Tag: world music

New Video: Speed Through the Streets of Kinshasa in Visuals for TSHEGUE’s Thumping “The Wheel”

Born in Kinshasa, Democratic Republic of the Congo, Faty Sy Savanet and her family emigrated to Paris when she was eight. In her early twenties, a mutual friend connected Savanet with Robert Wyatt collaborator Bertrand Burgalat, whose label, Tricatel has been referenced as a major influence of the likes of Air and Daft Punk.

Burgalat encouraged and enabled many of Savanet’s formative musical experiments, including a short-lived voodoo ‘n’ roll band. Interestingly, Savanet’s latest project TSHEGUE, which derives its name from her childhood nickname, a Congolese slang term for the boys who gather on Kinshasa’s streets, can trace its origins to when she met her bandmate, French-Cuban producer Nicolas ‘Dakou’ Dacunha.

Their debut EP, 2017’s Survivor thematically explored the challenges faced by the African Diaspora paired with Dacunha’s forward-hthinking, hypnotic, club-banging productions which features elements of Afropunk, garage rock and electro-clash. Survivor EP was championed by the likes of Mura Masa and Noisey, which led to a growing international profile. And adding to a growing profile, the video for “Munapoto,” which was shot on the Ivory Coast received a UK Music Video Award nomination alongside videos for tUnE-YaRdS and Chaka Khan.

“The Wheel,” the first bit of new material from the duo since the release of Survivor EP, and I’m certain that it’ll further cement TSHEGUE’s growing reputation for crafting swaggering, forward-thinking, genre and style-blurring bangers. Centered around a wildly exuberant, hypnotic and percussive production featuring ricocheting industrial clang and clatter, stuttering, tweeter and woofer rocking beats, explosive blasts of bass synth paired with Savanet’s commanding flow, the song bears a resemblance to JOVM mainstays Kokoko! as it sounds as though it comes from a sweaty, post-apocalyptic future where the club and the ghetto are one and the same — but delivered with a decidedly punk aggressiveness.

Directed by Renaud Barret, who was also behind the Africa Express documentary featured Damon Albarn, Peter Hook and Tony Allen, the recently released video for “The Wheel” was filmed in a gorgeously cinematic black and white amidst the chaotic traffic of Savanet’s hometown, follows members of the local, mixed-gender, teenaged skating club, Club Etoile Rollers hitching rides on the backs of speeding busses, cars, motorbikes through the heaving megalopolis’ crowded streets. Speaking about the video Barret says ““An ordinary day in Kinshasa. I’m in a taxi on Lumumba Boulevard, when suddenly I’m in the middle of this gang of kids slaloming between cars. We exchange thumbs up, signs of complicity, rolling side by side for a moment. One of them spots my camera, and comes closer to shout ‘Hey sir! Do you wanna shoot something crazy?’ I couldn’t refuse. This is the magic of a limitless city where each and every day brings incredible spontaneous possibilities. Now as I watch the beaming faces of these kids, thrown at full speed on their crumbling rollers, almost out of control, intoxicated by danger and only protected by their faith in good luck; I can only see a metaphor for the Congo’s situation. But also a middle finger to a society trying to maintain an illusion that everything should be controlled, supervised. These free riders remind us that life must be lived in the present.”

The duo has begun to make a name for themselves with commanding live performances, including sets at Lowlands and The Great Escape Festivals and from what I understand the act will be announcing a series of headlining UK live shows to coincide with the release of more new material.

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New Video: Acclaimed Japanese Punk Act Releases Cinematic Visuals for Blistering “datsu hike no onna”

Over the past few months of this year, I’ve written a bit about the  Kyoto, Japan-based garage punk act Otoboke Beaver (おとぼけビ~バ~ in Japanese), and as you may recall the act which is comprised of Accorinrin (vocals, guitar), Yoyoyoshie (guitar, vocals), Hirochan (bass, vocals) and Kahokiss (drums, vocals) can trace their origins to when they all were members of Kyoto University’s music club.

Shortly after their formation, the quartet quickly received attention both locally and nationally for pairing incredibly dexterous musicianship with their frontwoman’s confrontational stage presence. Interestingly, when  Damnably Records released the Okoshiyasu!! Otoboke Beaver compilation, the Kyoto-based punk act began receiving airplay internationally from BBC Radio 6′Gideon Coe and Tom RavenscroftXFM’s John Kennedy, as well as praise from the likes of PitchforkNPRi-Dand The Fader.

