فيروز فيروز
وحدن = Wahdon

Compilation from 1982 - Trio Matamoros ‎– El Cubanismo Vol.2One of the most popular Cuban trova groups, formed in 1925.

Finally reissued ! Vibro Success Intercontinental Orchestra was an extraordinary group from the Central African Republic, founded by the sax player Rodolphe 'Beckers' Bekpa, also known as Master Békers, in the late 60's. The band achieved surprising domestic success after Beckers introduced the first drums to the Congolese Rumba rhythm. His innovation proved to be wildly popular so they were hired as the resident band of “ciel d’Afrique au Km5”, a night club in Bangui. The club was renowned as the temple of the Olympic Réal football team's fans and that visibility propelled them into becoming the official national orchestra.1970 marked beginning of the band's international fame . Their fame spread beyond national borders until they became so popular that invitations began to arrive from nearby countries like Cameroon and Chad, the former of which the band would then tour that same year. The success of their performances prompted a further tour in 1972. According to Rodolphe Bépka, the audience enthusiasm Vibro encountered was bewildering. "We filled the old military stadium in Yaoundé in 1970, in 1972 the new Amadou Haïdjo stadium ... We are running with great success in the cities.” Their popularity was also growing in Chad, where they would tour several times through the early and mid 70's.Towards the end of 1976, Vibro Success decided to take their music global and introduce Central African music to listeners worldwide. It worked. The turning point came in Nigeria. There the group achieved extraordinary success, with live performances followed by contracts with local labels like Scottie and Ben/Clover resulting in hit releases. Most of their LP's were originally released on this later label, Ben Limited, owned by Ben Okonkwo.Ben, also known as Clover Sounds, brought a great number of the biggest bands from the country to market, bands like The Apostles, Akwassa,The Doves, Aktion, The Visitors, Mansion, Folk 77 and many others. Nearly all those groups started their recording careers in the label's studios based in the commercial heart of Aba, Abia State, one of Southeastern Nigeria’s largest cities. Aba at that time was a flourishing city, an important crossroads of people and culture with an intensive and active and cutting edge live music and nightlife.But after that golden era the group began to lose its popularity. In the 1980's they returned to Bangui and resumed their old-time gigs in dance halls there - only to realize that their music didn't have the appeal it used to. Making matters worse, the domestic economic downturn accelerated, forcing the orchestra to slowly end its activities . Vibro Succès Intercontinental Orchestra disappeared at the end of the 80s and most of its members died in the 90s.We discovered this LP during our first trip to Nigeria in 2016. While traveling in the east to meet up with a musician, we stopped for a night in a village. As often happens in Nigeria, information has a way of traveling fast. The news that a couple of white guys looking for records had arrived in the village the day before spread like light. When we awoke, we found a couple of elderly music lovers in the hall of our hotel with a little pile of records for sale. The nice cover of the “Drunkard” album was right on top!At first we thought it was just another really good soukous album made by Vibro Success but after we heard “Drunkard” - we knew we had stumbled onto something very special. That was the “easy” part. Soon after, we had the idea of reissuing this LP and that was a bit harder. There were no credits on the cover and not much information about Vibro Succès. We started to ask to our friends to ask around, see if somebody knew them or the producer. That's when sadly we discovered that Ben Okonkwo had passed. So with no leads to follow and seemingly without any possibility of making progress on the matter, we "gave up" and returned to Italy.A couple years later, in the summer of 2019, we found ourselves again in Aba. This time we had the chance to meet Nnamdi Okonkwo, the eldest son of the late Ben Okonkwo. After Nnamdi's mother and family agreed, he was glad to cooperate with us for the re-release of this special album.One of the foundational beliefs of Dig This Way Records is to work hard and try to do everything possible to bring back this rare, unknown music to market, allow people to enjoy these beautiful, vibrant vibes!

ISLE011 is a collection of cassette recordings made in Athens by Christos Chondropoulos over the last five years. Coming from an avant-garde percussion background, Christos calls upon themes of ancient Greek folklore and musical tradition through a futurist lens depicting robotic societies in post-human harmony. He constructs worlds reminiscent of Marcello Giombini’s Mondial Folk series or Umiliani’s exoticised Omicron outings. By looking to the future rather than the far-off past, he builds upon these early instances of technologically charged cultural geography and presents an authentically Greek reading of a parallel Athenian basin. Where his last work for 12th Isle explored once-forbidden tunings and unplaceable tonalities, these recordings further expand on the artist’s simultaneous concern for heritage and imaginary projection. Across the final Side D, Chondropoulos explores themes of maternal love present across the album by working with local singer Sofia Sarri to record six piercing, beautiful acapella phrases.

