Tag: Jesse Ware

Dan Sadin is a Los Angeles-based singer/songwriter and guitarist, who has spent the past decade or so playing, writing and performing with an eclectic array of artists and bands including FRENSHIP, Holychild, , Jessie Ware and Sabrina Claudio. Deeply influenced by the likes of Tom Petty, Bruce Springsteen and Patti Smith among others, Sadin’s songwriting has long been inspired by intimate moments — the quiet conversations and moments often had in darkened bars, bedrooms and therapy sessions.

Interestingly, Sadin’s forthcoming, self-titled debut EP finds Sadin stepping out into the limelight as a solo artist and songwriter — and for an artist, whose own work was hidden out of self-consciousness and fear of rejection, it’s a a bold unveiling of an artist, who pairs earnest lyricism with an rousing and enormous hook. Thematically, the material focuses on a familiar and fairly universal personal battle that we’ve all fought and continue to fight: that choice to conform and be accepted and liked — or standing out an individual and risking rejection and loneliness. And while acknowledging that it isn’t an easy decision to make, the material suggests that it’s better to be hated for who you really are than to be liked for who you’re not.

“Sucker,” Sadin’s latest single is an earnest track, centered by an arena rock friendly hook, layers of buzzing and distorted guitars, explosive and ebullient blasts of horn, thumping, tweeter and woofer rocking beats and Sadin’s plaintive vocals. The song manages to be heavily indebted to Springsteen and Petty in particular but while avoiding soulless and cliched homage and mimicry, as the song is rooted in hopeful yearning for something more, for a deeper connection based on lived-in personal experience and hard-fought, hard-earned wisdom. 

“I’m terrible at small talk. I’m always pushing for the deeper, more serious conversations,” Sadin says in a lengthy statement. “When I’m out being social, talking about that stuff feels taboo and I think I end up coming across as awkward or disengaged. So I had become actually afraid of ‘going there’ and creating genuine relationships, actively trying to avoid that part of myself. But I’ve reached a point where that just isn’t working for me anymore. 

“‘Sucker’ is an outpouring of that need for a deeper connection with the world around me and myself,” Sadin continues. “I had been feeling lost, caught up in a very surface level existence. I was overwhelmed with anxiety created by ignoring the things in life that really mattered to me, that were a part of my core, because I felt like I had to live up to cultural, communal and familial expectations. I felt like I had to be my own curator of what other people think is a ‘perfect life.’ And while I knew that living like that might be a way to receive instant gratification, it was also a way to avoid being with myself. Living in a world of curated successes and one-dimensional projections, only seeing what people what you to see or hear, I was riddled with anxiety about how I compare with someone else’s end product, As a result, I believed that this end goal, whatever it might be, should be something immediate when it really isn’t. I don’t see someone else’s journey, their deep, dark demons…but that’s the exciting part! That’s the part that I live for. That’s the part that makes us all human and connects us together. I know that we all struggle, we all feel lonely. We are all bound to this human experience by these very feelings, struggles and challenges I had been trying to pass over. And in doing so, I had buried my deepest most authentic self, more concerned with trying to be what I think others want to see than asking myself how I really feel and what I really want.

“This song is for my five-year old self who was in perfect alignment with his dreams, his feelings and who he was. It is meant to honor that part of myself that craves the real talk, the real connections – not just surface level interactions. And it’s a helpful reminder to not take myself too seriously. Life can be both fun and meaningful at the same time!”

 

New Audio: Sampha Shimmering, Dance Floor Friendly Remix of Legendary Malian Vocalist Oumou Sangare’s “Minata Waraba”

Oumou Sangare is a Bamako, Mail-born and-based, Grammy Award-winning,  singer/songwriter and musician, who comes from a deeply musical family, as her mother, Aminata Diakite was a renowned singer. When Sangare was young, her father had abandoned the family, and she helped her mother feed the family by singing; in fact, by the time she had turned five, Sangare had been well known as a highly gifted singer. After making it to the finals of a nursery school talent show, a very young Sangare performed in front of a crowd of 6,000 at Omnisport Stadium — and by the time she was 16, she had gone on tour with a nationally known percussion act, Djoliba.