Building upon a rapidly growing international profile, the members of the band made critically applauded and attention-grabbing appearances at SXSW and FujiRock Festival, played a sold out show at London‘s 100 Club — and their Love Is Short 7 inch charted in the UK for 4 weeks. Last year, the band went on a tour of the UK that was bookmarked by slots at Coachella.

The band’s newest album ITEKOMA HITS is slated for an April 26, 2019 release through their longtime label home Damnably Records, and from the album’s first three singles “Anata Watashi Daita Ato Yome No Meshi,” “Don’t light my fire” and “I’m tired of repeating your story” the Japanese band revealed that their specialized in feral and defiantly feminist rippers that drew from noise punk, no wave, prog rock and riot grrrl punk, centered around blistering power chords, rapid-fire chord progressions and tempo changes and shouted lyrics. The album’s fourth and latest single “datsu, hike no onna” continues in a similar vein as its immediate predecessor — furious, straightforward punk that bristles with discontent and frustration.

Directed by Haruka Mitani, the video for “datsu, hike no onna” marks an important first for the band — the first time they’ve collaborated with a female director. Shot in gorgeously cinematic 8mm film, the video focuses on a woman who is seemingly suffering from bipolar disorder — at one point manic and joyous, at another point murderous. Interestingly, as the band’s Accorinrin explains, the song “is a second woman’s song similar as my previous song’s themes. hikage no onna means woman in the shadows. It can be [a] metaphor for a mistress, an ‘illegitimate’ woman or a woman without a bubbly, outgoing personality. The message of this song is lamenting the oppression of being a woman in the shadows and about getting out from this suffering.”

New Video: Thievery Corporation Side Project The Archives Set to Release a Reggae Tribute to Gil Scott-Heron

Gil Scott-Heron was a singer/songwriter, poet and multi-instrumentalist, best known for his influential work between the late 1960s and early 80s, which meshed jazz, blues, soul and funk with spoken word and poetry. Lyrically, his work focused on the sociopolitical issues of the Black community, delivered in a style that sort of resembled rapping; in fact, much ink has been spilled on how Scott-Heron’s breakthrough works Pieces of a Man (particularly, “The Revolution Will Not Be Televised” ) and Winter in America, have had a momentous influence on contemporary music, particularly on hip-hop and neo soul. 

Sadly, during the last decade of his life, Scott-Heron battled drug addiction and as a result  had several stints in and out of prison; however, he managed to remain to be a remarkably prolific artist, writing and recording when he was able. Just before he died, the legendary and influential poet and musician released the critically praised album I’m New Here and finished work on a memoir, which was published posthumously. Interestingly, before he died, he went into the studio and recorded extremely stripped down versions of some of his best known and beloved material, accompanied on piano with no overdubbing or extra studio production that was largely unreleased and unheard until XL Recordings released the material as Nothing New on what would have been the legendary artist’s 65th birthday.  

Thievery Corporation’s Eric Hilton along with Darryl “Trane” Burke started The Archives as a quest to explore the roots of reggae music. The project’s 2012 self-titled debut was released to critical acclaim. Seven years have passed since their debut, but Burke and Hilton have teamed up to co-produce reggae tribute album celebrating the work of Gil Scott-Heron and his longtime collaborator Brian Jackson that will be released through Hilton’s new label Montserrat House. So what’s the connection between reggae and Gil Scott-Heron, you may be asking? Well, Scott-Heron’s father Gilbert was a famous Jamaican soccer player, who wound up being the first Black player in Scotland’s Celtic League, so the album in some way celebrates the influential poet’s Jamaican heritage, while highlighting his still relevant reflections and thoughts on social justice and chance. “Like Gil’s compositions, reggae contains elements of jazz and soul,“ says Hilton. “It’s the perfect backdrop to Gil’s revolutionary pan-Africanist lyrics.” The album also will feature contributions from Jamaican dub poet Mutabaruka; R&B soul singer Raheem DeVaughn; percussionist Larry McDonald, who was once a member of Scott-Heron’s backing band Amnesia Express; Addis Pablo, the son of reggae legend Augustus Pablo; Kenyatta Hill, the son of Culture’s Joseph Hill; and Brian Jackson, Scott-Heron’s longtime collaborator. 

