#madalitso band

[nofatclips]

Chikondi Cholawa by Madalitso Band, live at Les Suds, à Arles x Sourdoreille

[soundgrammar]

Listen/purchase: Musakayike by Madalitso Band

[mrbopst]

Good News: A new edition of The Bopst Show, the only music variety podcast/radio show that will give your mouth sex appeal, is now available for free public consumption on Podomatic or wherever you get your podcasts. Music variety show hosted, mixed and recorded by Chris Bopst featuring words and music by Plastic Bertrand, Enoch Light & the Light Brigade, Doom Flower, Creation Rebel, Martha Carson, Wayne Hancock, Iggy Pop, Madalitso Band, The Christian Harmonizers, Das Ding, Terry Hall & Mushtaq, Serge Gainsbourg & Michel Colombier, Billy Poole, Sahra Halgan, and Verdeoscuro. The Bopst Show airs Fridays 4 & 10 PM, Saturdays 4 & 10 AM & PM, and Sundays 4 & 10 AM on WRWK 93.9 The Work FM. The Bopst Show airs Monday-Fridays, 4-5 AM & PM, on Slack Radio. Until Next Time, Stay Clean

[burlveneer-music]

Bantu Spaceship - s/t LP - an Afrofuturist odyssey helmed by Joshua Madalitso Chiundiza and featuring Thandi Ntuli

Bantu Spaceship will have listeners embark on a journey. A journey that feels like you are being taken through a portal into another time, Afrofuturism. The rhythms give you a sense of the past, while you also sense the future with all the synth sounds. This album will have you playing it on repeat while you are travelling from town to village and vice versa. The temptation to call this work a masterpiece will be permitted if not echoed by audience members onboard. This combination of artists is rare. Joshua Madalitso Chiundiza, the craftsman behind sound production, is no stranger to providing out-of-this-world audio scenes, as evidenced by his past work as a member of alternative hip-hop band The Monkey Nuts. His work on the Bantu Spaceship proves that he has a knack for venturing out of his comfort zone and traveling through time and space. The rhythm of the project is upbeat, cruising within the mid-tempo range for the most part. The synths and voices offer a cool breezy, ambient atmosphere, making the project ideal for mood setting. Chiundiza's production sounds like something that was picked out of the archives of the mid-eighties Jit and Chimurenga music and then carefully blended with elements of Disco and Electronic sounds. His mix makes for a beautiful excursion through a landscape of memories lived and futures imagined. Ulenni Okandlovu, serves as the voice, the Captain of the ship, guiding us by way of Ndebele chants, laid back melodies and poetic verses. His calm nature enhances the experience as it sits comfortably on the music, creating the illusion that making music like this is an easy feat; it isn't - uniqueness never is. Featured on the album are the voices of Thandi Ntuli (who also contributed piano keys); Kwela Sekele; musicianship of DJ Kid Fonque; Sungura guitarist Sam Mabukwa; and a Robson Banda sample.

[culturesofresistancefilms]

6/16/23

Check out these unique and authentic sounds from The Madalitso Band! Their intuitive and ruthless rhythms incorporate African sound and instrumentation. Since their debut, they have been featured on BBC Africa and performed at festivals such as WOMAD UK and Roskilde in Denmark. Their music is grounded in an ethos of “why should we buy our instruments when we can build our own, and get the sound we want.” They are a recipient of our Cultures of Resistance Awards!

Musakayike | Madalitso Band (bandcamp.com)

[zaphmann]

In Memory of John Peel Show 201218 Podcast & Playlist

In Memory of John Peel Show 201218 Podcast & Playlist

lloyd Thayer The final show of the year (except for the Festive Fifty One) is full of epic tracks, but also those odd twisted ones… >>> the best new music, independent of the industry system – back this show on patreon Paypal to zaph@zaphmann.com heard in over 90 countries via independent stations  https://radiopublic.com/in-memory-of-john-peel-show-6nVPd6/ (RSS)Pod-Subscribe for free here or…

[dustedmagazine]

Dust Volume Five, Number Six

Photo of Anna Tivel by Matt Kennely

This edition of Dust considers twee pop and 1990s influenced electronica, Malawian street music and stenchcore and a wonderfully understated, gorgeous record by folksinger Anna Tivel (pictured above), among other musical finds.  This time, writers included Andrew Forell, Jennifer Kelly, Bill Meyer, Isaac Olson, Peter Taber and Jonathan Shaw.  Enjoy!

Barrie — Happy to Be Here (Winspear)

Brooklyn based multinational twee poppers Barrie’s debut album Happy to Be collects a charming array of sweet, feather-light classic AM radio-influenced songs performed by leader Barrie Lindsay (voice/guitar), Spurge Carter (keyboards), Dominic Apa (drums), Noah Prebish (guitar/synths) and Sabine Holler (bass). Lindsay’s songs subtly and acutely describe life as a newcomer to New York. The production and musicianship on Happy to Be Here is never less than expert, full of detail and space that allows each instrument room to breathe. As a singer Lindsay is polite to the point of being demure, and the band follows her lead. Pretty harmonies, delicate guitars and keys, tasteful drumming, unobtrusive but effective bass. You’ll hear echoes of Laurel Canyon, 1980s white soul and The Style Council at their most languid. Perhaps if Barrie weren’t quite so Happy to Be Here the debut would have more impact but if one is considering punting down the East River to a picnic this would be an ideal soundtrack.

