quête:sami

After a steady stream of releases from the 2000 Black label which serve as a first course, Dego returns with his third album ; A full length LP of his contemporary adventures in modern sound. This album combines Dego's consistent forward looking musical explorations with a host of instrumental and vocal collaborators introducing us to new talents and reminding us of those we may have heard before. Dego continues to find new perspectives within the musical landscape.

Collaborating with singers and songwriters all expressing a distinct sense of where, collectively, we are now. There can be no doubt that this is a time of questions in every way, changes in the world and industry that will affect us all. How and what role music plays in this journey is explored as with any artist in a personal and pensive way from a tear to a smile. There is no preaching here, only statements and explorations. Individuality and sonic diversity combine and reflect the many inspirations and evolutions of style. Cooking up a strong and distinct genre-defying mix of soul, two step, funk, jazz, boogie and R&B, all dance music's that focus on heritage and natural rhythms.

Listening to the music is a relief and delight for lovers of groove and song-craft. It's a 21st century statement accessible and raw, whilst highly advanced in sound design and production. Holistic in breadth and deep in vision, it provides a way into this music for many, and challenges the cultural conversation about jazz without compromising or pandering. Music that utilizes a raw and sincere true openness narrative.

Around the year, the sturdy red brick walls of an old Cable Factory stand there like a mountain, facing weathers of all kinds rising from the Gulf of Finland. It might be freezing winter winds whipping the whole shore line into submission, fog heavy as concrete, or the relentless sun of the summer months, softening the asphalt to a boiling point. Whatever the weather may be, the narrow courtyard of the old factory embraces those musicians, who are looking to get down. They gather from all directions, making their way towards a pair of doors that lead towards a flight of stairs, again through a few doors all the way to the last portal, where an open padlock and a loosely hangin crossbar signal that Cold Diamond & Mink are inside, locked in a groove.

Who could it be with them this time, perhaps the jazz prophet Jimi Tenor beaming out of his space ship, maybe it's the golden voiced knight of soul Tuomo "Pratt" Prättälä, the number one trumpet wielding dandy Jukka Eskola or the saxman Pope Puolitaival, who loses nothing in coolness compared to the former? The reel to reel is always there in the monitoring room, catching each analog layer of sound, even the silences and banter between takes. Seppo lays down the guitar and tries to catch the riff on organ instead, Jukka throws a rare tune on the turntable, hoping to guide their unit through that wobbly chorus, Sami waits there bass in hand, maybe already thinking about the next production.

After a whole lot of playing instruments, arranging and taking care of business, after the moon has travelled around the old industrial building for some rotations, Carlton Jumel Smith comes waltzing through those same doors. There's a handful of unnamed tracks waiting for him. He sits there listening and then starts writing, maybe echoes of soul classics from his own record collection in New York projecting inside his mind. Then the tape is rolling again. Starting with a short intro rap Carlton lets it out, singing on the edge of shouting "Woman you made me...". After the vocals are in the can, Carlton ascends out of the basement and heads out to entertain an audience somewhere. Some months later, after the mix is said and done, there's the question of the instrumentals. It seems they're pretty good as they are. And here they are.




d 4 Help Me (Save Me From Myself) [Instrumental]

Sex Tags Amfibia presents Norwegian/Sami multi-crafted artist Geir Tore Holm's landmark sound piece "Writing in snow" - a typically poetic, funny and down to earth approach to nature, sound and every day reflections in the artists trademark style. Holm has since the early 90's been part of breaking down the established notion of ruling institutional qualities in Norway with countless projects involving sculptures, food, installations, farming, photography, video, sound & music (also incl. on AMFIBIA 10 - Sørfinnset Skole/the nord land 10"). This piece is feat. on a one sided flexi disc - an easily transportable and physical presentation of a sonic piece - outside the galleries and museums, and rather in peoples homes.

In Sudan, the political and cultural are inseparable. In 1989, a coup brought a hardline religious government to power. Music was violently condemned. Many musicians and artists were persecuted, tortured, forced to flee into exile — and even murdered, ending one of the most beloved music eras in all of Africa and largely denying Sudan's gifted instrumentalists, singers, and poets, from strutting their creative heritage on the global stage.

What came before in a special era that protected and promoted the arts was one of the richest music scenes anywhere in the world. Although Sudanese styles are endlessly diverse, this compilation celebrates the golden sound of the capital, Khartoum. Each chapter of the cosmopolitan city's tumultuous musical story is covered through 16 tracks: from the hypnotic violin and accordion-driven orchestral music of the 1970s that captured the ears and hearts of Africa and the Arabic-speaking world, to the synthesizer and drum machine music of the 1980s, and the music produced in exile in the 1990s. The deep kicks of tum tum and Nubian rhythms keep the sound infectious.

Sudan of old had music everywhere: roving sound systems and ubiquitous bands and orchestras kept Khartoum's sharply dressed youth on their feet. Live music was integral to cultural life, producing a catalog of concert recordings. In small arenas and large outdoor venues, musical royalty of the day built Khartoum's reputation as ground zero for innovation and technique that inspired a continent.

Musicians in Ethiopia and Somalia frequently point to Sudan's biggest golden era stars as idols. Mention Mohammed Wardi — a legendary Sudanese singer and activist akin to Fela Kuti in stature and impact in his music and politics — and they often look to the heavens. A popular story is of one man from Mali who walked for three months across the Sahel to Sudan because the father of the woman he wanted to marry would only allow it if he got him a signed cassette from Wardi himself. Saied Khalifa is said to be the one of the few singers to make Ethiopian emperor Haile Selassie smile.