Released on 1971’s Pieces of a Man, “Home Is Where The Hatred Is” may arguably be one of the most heartbreaking and chilling depictions of the hopelessness of life in the Black ghetto and the toll it takes on the song’s narrator and his neighbors. Centered around a brooding and strutting 70s singer/songwriter soul arrangement, the song fits in perfectly with its time, recalling What’s Going On-era Marvin Gaye, Curtis Mayfield and Bill Withers — but with a restless bitterness and disillusionment that should feel unsettling to those who are sensitive to the plight of their fellow humans. Seeing its release on what would have been Scott-Heron’s 70th birthday, The Archives first Gil Scott-Heron tribute album single “Home Is Where The Hatred Is,” is a shuffling and brooding reggae version of Scott-Heron’s famous track, featuring Thievery Corporation’s St. Thomas, U.S. Virgin Islands-born vocalist Puma Ptah. And while putting a subtle spin on a familiar and well-known song, The Archives manage to retain the song’s still-relevant emotional weight — it’s bitter, disillusionment and frustration. While many Americans — particularly, Whites — may think reggae is all good times and smiles by the beach, reggae has always been protest music, describing the deplorable conditions, frustrations, hopes and dreams of some of the world’s proudest yet poorest people. Let both versions remind you of the dashed hopes, expectations and dreams of those in the South Bronx; Jamaica, Queens; Baltimore; Chicago’s South Side; Gary, IN; Newark, NJ; Camden, NJ; Ferguson, MO; and countless similar places across the country. Isla

The recently released video is split between footage of Puma Ptah walking through the abandoned apartments and dirty alleyways of the hood, and Ptah with the members of The Archives recording the song in the studio and performing it. 

New Video: Introducing the Moody Joy Division-like Synth Pop of Turkey’s Jakuzi

Istanbul, Turkey-based synth-wave duo Jakuzi, which is comprised of Kutay Soyocak and Taner Yücel can trace its origins to when Soyocak and Yücel started the act in 2015 as a way for them to move away from their previous punk rock-leaning projects. When they released their debut cassette in 2016 Fantezi Muzik  no one seriously expected it to leave their immediate circle of friends and associates; however, the tape caught the attention of City Slang Records, who re-released the debut with new tracks the following year — and the album began to receive praise from internationally recognized media outlets, including The Quietus and The Guardian, and the band played sold-out shows with their musical idol John Maus. 

Fantezi Muzik’s material found the band going against the grain of what’s  expected from a male-fronted Turkish act. While most male-fronted acts from the duo’s homeland aren’t typically known for being introspective, Soyocak and Yücel’s work, which has been centered by a gothic sensibility, addressed the personal and psychological issues they were facing. 

Ironically, despite achieving the sort of success that most indie bands would probably kill for, the duo found themselves dealing with a number of challenging issues. Being musicians in their homeland is extremely challenging economically and personally  — and because their songs are written and sung entirely in their native Turkish, the language that Soyocak feels he can best express himself, the opportunities are limited. Currently, there aren’t playlists for Turkish DYI dream pop/dark wave/synth wave acts, their songs aren’t played on traditional radio shows and there isn’t a mass market for attending punk rock shows.  And although they’ve been frustrated and even demoralized, they have refused to give in; in fact, their long-awaited and forthcoming sophomore album Hata Payi (which literally translates as “part of the mistake”) reportedly finds the band delving deeper and making further explorations into the feelings and thoughts they touched upon in their debut — namely, what it’s like to be a young adult in Istanbul, having success and then having to live up to expectations, being an artist in a country that doesn’t quite get or support your work, managing personal relationships as you get older and mental health; but with a refined, darker sound. “I think my melancholy comes partly from where I live,” the band’s Kutay Soyocak says in press notes. “This can be seen in the lyrics. I sometimes feel dark, lost and lonely as everyone. Here, the economy and politics make me feel hopeless sometimes. The future seems blurry but we try to keep our hopes high and continuing what we do. The audience is getting bigger every day and they support us and it is just pure love in our gigs.’’

Interestingly, “Toz,” the second and latest single off Hata Payi immediately brings Joy Division to mind, as the song is centered around shimmering and arpeggiated synths, stuttering beats, an angular and propulsive bass line, a big hook and Kutay Soyocak’s sonorous yet achingly sad baritone — and although the lyrics are completely in his native Turkish, the song evokes a loneliness that is deeply universal. 

Directed by Eli Kasavi, the recently released video for “Toz” stars a brooding and lonely Kutay Soyocak dancing alone in a room with flickering spotlight. As Kasavi explains in press notes. “It’s connected to the band’s previous video “Şüphe” where the main character watched a dancing couple with a feeling of doubt. That character has left that place now and is dancing by himself.”