Andrew Forell

 Big Bend — Radish (Self-Release)

Radish by Big Bend

Nathan Phillips works in one of music’s uncanny valleys, a place where experimental electronics and ambient drone converges with semi-narrative pop. These eight songs enlist avant garde collaborators—Susan Alcorn on guitar, Laraji on zither, Shahzad Ismaily on percussion and moog and Phillips’ bad-ass opera-singing mother Pam on vocals — to create music that is warm, human and accessible. Phillips himself sings plaintively on a number of tracks, inserting vulnerability and uncertainty into a glitchy, glossy texture of electronics; he might remind you of Dntel. Elsewhere tracks veer off into untethered, unpredictable zones; “03 12’-15’,” the track with Alcorn pits trebly abstract guitar against the warmth of synth and piano. “Swing Low” centers its dreaming agitation around Pam Phillips’ spectral soprano, which is inviting but also remote. Electronics buzz and twitter around her like mechanical insects and birds. The Laraji track “Four,” lays in the pinging, tremulous tones of electrified zither over fat resonance of acoustic bass. It’s full of magic, or at least sleight of hand, and you expect something wonderful to emerge from its eerie cascades of dream-sequence zither notes. Shahzad Ismaily works his customary wonders, coaxing strange atmospheres out of the most skeletal of notes and rhythms. With these songs, you feel like you’re waking up in a strange country, not exactly unwelcoming, but not what you were expecting either.

Jennifer Kelly

 Com Truise — Persuasion System (Ghostly International)

LA musician Seth Haley, AKA Com Truise, releases nine short tracks of woozy 1980s influenced electronica on Persuasion System. Listening to foregrounded hi-hat driven beats, fretless bass sounds, giant swathes of anthemic synth, you’re almost waiting for Curt Smith and Roland Orzabal to start ruling the world again. Haley is unafraid to reach for the big emotional release. That he doesn’t always hit it is due more to familiarity with those triggers than any lack of compositional skill on his part. When it goes a little darker on the drum & bass driven “Laconism”, the mock doom epic “Privilege Escalation” and the ambient restraint of “Gaussian” Persuasion System shows Com Truise’s aptitude in using stadium synth pop tropes to translate big sounds into big statements.  

Andrew Forell  

 Shana Cleveland—Night of the Worm Moon (Hardly Art)

The La Luz leader turns introspective on this eerie solo album, sketching glowing just-off soundscapes with a squeaky acoustic guitar and voice. Like many of the songs, the single “Face of the Sun” subdues a spaghetti western swagger into just a hint of wide western horizons; there are bits of cello and bowed bass in the interstices of “Night of the Worm Moon,” shading the folk-acoustic-surf tones towards baroque. Cleveland sings in the common space between bewitching beauty and sing-song madness, Ophelia-esque and surrounded with flowers. She takes command, however, with her guitar, which defines and directs and originates this fetching dream state. Gorgeous, floating, spectral and surprisingly empowered.

Jennifer Kelly

 FACS — Lifelike (Trouble in Mind)

FACS constitutes the latest iteration of the ongoing partnership of singer/guitarist Brian Case and drummer Noah Leger, who each discharged those same duties in Disappears. Expressed mathematically, 2/3 FACS = ½ Disappears, but FACS ≠ Disappears. While the old band’s music moved in a quick and linear fashion around Case’ bleak bark, this new ensemble, which is rounded out by bassist Alianna Kalaba, prefers modular construction and choppy flow. Kalaba’s distorted tone, which recalls Graham Lewis’ playing in mid-1980s Wire (especially live), is a looming presence, stomping through Leger’s sequences of chopped-off rhythm patterns like Godzilla playing a kid’s game with the real estate: “I think I’ll stomp every third house on this block. Next block, I’ll kick every tree to the left. Do I step on the lines, or jump on the cracks?” Case’s guitar blows in and out of the grooves’ vast empty spaces like a flock of metal-coated swallows, absorbing the fading light one moment and then banking up to reflect tiny flashes of the distant red sun the next. His singing has also changed, inching incrementally from the monochrome of yore towards a world-weary, side of the mouth croon. Why, you wonder, does this Chicago band sound so bleak? Hey, it snowed twice in April; what more do you need to know?

Bill Meyer

 Forest Management — Passageways (Whited Sepulchre)

Passageways by Forest Management

Electronic musician John Daniel may call himself Forest Management, but don’t be fooled; there’s nothing pastoral about this music. The passageways he had in mind when he composed the music on this LP are remembered from a childhood home in a suburb of Cleveland, and he made the stuff in an apartment in Chicago. Daniel nicely straddles the digital/analog divide by playing a laptop computer but recording some of the music to reel-to-reel tape deck.  This enables him to achieve a blurry patina of nostalgia-inducing atmosphere that’ll sit right with Boards of Canada fans. But where BOC used beats and samples to highlight their emotional messages and keep things moving, Daniel’s willing to let the music throb and drift. While Forest Management is a fully mobile project that is quite capable of occupying stages around town, this stuff is best appreciated under controlled conditions at home, where you can cultivate a mindset and manage the setting without facing any risks that one might face while zoning out in public.  

