Thursday, 27 January 2011

Mick Jones reforms Big Audio Dynamite with Original Line Up

TUESDAY, JANUARY 25, 2011- 3:32 pm

The original Big Audio Dynamite is back! The groundbreaking rock-hiphop-reggae outfit formed by Mick Jones in the wake of The Clash will reunite after twenty five years for a series of international live dates, spearheaded by an appearance at the Coachella Arts and Music Festival on 16th April and full UK tour in March/April.
Credited with popularising sampling techniques and combining rock guitars with world beat, B.A.D has influenced everyone from Beastie Boys to Chemical Brothers and Gorillaz, with whom Jones recently finished a world tour alongside ex-Clash bassist Paul Simonon. B.A.D was at ground zero of the rock/hiphop revolution, releasing their first twelve-inch single ‘The Bottom Line’(remixed by Rick Rubin) on Def Jam Records. Subsequent hit singles included ‘E=MC2’, ‘Medicine Show’, ‘V-Thirteen’ and ‘C’mon Every Beatbox’.
The original group dispersed in 1988. A completely new line-up, known as B.A.D II, had success with singles ‘Rush’ and ‘The Globe’ before disbanding. Jones returned in 2005 with Carbon/Silicon and has produced a number of records, including The Libertines’ debut ‘Up The Bracket’. Co-songwriter and sample master Don Letts continued to direct films and videos, including ‘Dancehall Queen’ and The Clash documentary ‘Westway to the World’, for which he won a Grammy Award in 2003. Drummer Greg Roberts and bassist Leo ‘E-Zee-Kill’ Williams have released seven albums with Dreadzone, while keyboardist Dan Donovan continues to write and remix, working with Mark Moore among many others.
For Jones, this reunion represents unfinished business; carrying on the creative spirit of the Clash, whose frontman Joe Strummer co-wrote and produced B.A.D’s second album ‘No. 10 Upping Street’, which celebrates it's 25th Anniversary this year.
See them live

Thursday, 20 January 2011

Underworld performing "Two Months Off" on KCRW

Jessie Evans - Let Me On (Official Music Video)

Giya Kancheli: themes from songbook



ECM 2188October 2010

Dino Saluzzi bandoneon; Andrei Pushkarev vibraphone; Gidon Kremer violin

A very special album for Giya Kancheli’s 75th birthday. When starting out on his career as a creator of symphonic and chamber music, the Georgian composer also wrote much incidental music for the theatre and the cinema. Though still little-known in the West, the film music was widely heard across the former Soviet Union and the themes here – there are 20 on the album – enjoyed great popularity.


Tuesday, 18 January 2011

David Rodigan Fabriclive 54 Review

BBC Review

A wonderful compilation from champion selector Rodigan.

Angus Taylor 2010-11-10

Champion British selector David Rodigan has been bringing his deep bag of specials and innate ability to work a crowd to the world for 20 years. An appearance at London super-club Fabric spurred him to mix some of his favourite sides for their 54th Fabriclive release – where his eclectic tastes, with no one big label calling the shots on his choices, make this the best celebrity-endorsed reggae compilation since Jah Shaka’s The Positive Message for Greensleeves in 2009.
There’s a lot one can learn about Rodigan from listening to this disc. Basically, anything goes: whether it’s roots and dub from the 1970s (King Tubby and Augustus Pablo), 2000s dancehall (Cham’s brutal but brilliant Ghetto Story), or even dubstep (David’s son Cadenza’s remix of Keith and Tex’s Stop That Train), so long as it rams the dance, it’s in.
Rodigan’s well-publicised disillusionment with modern Jamaican product means most of the island’s output here is pre-2007. Of the later material, two of the productions are by veterans Sly & Robbie – Chezidek’s Borderline and Bitty McLean’s Plead My Cause.
He’s a big backer of non-Jamaican singer-deejays he deems "real authentic reggae music". The Sicilian Alborosie’s 2006 self-produced hit Kingston Town rubs shoulders with Bermudian Collie Buddz’s Bobby Konders-helmed Come Around, and Sweden’s Million Stylez on UK wunderkind Curtis Lynch’s update of the Junjo Lawes classic, Police In Helicopter.
In fact, Lynch’s productions occur more than anyone else’s, illustrating Rodigan’s support of British talent if it can reach beyond its shores. Interestingly, there is none of the heavy UK sound system, Shaka-influenced dub that splintered off from mainstream reggae in the 80s; yet dubstep, which shares many of its traits, has the man’s golden ear.
Too often celebrity collections are just a company trying to push their latest reissues and new singles. By sourcing tunes from multiple publishers (that they all got licensed confirms Rodigan’s industry standing) this selection avoids these pitfalls while, crucially, showing that in the right hands all styles of Jamaican and Jamaican-inspired music can be friends.
This work is licensed under a Creative Commons Licence. If you choose to use this review on your site please link back to this page.