Lyric Video: Dutch-based Act Altin Gun Releases a Lysergic Visual for Shimmering Take on Turkish Psych Pop

Comprised of founding member Jasper Verhulst (bass) with Ben Rider (guitar), Erdinc Ecevit Yildiz (keys, saz, vocals), Gino Groneveld (percussion), Merve Dasdemir (vocals) and Nic Mauskovic (drums), the Amsterdam-based Turkish psych pop act Altin Gun, which derive their name for the Turkish phrase “Golden Day” can trace their origins to Verhulst’s deep passion for 60s and 70s Turkish psych pop and folk — and when he toured Istanbul with a previous band. While in Istanbul, Verhulst discovered a lot music that wasn’t readily available back in Netherlands; but at the story goes, he wasn’t content to just listen as an ardent fan, he wound up having a vision of where he could potentially take the sound. “We do have a weak spot for the music of the late ’60s and ’70s,” Verhulst admits in press notes “With all the instruments and effects that arrived then, it was an exciting time. Everything was new, and it still feels fresh. We’re not trying to copy it, but these are the sounds we like and we’re trying to make them our own.”

Although the material they’re playing has been a familiar part of Turkish life for a few generations, the Dutch-based act actively interpret an re-imagine the beloved sound through a 21st century lens. “Of course, since our singers are Turkish, they know many of these pieces. All this is part of the country’s musical past, their heritage, like ‘House of The Rising Sun’ is in America,'” Verhulst explains. Naturally, he’s continued to see new songs that grab his ear. “Most of these songs have had hundreds of different interpretations over the years. I’m listening for something we can change and make into our own.  We need something that will make people stop and listen, as if it’s the first time they’ve heard it.”

Slated for an April 26, 2019 release through ATO Records, the Dutch-based Turkish psych pop act’s sophomore album Gece is the highly-anticipated follow-up to last year’s On — and the album reportedly finds the band further establishing themselves as masterful interpreters of a beloved Anatolian rock and folk history, and as a new voice in a growing global psych scene.  Gece also finds the band bringing together music and sounds from several different Anatolian sources — with only one original song, the improvised “Şoför Bey.”

Interestingly, Gece’s latest single is the Dutch-based act’s hypnotic take on Muzaffer Sarısözen’s “Süpürgesi Yoncadan.” Centered around shimmering and arpeggiated, Casio-like synths, complex polyrhythm, thumping beats and a propulsive, club-banging hook. Sonically, the Altin Gun rendition bears an uncanny resemblance to Syria’s great wedding singer Omar Souleyman but with a motorik groove and a swooning vibe. As the band explains, the song is about “falling for someone unexpectedly, crying and suffering over love.” 

Directed and produced by Sylvain Rusques and Simon Moreaux, the animated, lyric video further emphasizes the lysergic nature of the song, as it features a woman sensually gyrating to the song. 

New Video: Introducing the Futuristic Genre Blurring Sounds of Seba Kaapstad

Comprised of founding members Sebastian “Seba” Schuster, Zoe Modiga and Ndumiso Manana with their newest member, Philip “Pheel” Scheibel, the members of indie electro pop/neo-soul act Seba Kaapstad are split between Cape Town, South Africa and Stuttgart, Germany — and interestingly, the act can trace its origins to when Schuster landed in Cape Town, South Africa in 2013. While studying at the University of Cape Town, Schuster began working with Modiga and Manana in an informal setting, in which they jammed standards and rearranged songs of their choice. As they continued to work together, the more it seemed as though the trio were experience a much deeper chemistry within their work and music. 

Before Schuster returned to Germany, he asked Modiga and Manana if they’d be interested in recording in his home country — and over the next few months, Schuster spent his time writing and organizing sessions, focusing on what would eventually become Seba Kaapstad. After a series of phone calls, emails and trips down to Cape Town, the members of the project had written the material that would eventually comprised their debut, 2016’s Tagore. 

Slated for a May 15, 2019 release through Mello Music Group, Seba Kaapstad’s highly anticipated sophomore full-length album Thina finds the act adding a new member, Philip “Pheel” Scheibel while further expanding on a genre-mashing, globalist sound that draws from neo-soul, hip-hop, jazz, electro pop and Afro pop that’s intended to demonstrate humanity’s shared commonalities. Interestingly, the album’s latest single,  “Africa,” a is track centered around a slick yet mind-melting production that features elements of moody jazz, thumping and swaggering hip hop and sultry soul and Pan African vibes that at points recalls Soul II Soul, Erykah Badu, theeSatisfaction, The Roots and Flying Lotus simultaneously — but with a futuristic leaning. Shot in a smoky purples and reds, in a mirrored room, the recently released video for “Africa” evokes the moody atmospherics of the song, while being equally futuristic. 