Bill Meyer

 Madalitso Band — Wasalala (Bongo Joe)

Wasalala by Madalitso Band

The two musicians of The Madalitso Band, who made their name on the sidewalks of Lilongwe (Malawi), play four-string guitar, cow-skin kick drum and homemade, one-string bass. If that sounds like a gimmick, albeit one born of necessity: it is, but all good street bands need one. Like all good street bands, the Madalitso Band’s necessarily formulaic music is inviting and undemanding enough to draw in spare-change-laden passersby all day, if need be. And, like most street musicians and small-time festival favorites, Madalitso Band’s crowd pleasing tricks don’t directly translate into gripping LPs. Wasalala, at 40 minutes, is about double the recommended daily dose (when was the last time you watched even a great busker for more than 15 minutes?), but, play it while you, say, put the dishes away, and this wholly charming, frequently gorgeous record is guaranteed to move the body and brighten the mood of any sentient person within earshot. Its pleasures are as real, necessary, utilitarian, and unvaried as a fan on a hot day.  

Isaac Olson  

 Minotaur Shock — MINO (Bytes)

MINO by Minotaur Shock

On MINO, Bristol-based David Edwards turns away from his characteristic blend of orchestral acoustic and synthetic instrumentation to hone his synthesis craft. Edwards’ obvious composition chops have been a double-edged sword on past releases. Approaching his works as songs rather than tracks has lent them undeniable musicality; but since that approach is unidiomatic for beat-smithing, it sometimes has felt like the work of someone whose primary business was in sync for film dipping their toes into electronic music and bringing the resources of an entire soundstage orchestra with them. MINO’s focus on a single instrument results in a more inventive sound, defrays the risk of sounding excessively filmic, and retains Minotaur Shock’s strengths of earworm tunefulness and emotional sweep. The textures and polyrhythms bear a surface similarity to LA beat scene notables, while the album’s overall sunniness recalls Machinedrum, who underwent a similar turn to synthesis in recent years. A very different direction for Minotaur Shock and some of Edwards’ best work.

Peter Taber  

 MotherFather — S-T (Self-Released)

MotherFather by MotherFather

MotherFather, a four-piece band from St. Louis, makes broody, duel-guitar-driven post-rock that builds in a slow inexorable way like rough weather or a tidal surge. They build up layers of deep, shadowy sound, churning up the noise gradually so that when abrasive bass saws up through the bottom of “Burning” late in the album, its cinematic metal upheaval is as surprising as cathartic. Two of MotherFather’s members—guitarist Nelson Jones and bassist Brian Scheffer—run a studio in their spare time, and they surround these chugging, chiming onslaughts with clarity. However, the sound is gloomier and less buoyant than epic instrumentalists like Explosions in the Sky, more like the torpid reveries of vocal-less Mogwai or even post-rock-into-metal outfits like Pelican or Red Sparrowes. Guitars drive the train here—that’s Jones and Eli Hindman—but drummer Tim Hardy puts in a strenuous, battering days work on drums and you can’t move the tectonic plates like MotherFather does without muscular, fundamental bass.

Jennifer Kelly

 Neolithic—S/T (Self-released)

Neolithic by Neolithic

Do genre labels really matter anymore? At various sites around the web, Neolithic’s music has been described as death metal, grindcore, hardcore and, in one especially bewildering formulation, “pitch-black death/crust.” This reviewer’s ears hear a pretty straightforward species of stenchcore all over this record, but that begs the question: What does “stenchcore” mean to you? In any case, the good news is that this is a terrific record. Nasty, brutish and way too short. The Baltimore band has only been making records for a little over a year, but the music exudes confidence and, whatever we want to call it, a song like “Myopia” demands attention. Its riffs are precise, its bottom end is deep, its textures and affect are simultaneously razor-sharp and dripping with miasmatic, fluid yuck. Sort of like a zombie’s mouth. One gets the feeling that’s something like what the band intends. Enjoy!

Jonathan Shaw

  Ivo Perelman / Jason Stein — Spiritual Prayers (Leo Records)

Brazilian tenor saxophonist is never one to settle for half measures. If he has a good idea, he’s liable to make a series of records out of it. Google the words Ivo Perelman Matthew Shipp if you need an illustration. But some ideas are self-limiting, such as the one that generated this record. Perelman decided that he was going to record duos with free improvising bass clarinet specialists. There just aren’t that many of those around, so the total so far stands at two CDs; one with Rudi Mahall, the other with Jason Stein. Stein has deep roots in the New York area that Perelman has called home for years, but the two men had never met before they unpacked horns and improvised this album in a Brooklyn studio. You wouldn’t know it from listening, though; they two men throw themselves into the endeavor with the sort of fearlessness that only deep acquaintance or utter self-possession. The first quality only existed on a metaphysical plane — each man reminded the other of a beloved and long-lost ancestor. The latter, both have in spades, and for the best of reasons. Both are masters of their horns, both are close listeners and responsive partners, and the hitherto empty field of tenor saxophone / bass clarinet duets turns out to be rich earth. The horns can sound quite like each other, or hit pitches as distant as opposite ocean shores, and the musicians traverse such spaces in a split-second.

Bill Meyer

 Sick Gazelle — Odum (War Crime Recordings)

Odum by Sick Gazelle

Releasing improvised music involves risk. Musicians often sacrifice quality control for spontaneity, and some seem unable or unwilling to abandon, edit or control their experiments. However, when it works, the rewards are many. Former Crucifucks and Sonic Youth drummer Steve Shelley joins Chicago saxophonist Bruce Lamont (Yakuza and Bloodiest) and ambient guitarist/bassist Eric Block (aka Veloce) to produce a debut album Odum under the moniker Sick Gazelle. The first three tracks combine slow-core jazz and illbient atmospherics with Lamont’s saxophone ,a powerful yearning voice sympathetically supported by Shelley’s percussion and Block’s layers of guitar and bass. The longer pieces “Atlantic” and “Pacific” work best, as Sick Gazelle builds grand spacious structures with an innate sense of dynamics and a muscular foundation. On the short final track “Laguna” the band lets go as Lamont foregoes the sax for a chant-like invocation over a driving rhythm that sounds closer to Sonic Youth than jazz. Odum is dense swamp of sound, easy to get lost in, harboring beauty and danger in equal measure. Leave the compass and venture in.

