The album ended-up on several African music year-end top-ten lists and was widely reviewed and widely hailed:.
They are not dogmatic; they are a real-time conversation between two music-makers adept at stretching and morphing boundaries. They are tracks that completely live up to their name: Mark Ernestus Meets Ben Zabo.
Tisnant an Chatma Imanin bas zihoun Itous Achaka Achail Aynaian daghchilan Djanegh etoumast Assikal Toumast anlet Takma Adounia tabarat The album is filled with sober reflection, moral indignation, musical experimentation, cultural celebration and the kick of rock and roll. Echoes of dub, blues, psychedelia, funk and even art-rock are seamlessly weaved by Tamikrest into their increasingly individual take on the Tuareg musical tradition.
A new guitarist, Paul Salvagnac has also joined the band, bringing with him fresh textures and possibilities. Tizarate 2. Fassous Tarahnet 3. Nak Amadjar Nidounia 4. Aratan N Tinariwen 5. Ayitma Madjam 6. Aidjan Adaky 7. Addektegh 8. Tarhamanine Assinegh 9. Nak Akaline Tinza Tinzaouatene Tidit Dihad Tedoun Itran. Music always is a borderline experience. Especially when not only stylistically boundaries are shifting, but the centres of musical creativity are moving. So it is a breath of fresh air that a country like Mali is offering new musical possibilities.
Mali is a huge West African country that combines various languages and cultures, different races and traditions. But there are not only the big stars that have proved themselves in Europe and the United States — more and more new bands are making themselves known.
Tamikrest are from Kidal, a remote desert town in the northwest of the Sahara, some 2, kilometres north of the capital Bamako. The band members are all Tuaregs, a group of people that is spread all over North and some of West Africa, i. In ancient times the Tuareg were the proud rulers of the Sahara, but their territory was divided in different countries and they had to fight long and hard for independence. Between and this fight evolved into a bloody civil war. After the war many of the rebel fighters traded the Kalashnikovs and hand grenades for guitars and microphones.
The band Tinariwen is the most prominent example for the unusual establishment of peace through the spirit of music. But their mission is carried further in their songs. Just like Tinariwen Tamikrest have found a way to translate the pulse of the Blues — whose roots lie in North Africa — back to the Tuareg language Tamaschek.
They take generators deep into the desert to have electricity for their guitars in search for the perfect synthesis of their traditional ritual drumming with the music of Jimi Hendrix and Bob Marley. There was no other music. I started to learn the guitar around that time and it was only in that I had access to cassettes of Bob Marley and Dire Straits.
That changed my musical vision completely and I stopped to classify music. Music is just music, no matter where it comes from. Music is just too big for me to comprehend in its entirety. My goal is to broaden my horizon step by step. Tamikrest are on a trip into the infinite world of music. When the band was founded in they had a hard time getting exposure in their homeland as it proved to be difficult for music with ancient traditions in a country that is flooded with Western-influenced hip-hop and pop.
Ousmane talks about the fateful meeting: This has extended my musical knowledge tremendously and from that point on I played my guitar in a different way. Through Dirtmusic we had the chance to work in a professional studio for the first time.
There was no way had we would let that opportunity pass, so we travelled the long way from Kidal to Bamako. The enchanted ancient mystique of the songs captures the ear immediately, but as the music carries on the band bridges the gap between the African Blues and hypnotic dub, psychedelic funk and an almost supernatural kind of desert garage.
The guitars are more offensive, the groove deepens and the Tamaschek chants are merging with the meandering guitar riffs like a caravan voyage through ancient times. Tamikrest are ready to embrace the future while proudly maintaining the rich tradition of their folk. Outamachek 3: Aicha 3: Amidini 4: Tamiditin 3: Aratane 5: Tidite Tille 3: Tahoult 4: Alhoriya 3: Ahar 3: Adounia Mahegagh 3: Toumastin 4: Or to put it another way: To an outsider, the village would appear to be nothing more than a motley collection of one storey adobe and breeze-block houses, huddling together for protection against the burning sun, the black rocky hills and the lonely immensity of the surrounding desert.