Various Artists: The Sound Of Siam. Leftfield Luk Thung, Jazz and Molam from Thailand 1964 -1975 Review

BBC Review
A mixture of the exotic and the familiar, drawing on off-beat influences. Jon Lusk 2010-12-06

If Thailand’s music was as popular internationally as its food, we’d all be a lot more familiar with it. But even compared to that from other Asian nations – which are generally under-represented in the world music market – it’s pretty obscure. This compilation of luk thung (Thailand’s answer to country music), luk krung (its city cousin) and molam (a more rootsy style from the poor northern region of Isan, near the border with Laos) will thus come as a surprise for many. And an intriguing one, at that. It’s the mixture of the exotic and the familiar that makes it so. While the frequent use of guitar, bass, keyboards and kit drums betrays the influence of the soul, rock and psychedelia of the time, the strange tonal nature of the Thai languages and the use of several local folk instruments, and their odd harmonies make it sound quite distinct. These include the sor fiddle and the khaen, a kind of bamboo mouth organ, often heard in the introductions and tooting away in the backgrounds of many tracks. As compiler Chris Menist remarks in his liner notes, some of this music has an uncanny similarity to the Ethio-jazz of Mulatu Astatqé. That’s partly because it was made in the same era, and draws on similarly off-beat Latin influences. Even so, it’s not as accessible. Chaweewan Dumnern is referred to as the "queen of molam" and her pulsing cut Lam Toey Chaweewan seems to echo Booker T & the MGs… until you hear her sinuous vocal. But that definitely is the riff from The Rolling Stones’ Jumpin’ Jack Flash running through her Sao Lam Plearn. Although a previous likening of the Petch Phin Thong Band to an "oriental Stone Roses" is rather fanciful, given the looseness of the rhythm section (strong drugs, mate, can I have some?), their instrumental Soul Lam Plearn is entertaining. As is another instrumental by Thong Huad and Kunp’an, which is based around a gnawing sor solo. The "space-age music" of The Viking Combo Band features a Pink Panther-esque walking bass line, suspenseful percussion and increasingly unhinged vocals. And yes, this being music from a truly gastrocentric culture, there are two songs referencing Thailand’s fiery cuisine – som tam papaya salad and tom yum chicken, in case this is making you hungry. A balanced diet, naturally. This work is licensed under a Creative Commons Licence. If you choose to use this review on your site please link back to this page.

Monday, 17 January 2011

Pama International meet Mad Professor



Dubbing, the art of dub engineering, taking a tune and reworking it, re-mixing it and thus giving the tune a new direction, an alternative vibe, making something new from what’s already gone before.
For 30 years now the UK’s legendary dub master Mad Professor has delighted dub followers worldwide with his unmistakeable style of dubbing it up and dubbing you crazy with over 40 albums under his belt including many collaborations. Now comes an almighty collab with one of the UK’s most celebrated reggae bands this decade Pama International.
Pama International, now coming up to 10 years in the reggae arena, with this their 8th album release, a dub version of their smash album ‘Outernational’.
What strikes me straight away with ‘Rewired! In Dub’ is the absolute club friendly nature of the album, a good chunk of these tunes could fit very happily within a town centre or city nightclub amongst the funk, soul and street vibes being selected by the club DJ. With this album the listener is treated to just about every aspect of dub engineering tricks of the trade ever invented, indeed the Prof is responsible for some of these tricks of the trade from time. Elements of King Tubby’s high pass filter style mixing (Dubstance) Prof working the faders on the riddim track (Saviour Dub) Echo’s and delays superbly executed across the whole album all with a thoughtful approach in keeping the main elements of the original songs intact. It’s funky, soulful and ever so reggae. Without hesitation the most radio friendly reggae album coming from the UK in over a decade.
Dub I Wait takes the listener down Mad Professor memory lane, a thinking man’s dub with deep in the mix frequency tricks both on bass track and the high end elements whilst Question Dub contains that strange voice manipulation tactic made famous by the prof back in the day by taking the listener up to the cosmic dub belt and keeping them up there for ages! Another example of this dub style can be heard on Inheritance Dub. One cannot deny the superb song writing and ultra professional playing of instruments that Pama International has given the reggae and soul fan during the past 10 years and no doubt will continue to do so and their choice of enlisting Mad Professor to dub up their master tapes has to be the coup of the decade. An awesome journey through dub’s past and present.
It’s all there in this album, It’s the Dub sound of now…and in fine style.