Andrew Forell

 Stander—The Slow Bark (Self-Released)

The Slow Bark by Stander

Pensive guitar lines surge up into tsunamis. Liquid, lyrical melodies disintegrate under a firehose spew of distorted sound. Stander shifts dynamics like it’s wielding a weapon, and maybe it is. These long-form instrumental meditations build from pastoral, serene interludes into raging towers of feedback (and vice versa), though you can often glimpse the original plaintive theme shrouded in noise and fury. Stander is a Chicago-based heavy post-rock instrumental trio built around guitarist Mike Boyd (who, full disclosure, we know from his job as Thrill Jockey’s publicist), Derek Shlepr on bass and Stephen Waller on drums.  On The Slow Bark, the band’s first full-length album, Stander masters the slow rolling crescendo in cuts like “Cicada Tree,” where a moody, pondering, unsettled guitar melody unspools so gently that the kick of drums, the onslaught blare of amplification, comes like a defibrillator, which maybe, at that point, you need. “Cold Fingers,” too, alternates the loud and the soft, the rage and the quiescence; it calms enough that you can hear how the interplay works, how Shlepr’s bass underlines and reinforces the melodic line, how a riff gets penciled in once, then returned to for an obliterating refrain. There are no vocals—just a subliminal growl near the end of “Cold Fingers” and some eerie altered voice effects tucked into “Cutting Ants, Conquering Ants”— but this is in no way just an extended instrumental jam. Stander’s tracks are carefully constructed, thoughtfully plotted, even if they all end up blown to bits.

Jennifer Kelly

 Anna Tivel—The Question (Fluff and Gravy)

The Question by Anna Tivel

Over four albums, Anna Tivel has quietly been building a reputation as a formidable folk songwriter, a storyteller whose hushed voice weaves simple words into complex narratives about people on the outskirts of society. The Question is tensely, transparently lovely. Tivel’s voice runs toward the calm and matter of fact and never goes much over a conversational murmur. Her melodies, likewise, are precise and pretty. However, the lives she limns in her songs are unruly—a man transitioning to womanhood, a migrant testing a fence line, a homeless child trying to make it through the night—and the thickets of dense, conflicting instrumental sounds seem to echo these complications and strife. She makes wonderful use of strings—viscous throbs of cello, twitchy pizzicatos of violin—to underline but not sweeten her arrangements, and the guitars, too, have a clarity and sharpness that reinforces the acuity of her verses. “Fenceline”’s insistent piano and keening, tremulous strings underline the tension of the southern border crossing; the instrumental interlude zings with anticipation and fear. “Homeless Child” is more overtly folky, but still unblinking and unsentimental as it tells the story of an abandoned child with her own child coming. The refrain couldn’t be sadder or more beautiful, when Tivel sings, “And Jesus Christ, it don’t take much to go from just enough to nothing in the end, and oh my god, homeless child, the world will leave you hanging by a thread.”

Jennifer Kelly

 Various Artists — Hearts and Livers: Global Recordings from 78rpm Discs, ca. 1928-53 (Canary Records)

Hearts & Livers: Global Recordings from 78rpm Discs, ca. 1928-53 by Canary Records

Ian Nagoski, the proprietor, curator, researcher, and dogs body of Canary Records, has assembled some marvelous collections of music from records that most 78rpm collectors would leave in the bin. But is that what the people want? Even the characters who populate the farthest corners of record nerd-dom are prone to the influences of groupthink and fashion, and they want you to come up with something just like your last hit, only different. One of the crosses on Nagoski’s shoulder is that while passion compels him to investigate shellac sides of woman whistlers and birdcall imitators, people remember him for his genre-spanning marvel, Black Mirror. Hearts and Livers is Nagoski giving people what they think they want and subtly chiding them as he does so. Both album emblem (there’s no cover — this thing is download-only, and thus not really a thing at all) and title can be read as gentle mockery of the enterprise. But once you get past them, Nagoski’s unerring knacks for selection, sequencing and sound restoration deliver the goods. Exiled rembetika singer Rosa Eskenazi’s quivering lament resonates with Horace Britt’s melodramatic cello recital; a sinuous Korean melody and a beseeching Turkish air impart a common stern spirit. Since he hasn’t written any notes to explain the compilation, it’s all just music, each track equally foreign and mysterious.

Bill Meyer

 Various Artists — New American Standards Volume  2 (Sound American) 

New American Songbooks Vol.2 by Kris Davis, Matt Mitchell, Aruán Ortiz, Matthew Shipp

To some, the Great American Songbook (which isn’t really a book, but a body of popular songs that captured the hearts of both general audiences and jazz musicians in the pre-rock and roll era) represents the acme of American musical creativity. But while some great and flexible material came out of that era, do we really want to concede that the middle of the 20th century was the best we could do? Careful, such thinking paves the way to donning an unflattering red ball cap. Sound American Publishing initiated the New American Standards series to investigate notions of Americanism and standards. Volume 2 taps four pianists not known for their frequent dips into the Songbook to propose material that speaks for communities didn’t quite make it into the original metaphorical volumes. Matthew Shipp proffers brooding extemporizations upon Protestant hymns composed by individuals you’ve probably never heard of. Matt Mitchell invests two tunes sourced from Bandcamp-era singer songwriters with solemn romanticism. Kris Davis’ prepared piano recasts Carla Bley’s “Identity Picks” as a quasi-gamelan reverie that invites the listener to consider which quirks of identify might lock you out, then and now, and what you might do with (or to) a piece of ubiquitous cultural equipment in order to make your voice heard. And Aruán Ortiz offers a luminous exposition of a piece by cultural critic and polymath Ed Bland. All four musicians played the same piano, which serves to make clearer the individual differences of the four players.

