Les "Troubadours" De Ouidah
Gbegban-Ma-Non-Non-Mevo-Ta

L'idéal ce serait un texte tellement bien écrit qu'on puisse se passer d'écouter la musique qu'il accompagne. Un vocabulaire poétique voire exotique, une syntaxe déroutante et une liste abracadabrantesque de références obscures. On pourrait aussi dire que c'est de la pop. Anglaise ? Américaine ? Name dropping : Brian Wilson ? John Lennon ? Big Star ? Mais peut- être aussi The Flaming Lips ? Tame Impala ? Air ? Non ? C'est chiant, déjà ? C'est vague ? Peut-être. Une histoire ?Monsieur Thibauld Labey écrit des chansons, depuis longtemps, à l'écart mais bien souvent en plein dans le mille, selon certains. Entre pure joie et désespoir, naïveté enfantine et aigre cynisme il trimballe tant bien que mal un spleen qui s'illumine aux couleurs de ses rencontres.Depuis A*Song et ses trois albums jusqu'à TRUMPETS OF CONSCIOUSNESS aujourd'hui, avec Thomas Chignier, Quentin Martinod, Sly Apollinaire, Noé Macary et Mathieu Larue. Après un premier LP éponyme sorti en 2016 (Le Pop Club Records / Echo Orange) le groupe monte sur scène, fait une série de dates au Canada et vend tous ses vinyles. Alors voilà un autre disque, il s'appelle Approximate, il y a deux titres en français, il sort en avril 2019 avec, à nouveau, une pochette signée David Sala.

Kolida Babo is the collaboration between two Greek woodwind musicians from separate regions - Socratis Votskos is from Pella, and Harris P is from Athens. This, their debut album, was recorded in improvised live-take sessions beginning on the night of the “Kolida Babo” folk rituals of music and dance in northern Greece in winter 2013. The sessions proceeded over three years, exploring the ancient music of Armenia and the folk traditions of northern Greece’s Epirus and Thrace regions alongside abstract electronics and free jazz.As musicians of modern Greece, the sonic palette is developed in part as a means of processing the country’s immediate actualities: its relation to its regional traditions, its urban centres and its humanitarian and economic crises. In this, the music is at once clearly located in traditional sounds and disjointed from them, at times contrasting or harmonious in both concept and sound.The Armenian Duduk that anchors the project is a double-reeded woodwind instrument made of apricot wood with thousands of years of history and generations of venerable masters - the duo cite Djivan Gasparyan as a main influence, and Harris studied with Vahan Galstyan. Traditionally its music is played in duet: a melody on one duduk, a low drone accompaniment (“the dum”) on another. Kolida Babo preserves and extends the dual nature of duduk music in many ways, replacing the dum at times with the tones of a moog synthesizer to allow the two players to weave harmonies together in duet. And there is a persistent duality in the braid of Kolido Babo’s sonic associations - modern and ancient, local and global - sometimes underpinning one another, sometimes undermining. “Sometimes we mock modern times and sometimes the other way around”, they say - it’s a collision, or an engagement, romantic or pugilistic, and the sense is of an experiment without expectation, without preciousness or exoticism of folk culture. The elements challenge each other and the listener - while the music is very much about texture and tone, the sounds aren’t clearly modern or ancient: it’s futile to identify, we’re reminded, and instead we experience the immediate presence and power of the combination. Influences include Armenian Folk music, Greek Rebetiko, German Kosmiche, Spiritual Jazz, the Fourth World Music of Brian Eno and John Hassell, British Trip Hop, Electrified West African Funk. But where these can be identified they are as sidelong journeymakers through the borderless idiolect belonging to the dialogue between the two players and enabling its free and full execution, subtle markers used to co-ordinate the collaboration.

Madilu System, Mbilia Bel, Rigo Star ‎– ExplorationSoukous / Mbalax with french west indies influences from Congo. Top Lp with a special focus on Proto hip Hop track " Make up your Mind " which is definitly an UFO in the 80's Congo pop production

Award-winning Iranian percussionist Mohammad Reza Mortazavi describes the rhythm of eternity or ‘Ritme Jaavdanegi’ in eight transfixing ways on his first vinyl album, following 12”s with Padre Himalaya and Burnt Friedman’s Nonplace in recent years.A prodigious child student turned absolute master of the tombak - a traditional Iranian drum famed for its wide range of tonalities and striking techniques - Mohammad Reza Mortazavi brings an unparalleled instinct and knowledge to his instrument with each new release, and in recent years has found fine foils in Europe’s experimental garde with collaborators such as Mark Fell, Fis and Burnt Friedman, while also performing at prestigious venues including Berlin Philharmonie and the Sydney Opera House. On this, his 6th solo LP, Latency give Mortazavi room to let his heart run free thru his fingertips. Reflecting on his childhood in Iran - where he first learned the tombak and famously surpassed his teacher’s knowledge by the age of 9 - the artist found an 11/8 time signature in the Farsi phrasing for “Rit - me - Jaav - da - ne - gi”, which gave naturally gave birth to this album.Playing within the tricksy, off-kilter meter, Mortazavi beautifully resolves its lop-sided equation in a fractal not fractious style, with rhythms endlessly rolling from others in a seemingly effortless chain reaction of ballistic physics that barrels straight from his head and heart from fingerskin to drumskin.

Patience Dabany Vol 2 sorti chez Nkoussou Music est comme tous les albums de la diva africaine un monument de la musique de ce petit pays qu'est le Gabon. 4 titres Rumba / Soukous