http://plixid.com/2010/12/08/pama-international-pama-international-meet-mad-professor-rewired-in-dub-2010-mp3/

Yann Tiersen - Dust Lane album trailer

http://www.yanntiersen.com/

California Punk 1977-1980


Black Hole
Jon Savage Presents California Punk 1977-1980
[Domino]

David Sylvian: Sleepwalkers

Dusted Reviews 

Artist: David Sylvian
Album: Sleepwalkers
Label: Samadhi Sound
Review date: Dec. 2, 2010

Monday, 10 January 2011

What happened to the girls - Mama Diaspora vs Yuriy Gurzhy

New EP from Mama Diaspora vs Yuriy Gurzhy "What happened to the girls" available for download from Extra-estrada.com shop NOW!!! (dowload it from here).

Aaron Joy's Roman Midnight Music Rock & Metal CD Reviews: Rotfront ~ Emigrantski Raggamuffin

Rotfront ~ Emigrantski Raggamuffin (Click on heading to visit official website)

Style: punk, ska, rap, ethnic 
Label: Essay Recordings Year: 2009 Home: Berlin, Germany 
Members: Yuriy Gurzhy ~ guitar/bass/vocals Simon Wahorn ~ bass/guitar/vocals Dorka Gryllus, MadMilian ~ vocals Dan Freeman ~ sax Max Bakshish ~ sax/clarinet Daniel Kahn ~ accordian Anke Lucks ~ trombone Jan Pfennig ~ drums 

What comes to mind when you mix together the musical aggression of punk with the funky backbeat of ska? Probably many bands, actually, including the famed No Doubt that helped make ska mainstream. How about when you mix acoustic European gypsy music with free flowing Klezmer horns & female vocals lines? Probably that ethnic album of gypsy violin music your NPR listening uncle likes to play but you only find chaotically & exotically strange. Okay, now the challenge question. What about when you mix the ska, punk, gypsy & klezmer together & even through in a dash of hip-hop? No, I'm talking about a joke album by Wierd Al, though considering some of his experiments that might be a good guess. I'm actually referring to the popular German group Rotfront that does indeed mix all of the above, & quite successfully, creating something that I would highly recommend seeking out. Founded in 2003 by DJ's/guitarists Yuriy Gurzhy & Hungarian Simon Wahorn, Rotfront, or in its full form, the Emigrantski Raggamuffin Kollektiv RotFront, is as much a political-musical movement as it is a cohesive band with its rotating door of musicians depending upon the desired outcome & gig. It's half party band with a ska backbeat behind Klezmer-esque horn solos & a rotating line-up of male & female singers & occasional rapper ... a distorted rock guitar appears only in the bridge of "Klezmerton" ... but at the same time is clearly a punk band with a socially relevant message underneath the fun. It's a bit easy to even dismiss the message as the music is so upbeat & the singing careful & often comical ... everything but angry ... but the disgruntled feelings with society are clearly there & hidden just enough to catch you off guard. Though, it should be noted that the songs are in either German, Russian or Hungarian, so one has to assume that the few English songs share similiar themes as their foreign brethren. "Sovietoblaster", one of the best English songs which verges on hip-hop, paints a deceptively content yet dismal picture of the Soviet Union with underground contract killers. Or another example is the chorus of "Red Mercedes" with "the world is going mad, it makes me feel bad ... my red mercedes will take me away ... everywhere I go I smell destruction, but who remembers what they're fighting for", or from "Rotfront FM" with "no heating on a winter morning, is a sign of global warming ... making love is the only thing we can still enjoy for free." It's hard to let that bit of woe slip past your ears unnoticed. Some songs are more punk sounding ("Kemenyek A Fenyek") while others take a more gypsy-esque free-flowing approach ("B-Style", "Berlin - Barcelona") that creates for a diverse array of music that never gets dull or predictable. The closet band I can think of to compare are the equally musicially diverse yet socially relevant Chumbawumba, who had a single hit in America but are much bigger in England, who create upbeat music filled with cutting social criticism. Like Rotfront their music is deceptively not angry sounding. It's the complete opposite of death metal bands that try to make everything angry sounding ... but it's the contrast that is the missing key ingredient. While at times (i.e. "Red Mercedes", "Devil") I recall the socially relevant Jewish hip-hop ramblings of Matisyahu with his fast rapping style. The only thing missing are guest vocals by J-Lo. She would fit in perfect. For those curious, Rotfront is German for 'Red Front', or the 'Red Front Fighters League' that was a paramilitary branch of the Communist Party of Germany that engaged in street fights with the Nazis before being banned in 1932 ... but not before having their raised arm salute borrowed by Nazis. I should also clarify that it's not necesarily gypsy music Rotfront play but more a Mediterranean style, but my American readers know immediately gypsy sounds while Mediterranean would only lead to them scratching their heads. 