Bill Meyer  

 Various Artists — Tombstone Trance Vol. 1 (StabUdown)

Tombstone Trance Vol. 1 by Piezo

Fuzzy technoise is the game being played here with varying degrees of earnestness, as suggested by the goofball album art. Listeners may come for marquee names like Kerridge and Powell, though they’re easily outshone by some nicely varied lesser-known acts. Koehler’s “Below Andromeda” is rhythmically inventive but straight-ahead techno. “Mourning Etiquette” from Grey People isn’t far from the crunchy atmospherics of Modern Love artists. Entries from Bad Tracking and The Rancor Index take things to a considerably grittier, Wolf Eyes-esque level. Vanity Productions’ “No Peep Show Here” could be melodic drone from Yellow Swans, while Organic Dial’s “Absolute Other” is an unexpectedly delicate slice of dub-inflected ambient. Piezo offers a dramatic highlight in “Sponge Effect,” which morphs from a melodic arpeggio into an odd-time paroxysmic blob and back again. Hopefully a taste of more great things to come from all concerned.

Peter Taber

 Woe —A Violent Dread (Vendetta)

A Violent Dread EP by Woe

This two-song EP is a welcome reminder of how good Woe can be (insert snarky pun here). The Brooklyn-by-way-of-Philly quartet seems to have found a stable line-up, with Lev Weinstein providing drums and Matt Mewton’s second guitar rounding out the band, as they did on 2017’s Hope Attrition. Weinstein’s drumming is less acrobatic than the whacko stuff he pulls off for Krallice — but Woe’s sound is more firmly anchored in black metal’s traditions. Woe’s cover of Dawn’s “The Knell and the World,” recorded by the Swedish band back in 1998, celebrates the continuity of that tradition. That doesn’t mean Woe’s music is derivative or pedestrian. The nine minutes of “A Violent Dread” flash past with a sustained intensity that makes the song feel half that long. Chris Grigg’s singing, playing and songwriting are sleek and tough, feral and rigorous. It’s peak USBM. 

Jonathan Shaw

[instants-chavires]

Coprodution Sonic Protest / Instants Chavirés au Théâtre Berthelot ! Juillet 2021

𝟎𝟗.𝟎𝟕 Xavier Boussiron, Médianoche, Rosa Canina et les anti Dj Patrice Caillet & Adam David 𝟏𝟎.𝟎𝟕 Madalitso Band, Leandro Barzabal, Aymeric De Tapol, OD Bongo, Mohamed Lamouri & Charlie O. et l'ami Cheb Gero aka Fabrice Géry !!! 𝗠𝗲𝗿𝗰𝗶 à 𝗟𝘂𝗰𝗲𝘁𝘁𝗲 𝗗𝗲𝗻 (𝟬𝟵.𝟬𝟳) 𝗮𝗸𝗮 ©𝗟𝘂𝗰𝗶𝗲 𝗠𝗼𝗸𝗿é𝗮 𝗲𝘁 à 𝗩𝗶𝗻𝗰𝗲𝗻𝘁 𝗗𝘂𝗰𝗮𝗿𝗱 (𝟭𝟬.𝟬𝟳) 𝗽𝗼𝘂𝗿 𝗹𝗲𝘀 𝗽𝗵𝗼𝘁𝗼𝘀 !!!

[amaurylandia]

THE WORLD IN 2020

PLAYLIST

ALI – MUZIK CITY feat.なみちえ, Alonzo, 6B

Catastrophe - Encore

Saronde - Firewood ft. Idd Aziz

Minyo Cumbiero - Cumbia del Monte Fuji

Santa Catarina - Lazywax

Aloïse Sauvage - Méga Down  

Çantamarta - Lluvia

Утро — Подсолнух

Pra Dois - Aquino e a Orquestra Invisível  

ギブ＆テイク- おめでたズ  

ALMA DINAMITA WOS DS3

Gabz - PELE.

KOLINGA - Nguya na ngai

svegliaginevra - Come fanno le onde  

P.R2B - Des rêves  

Pakistan Siti Muharam  

Delgres - 4 Ed Maten  

Nær Þér - BRÍET  

女王蜂 - 火炎 / THE FIRST TAKE

Cariño - Excusas

Vaundy: 不可幸力 (Fukakouryoku)

Ekolo Assiko - Les Frères Smith confinés

Me Voy Pa’l Pueblo - Mapache

Dreams (feat. Rokia Koné)- Les Amazones d'Afrique

Discoteque -  Молчат Дома  

Los Maricas - Buenos Aires

Oi - Jeyke (Prod. Shaggy Doo)

FYRE - Бийта като спре  

RIN - DAS RENNEN  

PLACEBO - 米津玄師

Juan Pablo Vega & Esteman - Eso Que Me Das (

Dominique Mingui & Dera Rakotomavo - Disco Séga (Souleance Edit)  