Sangare’s 1989 debut effort, Moussoulou (which translates into English as “Women”) was recorded with renowned Malian music master Amadou Ba Guindo, and was a commercial success across Africa, as it sold over 200,000 copies. With the help of the world renowned Malian singer/songwriter and multi-instrumentalist Ali Farka Toure, the father of Vieux Farka Toure, Sangare signed with English record label World Circuit — and by the time she turned 21, she had received an internationally known profile. Interestingly, Sangare is considered both an ambassador of Mali and the Wassoulou region of the country, just south of the Niger River, lovingly referred to as “The Songbird of Wassoulou,” as her music draws from the music and traditional dances of the region while lyrically her work has been full of social criticism, focusing on the low status of women within Malian society and elsewhere, and the desire to have freedom of choice in all matters of one’s life, from who they can marry to being financially independent.

Interestingly, since 1990 Sangare has performed at some of the world’s most important venues and festivals including the Melbourne Opera, Roskilde Festival, Gnaoua World Music Festival, WOMAD, Oslo World Music Festival and the Opera de la Monnaie, while releasing several albums including — 1993’s Ko Sira, 1996’s Worotan and 2004’s 2 CD compilation Oumou. Adding to a growing profile, Sangare has toured with Baaba Mal, Femi Kuti and Boukman Eksperyans, and she has been named a Commander of the Order of Arts and Letters in 1998, won the UNESCO Prize in 2001 and was named an ambassador of the FAO in 2003.

Mogoya which translates into English as “People Today,” was Sangare’s first full-length effort in over 22 years, and it was released to critical praise from the likes of Dazed, The Fader, The Guardian while making the Best of 2017 Lists of Mojo, the BBC, the aforementioned The Guardian as well as Gilles Peterson — and the album found the renowned Malian artist collaboration with the legendary Tony Allen and French production team A.L.B.E.R.T. and pushing her sound in a new, direction; in fact album single “Minata Waraba” features  Sangare’s gorgeous and expressive voice with shimmering African instrumentation paired with a slick and hyper modern production that emphasizes a sinuous, electric bass line and shuffling, complex polyrhythm that reminds me of a 2013 Fela Kuti tribute compilation, Red Hot + Fela, which featured contemporary artists re-imagining some of the Afrobeat creator’s signature tunes.

Sangare will be releasing the Mogoya Remixed album through Nø Førmat Records today, and the album features remixes of the album’s material by contemporary artists and producers, who have been high profile fans of her work; in fact the album’s latest single is from the British-born and based producer and artist Sampha. Sampha has split his time between solo and collaborative work, and has worked with the likes of SBTRKT, FKA Twigs, Jesse Ware, Drake, Beyonce, Kanye West, Solange and Frank Ocean. His full-length debut Process won the Mercury Music Prize last year, and earned him a 2018 BRIT Award nomination for Best British Breakthrough.

Sampha has publicly mentioned his love of Oumou Sangare’s music, explain in press notes, “My dad had a copy of Oumou’s album Worotan and no other album has spoken to me quite like that. Her music has been a huge inspiration ever since and it’s a real honour to have remixed some of her music.” Sampha’s remix retains Sangare’s crystalline vocals but pairs it with a thumping production, featuring tribal house like beats and shimmering arpeggiated synths that while modern, still keeps the song rooted to Africa. Interestingly, Sangare has mentioned being bowled over by Sampha’s remix, saying  “When I first heard Sampha’s remix, I was amazed at the beat. Our rhythmic patterns are not always easy for Western people. But, wow, Sampha’s beat is definitely African, definitely. Listening to it I can tell that Sampha has African blood in his veins. I am really excited by this version, I play it again and again.”