Posted by Aaron Joy, RMM Owner at 12:10 AM

Seu Jorge & Almaz Review

BBC Review "Seu Jorge’s likeable latest mixes English language covers and Brazilian favourites." Jon Lusk 2010-09-28 Although he’s a huge star in Brazil, and has made an impact abroad with a string of acting roles since 2002’s City of God, Seu Jorge the musician (aka Jorge Mário da Silva) seems to send out mixed messages. He’s into samba and rock, but also likes to sing well-known pop songs in both heavily accented English and Portuguese, most notably a whole album of Lusophone David Bowie covers for The Life Aquatic with Steve Zissou. Almaz is the band that came together to record a song for Walter Salles’ film Linha de Passe in 2008. They include two members of manguebeat (mangue bit) pioneers Nação Zumbi – drummer Pupillo and guitarist Lucio Maia – as well as bass player Antonio Pinto, and Seu Jorge’s trademark baritone croonings. Apparently they got on so well they then made a whole album, each member choosing their favourite songs from Brazil and abroad – both well-known and obscure. Courtesy of producer Mario C, Almaz have a stripped-down but luminously psychedelic sound that’s far more spacious and considerably more, um, groovy than the band Seu Jorge used on his last album, América Brazil O Disco. Naturally it has much in common with Zumbi, although they don’t go as far as using the pounding alfaia drums of maracatu (one of north-eastern Brazil’s most popular folk rhythms) so beloved of that band. Of the four songs in English, the least interesting is the flaccid cover of the Michael Jackson hit Rock With You. More surprising and successful is the relocation of Kraftwerk’s The Model to what sounds like an echo chamber somewhere underneath São Paulo. Roy Ayers’ Everybody Loves the Sunshine is well suited to Jorge’s lubricious tones, and best of all is Girl You Move Me, originally performed by French 70s soul/funk outfit Cane & Able, and here given a cavernous, dub-flavoured treatment. The Brazilian material kicks off with an atmospheric take on Jorge Ben’s Errare Humanum Est, suggesting one of Ennio Morricone’s more restrained spaghetti western themes. Other highlights include a tropicalismo-influenced take on Paio Joao, by little-known early-70s psych rockers Tribo Massahi, and a snappy space-rock version of Dorival Caymmi’s Cala Boca, Menina. But it’s the band itself that is the real point. The chemistry they have together is abundantly obvious, and this is Seu Jorge’s most likeable effort to date. Let’s hope they make another record together.