Janeiro - AMOR

POLO & PAN — Feel Good

chelmico - Easy Breezy

Mueveloreina feat Valverdina / ズーム / Zoom

Meryem Aboulouafa - Ya Qalbi  

Lokoy - classic city girl

Luv Neva Fades - Jawn Rice  

Tempalay "大東京万博"

Ovi x Natanael Cano - Pacas Verdes

Topázio - Todomundo

Canova - Tutti uguali

Palmera Beach - Estrellas

阿司匹林 - 王以太

NOS MIRAN - Quien Tú Quieres Que Sea  

Frisøren i sentrum - Stein Torleif Bjella  

Algoritmen - Kråkesølv  

Part-Time Friends - Même si  

Malena Villa - Salvaje (feat. Zoe Gotusso)  

Evelyne Brochu - Difficile

Awesome City Club / アンビバレンス

Michelle Blades - Mota O Perreo

tricot「右脳左脳」  

Буерак – Грустно с тобой

YSY A - SIN CONEXIÓN feat. BHAVI

Ichon feat. Loveni - Noir ou blanc  

Disclosure, Fatoumata Diawara - Douha (Mali Mali)

Bonnie Banane - La Lune & Le Soleil  

michel ko - Back to the Future(1999)  

Simpson Ahuevo - Arre  

REMOE - KETTEN ⛓  

Dromedarios Mágicos - Buenos Días

Compositor Fantasma - Carne Escondida

Futuro Pelo - Nefertiti (feat Neysa May)

あいみょん - 朝陽

浪漫革命＆ザ・おめでたズ『ハイレグBIKINI』

Bronko Yotte - Hush Papi  

Дурной Вкус - Мяу!

evening cinema - 純愛のレッスン

Willie Peyote, Shaggy, Don Joe - Algoritmo

Cupido - Tu Foto

GusGus - Higher ft. VÖK  

Poirier & Flavia Coelho - Café Com Leite

薄荷 - RYUTO  

Los Bitchos - Frozen Margarita

Fabulous, Infamous & Dangerous - Attractions

El Shirota - "La Ciudad"

Wale - Acervo Pessoal  

Les Gens Heureux Dansent - KCIDY

YAJICO GIRL - 街の中で  

Ramona ft Little Jesus - Los Esclavos

Svefneyjar - Sykur

Tsew The Kid - Mon étoile  

La Bruja de Texcoco - CHÉNI  

911 - DAMSO

MANIZHA - VANYA

Bourreau de mon coeur - Aurore de St Baudel  

DIVINE - Punya Paap (Prod. By iLL Wayno)  

Downtown Boys - L'Internationale

Ricky Hollywood feat Juliette Armanet

Icaro - Se Você Precisar  

DRIMS - Minivan

Sambinha - Exclusive Os Cabides  

Jovem Dionisio - Amigos até Certa Instância

UN GROUPE FRANCAIS - JE DÉPOSE UN BAISER

Infinito de Ondas - Minimal

La Fille du Ciel - Charlotte Fever  

Sesión DUAL Yoga Fire - De Calle

Hater - Carne Doce

Bongeziwe Mabandla

Tatum Rush - Barbarella  

Faslon Ko Takalluf - Shuja Haider

Sensibile (feat. Molla)

IRBIS 37 - BACIO

藤井 風(Fujii Kaze) - "もうええわ"(Mo-Eh-Wa)  

Al Jawala Like It - aljawala

Lido Pimienta - "Eso Que Tu Haces"

YOASOBI - 夜に駆ける / THE HOME TAKE

LosPetitFellas · Candela Muchacha  

Mc Igu - Patek  

Angelica Garcia - Lucifer Waiting  

Filipe Sambado - Jóia da Rotina

Guerrero del Día - Rodrigo Gallardo  

KIRINJI - Almond Eyes feat. 鎮座

Mabiland Hey mami  

Rels B, Duki, Aleman - ALELUYA  

Skinshape feat. D'Alma - Sua Alma  

GABIFUEGO & GKR - Moviendo

Flavia Coelho - Cidade Perdida  

Pixelord - Doomguy

Atómico - Jungle Fire

Klang Ruler - Be fin. (feat. 空音)

Ghosts in the Light - Nao'ymt  

Tripulación de Osos - Kilimanjaro

Los Perros Románticos - Lomo  

KEN THE 390 - Summer Vacation feat. PES, Ymagik (Prod. Shin Sakiura)

Où étais-tu - Raymond Amour

Los Cogelones - Hijos de puta  

TIK TU & MADALITSO BAND - Sitimamenya  

We Still Numb - Human Tetris

OBOY - Cabeza  

環ROY - Protect You

miida - utopia  

YONLAPA - Last Trip

KozyPop - 몇번째 (Song By 찬현)

MINE - Sciorroco  

Gera MX, Santa Fe Klan, Neto Peña - Siempre High [feat. Jozue]  

Yaeji - WAKING UP DOWN  

Callaita-Bipo Montana ft. Chino el Gorila, El Habano,B.OG & Uzielito Mix  

Theophilus London - Cuba  

平井 堅 『怪物さん feat.あいみょん』

P'tit Belliveau - Income Tax

Oscar Anton & Clementine - nuits d'été

TENDRE - LIFE

BBHF『とけない魔法』

Céu - Corpocontinente  

Freeze Corleone - Desiigner

Little Jesus - Lo que necesitas es amor  

ALI「LOST IN PARADISE feat. AKLO

SHAYFEEN - KOUN WAJED  

[twistedsoulmusic]

Madalitso Band’s songs will warm your heart even on the coldest nights. Their infectious melodies will put a smile on your face no matter how you feel. The Malawian duo uses a one-string slide bass (Babatone), a cowskin foot drum thumped with the heel, and a four-string guitar to create an explosion of happiness that’ll leave you smiling and dancing. This one is for you if you want an album to uplift your spirits. 

