Hip-Hop News

"For you will find, as women have found through the ages, that changing the world requires a lot of free time. Requires a lot of mobility. Requires money, and, as Virginia Woolf put it so well, 'a room of one's own,' preferably one with a key and a lock. Which means that women must be prepared to think for themselves, which means, undoubtedly, trouble with boyfriends, lovers, and husbands, which means all kinds of heartache and misery, and times when you will wonder if independence, freedom of thought, or your own work is worth it all. We must believe that it is. For the world is not good enough; we must make it better."

(cite. Alice Walker: In Search Of Our Mother's Garden, 1983)

In 2018 we introduced our first Mothers' Garden compilation on International Womens' Day. This compilation looked to shine a light on the often under-acknowledged musical contribution from female African artists. In 2019 we are back with Volume 2 presenting yet again some of Africa's most recognised female artists alongside some lesser known artists. Whilst the roster might have changed slightly, the quality of music is as funky as before and the message stays the same.

First up is the wonderful Theodora Ifudu. Another Nigerian star who made it both in music and TV, Theodora produced two studio albums with all the glitz and glamour you would expect from a New York film school graduate. "This Time Around" is the title track from her 1983 album and provides a dose of irresistible disco vocals over the top an effortless groove. Next up is fellow Nigerian Oby Onyioha with her offering "Enjoy Your Life". This laidback disco number sees Oby repeat her infectious mantra, "Enjoy Your Life" with a backing provided by well-arranged strings and horns. Nana Love comes steaming in next with her fast-paced number "Talking About Music". Love is an accomplished singer, songwriter and bandleader and was produced by her husband Reindorf Oppong. The lesser known Joy Nwosu follows with an afrobeat number from the Afrodisia records vault. Finishing the A-side is none other than Mother Africa, Miriam Makeba. Whilst on the first Mothers' Garden we showcased her song "Xica Da Silva", this time round we present one her most well known numbers "Malaika".

The late 1980s in the rainbow nation was a time when disco was mutating into what was becoming known as Bubblegum: pop music aimed at the black population of South Africa.

Bubblegum was a response to Western styles like disco and the fast spreading house music which originally came from the black ghettos of Chicago and New York. When the second Summer of Love took over the UK in 1988, first house, and other electronic music styles conquered South Africa as well. DIY - do it yourself - a motto that had already appeared in the punk movement, lifted the young local scene to the next level. With a minimal set up - keyboards, some drum machines and samplers it was suddenly possible to make music without having to rent expensive studios.

1 of 3 12" in a compilation of tracks from The ON label which was active in South Africa between 1987-1992, an era following the end of the apartheid regime and defining the new sound of Young Black South Africa in the early 90s

Tough, mid-tempo Ghanaian funk & Highlife grooves from Ebo Taylor Junior, son of the mighty Ebo Taylor..
Originally released in 1978... These tracks are super tough and raw! GREAT recordings.., so groovy.

ODD OKODDO is a Kenyan/German duo formed by Olith Ratego and Sven Kacirek. This vinyl single marks their first outing, announcing the album "Auma" which will be ripe and ready in autumn 2019. Olith Ratego performs his immaculate vocals in the musical style called "dodo", which originates from the shores of Lake Victoria in Kenya, high in pitch and soulfully expressive. He himself refers to his music as "dodo blues". As a skilled luthier, Olith Ratego designs and builds his string instruments himself, first of all the five-stringed Okoddo which lends its name to the project. Sven Kacirek is a multi-instrumentalist commuting between Germany and Kenya for many years now. He plays the marimba, percussions and piano, next to producing this project. He has closely collaborated with various international musicians, among them Nils Frahm, Shabaka Hutchings, F.S. Blumm and Marc Ribot. "Okitwoye" is one song of the first ODD OKODDO album "Auma“, it comes in a multi-layered, ambiguous rhythm between three and four. The remix on the B side amplifies the essence of the song. Peter Power is a part of the Voodoohop collective from Brazil and his releases on Multi Culti or Polychrome Sounds fuel the rather slow, organically hypnotic dancefloors. He premiered this remix at the Heliodora festival in Brazil, at sunrise next to a giant waterfall, and it was just perfect.

The title says it all about the latest release on Budabeats Records:
The Southern Hemisphere EP features 4 tracks inspired by the immensely rich and diverse musical tradition that South America and Africa offers.

Beginning with a slick edit of Letta Mbulu's now classic tune 'Nomalizo', London based producer Petko Turned respectfully reconstructed the track, focusing on the elements that work best on the dancefloor.
In 'Pontos das Caboclas', BeTe (a.k.a. Suhov) created a laid back yet driving atmosphere, using the main patterns and the beautiful vocals of the original song as written by Camila Costa.
In his remix, Chillum Trio added his trademark sound to the Ebo Taylor classic 'Odofo Nyi Akyiri Biara', the result is a slow burning, bass heavy house number taking the original to a completely new level.

Closing the EP is the Birdhouse collective's original composition, 'Berimbao', a catchy contemporary cumbia tune that any combo in Bogota could be proud of.

All titles have been licensed carefully, it makes us beyond proud to be able to say that the Southern Hemisphere EP has the full support of the original artists.

Africa Seven is taking its first trip to Germany... Well Germany via Cameroon. Charlie Kingue Soppo is better known as Charly Kingson, cousin of Manu Dibango and a Cameroonian emigrant in the 1970s. Charly first headed to Paris and then found his way to Munich in 1978. He recorded two albums in his career, "Born In Africa" in Munich in 1978 and "Dance To The Music" two years later in New York.

For this outing we focus on his debut "Born In Africa". It was recorded in Union Studios in Munich with some of the city's finest (and surprisingly funky) session musicians of the day.

The LP opens up with "Nimele Bolo" a trademark Africa Seven sound if ever there was one… early growling analog synths, big stabby brass and afro rhythms. Add in Charlys vocals and it is easy to see why this track was a highlight of our recent African Airways 04 Funk compilation. Next it is time for smooth ballad, "Makakane Masu" and its smooth jazz overtones. Next "Manyaka" the suspenseful string section, octaving keys and percussive horns drive the wah wah guitar and Charlys brooding song.

On the flip side we open up with the rolling bass and swinging brass of lead track "Born In Africa". This track was a single and it's the perfect microcosm of the album elements in one track. It even manages to name check all the big afro musicians of the time. "Nanga Boko" and its big smiles all around for the good time synth-boogie funk. We close off the LP with "Reviens-Moi" a pensive ballad about Charly's forlorn love. He wants her back of course.