Original Cuban Funk Grooves 1967-1978 Review

BBC Review

Twelve tracks of peerless post-revolutionary Cuban music.
Andy Fyfe 2009-10-21
Just in case you’ve never heard the one about the bass player, here it is: What do you call a musician’s friend? The bass player. Hilarious, eh? But no one told it to Cuban Juan Formell, the bass player who in 1969 lit a spark that fired the belly of his country’s music for two decades.
The story of post-revolutionary Cuban music is just weird. Forgive the history lesson, but the island became a cultural Galapagos after Castro ring-fenced it with an embargo on, among other things, Western music. To keep a population largely press-ganged into backbreaking work on the island’s sugar plantations happy as he strove to make the country financially self-sufficient, Fidel’s ministers effectively nationalised music, putting all professional musicians on the government payroll and sending scores of orchestras out to perform upwards of 300 gigs a year.
The fiscal policy was a disaster, but rather than stifling the musicians this bizarre and unique situation allowed them to hone their virtuosity, forcing them to find new inspiration in their past. Even so, some weren’t entirely ignorant of what was happening elsewhere, and in 1969 Formell formed Los Van Van, fusing pre-Castro charanga with soul and funk. The new ‘songo’ style was a revolution within a revolution, traditional enough for one generation, radical enough for the new, and as others picked up the baton basslines became more elastic, guitars screamed in the background and electric pianos started to make way for synthesisers.
The full story is much more expertly told in the liner notes of this stellar compilation, culled by Austrian DJ and Cuban record collector Tom Wieland from the vaults of the state-owned Egrem studio. Los Van Van are here, of course, alongside highlights by Grupo Irakere (the magnificently psychedelic Quindiambo, which combines surf guitar, a bassline uncannily similar to The White Stripes’ Seven Nation Army riff and Pearl & Dean brass) and trombonist Juan Pablo Torres’ Grupo Los Caneyes with their Ernie Isley-like guitarist, to the chortling horns of Algo Nuevo (another Torres project) or Grupo Los Yoyi’s space funk, obscure even in Cuba.
Quite simply, come next summer when you’ve dug out the barbeque and cleaned off the remnants of last year’s charred chicken, mix up some mojitos and stick this on. Then call an ambulance: your guests are about to put their backs out trying to snake their hips around these 12 peerless tracks.
Review by Dave Lynch 

Guitarist Brad Shepik is likely the most well-known member of Tridruga, and although he plays superbly throughout this trio's eponymous debut CD on Love Slave Records, the recording should not be considered a Shepik disk. Rather, Tridruga is very much a three-way collaboration with bassist Tony Scherr and, especially, accordionist Yuri Yemeshev sharing the spotlight. Russian-born Yemeshev is an interesting character, a serious accordionist who has also cultivated a somewhat zany presence in New York City's East Village by donning a wild assortment of hats and wigs and mugging (quite entertainingly, it must be admitted) for his audiences during bistro performances. Yemeshev's mastery of Russian and Eastern European folk and folk-influenced classical accordion music, rather than his headgear, is no doubt what brought him to the attention of Shepik and reedman Matt Darriau, musicians who are both widely recognized for incorporating Eastern European and Asian influences into their creative jazz pursuits. Yemeshev might be an accordion traditionalist compared with avant figures ranging from Guy Klucevsek to Andrea Parkins, but he is hip enough to sit in with Shepik and Darriau during Paradox Trio gigs at New York's Knitting Factory club and finally to merit equal partnership with downtown jazz veterans Shepik and Scherr on Tridruga. A collection of tunes drawing from both folk and jazz traditions, Tridruga is brightly recorded yet filled with the warmth of a close conversation. It is easy to imagine the trio performing beside the hearth of a cottage on Sakhalin, the Russian island north of Japan where Yemeshev lived before moving to New York. Shepik plays acoustic nylon-stringed guitar throughout, strumming in rhythmic accompaniment or matching Yemeshev's fleet-fingered single-note accordion runs. Further folk authenticity is provided by Scherr's contrabass balalaika, the lowest-tuned version of the familiar Russian and Eastern European three-stringed lute. Scherr has a masterful touch whether laying down a deep pulse beneath his bandmates or stating a theme in the forefront, as on Shepik's brooding "One Hundred Years." Yemeshev and Shepik split the group's composing credits, and both have written lovely melodies and chord sequences that frame heartfelt improvisations. A yearning quality imbues many of the tunes, as evidenced by titles such as Yemeshev's "Wind Cries" and Shepik's "Forgotten Island." (The sprightly "Potato Head" reveals Yemeshev's lighter compositional side.) Modern Russian composer Alfred Schnittke's "Main Theme From the 'Little Tragedies'" is the CD's final track; it is a darkly beautiful rendition, understated yet dramatic, and a fitting conclusion for the recording. "Tridruga" translates as "three friends," and Yemeshev, Shepik, and Scherr possess an empathy that aptly suggests years of musical camaraderie. The listener feels privileged to be drawn into their intimate circle. 