[nofatclips]

Vina Vina Malawi by Madalitso Band from the album Wasalala

[jalan-jalan]

【浦田博信の古今東西音楽ウラ話】

YES-fm 78.1MHz・毎週木曜22時〜23時（日曜19時再放送）

秒殺の作曲家浦田博信です。✌️

今週のプレイリストを公開します！

【浦田博信の古今東西音楽ウラ話】

YES-fm 78.1MHz・毎週木曜22時〜23時（日曜19時再放送）

秒殺の作曲家浦田博信です。✌️

今週のプレイリストを公開します！

2022年7月14日のプレイリスト

M1：Awake David / The Resolvers

M2：Gadys Raya / The Gadys

M3：Million Days (feat. Claire Ridgely) / SABAI & Hoang

M4：ぎゅ / Rei & 細野晴臣

M5：Deixa'm Perdre el Temps / Doctor Prats

M6：Salvar el Fuego / Sofía Campos

M7：Nhu Santiagu / Elida Almeida（エリーダ・アルメイダ）

M8：Indigo / Rasmee

M9：Ya Galbi Laih / Sharhabil Ahmed

M10：Michelle / Dameer

M11：Lighthouse / Matt Duncan

M12：Addicted to Company / Paddy Casey

M13：Computered Love / Madalitso Band

M14：純情青春夢 / 潘越雲

戻り梅雨な今日この頃、今夜もいいネタを取り揃えて、ナイスなジャケ写とともにお届けしました。

オープニングはビッグバンド・レゲエ。

マレーシアのガールグループやらカタルーニャのバンドやらアルゼンチンの美声SSWやら。

郷愁のグローバルミュージック三曲やら、80年代AORを思わせるシティポップ三連発やら、果ては珍しいマラウイのアコースティックバンドやら。

締めくくりは台湾のノスタルジック歌謡とか。

聴き逃した方は日曜日の再放送をぜひチェックしてみてくださいませ。

来週もどうぞお楽しみに。

#秒殺の作曲家

#浦田博信の古今東西音楽ウラ話

#yesfm

#木曜夜10時

#日曜夜7時再放送

#ニッチな選曲

#深イイ選曲

#ちょっとマニアックな選曲

#ワイドな振れ幅

#ミナミのラジオ

#聴いてね

[maquinadosom]

Logo mais tem Mundo Sonoro na Malagueta (malaguetawebradio.com), com reprise no sábado (14hs) e terça (10hs). Dá uma olhada nas novidades da semana: 

Nessa edição do Mundo Sonoro, uma viagem pelos ritmos do mundo numa mistura sempre acertada de estilos e influências. Começamos na França, mas também poderia ser na Armênia com o Dan Gharibian Trio. Depois, seguimos viagem para a Holanda, mas também poderia ser a Indonésia, com a banda Boi Akih (na foto). Sons da Argélia de ontem e hoje se fundem no disco em homenagem ao legado de Hambi Benani, vitima da Covid-19, em setembro de 2019. Nosso roteiro ainda prevê uma passagem para a o País de Gales e Índia, com o projeto Khasi Cymru Collective e uma visita à Grande Comore, com o primeiro registro fonográfico da história da música local. Na Suíça, festejamos os cinco anos do selo Bongo Joe, com três musicas da coletânea com covers de grandes tesouros da gravadora feitos pelos suíços da Cyrill Cirryl; essa festa nos leva ainda para a Turquia com a Lalalar e para o Malawi, com a Madalitso Band. No Brasil Sonoro, o primeiro single do novo disco do carioca Domenico Lancellotti.Nosso passeio termina na Galícia (Espanha), com as bruxarias musicas de Baiuca, nome do projeto artístico de Alejandro Guillá que recupera a música e os códigos tradicionais da região para  e trazê-los, não apenas para um cenário contemporâneo, mas também para um cenário futuro.O Mundo Sonoro faz parte da Transglobal World Music Chart e também está na programação da CBFwebRADIO - GLOBAL MUSIC NETWORK (www.cbfwebradio.com) às terças, às 16 horas, às quartas, às 10 horas, sexta, às 13 horas e na segunda-feira, à meia-noite,(horário de Brasília). Ouça também na programação da Malagueta Webradio (www.malaguetawebradio.com), às quintas (20hs), aos sábados (14hs) e às terças (10hs). Siga o Mundo Sonoro nas redes sociais: no Facebook (www.facebook.com.br/mundossonoro) e no Instagram: (www.instagram.com.br/mundossonoro). 

Produção e apresentação: Janaína Ávila. 

