#ivorian music

[nofatclips-home]

Afrika by Dobet Gnahoré

[mywifeleftme]

97: Rob // Rob

Rob Rob 1977, Essiebons (Bandcamp) My favourite Ivorian Robot Operating Buddy from Ghana, Rob’s first LP is what Jay-Z once called “Black superhero music.” Few of the songs develop a ton—what you’re hearing in the first 30 seconds is more or less what you’ll be hearing seven minutes later, but it must be said that there is not a moment of this record that does not feel like an appropriate soundtrack to history’s slickest motherfucker doing his thing. Rob is probably one of the better-known afro-funk reissues of recent years, an assessment I’ve made purely on the basis of knowing one guy who will understand what I’m referring to when I yell “FUNKY ROB WAY” at him. (Though another sign might be that two different reissue labels, Mr. Bongo and Analog Africa, appear to have re-released the album within a month of one another in 2019. The Analog Africa version seems to be a much more elaborate production, but my Mr. Bongo version sounds great and you don’t necessarily need to know Rob’s star sign or shoe size to enjoy the LP.)

As a frontman, Rob is mostly just kinda there, muttering or yelling something every few bars while his band produces Pacific Northwest quantities of smoke. (Or as of 2023, Montreal quantities of smoke.) They really have an incredible sound, the funk equivalent to one of those collector-bait underground psych rock bands that turned some uncle money into a spectacular amateur studio and recorded one melted opus before selling their instruments and beginning a Christian ministry in Vanuatu. Though plenty of Ghanaian bands of the era could make people move, Rob’s band are just as impressive on the spacier numbers, like the warbling synth-spined “Forgive Us All” and “Your Kiss Stole Me Away,” which are basically FM radio for Black UFOs. The ensemble began life as a military band called Mag-2 under the stewardship of fanfic-ass-named guitarist Amponsha Rockson (would be like my parents naming me Hieronymus Suckdickson—how could they have known?). I gather that at the time joining the military wasn’t a bad deal for a musician, as the army would provide kickass western gear in exchange for entertaining their fellow troops. The Analog Africa liner notes (kindly provided on their Bandcamp) say the Mag-2 guys were still living in their barracks during the recording of this album, which suggests the Ghanaian Army must’ve been a pretty chill org. (Please send your links to the Ghanaian Army’s Wikipedia page subsection on ‘Atrocities’ to my email.) Can you imagine the US Army Herald Trumpets playing something as cool as the horn hits on “More”? (Please send your links to the US Army Herald Trumpets’ Wikipedia page subsection on ‘John Zorn Collaborations’ to my other email.)

In conclusion, a hearty “FUNKY ROB WAY” to you and yours, goodnight.

97/365

[1000-year-old-virgin]

Iggy Azalea ft. Big Boss Vette & Ivorian Doll - Money Come [Remix]

[newleasemusic]

Song of the Day: Gucci - Sneakbo (ft. Lyco, Ivorian Doll & 2Face)

Song of the Day: Gucci - Sneakbo (ft. Lyco, Ivorian Doll & 2Face)

South London’s SNEAKBO teams up with Lyco, Ivorian Doll and Two Face for their latest collaborative single ‘Gucci’. A completely organic track that happened naturally when the artists were together in Birmingham where Sneakbo linked up with Lyco and Ivorian Doll for the first time. The chemistry was so special, they decided to lay down a demo and this was the end result recorded on the first go.…

[nonenglishsongs]

Folksy Friday | Magic System - 1er Gaou (French)

[riding-with-the-wild-hunt]

"[Pengolodh] was one of the survivors of the destruction of Gondolin, from which he rescued a few ancient writings, and some of his own copies, compilations, and commentaries. It is due to this, and to his prodigious memory, that much of the knowledge of the Elder Days was preserved." - J.R.R. Tolkien, The History of Middle-earth: The War of the Jewels, "Appendix D: Quendi and Eldar"

"...the Narn i Hîn Húrin was the work of a Mannish poet, Dírhavel, who lived at the Havens of Sirion in the days of Eärendil, and there gathered all the tidings that he could of the House of Hador, whether among Men or Elves, remnants and fugitives of Dor-lómin, of Nargothrond, of Gondolin, or of Doriath. [...] this lay, longest of all the lays of Beleriand, was all that he ever made, but it was prized by the Eldar, for Dírhavel used the Grey-elven tongue, in which he had great skill." - J.R.R. Tolkien, Unfinished Tales, "The Tale of the Children of Húrin"

@tolkienofcolourweek || day 4: music + artwork || pengolodh & dírhaval, chroniclers of lore

[ID: an edit comprised of 4 graphics. Each shows a small rectangular image framed in teal on a greyish-beige background. There is teal text underneath each image.