To listen to the tracks: http://www.allmusic.com/album/tridruga-r490352

The Jolly Boys Great Expectation Review

BBC Review

An intriguing introduction to, or reminder of, this wonderful, under-exposed music.
Angus Taylor 2010-09-14
Mento, overshadowed by its more danceable Trinidadian neighbour calypso, has yet to enjoy the wider recognition of ska, rocksteady and reggae. This album of lyrically gloomy rock standards by Jamaica’s longest running mento group The Jolly Boys doesn't showcase the style in its purest form, but should help put it on the mainstream musical map.

Mento was the first-recorded Jamaican music, and a means of spreading news and bawdy tales (often featuring long-suffering male protagonists). Port Antonio’s Jolly Boys began in the 1950s playing to celebrity visitors such as JP Morgan and Errol Flynn, and have continued off and on ever since.

Produced by Jon Baker and Dale Virgo at Geejam studios in Portland (where the Boys are house band) the album marries mento arrangements (banjo, acoustic guitar and rhumba box) with digital beats to interpret songs from the rock canon. Years of playing for tourists mean this material isn’t as much of a stretch as one might assume.

The darker side of mento lyrics is reflected in stories of excess and urban woe from Lou Reed (Perfect Day), The Stranglers (Golden Brown) and Amy Winehouse (given a minor key makeover for Rehab). Yet, transplanted, they lack the humour-in-the-face-of-hardship associated with the style.

The second half of the album is a more comfortable fit with less self-consciously cynical works such as Sonny Curtis' I Fought the Law and Johnny Cash's Ring of Fire (which, sharing a horn motif with The Skatalites’ Occupation, is practically Jamaican anyway). But simple pop songs are simple pop songs and more modern compositions like New Order’s Blue Monday benefit greatly from Dan Neely and Egbert Watson’s banjo and Albert Minott’s rich, grizzled voice – akin to a pitched-down version of Culture's Joseph Hill.

Mento purists who draw the line after Stanley Beckford’s reggae-mento fusions might think this a blatant gimmick. And in many ways it is. For most listeners, however, Great Expectation will be an intriguing introduction to – or reminder of – this wonderful, under-exposed form of music, as well as lots of sing-along fun.
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A Nova Musica Brasileira Review

BBC Review
Endorses Brazil’s proud musical heritage while drastically re-arranging it.
Colin Irwin 2010-10-01
The ease of downloading has ignited a culture of cherry picking that has pretty much sounded the death knell of the dear old compilation album. But it may still have a role in cutting out the legwork to trumpet a new movement – whether real, perceived or simply well marketed.
Don’t let the "Oi!" distract you – this isn’t a collection of dodgy punk bands. It’s a bold, colourful, all-guns-blazing double CD set devoted to emergent contemporary music from the Brazilian underground. Or, in the words of the sleeve notes, artists who "combine both domestic and international influences to create their own uniquely Brazilian musical language with global appeal."
The logo is certainly eye-catching enough, the information contained within exhaustive and, while no 40-track collection is going to deliver complete satisfaction, there’s enough here to excite the senses and demonstrate that not everything seeping into Western consciousness from Brazil need be rehashed bossa nova, novelty lambada or slinky samba variations. Indeed, while many of the featured artists do draw on traditional styles with a mellow context tempering the more extreme electro dance forms, the mostly subtle blend of hip hop, dub, acid jazz and even avant-garde coating make for some fascinating tracks. Highlights include China’s Colocando Sal Nas Feridas, Zé Neguinho do Côco’s Recife D’água, and especially Catarina Dee Jah’s quirkily irresistible M.I.A.-meets-Althea and Donna groove on Kay Fora.
The omnipresent suspicion surrounding any kind of fusion of this nature is one concerning self-indulgence and gimmickry and there are indeed moments, particularly on the mostly experimental and electronica-orientated second disc – Curumin’s self-consciously energised Caixa Preta is one example – where alien influences sound artificial and awkwardly faux. Yet these are mostly overshadowed by some trailblazing highs, from much heralded Mini Box Lunar’s joyously infectious opening track Amarelasse, manguebeat supergroup Orquestra Contemporãnes de Olinda’s gently skanking Tá Falado and the startlingly intimate singing of Tulipa on the lovely Pedrinho.
For an album whose whole raison d’être is diversity and risk, it hangs together remarkably well. Even in its most extreme moments the roots glimmer through, conversely endorsing Brazil’s proud musical heritage while drastically re-arranging it.

Mama Diaspora vs Yuriy Gurzhy - EP 2- out now !!!

Mama Diaspora vs Yuriy Gurzhy EP 2 by MAMA DIASPORA