Dig a few metres and you can usually find water in abundance. In drought shook desert life to its core. The rains had failed for several seasons and the village was haunted by famine. My parents knew so much hardship. Then when I was five years old the rebellion broke out. It was , the year of war. I was a child, and I used to hide in amongst the rocks with the other women and children, just a few kilometres north of the village over the Algerian border.
Thousands of young men fled into exile in Algeria, Libya, Burkina Faso and beyond. It was this generation of Touareg men, known as the ishumar , who returned to Mali and Niger in to rebel against the callousness, corruption and arrogance of the governments in the distant capitals of Bamako and Niamey. At first Ousmane just listened to traditional Touareg music at home, and the newer guitar music on battered old cassettes.
I was about five. After the death of my mother, my father was obliged to take me to live with my grown-up sister. It went straight into my brain … ha ha ha. A few years later Ousmane began to play the guitar himself, and write songs. At the end of every school year the children would create and perform musical plays about pressing themes like ignorance, drought, education and culture.
Hama bought the school an acoustic guitar, and Ousmane adopted the instrument. With his constant friend Cheikh Ag Tiglia, he would write songs and perform them at the school shows. In , events once again undermined the tenuous calm and stability in Tinza.
For this reason it became a military no-go zone. With its wide sandy streets and dispersed one storey earthen houses, Kidal has the feel of a frontier town. Ousmane and Cheikh played the guitar and sang in hidden corners of Kidal, around a fire, drinking bittersweet Touareg tea with their friends. Their reputations grew very slowly, steadily, without wild leaps or fanfares.
Then this French theatre troupe called La Calma arrived in town and enrolled over fifty young people to perform a massive theatre piece featuring sketches about a host of local issues. On their return, Pino proposed that they form a proper band and record a demo at a small studio, which had been set up at the Maison du Luxembourg. Aghaly and Mossa Maiga from Kidal.
Pino from Gao. But we found each other and we had the same ideas, the same intentions. We were like a coalition. Those who wanted to join the rebels had already done so.
We were musicians, not people who carry arms. Tamikrest performed at the peace Forum in March , when the Touareg rebels met with the Malian government and thousands of community representatives in Kidal to map out a way forward. They knew the Tamashek guitar style intimately, but they were also deeply into rap, metal, Maghrebi pop and afro-disco music from Ivory Coast.
They had new tastes, new desires, new ambitions and Tamikrest was their band. Pino was quite a mover and shaker. In late he contacted Manny Ansar, the director of the now world-famous Festival in the Desert and clinched a gig for Tamikrest. The band found the money to transport themselves the miles eastward to Timbuktu. Documentary 2. Black Gravity 3. If We Run Audio 6. Bogolon Blue Audio 8.
A limited edition special release from the BKO European tour. Recorded on analog cassette in the Sahara during the Festival au Desert of , The Tent Sessions documents the first raw and epochal musical encounter of Dirtmusic and Tamikrest in a sonic sandstorm of tape hiss and flutter. Digging back to their roots in search of the raw urban folkblues, Eckman, Race and Brokaw converge paths in the European spring for full immersion in the journey of a brand new collaborative project: Six strings, some keys, "found" percussion, steel bottleneck, roots feels, acoustic storytelling illuminated by an electronic vein.
Dreams and memories carved from hard bedrock reality: In this exclusive Eckman, Race and Brokaw perform new material written for the occasion and evolved on the road - for the release of their a debut album that appears to be folkcountryblues tempered by twenty-first century experience.
Chris Eckman leads the acclaimed American band, The Walkabouts. Hugo Race is leader of Fatalists, True Spirit. Tracklist Erica Moody 3: The Other Side 5: Sun City Casino 5: Face Of Evil 3: The Returning 5: Still Running 5: Summer Days 3: Ballad Of A Dream 7: No Sorrow More 4: Panther Hunting 2: Wasted On 4: Morning Dew.