1: Chloe Magno, a filipino-american model with tan skin and short black hair. She is wearing a grey garment, partially fallen off her shoulders, and is looking at the viewer pensively. The text reads "pengolodh" and "loremaster of the noldor" / 2: Bound scrolls written in various scripts. Text reads "writer of the grey annals" / 3: Stringed instruments from a variety of cultures hanging on a wall. Text reads "composer of the narn i chîn húrin" / 4: Ismael Savane, an ivorian model with dark skin and close-cropped hair. He is wearing a light brown jacket and has his hands interlaced in front of him as he looks directly at the viewer with a thoughtful, serious expression /End ID]

[douneyhey]

Hi there, lovely folks of the internet! 🎵 Hope you're all doing fantastic because I've got some musical gems to brighten your day and the end of october. 🌟

Reaaadyy~~~~

First and foremost, GUYS!! Don't miss out on "Good Enough," which was just released today, and let me tell you, that's totally my vibe right now! 🚀 The music video is ridiculously cute, and the lyrics? OMO, they hit home.

Essentially, the song revolves around a protagonist who, much like many of us, often feels lost and hopeless. But the lyrics bring a comforting message, saying,

"It's okay, you're good enough. You don't have to be perfect"

It's a reassuring anthem for those chasing their dreams, battling anxiety and uncertainty along the way. 🌠

And for those of you who enjoyed my previous post about "Expectation" by D.O you'll be delighted to know that "The View" is one of the gems from his second mini-album. 🌟

The lyrics of this track beautifully capture the emotions of longing for someone who has left and the heartache of not being able to see them again. 🥺 With D.O.'s soulful vocals and the minimalistic arrangements featuring delicate guitar chords, the song exudes a nostalgic and melancholic feel that's simply enchanting. 🎸✨

I stumbled upon "Sunset Boulevard," and I'm so glad I did. I first came across the artist's work on Instagram, and following my musical instincts was a brilliant decision. 🌅🎶

Trust me, this one's a must-listen. It's a gem that's been brightening my days, and I'm sure it'll do the same for you. 🌟

I have to admit this one's a little biased, considering it's from an Ivorian Singer/Rapper, but let me tell you, it's an absolute banger! 💃

This song carries a powerful message of courage and resilience in the face of adversity, encouraging us to embrace new beginnings on our journey toward a brighter future. 🌈 Its lyrics remind us that, even when hope seems distant, we must keep moving forward, hoisting our sails high and embarking on new adventures.

"How long have I waited for the day to leave behind the past, to say goodbye, and emerge from the lonely season to meet you? How long have I waited for the day to start anew, leaving behind memories that have faded into the past, and to be reborn?"

In essence, the song is a beacon of hope, resilience, and the significance of seeking fresh starts in our lives. To complement this song recommendation, I've got a movie suggestion for you - "The Pirates: The Last Royal Treasure." It's a Korean movie, and although it may not entirely align with the song's theme, it reminded me of this film because it's all about pirates and sailing. Plus, it's incredibly fun and worth a watch! 🏴‍☠️

Actually, "Garis Terdepan" is a title released back in 2015. Its calming vibes truly struck a chord with me, so I couldn't resist sharing it with all of you.

From what I understand, the song is a lyrical journey with a protagonist who feels lost and hopeless, yet his partner is always there as a rock to lean on. 🌟 "Garis Terdepan" beautifully delves into the theme of unrequited love, highlighting the significance of having that one constant pillar of support in our lives. 💕

And on this note, I'll leave it to you to decide if these songs are worthy additions to your playlists. 🎧 May your weekend be filled with warmth, joy, and, of course, some fantastic tunes! 🌞🎶

[diogeneswannabe]

INTRO POST

Welcome to whatever this is.