After Charly moved on from recording in the 1980s he stayed in Germany, performing in a series of local jazz and funk bands. We tracked him down in 2016 and we really pleased to be re-releasing his debut long player at Africa Seven. It sounds just as relevant (if not more so) in 2018 as it did 40 years ago in 1978.

Music With Soul strikes again with a Double Sider Dancefloor Stormer!! You are not even 30 seconds in and you are already asking yourself what the hell you are hearing. That is precisely the effect the label wants to induce with their releases. Welcome to the Music With Soul congregation.

Blume, das atemberaubende Debüt-Album von Nerija erscheint am 02.08.2019 auf Domino.

Blume, das Debüt-Album von Nerija ist eine wahrhaft atemberaubende Sammlung von Kompositionen, die alles perfekt verkörpert, was Nérija ausmacht; lebendig, einnehmend, ansteckend und vor allem am Puls der Zeit.
Der Sound von Nérija findet seine Inspiration in unzähligen Genres - Hip-Hop, Afrobeat und Township-Musik, europäische Klassik und Soul - ein trotzig facettenreicher und einzigartiger Sound, der ebenso von Georgia Anne Muldrow hergeleitet werden kann wie von Arthur Russell, Duke Ellington und Eric Lau.

LTD Edition!

Blume, das atemberaubende Debüt-Album von Nerija erscheint am 02.08.2019 auf Domino.

Blume, das Debüt-Album von Nerija ist eine wahrhaft atemberaubende Sammlung von Kompositionen, die alles perfekt verkörpert, was Nérija ausmacht; lebendig, einnehmend, ansteckend und vor allem am Puls der Zeit.
Der Sound von Nérija findet seine Inspiration in unzähligen Genres - Hip-Hop, Afrobeat und Township-Musik, europäische Klassik und Soul - ein trotzig facettenreicher und einzigartiger Sound, der ebenso von Georgia Anne Muldrow hergeleitet werden kann wie von Arthur Russell, Duke Ellington und Eric Lau.

Nerija veröffentlichen ihre Debüt EP auf Vinyl! Das Londoner Kollektiv vermischt Einflüsse aus Jazz, Hip Hop, Afrobeat & South African Township und gewann bereits den renommierten Jazz Newcomer Parliamentary Jazz Award 2017. Check it out!

Presenting a fully legit, remastered and repackaged reissue of this legendary afro-house classic for 2018.

London's Warriors Dance label was a unique operation and a pioneering London label during the late 80's acid house phenomena. Home to an assortment of DJs, MCs and soundmen, they went on to make their own original and indelible mark on the rave scene from the infamous 'Addis Ababa' studio on Harrow Road on the North-West side of the city. A former reggae and soul studio that was instrumental to the output of influential artists like Soul II Soul and more, a steady diet of reggae, bass, hip-hop, house and techno kept their edgy, and diehard UK sound and style right at the cutting edge of the dance music underground across the globe with the top DJs and producers of the day celebrating the label. The studio, helmed by label owner Tony 'Addis', acted as an incubator for artists whose names would go down in the history books.

Tony's own No Smoke, a project with associate Fred McPablo, was one such name, and their 1989 uber classic 'Koro Koro' is a record that should need no introduction. A record that gained fame in its native London through being absolutely caned by the cream of the crop of the nascent acid house scene at the time. 'Koro Koro' was one of those records that had DJ's and dancers clamouring to get a copy, so much so that it was subsequently picked up and licensed by labels in the USA where the record had fallen into the hands of DJ's such as Tony Humphries, Masters At Work and many more, fast becoming an all-time classic in the states too. Essentially 'Koro Koro' birthed a new style of House and Techno music, fusing together tribal, African and percussive elements with analogue synths, hardcore street-style drum programming and a warehouse attitude. All very Warriors Dance indeed! This is basically one of those classic records, completely essential. All killer, no filler!

The EP is presented again, in its full 1989 form with all 4 cuts intact. No edits, no remixes, just the pure unadulterated WD vibe, featuring original label artwork tweaked by Atelier Superplus and lovingly remastered by Optimum Mastering, Bristol, UK. Special thanks to Nicky Trax & Tony Addis. Proudly distributed by Above Board distribution. 2018.

Presenting a fully legit, remastered and repackaged reissue of this legendary afro-house classic for 2018.

London's Warriors Dance label was a unique operation and a pioneering London label during the late 80's acid house phenomena. Home to an assortment of DJs, MCs and soundmen, they went on to make their own original and indelible mark on the rave scene from the infamous 'Addis Ababa' studio on Harrow Road on the North-West side of the city. A former reggae and soul studio that was instrumental to the output of influential artists like Soul II Soul and more, a steady diet of reggae, bass, hip-hop, house and techno kept their edgy, and diehard UK sound and style right at the cutting edge of the dance music underground across the globe with the top DJs and producers of the day celebrating the label. The studio, helmed by label owner Tony 'Addis', acted as an incubator for artists whose names would go down in the history books.

Tony's own No Smoke, a project with associate Fred McPablo, was one such name, and their 1989 uber classic 'Koro Koro' is a record that should need no introduction. A record that gained fame in its native London through being absolutely caned by the cream of the crop of the nascent acid house scene at the time. 'Koro Koro' was one of those records that had DJ's and dancers clamouring to get a copy, so much so that it was subsequently picked up and licensed by labels in the USA where the record had fallen into the hands of DJ's such as Tony Humphries, Masters At Work and many more, fast becoming an all-time classic in the states too. Essentially 'Koro Koro' birthed a new style of House and Techno music, fusing together tribal, African and percussive elements with analogue synths, hardcore street-style drum programming and a warehouse attitude. All very Warriors Dance indeed! This is basically one of those classic records, completely essential. All killer, no filler!

The EP is presented again, in its full 1989 form with all 4 cuts intact. No edits, no remixes, just the pure unadulterated WD vibe, featuring original label artwork tweaked by Atelier Superplus and lovingly remastered by Optimum Mastering, Bristol, UK. Special thanks to Nicky Trax & Tony Addis. Proudly distributed by Above Board distribution. 2018.