New Video: JOVM Mainstays Ibibio Sound Machine Releases Vividly Colored Visuals for Funky Album Single “Wanna Come Down”

I’ve written quite a bit about this site’s newest mainstay, the London-based act Ibibio Sound Machine over the past few months, and the act, which is fronted by Nigerian-born vocalist Eno Williams and features Alfred Kari Bannerman (guitar), Anselmo Netto (percussion), Jose Joyette (drums), Derrick McIntyre (bass), Tony Hayden (trombone, synth), Scott Baylis (trumpet, synth) and Max Grunhard (sax, synth) over the course of their first two albums — 2014’s self-titled debut and 2017’s Uyai — have received attention both nationally and internationally for a sound that’s influenced by golden era West African funk and disco and contemporary post-punk and electro pop.

Now, as you may recall, the London-based act’s third, full-length album Doko Mien is slated for a March 22, 2019 release through Merge Records, and the album which derives its name from the Ibibio phase that translates into English as “tell me,” reportedly finds the act crafting a sonic world of entrancing specificity and comforting universality, essentially blurring the lines separating cultures, between nature and technology, between joy and pain, between tradition and the future. Album title track  and first official single, “Doko Mien,” was centered around a glimmering, hook-driven club banger  featuring 80s synth funk meets disco-like beats, arpeggiated synths, African polyrhythm, a sinuous bass line and pizzicato guitar and an explosive horn arrangement. Sonically, the song strikes me as a wild, genre-bending amalgamation of I Feel For You-era Chaka Khan, Prince, Michael Jackson‘s “Wanna Be Startin’ Somethin‘,” Chicago house and Fela Kuti — and adding to the globalist vibes, Williams soulfully sings lyrics in both English and Ibibio, the Nigerian dialect from which the London-based act derives its name.

Doko Mien‘s second and latest single “Wanna Come Down” continues in a similar, club-banging vein as its predecessor as its centered around a rubbery, Bootsy Collins meets Flea bass line, an explosive horn line, arpeggiated synths and propulsive beats and Williams powerhouse vocals singing lyrics in her native Ibibio and English. Sonically, the song is a wild and seamless synthesis of 80s synth funk, Afrobeat and JOVM mainstays Escort — all while feeling like a sultry come on. In line with the track’s beckoning title, the band’s frontwoman Eno Williams says, “The Ibibio lyrics of the track are about the healing power of the river and the chorus. ‘Wanna come down, get ready ‘coz we’re gonna go’ is inviting people to come, dance and get involved with what’s going on.”

The recently released video employs the use of a bold and vivid color palette that includes reds, blues, white, yellows, purples and an array of other pastels, as well as split screens that feature each of the band’s musicians performing the funky club banger; but the heart of the song and the video is the band’s commanding frontowman. 

Last month, I wrote about the Kyoto, Japan-based garage punk act Otoboke Beaver (おとぼけビ~バ~ in Japanese) and as you may recall the act which features Accorinrin (vocals, guitar), Yoyoyoshie (guitar, vocals), Hirochan (bass, vocals) and Kahokiss (drums, vocals) can trace their origins to when they while being members of Kyoto University‘s music club. The quartet quickly built a profile both locally and nationally for pairing incredibly dexterous musicianship with Accorinrin’s confrontational stage presence; but when Damnably Records released the Okoshiyasu!! Otoboke Beaver compilation, the Kyoto-based quartet received airplay internationally from the likes of BBC Radio 6′s Gideon Coe and Tom Ravenscroft, XFM’s John Kennedy, as well as praise from the likes of Pitchfork, NPRi-D and The Fader.

Building upon a rapidly growing international profile, the members of the band made critically applauded and attention-grabbing appearances at SXSW and FujiRock Festival, played a sold out show at London‘s 100 Club — and their Love Is Short 7 inch charted in the UK for 4 weeks. Last year, the band went on a tour of the UK that was bookmarked by slots at Coachella. The quartet’s newest album ITEKOMA HITS is slated for an April 26 2019 release through their longtime label home Damnably Records and the album’s first two singles “Anata Watashi Daita Ato Yome No Meshi” and “Don’t light my fire,” were feral rippers that possessed elements of noise punk, no wave, prog rock and riot grrrl punk. Interestingly, ITEKOMA HITS’ third and latest single “I’m tired of your repeating story” is much more straightforward yet breakneck punk rock track centered around a propulsive bass line, some blistering guitar rock and shouted lyrics that express a mix of fury and frustration. You don’t have to understand what it is they’re actually saying to get that it’s defiantly, boldly feminist — and it fucking rips hard. What else do you need?