I guess I would consider myself an artistic person ??

☭ Name : Chris

☭ Age : 19 and regretting every life decision that led me here

☭ Gender : idk i gave up (afab, he/they)

☭ Nationality : French, Ivorian, "the whitest black kid" as my aunts call me 🤡

☭ Current profession : biology-chemistry student (help ;-;)

☭ Desired profession : ideally I'd like to be an independent researcher but I'll probaby become a monk or something if I fail my studies 💀

Actually I might become a monk even if I don't fail, idk yet

I really don't want a job :')

☭ Current objectives :

- become a writer ??

- find like-minded people to spread chaos over the world >:)

- reach enlightenment just to prove that I'm better than you

- Buy a flat in my favorite area of my hometown (i don't live there atm)

- open a coffee shop/library that's only open at night 🤩

- run an independant (and probably financially unstable research lab)

☭ Things I like : flowers, music, programming, philosophy, science, indie games, art and litterature...

☭ Current (wierd) obsessions : Spirituality/religion and self-exploration, finding my Dharma wtv it may, fantasizing about the potential collapse of modern society and anything considered as controversial or rejected by society

I wonder what made my parents think I'd turn out normal...

PLAY ALTER EGO AND WATCH EVERYTHING EVERYWHERE ALL AT ONCE (i genuinely won't trust you if you don't appreciate these masterpieces >:( )

[afrobeatsindacity]

ALBUM REVIEW: YEMI ALADE - AFRICAN BADDIE

In late 2013, Yemi Alade's breakout single, "Johhny", debuted and opened a new dimension to a Nigerian music industry that was then coming of age. At the time, future stars Wizkid and Davido were on the first lap of a journey that would be synchronised, not by coincidence, with Nigeria's dominance in world music. Burna Boy was not operating at nearly the same wattage, but the quality of his early work was never in contest, even though it was not to be properly appreciated until much later — he, quite literally, was leaving an impact for eternity.

Across the gender line sat Tiwa Savage and Seyi Shay, soprano vocalists retraining their voices to contend with the bustle of Nigerian pop, and finding success with tracks designed to scratch the love itch without piercing too deep to reveal heartbreak. Yemi Alade's entry into this mix was a welcome addition that filled a quota we didn't realise was open — one of a puissant performer, who could swing thighs for the most energetic delivery all the while maintaining a vocal tone that compelled you to join her in this loosening of joints. Her music is simple, designed to pull you to the dance floor by any means possible but mostly through the route of romance. With music like this, lyricism comes a distant third to a crafty beat and an ability to flow with it, so that it is not uncommon to hear neologism inserted when the English language reaches its limitation and cannot produce a word or phrase suitable to fit into both the song's discourse and rhyme.

After a while, she would come to use French to widen her vocabulary, adding it to her already impressive repertoire of English, Igbo, Yoruba and Swahili(!) to become a true polyglot. More importantly, as Africa's colonisation struggle ultimately saw most of the continent split between England and France in obeisance, the knowledge of these two languages was the engine behind her spreading her tentacles across the continent to lay her claim as Mama Africa.

Her first reach for the title was the 2014 release of "Kissing", the folk love ballad that accelerated the K-i-s-s-i-n-g nursery rhyme into a pop cadence that was placed over beats borrowed and refined from Coupé-décalé of Ivory Coast. For its remix, she dug deeper into her French inclinations, recruiting French-Ivorian singer Marvin with whom she swapped lines of French-glazed romance. For its poster, the then upcoming singer, only two years removed from her breakout single, made a bold statement — replacing the middle "A" of her surname with the map of Africa. With hindsight in our corner, we can proclaim this move to have been equal parts prescient and foundational, being the earliest building block of a career that grows in both stature and span, as she employs collaborations and languages to draw more and more regions from Africa into cognizance of her, to throw its citizens under her self-styled motherly wing.

In the years since this, however, Afropop has shed off a lot of its vim, and as a lot of its creators work their melodies into slower, more engrossing production, music begins to cater for the slow Saturday morning as much as it did for the bustling Friday night before. The Nigerian charts shine favourably on those who aim for mellow groove rather than back-breaking dance. For African Baddie, Yemi Alade's latest project, however, she remains unevolved, for better and worse. The album opens with "Pounds And Dollars", where she enthuses the 'Soft Life', and the wealth in foreign currencies that accompanies it. Her guest is the Eastern Nigerian rapper, Phyno, and as is his characteristic, he takes rap lines for a spin in English and then Igbo languages. His delivery is not from the top drawer in either language, but as his host had already set the bar so low with such a lazily written chorus, his verse is left with most of the heavy lifting to bring creativity to the opener.