Confira a playlist completa:

01 Dan Gharibian Trio – “Parce Que” (França)

02 Dan Gharibian Trio – “Da Svidaniya Madame” (04:26)

03 Boi Akih – “Anin” (Holanda)

04 Hamdi Banani, Mehdi Haddab, Speed Caravan – “Jani Ma Jani” (Argélia)

05 Khasi Cymru Collective –“Cwyn yr Afon” (País de Gales/Índia)

06 Khasi Cymru Collective – “Pererin Wyf” (País de Gales/Índia)

07 Comorian – “Bandits Are Doing Bad Deeds” (Grande Comore)

08 Cyril Cyril – “Nuclear Si” (Suiça)

09 Lalalar – Ninja Partisi (Turquia)

10 Madalitso Band – “Computered Love” (Malawi)

11 Domenico Lancellotti – Vai a Serpente (Brasil)

12 Baiuca feat. Lilaina – “Luar” (Espanha)

13 Baiuca feat. Lilaina – “Conxuro” (Espanha)

[snackpointcharlie]

As if you didn’t get enough fireworks yesterday, here’s July’s SNACKPOINT CHARLIE coming at you like a bag of short-fused M-80s. Pow! 💥 Download here or subscribe podcast-style at https://wavefarm.org/wgxc/schedule/zabnt9

Transmission 026 - 2019.07.03 PLAYLIST

1) Esplendor Geométrico - “Moscú Está Helado” from LA CONTRA OLA - SYNTH WAVE AND POST PUNK FROM SPAIN 1980-86 https://lesdisquesbongojoe.bandcamp.com/album/la-contra-ola

2) Los Wemblers - “Lamento del Yacuruna” from THE ROOTS OF CHICHA 2 https://barbes.bandcamp.com/album/the-roots-of-chicha-2

3) Astronomy Class - “Four Barang in a Tuk-Tuk (feat. Srey Kak Chanthy from Cambodian Space Project)” from MEKONG DELTA SUNRISE https://www.discogs.com/Astronomy-Class-Mekong-Delta-Sunrise-/release/5841478 https://audiocracy.co/album-reviews/australian-albums/astronomy-class-mekong-delta-sunrise/

4) Tinariwen - “Taqkal Tarha (feat. Micah Nelson)” from AMADJAR https://tinariwenmusic.bandcamp.com/

5) Altin Gün - “Yolcu” from GECE https://altingun.bandcamp.com/album/gece

6) Susana Estrada - “Mi Chico Favorito” from AMOR Y LIBERTAD https://en.wikipedia.org/wiki/Susana_Estrada https://www.forcedexposure.com/Catalog/estrada-susana-amor-y-libertad-lp/ESP.014LP.html

7) Bross La - “Nak Jom Reang Krao Rong Vong https://soundcloud.com/brosslakhmermusic

8) Grupo Jejeje - “El Llanto del Faraon” from GRUPO JEJEJE https://grupojejeje.bandcamp.com/album/grupo-jejeje

9) Señor Coconut Y Su Conjunto - “Showroom Dummies (Cha-Cha-Cha)” from EL BAILE ALEMÁN https://atomtm.bandcamp.com/album/se-or-coconut-el-baile-alem-n

10) Hermeto Pascoal and Grupo Vice Versa - “Dança do Pajé” from VIAJANDO COM O SOM (THE LOST '76 VICE-VERSA STUDIO SESSION) https://hermetopascoal.bandcamp.com/album/viajando-com-o-som-the-lost-76-vice-versa-studio-session

11) Ihsan Al Munzer - “Dance of Tenderness” https://soundcloud.com/tutuatrash/ihsan-el-mounzer-dance-of?in=tutuatrash/sets/tutu-atrash-archives

12) Derya Yıldırım & Grup Şimşek - “Kürk” from KAR YAĞAR https://deryayildirimandgrupsimsek.bandcamp.com/album/kar-ya-ar

13) Madalitso Band - “Nambewe” from WASALALA https://madalitsoband.bandcamp.com/album/wasalala

14) Azymuth - “Castelo (Version 1)” from DEMOS (1973-75) VOLUMES 1&2 https://azymuth.bandcamp.com/album/demos-1973-75-volumes-1-2

15) George Symonette - “Dreams” from GOOMBAY - THE FOLK SONGS OF THE BAHAMAS https://www.discogs.com/George-Symonette-Goombay-The-Folk-Songs-Of-The-Bahamas/master/979843

16) Helado Negro - “Pais Nublado” from THIS IS HOW YOU SMILE https://heladonegro.bandcamp.com/album/this-is-how-you-smile

17) Ko Shin Moon - “Segah” from 78 FRAGMENTS https://koshinmoon.bandcamp.com/album/78-fragments

18) Valiska - “Numbers 4” from NUMBERS https://valiska.bandcamp.com/album/numbers?sfns=mo

plus excerpts from from THE CONET PROJECT: RECORDINGS OF SHORTWAVE NUMBERS STATIONS https://archive.org/details/ird059

19) Tony Elieh - “It's Good to Die Every Now and Then” from ANTHOLOGY OF ELECTROACOUSTIC LEBANESE MUSIC https://unexplainedsoundsgroup.bandcamp.com/album/anthology-of-electroacoustic-lebanese-music

20) Pov Vannary - “Msel Minh Mdong Teat (Yesterday Once More) https://www.discogs.com/Kak-Channthy-Poev-Vannary-Cambodia-Sings-The-Carpenters/release/10930755

21) Lata Mangeshkar - “Kabhi Kabhie Mere Dil Mein (कभी कभी मेरे दिल) (Sometimes My Heart)” from KABHI KABHIE https://www.youtube.com/watch?v=-W2dagktUp0

22) Radio Takamba – ATT Presidential address in Sonrai 23) Moussa Sidi - “Gao” from THE LAST RECORDINGS OF GAO https://sahelsounds.com/2012/07/the-last-recordings-of-gao/

[plattenabendonline]

Tik Tu & Madalitso Band - Sitimamenya (2020)

Christian