In the early eighties, Edmond Mondésir, professor of philosophy and Léon Bertide, trade unionist, founded the Bèlènou group. They were actors of the great agricultural strike of 1974, which resulted in the death of two workers (Ilmany and Marie-Louise) and left many wounded. Activists of the patriotic movement Asé Pléré An Nou Lité (Stop crying, Fight), they were part of the identity and the cultural affirmation la revendication identitaire et culturelle of the time. Like the Guadeloupean musician Gérard Lockel and his work on the Gwo Ka, they put the Bèlè, in its traditional form, back in the spotlight during Swaré Bèlè (Bèlè nights).Minimalist and spiritual, a true rural ancestral art from Martinique, the Bèlè combines dance and music from responsorial monodies, which is a choir that responds to the lead singer (Respondè / La vwa dèyè), on codified drum rhythms and ti-bwa (2 sticks that hit the back of the drum or a piece of bamboo). It comes in a series of collective choreographies, working up into the trance. The texts are simple, short and tell the story of everyday life and struggle. While preserving the emotion and the drum’s central place, the fundamental contribution of Bèlènou is to keep the traditional form of Bèlè while adding a modern instrumentation: bass, guitar, saxophone, drums...
Emosyon Tambou-a (Emotion of the Drum) was released in 1990. This third opus of the band expands the musical spectrum in harmonies, arrangements and influences to create a contemporary music anchored in the Bèlè matrix, while keeping the beat, the energy and ancestral roots of music. Bèlènou adapts some classic rhythms: Bélya, Gran Bèlè, Bèlè Pitjé or Ting-Bang rewritten here for an orchestra.With the appearance of long couplets and a complex harmonization of the choruses, Bèlènou's music brings a form of modernity, it opens notably to jazz territory as well as to other forms of music and grooves. Also, Bèlènou leaves the musicians with space for improvisation: not only on the saxophone or the guitar, but also with the drums (cleverly adaptating traditional rhythms to the drums).

The texts sung in Creole are of a social nature, appealing to the solidarity and self-denial of the people (Bélya pou péyi-a, Tout pèp-la sanblé), to the struggle for political emancipation towards a new democracy (Wi ny ké rivé, Ni dé jou, Démokrasi); land protection (Sové tè-a); finally, to the vitality of the Bèlè culture ... (Emosyon Tambou-a, Dansé Ting-Bang)...Culture participates, according to the expression of Aimé Césaire, as "Miraculous Weapons". Bèlènou sings a project of a new and united society. A precursor group, experimental in the its early years, Bèlènou reconciles with talent tradition, modernity and cultural identity.

Lovely crafted tip-on sleeve. Remastered. 700 copies

The illusive Nelson of the East reappears with his forthcoming EP Phase Alternating Lines – a first class two-tracker.

The Swiss-born, Milanese artist released his first EP Night Frames just last year, making a strong entrance on Tartelet Records. This time around, N.O.T.E explores 80s electro boogie with ‘Phase Alternating Lines’ on the A side, and delivers his very own take on obscure tribal house with “Burning Palm” on the B side.

N.O.T.E is young, thirsty, and dead serious about his music. His admirable work ethic shows off not only in his own releases but also in his collaborations with other artists. In the past year alone, he has produced for Wayne Snow and several others that are keeping their work under wraps – while simultaneously creating music as N.O.T.E and under his Verner moniker. All the hard work seems to be paying off on this new 12’, where he comes through with two outstanding dance-floor bombshells.

If you’re into the 80s, Beverly Hills Cop, or just sad that you missed out on Studio 54, you’re going to love EP opener, “Phase Alternating Lines”. It’s got it all: hot drum programming, an electric boogie bassline and a cheeky melody that sticks. “Burning Palm” takes us into obscure tribal-meets-afro-house territory, utilizing percussion, synth marimba and hypnotic melodies – all held together in a tight, driving groove. This track is exotic at its root and perfect for any late night outdoor activity. Both tracks come as extended edits for the vinyl release.

This is a limited-edition release of 400 copies, written and produced by N.O.T.E, arranged by N.O.T.E in close collaboration with Tartelet Records’ label head Dirk 81 and mixed at Panalama Studios in Copenhagen on the Neve 5088 Shelford console for good measure.

Little-known trio The Bees put out only one full album, 1988's She's A Witch (Tikoloshi). Its six tracks all offer dancefloor-ready, distinctively South African grooves that show how bubblegum in the late 80s embraced house music. Produced by Steve Cooks, who would go on to work with heavyweights Senyaka, Spokes H and Umoja in the years that followed. Searing vocals and percussive synth basslines are best on 'Hlabalaza' (already a DJ favourite) and the title track, it lyrics telling the spooky tale of an evil woman who rules the night - 'Tikoloshi' being the mischievous creature of Zulu folklore (usually a man) who is still widely blamed for all manner of mysterious happenings in the middle of the night.

"The past 5 years we have taken our music all over the world: Europe, Asia, Africa besides our homeland Denmark, and even though we cannot speak with many of the people we meet, our music is a universal language that transcends borders. The meetings we have had (and continue to have) all over inspire us to create new music. But of course we are the composers of the music, so this is our representation of those meetings.

Our 3rd album is called AFROTROPISM. Tropism is a biological phenomenon that indicates growth of a plant in response to the environment; so when you see a plant turning for the sunlight, this is tropism. In other words, this is not so much about the plant's roots but more about how it reacts when it touches the air, feels sunlight or rain - in other words the outside world. So AFROTROPISM refers to the fact that we are drawn towards the African traditions, but we are "growing" our own music.

On our first two albums we have recorded extensively with African musicians, and AFROTROPISM is centered around The KutiMangoes (TKM) as a band. We are developing our artistic direction by going more in depth with how we can mix our inspirations with our own musical heritage. Our musical mission is (and has always been) to mix cultures and create our own sound.

With our background in jazz music, TKM counts virtuoso instrumentalists with a heartfelt intent and sound innovators with our horns, effect pedals, synthesizers, drums and percussion from all over the world. AFROTROPISM is a further and deeper development of our trademark bold sound that experiments with synthesizers, soundscapes and a bit of electronic effects without losing it's focus on groove, melody, atmosphere and musicianship."

The KutiMangoes, July 2019


About each track:

STRETCH TOWARDS THE SUN
This track opens up with a synthesizer groove that is inspired by the polyrhythmic grooves played by the balafon (a predecessor of the piano) from West Africa. Our rolling sequence could not be played on the balafon because of the key changes, but the basic idea comes from that instrument. Quick and light, we wanted to write a song where you can feel the sun coming out and feel the energy it's rays give. The combination of the programmed groove, the horn-arrangement, the huge percussion section and the live instruments makes for a sound that we have not heard before, and it illustrates what this album is all about (and what the track's title refers to): that we stretch towards the things that give us energy – and that although our roots are in Denmark, when we encounter a musical tradition as rich as in West Africa, it changes us and our music.