Elsewhere on the album, Yemi Alade's lack of evolution evokes feelings of warmth and not indifference. The very next track, "Overload" brings improvement in buckets, though it recycles a well worn Nigerian pop line to make yet another appearance — "My baby, my baby, my baby give me overload". As stale as these lyrics are, the way they are deftly applied to lift the chorus grant it a spark that several songs on the album sorely lack. Unsurprisingly, French phrases can be found inserted into certain points, mainly used to complete a rhyme sequence when English ran out of ink, but code-mixing like this allows the album to wear the first word of its title with pride.

Elsewhere, the word is dropped from the album's near-eponymous track, "Baddie" and she unveils both patois-speak and ragga, nifty tools for crafting a Jamaican leaning track out of Afropop. The carribean country may not lie within the geographical confines of Africa, but Mama Africa demonstrates her reach to surpass such traditional boundaries. She tows this line once more on "Bubble It", featuring an excellent Spice who is right at home spitting patois lines on wriggling and moving a backside to a beat that is just as bouncy. Once more the actual material is paper thin, but this is one of the tracks that covers up this flaw by dousing its weak writing in music that is simply irresistible.

With her features, she imbues diversity, but quality and cohesion are more erratic. A trio of tracks in the second half of the album all feature artists from outside Nigeria's shores — Bramsito on "Dje Dje", Lamar on "Get Down" and Joé Dwét Filié on "My Man" (French remix) — but the songs are held back greatly by uninventive writing, which is not sufficiently covered for by its music flow. This makes for a contrast with "Ikebe", featuring Zlatan, as its heavy afrohouse production is able to bail out what would otherwise have been the most thematically shallow track on the album. 

With this being her seventh album in as many years, Yemi Alade failing to reach her characteristic highs on African Baddie may be attributed to a burnout. A less optimistic take, though, would instead finger her inability or refusal to evolve in keeping with Nigerian music. However, for as long as she occupies the self-given title of Mama Africa, her music must be viewed with lenses bigger than those used for national-directed music. It is here that African Baddie shines. With her gaze directed at the rest of Africa, she is able to — with strategic features and crafty reworking of African genres — bring her latest effort to a fine finish.

This article was written by Afrobeats City Contributor Ezema Patrick - @ezemapatrick (Twitter)

[mywifeleftme]

42: Aïcha Koné // Linda

Linda Aïcha Koné 1983, Shakara

Aïcha Koné has been a star in her native Côte d'Ivoire for over 40 years. Despite this, English-language info on her career is pretty sparse online—most of the top search results for her are from Ivorian columnists outraged in 2022 by her support for Assimi Goïta, who became president of neighbouring Mali following a series of coups d'état. If nothing else, she remains a significant enough local figure to get the Morrissey treatment. I can also tell you that she was the youngest of 15 (!) children born to a local aristocrat in Abidjan, the largest city in Côte d'Ivoire. Her father was Senufo, a West African ethnic group, and evidently Koné’s lyrics tend to be written in one of their languages. Online translators don’t have much support for Senufo, so my sense of what she’s singing about is minimal, but Senufo does borrow some words from Bambara, in which the word Linda translates to “wait for it,” so let’s go with that as the general vibe of this 1983 effort.

(As usual when reviewing African records, I end up reading a lot of sick ass lore that has very tenuous connections to the music, such as, “The Kulubele specialize as woodcarvers, the Fonombele specialize in blacksmith and basketry work, the Kpeembele specialize in brass casting, the Djelebele are renowned for leatherwork, the Tchedumbele are masters of gunsmith work, while Numu specialize in smithing and weaving,” or “Caryatid figures are seen as representations of the role of women as spiritual mediators and the Sandogo use them in ceremonies as symbols of this bilateral celestial discourse.” I’m so hungover right now I had to think about whether the ‘column’ in ‘newspaper column’ is spelled the same way as the architectural feature, so there’s no way I’ll retain any of this, and I’ve already played the album in full three times without getting to the music.)

