Revignet Polycarpe
Ibeka Ni Idyembo

“Yīn Yīn hop and bound along, being whisked up by the pure joy of their experimentation, unafraid to see how far from home it takes them...eccentric, boundary-bashing, genre-melding groove.” – The Line of Best FitYĪN YĪN’s dazzling second album dives even deeper into dancefloor propulsion and space travel atmospherics than their lauded debut The Rabbit that Hunts Tigers (2019).While there is an expanded sonic richness on the new album as samples, drum computers and otherworldly synthesizers intertwine with the band’s taut playing, more than anything The Age of Aquarius is a simple, direct appeal to dance. The record’s groove manifesto can be put down to YĪN YĪN’s experiences on the road, where the positive energies picked up from their audiences fed back into a sound that increasingly “kept people moving.”Funk and disco beats. Electro experimentation. Global retro vibes.A shimmering, cinematic sweep.

RADIO TARIFA was created at the end of the 80s by three musicians: Fain S. Dueñas, percussions, guitars and arrangements, Benjamin Escoriza, singer and lyrics writer, from Granada, and Vincent Molino, in the wind section.Produced by Juan Alberto Arteche in his studios, El Agujero, and released in 1993, "Rumba Argelina" was presented as an eclectic work with Arabic, Oriental, German Medieval, old Andalucian music and some themes composed by Fain with lyrics written by Benjamin Escoriza. This first CD included also Flamenco and Andalucian Folk songs.

Encore un magnifique projet signé Philophon ! Releasing an album into the world is a special moment for any artist but when you’re an artist who grew up in remote northern Ghana with no schooling, spending a life herding cows and goats, building your own instruments and teaching yourself to sing, then there’s a particular sense of occasion and celebration in finding recognition and an audience for that music.The resulting sounds on the finished album capture a sense of life and vivacity rarely experienced on record; the album opens with the hum of Bolgatanga in the background, Guy One’s mother can be heard rejoicing as her son locks deep into his Kologo rhythm, accentuated by gliding flute and skipping percussion. From then on in it’s a record that bursts to life, as though a portal is being opened into a previously unknown musical world.Choirs, trumpet, organ, bass, drums, synthesiser, vibraphone, saxophone and piano; the album is as bursting with instrumentation as it is ideas and innovation.

GUELEWARHalleli N'dakarouTeranga Beat