A SNAKE IS JUST A STRING
The first time we saw Mali-bluesman extraordinaire Vieux Farka Touré on stage was just after we had played at a huge festival in Burkina Faso, and we almost literally caught on fire. Their groove was so strong and insistent that we were mesmerized, and it inspired us to come up with the opening guitar part of this song. Basically a bluesy tune with some unusual chord changes and a crazy synthesizer solo by Johannes Buhl Andresen reminiscent of that fuzzy guitar-sound we love so much in the Mali blues. The title is an homage to the Nigerian writer Chinua Acheba, who in his masterpiece novel "Things Fall Apart" tells that in the village during the night, to ward off the fear of darkness, people would call dangerous animals by a different name: don't be afraid, a snake is just a string.

KEEP YOU SAFE
It is a basic human necessity to have a place where you can feel safe. But there are far too many people in our world that fear for their safety, their livelihood, their children, their relatives – and this is surely not a feeling that helps us to flourish as humans. With this song we are saying that we all need to make it a priority to help our fellow humans to feel safe. And of course, if our song can offer a feeling of safety and comfort for a short time to those who listen, we are truly thankful.

MONEY IS THE CURSE
This track is directly inspired by Fela Kuti's ability to create music that is both physical and political. Dance music with a serious message about our times. For the solo part we wanted a more melancholy, pensive feel (than the full-on baritone-trombone melody) and also wanted to experiment with some choppy, stuttering effects to make the horns sound desperate. Money is the curse because it can become the objective of our life; money is the curse because it changes the relationships we have with our fellow humans. Money is the curse.

THORNS TO FRUIT
This melody is inspired by the scales and developments of a traditional Bambara folk-song. We love the way these melodies constantly evolve with small developments and changes. We felt like an accompaniment that is really dry, sparse and earthy would fit well and then made a contrasting solo part. As a group we are interested in how to develop our improvisations together and create sonic landscapes that evoke a distinctive atmosphere – so here, we have no soloist, but a collection of synthesizer parts, saxophone lines and guitar-sounds that together create a dreamy and lush ambience.

SAND TO SOIL
We started out with a short ngoni riff played by our good friend and master musician Aboubacar Konaté. We then sampled it, built soundscapes and our own both meditative and pumping groove around it. We created a melody with both melancholy and joy, with afterthought and impulse and then the brilliant Aske Drasbæk added an emotive and blistering saxophone solo. The title refers to the contrasts in our humanism. As part of our human nature, we have a dark side that drives us (and each other) towards destruction – making the fertile soil into barren sand. The title is an encouragement to emphasize the opposite movement in our nature: to create life and help it flourish. We keep ourselves human by insisting that we must never forget this side of our nature no matter how tough, tiresome or trying it might be. Let's keep our focus on the light, the warmth, the positive energy – that can turn the cold stone into fertile ground.

Second release for LCT, straight up fire. Might have heard this one being played in the clubs and festivals - All about the B side here!

'Ambolley' fuses Highlife, disco and boogie sonics and features the anthemic club cut, 'Highlife'.. One of Gyedu's best!

The career of Patience Africa Spanned over 40 years. After almost a decade of success on a major label with her Zulu Disco sound, and a few years in the early 80s experimenting with a more soulful sound, the funky synths of the 80's would force her to stay relevant in the quick changing times. It would be in 1987 that she would sign to the independent Ream Music which with the help of their tight knit in house production team had released hits for upcoming disco artists Makwerhu, Ntombi Ndaba, Sunset, Athena, Percy Kay and more. The label's success in the traditional market made Patience a perfect fit and could have been their first crossover artist.

With the help of owner's Danny Antill and Clive Risko they would cut a 4 track EP that like many others of the time ended up being lost in to the hyper saturated market of the emerging Bubblegum demand. Two tracks would be written by Patience, including the title "Wozani La" Musically these were more aligned with her sound of the 70's accompanied by a purely digital production, but it's the two songs written by label boss Danny Antill that appear on this release. These two songs are unlike anything heard at the time. Embracing full commitment to the digital studio and some extensive and risky experimenting the trio managed to slide heavy house bordering electro pop and a haunting swing beat groove alongside the compositions of Patience to complete this EP for both markets. Although the album had great potential, poor promotion and low sales led Patience to feel cheated and after not earning a cent for the record left the label and took her first break from music since the early 70's. She would later return to her original sound recording up to til 2006 when she released what would be her final album before her death the following year. Still loved by her fans and those who knew her, she is remembered through the Patience Africa Foundation. Founded by her son Mangaliso in 2017 to help create a better South Africa in our lifetime.

Nyege Nyege Tapes’ revelatory 1st Singeli series culminates with a rush from scene bossman
Mohamed Hamza Ally aka Sisso, whose studio in Dar-Es-Salaam, Tanzania is the epicentre of the
world’s most thrilling, punkish new dance style
Arriving after incendiary instalments in 2018 by Bamba Pana, Jay Mitta, and Duke, and the
introductory ‘Sounds of Sisso’ compilation in 2017, the ‘Mateso’ album pulls focus back to the
scene’s lynchpin with 8 none-more-compelling cuts of breakneck loops and helter skelter riffs on
vinyl, supplemented by a tape with equally exhilarating bonus material awaiting quick clickers and
dancers.
The collected 16 tracks chronicle Sisso’s work over the past four years, spanning a period after his
informal studio in the sprawling ghettos of Dar-Es-Salaam grew from a small shack selling DVDs
and MP3s, to come to catalyse countless new releases from local producers such as Bamba Pana,
DJ Longo, and Balotelli, as well as a wave of new MC’s including Makavelli, Cad Reedah, Anti Virus,
Dogo Muchi, Dogo Mjanja, Rehema Tajiri, and Yung Yuda.
Sisso’s productions epitomise Singeli’s hyperlocal scenius, distilling the vitality and struggle
of life of the fringes of the Swahili-speaking world’s most populous city, into a unique music
which seems to reflect the idea of keeping a cool head in frenetic situations. Between his ratchet
rhythms and pitched-up melodies there’s a sublime, unresolved tension at play, where the music
feels to accelerate so fast that dancers are glyding, sustaining a breathlessly “up” effect that
uncannily recalls mid ‘90s UK Happy Hardcore as much as Chicago Footwork, Caribbean Soca and
Shangaan Disco, yet with a psychotomimetic appeal all of its own.
The tracks on ‘Mateso’ are no doubt some of Singeli’s most potently direct and crafty, circling
from proper knees-up whirligigs to hyper, laser-riffing funk, ecstatic choral cut-ups and hard but
super-sweet steppers that will spark off any up-for-it dance the world over.
•
Prime, DJ-ready Singeli from the scene’s Sisso Studios epicentre in
Dar-Es-Salaam, Tanzania
•
16 exclusive tracks spread over an LP and bonus cassette, digital
included
•
Essential picks for fans of new electronic dance music from East and
Central Africa
•
Mastered and cut by Matt Colton. Pressed on emerald green vinyl +
pro-dubbed tape
•
Resident Advisor’s recent feature on Singeli -
http://bit.ly/2WwxF9O
Promo Contact:
so