Koné’s sound is an interesting one. Both sides of Linda open with joyous highlife-derived jams of the sort that swept northern and western Africa during the late-‘70s. “Djigui” (“hope” in Bambara) features some dazzling interplay between bassist Toure Aladji and guitarist N’Goran Jimmy Hyacinthe, and the sort of ebullient sax hits that would soon make Paul Simon and composers for cruise ship commercials an abominable amount of money. On the flip, the title track has a different flavour than the Ghanaian or Congolese highlife/soukous recordings I’ve heard thanks to the prominent sound of the kora, a stringed instrument that sounds like a harp played flamenco-style. In interviews, Koné has mentioned sensing a shared root between her own local Mandinka music and the mandolins of Greek dollar bin titan Nana Mouskouri, and those tastes show through particularly on “Linda” and the smooth tropical exotica of “Ile.”

Linda’s other ballads are sparse synth pop numbers not far off what American high school kids would’ve been slow dancing to at the time. ‘Pretty’ might be the best word for Koné’s voice—when she sings it’s easy to imagine the expression on her face. Most of the time that expression is the serene smile she flashes on the back cover of the LP, and it makes even the treacly “Mata” (the album’s dullest song and the only one Koné didn’t write) a perfectly soothing listen.

Linda’s an album I can happily flip over repeatedly as I putter around cooking or cleaning. The LP’s evidently scarce enough that until just recently Discogs only listed a 1990 cassette version (and only a couple of tracks are on YouTube), but it’s worth snagging if you’re into the style and come across it a fair price.

42/365

[umberandmochaagate]

Haitians, the Congolese, and Ivorians know what they were doing when they created music and dance

[1000-year-old-virgin]

Ivorian Doll - Bulletproof

[viviplaynet]

Emerging from the bustling streets of Yopougon, Toto Le Banzou has quickly become a name to reckon with in the Ivorian music scene. Known for his eclectic influences, which range from Meiway's Zoblazo to DJ Arafat's Coupé Décalé, Toto's journey from a budding football enthusiast to a music sensation is as dynamic as his tunes. His 2020 breakthrough with "Faut Guncher" and collaboration with rap heavyweight WIDGUNZ in 2023 have catapulted him into the spotlight. Toto's latest single, "Marteau Pilon Dans Le Dos," is an exhilarating mix of Ivorian rhythms and contemporary beats, proving his versatility and growth as an artist. https://youtu.be/Q4CVj0aiQns The track is a vibrant fusion of traditional and modern, embodying the spirit of African music. Toto's nuanced tones and varied intonations create an auditory experience that is unique and infectious, ensuring "Marteau Pilon Dans Le Dos" is heard and felt. The song's production is a masterclass in blending genres, showcasing Toto's ability to stay true to his roots while embracing modern influences. The rhythm is irresistibly danceable, driven by pulsating beats and energetic instrumentation, making it a quintessential party anthem. Toto’s vocal performance is powerful and charismatic, capturing the listener’s attention with every note. [caption id="attachment_12925" align="alignnone" width="1207"] Toto Le Banzou Ignites The Ivorian Music Scene With “Marteau Pilon Dans Le Dos”[/caption] "Marteau Pilon Dans Le Dos" is more than a song; it's a celebration of Toto Le Banzou's artistic journey and the vibrant culture of the Ivory Coast. With this track, Toto doesn't just make music; he crafts experiences, transporting listeners to the heart of African festivities. His rise in the Ivorian music industry is a testament to his talent, and "Marteau Pilon Dans Le Dos" firmly establishes him as a force to be reckoned with in the world of African music. As Toto Le Banzou continues to evolve and innovate, he remains an artist to watch, promising to bring more thrilling and authentic sounds to the global music stage. https://open.spotify.com/track/7nFTLPSuIZM7p9Jjta6FVZ

[elfdafrique]

7 Remarkable Women Who Invested in Language Teaching & Learning to Accelerate Progress 💬🚀

#InternationalWomensDay #InvestInWomen"

On International Women's Day 2024, we celebrate the invaluable contributions of women from diverse backgrounds who have invested in language teaching and learning to accelerate progress.