An almost unexpected comeback, and therefore very appreciated. Hugo Race, a legendary Australian performer, songwriter and producer, has been releasing records since in international collaborations with True Spirit, Fatalists, Dirtmusic, Lilium and many more..
Marta Collica is an eclectic Italian songwriter , singer and instrumentalist, and since a key member of the John Parish band.. Inspired by the mystique of old European films Godard, Betrolucci, Anotonini the pair use found materials such as retro samples and major sevenths to create cinematic atmospheres, vintage pop and electronic exotica.
Echoes On fuses musical genres and global timezones, bittersweet emotions, and hallucinatory moodwswings. Four years in the making, the album was made with in close collaboration with musicians from both Italy and Austrailia. Echoes On is the last album of the Sepiatone trilogy, and the mark of a collaboration finally coming into its own. Like a beguiling encounter between Mazzy Star and Portishead, Echoes on takes the listener into a world where nostalgia is juxtaposed with modernity.
Classic songwriting meets inventive production and the end result is something that resonates deep within the listener.
A languid, retrovisionary European trip into cinematic atmospheres, vintage pop and electronic exotica The debut album from Sepiatone, recorded in Sicily with members of Dounia, mixed with Davide Lenci in Senigallia and released on the Milanese acid jazz label Milano in I wanted to zoom in on lyrics, strip away arrangement and production and deliver these sentiments with just a guitar and some minimal overdubs.
Italian songwriter and singer Cesare Basile produced the sessions with me, and we recorded all the tracks in a single 48 hour session at the Zen Arcade in Catania, Sicily, a chaotic, passionate city overlooked by the active volcano Mount Etna. I picked up and tried out different songs, discarded some and kept others, immersed in this private world of other songwriters where the profound and the banal are separated by a hair.
Love is all there is? No, but its true This is the culmination of a long and strange journey for Race, who started musical life in the Melbourne post-punk scene. This entirely instrumental album is at once pan-global in its influence, using African instruments like the ngoni, while also reflecting the duality of both sides of the brain — hence the punning title.
The ambience reminds of Eno and Harold Budd but elements of distortion suggest a man not afraid to get his shoes dirty. Good stuff. Brokaw recorded his contribution to the series, Wandering As Water , in a single day, playing all instruments on the record. Later, in , Brokaw would perform again under the same moniker with Elisha Wiesner and Sal Esposito, both formerly of Kahoots, on bass and drums respectively. Brokaw has provided music for productions of two dance companies: The Art of Storm Thorgerson and Hipgnosis , for which he is also credited as co-producer.
From Wikipedia, the free encyclopedia. Chris Brokaw. Chris Brokaw performing with The Lemonheads in Boston Retrieved Atavistic ". Portland Phoenix. Archived from the original on 20 December Retrieved 4 December Neil Kulkarni Interviews Come". Sub Total: Bu Bir Ruya. Recorded in Istanbul, the album navigates hypnotic rhythms, cinematic atmospheres and dark political realities. Before him stand those current and former musical nomads, Chris Eckman and Hugo Race , guitars in hand.
Dirtmusic are about to take on their latest, and perhaps most thrilling form. In the meantime, however, the Islamist takeover of Northern Mali in had darkened the sound and the songwriting, giving them a tone that continues to resonate through the new record.
It shares this with "The Border Crossing", the prime slice of Pop Group -inflected postpunk-funk that follows it. LP version. Includes download code. All three members of Dirtmusic have a long-lasting history as musicians and songwriters in various bands:
Double Talkin Baby - Gene Vincent - The Road Is Rocky (CD), Die Alten, Bösen Lieder - Robert Schumann - Dietrich Fischer-Dieskau Jörg Demus - Dichterliebe Liede, I Can Take Anything - Hank Williams, Jr.* - Country Shadows (Vinyl, LP, Album), Urban Minds (Original Mix) - Pacjam - Urban Minds / Skattered (Vinyl)