Remastered 6 song mini LP​ originally produced in the
mid-80s *very in-demand with funk record collectors and
DJs worldwide. Featuring ​6 upbeat synth-driven, boogie
funk dance tracks​ *first officially licensed vinyl reissue*
Colours of the Rainbow contains the best 6 tracks from two rare South African LPs by recording artist Bibi
the Kid Msomi: 4 tracks from the ​1985 album Searching​, and 2 tracks from the ​1986 LP What Kind of Love
is This?
South African funk music from the 80s​ has recently gained recognition as ​some of the best funk
productions in the world​; yet so many titles remain virtually unknown outside of South Africa, especially
due to the scarcity of the original pressings (due in part to the destruction of any music perceived as
subversive by South African government censors at the time).
The level of musicianship on these recordings is simply world-class. Even ​Paul Simon​ ​was trying to work
with Bibi Msomi​ while recording his Graceland album in South Africa (read more about it in this ​exclusive
interview​).
Combining American and South African funk influences, these 6 upbeat dance tracks feature ​popular
synths and drum machines of the day​. The subversive lyrics and infectious grooves on these recordings
address the political turmoil during the peak Apartheid years in a way that was just subtle enough to slip
under the radar of stringent government music censors. ​Deep messages of freedom and universal
brotherhood are backed by​ some of South Africa's greatest musical talent​, including:
Mac Mathunjwa (​Street Kids, Neville Nash​), Sello Mphatsoane (​Bayete​), ​The Hot Soul Singers​, Cisco the
Champ Mokoena, Blackie Sibisi (​Step Ahead, Brenda & The Big Dudes​), Alistair Coakley (​Hotline, Stimela​),
Ladysmith Black Mambazo​, Jantshi Mayo (​Sipho Mabuse​), Peter Mokoena (​Pure Magic​), Solly Ledwaba
(​Juluka​), Joey Mabe (​Mahlathini and the Mahotella Queens​), Deborah Fraser (​Brenda Fassie​), Zamo
Mbutho, Banzi Kubheka (​Banjo, CJB​), Cyril Mnculwane (​CJB​), and ​Stimela​ ​vocalists​: Marilyn Nokwe, Tu
Nokwe, Hlengiwe Maphumulo, Beaulah Hashe.
Meticulously ​re-mastered with love for maximum impact on the dancefloor​; we hope you enjoy the
songs contained on this spiritual boogie masterpiece.

Vive La Musique burst onto the scene last year with the hugely successful "Tabala Mouv". For the follow-up, they present two songs from prolific Congolese talent, Sammy Massamba, taken from his cult self-released album "1990 - Beni Soit Ton Nom". Title track "Azali" immediately hooks you in with its mysterious intro, laden with early 90s keyboards and drum machine. Sammy's funk guitar and anthemic vocal lines turn this unique composition into an infectious afro-pop masterpiece. Label founder Aroop Roy steps up with a customary edit, extending the arrangement and giving the drums and mix a modern-club touch. Sammy describes the second track, "Birika", as a mix of Congolese Rumba, Afrobeat. and Reggae. A mid-tempo bass and guitar groove form the backdrop for Sammy's powerful vocals. An exquisite rumba guitar line completes another high class composition.

The late 1980s in the rainbow nation was a time when disco was mutating into what was becoming known as Bubblegum: pop music aimed at the black population of South Africa.

Bubblegum was a response to Western styles like disco and the fast spreading house music which originally came from the black ghettos of Chicago and New York. When the second Summer of Love took over the UK in 1988, first house, and other electronic music styles conquered South Africa as well. DIY - do it yourself - a motto that had already appeared in the punk movement, lifted the young local scene to the next level. With a minimal set up - keyboards, some drum machines and samplers it was suddenly possible to make music without having to rent expensive studios.

The Bees are probably the best known group, releasing only a few album in 1988-1989 and a handful singles that are now highly collectible. Their sound is electronic, hypnotic and highly danceable.

As is the case for Themba Wawelela is a prolific South African artist/producer who is best known under the monniker ''Little Big Man''

1 of 3 12" in a compilation of tracks from The ON label which was active in South Africa between 1987-1992, an era following the end of the apartheid regime and defining the new sound of Young Black South Africa in the early 90s

Terrestrial Funk's second release welcomes Ghanaian legends Pat Thomas & Ebo Taylor. This reissue of their self-titled 1984 album is pure ethereal African groove. As spiritual as it is danceable, the LP has been hidden in obscurity compared to the duos other records, yet houses some of their deepest cuts. Pat's voice and Ebo's guitar have earned them widely successful solo careers that continue to give. Here their instruments meet as the heart and soul of Ghana.

We could wax lyrical for days about the music of Ewan Jansen but we’ll leave that for the blog sites and Reddit message boards whose pages his name regularly graces. The Australian producer responsible for seminal 90’s label Red Ember could be seen as an unwitting progenitor of the now well established and flourishing Australian House music scene and his vinyl releases have become highly sought after and frequently exchange hands for triple figures. Appearances on other legendary labels such as Mike Grant’s Moods & Grooves (who released Ewan’s Blueline Summer LP in 2005) and Chez Damier’s Inner Balance. In 2016 Ewan brought Red Ember out of hiatus releasing some solo material that sounded fresher than ever, continuing to push his raw yet musical, authentic house sound. Cut to the start of this year and Jimpster is flicking through Instagram when he stumbles upon a short clip of some work in progress on Ewan’s
profile. Transfixed by the vibe, he contacts Ewan to offer a release on Freerange and we’re now super-proud to present you with the Perfect Strangers EP. Four original tracks showcase Ewan’s impeccable attention to detail in the grooves, sounds and production. With the uptempo, afro-tinged synth jam of Take U Away and the more crunchy, minimal bounce of Logarithm, we find Ewan in pure dance floor mode on the A side. Flipping over we’re treated to Chika Kozo, a rolling groove with an emotive vibe, perfect for a late-night drive through the urban metropolis. Closing out
the EP things get more intimate and introspective on title track Perfect Strangers. Layers of warm pads build upon a punchy house groove whilst a filtered Moog bassline keeps the momentum and brings the low-end energy to the track. Overall Ewan’s sound melds together many sonic worlds, bringing to mind early Morgan Geist, elements of Warren ‘Hanna’ Harris, Black Dog, ART and early 90’s IDM, all put together with love and skill by a master of his trade. Enjoy

LOFTSOUL x Miruga release cover version for Nina Simone's masterpiece See Line Womanon

10inch vinyl format. LOFTSOUL is the project by DJ/Producer UCHIKAWA MASAHIKO well known as Rhythm Of Elements (R2 Recordings/UK).For this Nina Simon's cover song,LOFTSOUL collaboration with Miruga (Moods & Grooves/Detroit) And featuring London's JAZZ/SOUL singer Fae Simon.