Such is the stature of Sudanese singers and the reputation of Sudanese music, particularly in the "Sudanic Belt," a cultural zone that stretches from Djibouti all the way west to Mauritania, covering much of the Sahara and the Sahel, lands where Sudanese artists are household names and Sudanese poems are regularly used as lyrics until today to produce the latest hits. Sudanese cassettes often sold more in Cameroon and Nigeria than at home.

But years of anti-music sentiment have made recordings in Sudan difficult to source. Ostinato's team traveled to Ethiopia, Somalia, Djibouti, and Egypt in search of the timeless cultural artifacts that hold the story of one of Africa's most mesmerizing cultures. That these cassette tape and vinyl recordings were mainly found in Sudan's neighbors is a testament to Sudanese music's widespread appeal.

With our Sudanese partner and co-compiler Tamador Sheikh Eldin Gibreel, a once famous poet and actress in '70s Khartoum, Ostinato's fifth album, following our Grammy-nominated "Sweet As Broken Dates," revives the enchanting harmonies, haunting melodies, and relentless rhythms of Sudan's brightest years, fully restored, remastered and packaged luxuriously in a triple LP gatefold and double CD bookcase to match the regal repute of Sudanese music.
A 20,000-word liner note booklet gives voice to the singers silenced by an oppressive regime.

Take a sail down the Blue and White Nile as they pass through Khartoum, carrying with them an ancient history and a never-ending stream of poems and songs. It takes two Niles to sing a melody.

Juris Boiko (1954-2002) and Hardijs Ledinš (1955-2004) were the core members of the NSRD, which is best known as Latvian avant-garde, postmodern, experimental and underground music group active in 1980s. BIG TIP! STROOM BRINGING IT...! comes with download code.
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Their activities were widely multidisciplinary and they can not be considered as purely musicians since none of them had a professional musical education. Their creativity was manifested through variety of media - music, performance and action art, visual arts, poetry, samizdat, the introduction video art in Latvia etc. NSRD also made a significant contribution to the explanation of the theoretical aspects of art in the interpretation of the postmodernist movement, and developed the independent concept of 'Approximate Art'. At the end of the 80s, NSRD got connected and performed with several artists and musicians living in West Germany, including Indulis Bilzens, Micky Remann and Maximilian Lenz aka Westbam and others.

Wonderwheel is happy to welcome in Montreal based producer & don dada Poirier for his first release on the label, the "Be Alright" EP. Moving away from the traditional dancehall, dub and soca sounds he's become known for, Poirier delivers a 4 track of Afro-House influenced dancefloor firestarters. "Sowia" heads to South East Africa with it's floating guitar hooks, big bassline, and vocals in Portugese from Canadian-Moçambican singer Samito. "Ginobili" goes into deeper territory with four to the floor drums, heavily chopped percussion, and a hypnotizing distorted Mbira line, while "Camera" continues the tropical vibe with a nod to Semba with it's driving guitar lines, staccato synth lines and thumping drums. "Antilles Trax" rounds it out as the extended instrumental version of "Sowia".

First issue of this previously unreleased Oriental psych monster from the organ king of Casablanca, combining traditional rhythms with spaced out modern sounds. Second part of Abdou El Omari's Nuits-trilogy. This albums contains heavenly compositions for The Moroccon diva Naima Samih and some moody instrumentals in a similar vein to the previous album.

- A collect phone call is a form of communication based on the understanding that the receiver pays the cost of the message sent
- A collection agency buys debt at a fraction of its balance based on the reduced likeliness of the debt being recouped
- To collect is to gather, to source and to inventory


18+ return with their thirteen-track second second album, 'Collect', which explores the duo's aggressive evolution as musicians. Frequently radical and genre-defying, together Justin and Samia have produced their most ambitious and powerful work to date. On 'Collect', the duo explore the relationship of public vs private in a more invasive style, exemplified by the sampling of phone calls and personal field recordings intertwined between tracks.

Recorded collaboratively between Justin and Samia's respective Berlin and Honolulu residences, the album is a product of their physical geographical distance and autobiographical individual growth: the fragmented meeting of displaced minds, reflecting on the way we now interact in a variety of contexts, from platonic, to professional, to economic.

Coming out with one of the most anticipated and long-awaited albums so far on Brainfeeder is Samiyam aka Sam Baker. 'Sam Baker's Album' is 40 minutes of pure listening pleasure, a series of woozy, off-centre hip hop instrumentals drawing heavily on Baker's love of electronic funk but never in hock to it. Intensely detailed and carrying considerable emotional weight, this is not 'Rap Beats Volume 2' but an album of fully-realised pieces of music which stand on their own without the need for an MC's intervention.
Ann Arbor native, Samiyam (born Sam Baker) moved to Los Angeles in 2006. In his short time out West, he has become one of the city's most progressive and recognized producers, a man who has spearheaded the revival of interest in instrumental hip-hop music over the last few years. Baker's 'Rap Beats Vol.1' collection was the very first release on Brainfeeder. He has also collaborated with old friend Flying Lotus as Flyamsam as well as having releases on Hyperdub and Poo-Bah records.Samiyam describes the work contained in his "Debut album" simply as, 'my favourite stuff' - and what could be better than that