These remarkable women have revolutionized language education, fostered cross-cultural understanding, and empowered communities worldwide. Let's delve into their inspiring stories in no particular special order of preference:

1. Suzanne Languellier (France) - Revolutionizing Language Education

Suzanne Languellier pioneered the Direct Method, emphasizing immersive language learning through conversation and interaction.

Her innovative approach transformed language education, laying the foundation for modern methodologies.

By investing in language teaching, Suzanne accelerated progress in communication and cultural exchange.

#LanguageRevolution

#InnovativeEducation 🌐

2. Sister María Jesús de Ágreda (Spain) - Bridging Cultures Through Language

Sister María Jesús de Ágreda played a crucial role in cultural exchange between Spanish missionaries and Native American tribes.

Through her linguistic abilities and cultural diplomacy, she facilitated communication and understanding, accelerating progress in early interactions between diverse communities.

Her legacy reminds us of the power of language to bridge divides. #CulturalDiplomacy #LanguageBridge 🤝

3. Yoko Hasegawa (Japan) - Promoting Cross-Cultural Communication

Yoko Hasegawa dedicated her life to making Japanese language learning accessible for non-native speakers.

By developing innovative teaching materials and methodologies, she promoted cross-cultural communication and understanding, accelerating progress in global language education.

Yoko's efforts continue to enrich international dialogue and collaboration.

#CrossCulturalExchange #LanguageAccessibility 🌍

4. Wangari Maathai (Kenya) - Empowering Communities Through Education

Wangari Maathai, renowned for her environmental activism, also championed education in Kenya.

Through the Green Belt Movement, she emphasized the importance of education in local languages, empowering communities, and accelerating progress toward sustainability and development.

Wangari's legacy inspires us to invest in education for a brighter future.

#EducationForAll #SustainableDevelopment 🌱

5. Miriam Makeba (South Africa) - Celebrating Linguistic Diversity Through Music

Miriam Makeba, known as Mama Africa, celebrated African languages and cultures through her music. By singing in multiple African languages, she promoted linguistic diversity and cultural pride, accelerating progress in the representation of African languages on the global stage.

Miriam's melodies continue to inspire unity and celebration. #LinguisticDiversity #CulturalPride 🎶

6. Aminata Sow Fall (Senegal) - Advocating for Mother Tongue Education

Aminata Sow Fall has been a staunch advocate for mother tongue education in Senegal.

Through her writings and activism, she highlights the importance of preserving indigenous languages and cultures, accelerating progress towards inclusive education and cultural preservation.

Aminata's voice resonates in the fight for linguistic equality. #MotherTongueEducation #CulturalHeritage 📚

7. Mama Gbagbo (Côte d'Ivoire) - Promoting Multilingualism for National Unity

Mama Gbagbo, as an Ivorian politician and educator, emphasized the importance of multilingualism for national unity. By promoting indigenous languages in education, she accelerated progress towards social cohesion and inclusivity.

Mama Gbagbo's advocacy continues to inspire efforts for linguistic recognition and unity.

#Multilingualism #UnityInDiversity 🇨🇮

These remarkable women exemplify the power of investing in language teaching and learning to accelerate progress.

On International Women's Day 2024, let's celebrate their legacies and commit to empowering women worldwide through education and linguistic diversity.

Together, we can build a more inclusive and prosperous future for all.

#TeamÉLF

#elfdafrique

#WomenEmpowerment

#LanguageForProgress

💪🌟

[bigbloatedblueberry]

SEE ::: in between EMBRACED INNOVATIONS and EXTRAORDINARY TERRITORIES hides NEW PERSPECTIVE

commentator–sun

In between a symphony of stovetop sorcery and torched strings of assaulted magnitude, hides an ivorian mixture of diverse azurenesses, a one that transcends the bounds of mere eccentricity with a musical main hand of the same. In the first place, the boundaries set for us inevitably contract.[1] A stillness, a one that follows an abandoned ship, implores a bewildering clatter that renders the garments of nobility and implores the sound of forests flying freely. There, where all-round zigzag thrown but not landed songs fashion constant motion, scents new perspective. But will you vibrate amidst embraced innovations and extraordinary territories? Will you jump in between? [1] Asimov, Complete Robot Anthology