Also there include great "DUB" version by DJ D a.k.a Dominic Dawson (well known as release from Noid Otherand Reel Houze project with Rob Mello).

Marking the 15 year of Nina Simone's death,LOFTSOUL release cover version of her masterpiece See Line Womanas tribute.

See Line Womanis fantastic afro percussive number.This song is popular for club scene by 98's Kerri Chandler(Songstress)'s remake and 07's Feist's cover. LOFTSOUL x Miruga cover this song vibrant

Jazz/Soul Number. Original Versionis superlative Jazz/Soul version. There features beautiful harmony with Fae Simon's vocal and Soul-T's piano on the afro mystic groove (about BPM 90)

On the flips side ,Dominic Dawson a.k.a DJ D deliver fantastic "Dub Version" as (Dominic Dawson Dub Reversion)with afro percussive rhythm and dub wise sound&groove.

Release from UNKNOWN season x Jazzy Sport as special limited 10inch issue.

Manana presents a new remix EP bringing together some essential re-works of Sound Species and Ache Meyi's collaboration recordings.
Originally recorded in 2016 in Santiago de Cuba during the lead-up to the Manana Festival in the city, the original sessions were an inspired fusion of Ache Meyi's deep folkloric Afro-Cuban styles with Sound Species' subtle electronic touches. The new re-works have attracted some familiar names from clubland: broken beat don IG Culture keeps the roots of 'Ogún Meyi Meyi' intact with a bass-heavy, percussive attack; brilliant UK drummer and producer Tom Skinner strips back 'Egrem Bata Jam' on a pulsing new version; Chicago legend Ron Trent creates a more melodic dancefloor re-work of 'Alina's Calypso' while Sound Species themselves beef up the original Afro-Haitian rhythms of the same track for a dubbier treatment.

In 1999, a friend of the young musician Neba Solo informed him that his
country, Mali, would host the world-famous football event Africa Cup of
Nations in 2002. The balafon virtuoso immediately decided to seize the
opportunity and create a national anthem for the competition. More power to
him: what happened after is nothing short of legendary.
Twenty years later, Can 2002 is still a hit, often heard in African nightclubs,
radios, and professional football team training sessions. Neba has to play the
song every time he’s on stage, and people stop him in the street to talk about
it all over the world.
Secousse proudly presents the remastered classic, pressed for the first time
on vinyl, right in time for the Africa Cup of Nations 2019.

Z Records continues its commitment to unearthing the obscure and long forgotten tracks from the last 40 years through the ever-popular Under The Influence series. Following on from Red Greg, Paul Phillips, James Glass, Nick The Record, Sean P and Faze Action it's now the turn of one of the scenes most prolific but yet unknown collectors, Winston.

So for Volume Seven of the Under The Influence series Winston has included tracks taking in soul, funk, disco & boogie with many of the tracks costing hundreds if you were able to find the originals. As always with ZR compilations a lot of time and effort has been spent on creating these masters from the original vinyl, cleaning them up, removing all the clicks and pops resulting in the cleanest sounding copy possible.

One of the finest albums I've heard in a while. Tight, Fela-esque horns, big clubby drums with chunky guitars holding it all together, this record is constantly engaging and is at times reminiscent of Quantic at his best. Can't say fairer than that!" - Adam Gibbons/Lack Of Afro



Were David Hanke to pass on from this mortal coil tomorrow, Nevertheless might prove his perfect epitaph. It’s a refreshingly honest and somewhat autobiographical long-player that harks back to his early twenty first century musical influences but actually has its route much earlier in this self-styled Renegade Of Jazz’s life. The album’s appellation refers back to Hanke’s first live concert experience when in 1984, at the age of six, he went to see a Blues-rock band called Nevertheless whose guitarist was none other than his own father. With music clearly already running through Hanke’s D.N.A. this was the moment that, perhaps subconsciously, triggered his life long love affair with soulful sonic creativity. Nevertheless sparks into action with the irresistibly uplifting Lemon Squeezers, a suitably life affirming opener complete with exhilarating guitars and as the man tells us, “(the) basic characteristic, the beat!” and it’s a rock solid beat at that. With some Renegades Of Jazz trademark horns added for extra spice, and of course everything programmed by Mr Hanke himself, this is the perfect introduction to this man’s scintillating style. Nautical nugget, Big Fish, continues the brass obsession.

It has a more sonorous, almost big band feel, even though we all know this is being delivered solely by one pair of hands and that singular, special musical brain. Hanke adds some nifty piano work for extra cheekiness, which is a theme that’s continued on Another Day (Going In Too Deep) where Hammond style keys and perfectly chosen vocal samples do battle with more foot friendly beats, before we go in deep with Afro flavoured licks and horn riffs. The title track starts life as something of a moment of calm with a more introspective feel, but not for long as we make way for more trademark beats and vocal loops, and more of those irresistible horns! It’s the prelude for a watershed moment on the album as Hanke then introduces his first guest in the shape of Bristolian rapper Donnie Numeric (one half of Delegates of Rhyme) on the scorching Hot Wired. It’s the perfect illustration of our producer’s love for the Hip-Hop art form, and Donnie’s smooth lyrical flow combines with those Renegades Of Jazz brass and guitar riffs to make more demands on you to move your feet.

After the resounding success of the first release, Miles Away Records are back with this staggeringly beautiful afro funk track by Bongi Makeba and Nelson Lee. Written by South African singer and song-writing legend, Miriam Makeba, it’s social and political message shines through from the opening lines. Originally released in 1971 on the French Label Editions Syliphone Conakry “Do You Remember Malcolm” is stunning rarity with this reissue well overdue. The track was performed and recorded by Bongi Makeba whilst her Mother Miriam was in voluntary exile in Guinea, 4 years after the classic ‘Pata Pata’ was released. Backed by ‘Everything For You My Love’ (the A-side on the original pressing), this limited edition of 500 is sure to sell out quickly. Miles Away Records is the new label founded by DJ Dom Ore and will specialize in reissuing rare recordings from around the world on whichever format they deserve.