“Ô ruines ! je retournerai vers vous prendre vos leçons, je me replacerai dans la paix de vos solitudes.”Constantin-François Volney, Les Ruines ou méditation sur les révolutions des empires [1791]De tous les Cyril qu’enfanta la Cité de Calvin à l’orée des années 80, ces deux-là devaient fatalement se trouver. Deux Cyril comme deux âmes dizygotes dont les aléas ont hâté la rencontre. Cyril Cyril. Hydre libre, née de cette ville de diplomates où Borges, dans L’Autre, dédoublait son égo rajeuni.Sur les ruines de leurs groupes éreintés s’échafaude un empire d’essence cosmopolite. Car ces Cyril ont engrangé des miles, depuis leur havre genevois.Muezzin sans frontières, Cyril Yeterian vient au monde échevelé dans Mama Rosin. Un trio réveillant les spectres des bayous voyous, les Mardi Gras moites d’une Louisiane électrique. Le monde, très vite, s’éprend de leur verve. La BBC les fête, Jon Spencer les produit, les disques prolifèrent. Et puis en 2017, l’état de grâce trépasse. Cyril est seul.Oh, pas tout à fait. Car autour de lui champignonne la musique. Dans sa boutique Bongo Joe, sur le label du même nom, dans les soirées DJ qu’il fomente en sous-sol, Yeterian défriche à tout va, dans une boulimie de grooves exilés.Dans le même espace-temps, Cyril Bondi, lui, prend la tangente. Diatribes, La Tène, Insub Meta Orchestra, les projets les plus aventureux de la scène genevoise ont tous maille à partir avec ce percussionniste en quête de pulsations inouïes. Lui aussi voyage, connaît l’ascension, l’ivresse des cimes et la chute. Plaistow, son groupe de jazz médiumnique, d’hypnose acoustique, chahute le landerneau saturé du trio piano-basse-batterie et conquiert les coeurs d’Europe et d’Orient. Jusqu’à la rupture.Bondi cherche alors un local pour y déposer son attirail. Il trouve mieux: un complice en prospection musicale, un Cyril au diapason de son instinct frondeur.Plus question donc de s’appuyer, tel le “Colosse de Rhodes”, sur des piles éprouvées. L’aventure réclame un nouveau bagage, un nouveau langage. Cyril et Cyril sont dans un bateau et tous deux se jettent à l’eau.Guitariste et accordéoniste, Cyril Y. adopte le banjo. Il y greffe des pédales d’effet qui ont tôt fait de le muer en bouzouki malingre, en saz épique, en lyre d’Addis. Cyril B, lui, recompose une batterie de cuisine cannibale, sertissant sa grosse caisse modèle fanfare de grelots maousses et de noix tropicales.Il faut avoir vu ces deux là, un soir de festival populeux, surchauffer un club étriqué en convoquant des négus utopiques. Jouer aux nouveaux berbères, provoquer d’improbables soukous sismiques en une transe qui tient autant du vertige hippie que de Fraggle Rock.Car la musique, pour Cyril Cyril, est un usage du monde. Un décentrement joyeux qui offre de nouvelles prises à l’appréhension du chaos. Le propos ici, n’a rien d’une partie de campagne mondialisée, d’un exotisme gluten-free. Sous la plage, les pavés. Le politique affleure toujours à la surface de ces chants grisants, de ces grooves osseux.Quand il ne remonte pas la filière familiale d’un dialecte libanais adopté sur le tard, Cyril Yeterian scande en français des rhapsodies dont le vocable impérieux dit tout des insurrections qui viennent.Ainsi de “La ville”, harangue doorsienne où la verve épique d’un Prix Goncourt (Texaco de Patrick Chamoiseau) rencontre les prophéties poétiques du Comité Invisible. Ainsi d’”Ultra moderne solitude 2”, plus Alain Péters que Souchon, où l’on s’interroge: “Où sont donc parties les âmes / avec qui prendre les armes”.Rien pourtant de nature à transformer Certaine Ruines en un pamphlet bavard de mauvais plaisants, de rabat-joies néo-post-tout. Parce que, reconnaissons-le, “c’est intimidant le léviathan” (“Sous la mer c’est calme), Cyril Cyril sait les pouvoirs supérieurs de la suggestion, de la retenue, de la sobriété heureuse.Un mot, un cri en dit bien d’autres, pour peu qu’il soit habité. Un son de duo, réduit à sa plus simple expression - rythme-riff-voix - peut porter en lui, double hélice d’ADN, un organisme musical d’une luxuriance infinie. 
Cyril Cyril, si riche, si riche.