Octa Push is a portuguese duo formed by brothers Leo Leoleo and Mushug that fuses lusophone music (Angola, Bissau, Brazil, Cape Verde, Mozambique, Portugal, Sao Tomé) with electronic sounds.

On 17 june, “Língua” will be released as limited edition vinyl on Rebel Up Records for the first time since its original release in 2016 on the band’s Combatentes home label. The vinyl celebrates this hidden gem of an album that has largely stayed under the rader of european and african ears.

“Língua” is the 2nd full length album of Octa Push and features guests such as Tó Trips (Dead Combo), Batida, Cachupa Psicadélica, Cátia Sá (Guta Naki), Maria João Grancha, Ary (Blasted Mechanism), João Gomes (Orelha Negra & Fogo Fogo), Braima Galissa, Alex (Terrakota), AF Diaphra and Gospel Collective among others. The record, almost entirely in the Portuguese language, is a tribute to the Lusophone music that has been made in the last 40 years. Electronic music meets semba, morna, funaná, afrohouse and even brazilian music.

The record opens with the title song Língua, rhythmically inspired by semba, it features the sharp vocals of Cátia Sá, the hypnotic kora of Braima Galissá (who sadly passed away this year) and the guitar of Alex from Terrakota.
In Cueca, Maria João imposes all of her vocal expressiveness on top of an heavy bassline and shows why she's one of the biggest portuguese Jazz references.
In the same heavy bass tone, Trips Makakas introduces the portuguese guitar of Tó Trips from Dead Combo into a dense electronic sound.
Gaia Cósmica has hints of brazilian grooves, features the guitar and deep vocals of cape verdean pop legend Cachupa Psicadélica and also funky keys provided by João Gomes, member of bands like Fogo Fogo, Orelha Negra and cult band Cool Hipnoise.
The rhythm increases in Fogo, in this funaná inspired song, kenyan Isaac Anyanga and Cátia Sá provide the vocal hook while Alex Terrakota shows his amazing guitar skills, newcomer AD2 raps about the cape verdean island of Fogo.
Xilofone Teteté is a xylophone driven electronic track, while Mana is the afrohouse approach by the duo together with kuduro rapper Bruno do Show.
In Barbara the rhythmic energy balances with moments of calm and it's where Cátia Sá's vocals shine the most. It also features Batida, Alex Terrakota and Ary.
LGS-LX has nigerian talents Afrologic and Temi collaborating with rapper AF Diaphra.
The closing track is a heavenly cover of a song by the portuguese icon Zeca Afonso and features the Gospel Collective.

SWINGTING017 is a bouncy JA-to-UK bashment banger that features a hefty combination of producers and vocalists from both the Equiknoxx & Swing Ting camps. The tune finds each artist at their most playful, riding the sparkly, jiggy riddim impeccably.

Jump to the Bar was built and voiced in two days at London Bridge's Red Bull Studios, late Summer 2017.

Day one involved Gavsborg , Time Cow , Platt & Samrai arriving from various residences of friends and family in the vicinity of the English Capital (shout to the Epsom crew). Alway early-birds, Gavs and Cow set to the task on various machines and available gear to construct the rough instrumental, with Platt & Samrai assisting on percussion and programming. Soon lush synths, tough kicks, flanged hats, grimy bass and snappy claps were combining neatly and the backdrop was set.

Day two featured Kingston's queen of the cool kids club Shanique Marie flying straight into the big smoke to lay down a witty hook in minutes before earning a lie down on the sofa. Original Brum-town don RTKal rolled in from the West-Midlands (driven by Farda Neeko) dropping a one-take freestyle (egged on by an excitable studio gathering including Randy Valentine, Mr Williamz & Specialist Moss) that later became his verse and the pre-chorus. With the clock ticking on the session, the flask was neatly passed to Mancunian stalwart Fox for the final flourish, giving shouts to buckfast tonic wine & organic herbal treats.

Supported by Toddla T (Coldest Record), Jubilee (BBC Radio 1 Residency), Chal Ravens (Top Flight), Max Glazer (Federation Sound Radio) as well as being added to Spotify's Dancehall Official Playlist.

3rd album from Soweto sensations BCUC (aka Bantu Continua Uhuru Consciousness) with guest appearances from Afrobeat king Femi Kuti and renowned spoken word artist Saul Williams before a run of festival dates in the UK this summer.

Eschewing the classic album format, BCUC present three tracks – two of which clock in at nearly 20 minutes – that continue their philosophy of “Music for the people by the people”, combining zulu traditions and malombo percussions with a post-punk production and rock n roll attitude that have seen them feted as one of the most vital live bands playing today.

Eno Williams, frontwoman of Ibibio Sound Machine, uses both English and the Nigerian language from which her band's name is derived for the dazzling new album Doko Mien. Long lauded for jubilant, explosive live shows, Ibibio Sound Machine fully capture that energy on Doko Mien, the followup to their Merge debut Uyai.
In a glowing piece in the New York Times, those songs were praised for following 'in the tradition of much African music, [making] themselves the conscience of a community.' By pulsing the mystic shapes of Williams' lines through further inventive, glittering collages of genre, Ibibio Sound Machine crack apart the horizon separating cultures, between nature and technology, between joy and pain, between tradition and future. That propensity for duality and paradox seems common in people whose lives span continents.

Williams was born in the UK, but grew up in Nigeria, always steeped in her family heritage. She obsessed over West African electronic music, highlife, and the like, but was equally empowered by Western genres such as post-punk, disco, and funk. The London octet have enveloped themselves in that maximalist quilt proudly since their 2013 formation. Though it can often bring with it news of stress and uncertainty, the modern world further brings all these disparate traditions into connection.
'Everyone has everything now,' says multi-instrumentalist Max Grunhard. 'Everyone has immediate access to every genre, picking things up from everywhere—like magpies.' And while they haven't suddenly left their African roots behind, Doko Mien does find increased representation of English lyrics in the ratio. By sharing more directly with more universal lyrics, the record feels more anthemic, reaching for grander heights.
'We wanted to give people a reason to sing along, to find their soundtrack every day,' Williams says. 'We wanted everyone to feel as if they're part of the music as well.'

Late album highlight 'Guess We Found a Way' addresses the change with a coy smile. 'Guess we found a way to speak to you/ Guess we found a way to say what's true/ To say what's real,' Williams coos over glistening chains of reverberant synth and diamond dust percussion, before returning to Ibibio in the chorus. Perhaps the best example of the group's ability to convey meaning across language and tradition, to blend past and future into a singular present comes on 'She Work Very Hard'. The traditional Ibibio folk tale bobs over the waves of tuned percussion, chunky synth, and pinprick highlife-esque guitar, while Jose Joyette's drums and Derrick McIntyre's bass funk groove bring everyone to the dance floor. 'These stories won't be forgotten. Feel the music: it speaks to everybody,' Williams says. 'We can travel back in time together, while convening on a futuristic, present tense. We hope that we can give people that reason to wake up, that one song to sing and dance and be happy.'

Doko Mien: Tell me everything. On their new album, Ibibio Sound Machine provide the perfect companion, ready to digest as much as possible and then further unfurl beauty and hope. They remember and honor the past and charge forward toward the future, all while intensely expanding the present.

After introducing the world to the elusive named Gitkin last year with the release of his debut album "5 Star Motel", Wonderwheel Recordings is back with another special 7" of two deeply funky, lo-fi globally influenced cuts from the travellin' man himself. "Saint Claude Dash" with it's 70's disco influenced drum machine undertone brings in Middle Eastern & North African vibes on the melody, while shifting into an even funkier B section reminiscent of the Meters. On the flip side, "Chicha Nola" finds Gitkin vibing on the mysteriousness of late night New Orleans (where his studio is now located) playing the South American instrument Charango & juxtaposing the NOLA bump with a just enough twang. Just a taste of the brand new album to come this year…or when the spirits will it.

“Sweet and joyful sounds from the first half of 1960’s Tanzania. Salum Abdallah and Cuban Marimba Band were at the forefront of “muziki wa dansi”, the emerging dance music scene influenced by Cuban 78’s, crazes like the twist and cha cha cha, and the local sounds of their home country. Hailing from the town of Morogoro, they rose to be stars across the country. Out of over 100 sides recorded for local labels, mostly Mzuri Records of Kenya, these twelve songs are the cream of the crop. Only a few of these have ever been re-released in any form, and that hasn’t happened in eons. Lots of toe tappers, smile enhancers, and downright dancers, with a few slower and sweeter songs to round it out. Taken from 1961-65, these twelve songs shine a brighter light on an already bright light that was Salum Abdallah, taken away from this earth all too early at the age of 37. The 12 song LP comes in an old style tip-on sleeve with lyrics in Swahili with English translations on the inner sleeve.”

sssIn January 2016 arts and music organisation Santuri East Africa invited guest producer Jan Schulte to join the Nile Project gathering in Aswan, Egypt - an intensive two week musical experiment featuring musicians drawn from all around the Nile Basin that functioned as both a creative cauldron for cross-border collaboration, and a forum for artists and cultural activists to discuss the issues affecting the Nile river.

Wolf Mu¨ller aka Jan Schulte has been a resident of Dusseldorf's era-defining Salon des Amateurs for many years, releasing wildly inventive and dance music under various monikers - from his birth name to Wolf Mu¨ller, Bufiman and his Young Wolf collaboration with Young Marco. Schulte's feel for off kilter sounds and rhythms and a playful approach to the sometimes po-faced world of dance music have resulted in some incredibly well received releases (Instrumental Musik Von Der Mitte Der World and the compilation Tropical Drums of Deutschland being prime examples).

Santuri East Africa is an organisation set up to connect musicians and producers from around the globe, a process of co-collaboration that has led to some highly well received releases on Soundway (Msafiri Zawose) Sofrito (Auntie Flo's Soniferous Garden) and On the Corner (Makadem and Mugwisa).

Clocking in at a shade over 15 minutes, A-side 'Mabomba Dance' gradually layers Kasiva Mutua's needle-sharp percussion over a deep analogue bass pulse, building into a hypnotic dancefloor workout.

The B-side sees erstwhile Owiny Sigoma Band collaborator Rapasa Nyatrapasa showcase his Nyatiti harp before delving into an almost Afrobeat-esque slice of afro-minimalism. The EP rounds off with Adel Mekha's stellar vocals over traditional Nubian percussion.

Hot out of Lisbon’s ghetto sprawl, 19 year old Puto Tito breaks thru on Príncipe with 20 tracks
produced when he was barely into his teens, all salvaged from an old Soundcloud account and
newly remastered for the dance.
The sound of ‘Carregando a Vida Atrás das Costas’ is patently influenced by Tito’s Angolan heritage
and faithfully employs the popular slow Tarraxho and tougher Kuduro rhythm styles. Yet, like the
best of Príncipe’s releases, it’s the way he injects a playful, weirdo character and uncompromising,
psychedelic vision to his trax that sets Tito’s music apart form the crowd, whilst being very much
connected to it.
With a direct fervour and naturally experimental quality to his productions, the album scales from
drowsy, red-eyed, to brightly coloured downbeats on one hand, while charging into jagged and
nagging uptempo styles on the other hand. But whichever way he goes, it’s always with an off-the-
cuff flair and rhythm-lead suss that works the dance to its best.
The 2LP highlights the full spectrum of Puto Tito’s early remit, diving in with the darkside drone
and rasping rhythm of ‘Noite Magica’, to swerve from the celebratory, drop-top cruise of ‘Mestre
Das Artes’ thru to wickedly screwed Tarraxho in ‘Malucao’ and the deadpan drag of ‘1 2 3’, while
he can hardly suppress his brilliant, weirdo tendencies in the zig-zagging arps of ‘C L Prod’, the
heat-warped funk of ‘OIHo JoOnAe’, and the heatsick, syrupy pressure of ‘Locura Tutal’. Further, the
digital bonuses extend the wigged-out fun in seven short, sharp shots, slipping farther down the
rabbit hole into a bittersweet beatless flex on ‘Melodia daquelas’ alongside the hypnotic uptempo
styles of ‘ABuzaNtesS’.
Tito’s arguably and understandably naif approach speaks to an ideal of dance music as punkish,
fresh and direct, rather than overworked and generic. It’s an approach that, in the past, has
yielded some of the finest underground music, from the UK’s early ‘90s hardcore and jungle, to
South Africa’s Gqom scene, Chicagoan footwork and the Singeli sound of Dar-Es-Salaam. More
specifically, its possible to place Puto Tito in the same dare-to-be-different, bedroom producer
category of grimy Kuduro, Batida and Afrohouse as young heroes Nídia or P.Adrix, as ‘Carregando
a Vida Atrás das Costas’ vividly demonstrates.










[j] [Puto Tito]










[j] [Puto Tito]