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Indiase muziek - Verschenen op 18 september 2020 | Glitterbeat Records

Hi-Res Booklet Onderscheidingen 4F de Télérama
After a first album which turned the heads of all fans of the world's electronic music scene, Maghreb United, the multifaceted Tunisian Sofyann Ben Youssef has set off for the roads of South East Asia. The second volume in his Ammar 808 project which, as its name indicates, is made using Roland’s legendary drum machine, the TR-808 (used by the pioneers of techno and hip-hop n the 80s). The Brussels-based producer installed himself for three weeks in Chennai, by the gulf of Bengal where he used local talents to make an album exploding with Carnatic music like we have rarely heard before. The album marks a kind of return to sources for Sofyann Ben Youssef who went to study the sitar and the tablas in New Delhi when he was 20 years old. A true concept album, Global Control / Invisible Invasion is an enormous sonic slap in the face with some completely insane tracks including the 6 minute trance song Mahaganapatim featuring incredible bass kicks and chaotic tablas. The first part of the record is sometimes comparable to Baltimore’s booty music, notably in Duryodhana which features the strident sound of the zika, a little traditional Tunisian flute, among unrestrained percussions. For all its flamboyance that will doubtless impress his fellow DJs, Ammar 808 is more accessible towards the end with the excellent Geeta duniki, a sort of electroriental synthpop which proves definitively the pertinence of the Tunisian musician’s vision. © Smaël Bouaici/Qobuz
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Indiase muziek - Verschenen op 17 juli 1990 | Private Music

Onderscheidingen Choc de Classica
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Indiase muziek - Verschenen op 23 februari 2014 | Ocora Radio-France

Onderscheidingen The Qobuz Ideal Discography
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Indiase muziek - Verschenen op 16 januari 1989 | BMG Music

Onderscheidingen 4 étoiles Classica
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Indiase muziek - Verschenen op 11 april 2007 | Ocora Radio-France

Onderscheidingen The Qobuz Ideal Discography
On November 6th, 1985 the aptly-named Pakistani singer, Nusrat Fateh Ali Khan (which translates to “the king of the opening/path towards success”), took place in the studio 103 of the Maison de la Radio in Paris with his nine musicians (harmonium, tablas, choir) led by brother Farrukh. They had come to record four mystical chants in front of an audience for Radio France’s label, Ocora, which managed to release these recordings on cassette tapes for the first concert just two days later at the Théâtre de la Ville.For Nusrat Fateh Ali Khan, 1985 was a decisive year, as his immense talent exploded onto the European scene. The previous summer, he had, upon Peter Gabriel’s invitation, made headlines during the Womad Festival. France had already welcomed him four years earlier for the low-key Festival des arts traditionnels in Rennes, but this time, thanks to the rumours of his triumph in England and laudatory articles following a concert given just a few days before in Lille, he was awaited like a messiah.The Pakistani realised the full potential of singing in Qawwali, an art he started practicing from a very young age in his family ensemble, which he later conducted to turn it into the most esteemed formation in Pakistan. The recording started, as always in Qawwali, with a praise to God. In the poem Hamd, the declamation sung with great passion is punctuated by chorists repeating the verse “Ya Hayou-Ya Qayyoum” (O Living! O Unchanging!) throughout the half an hour required for its unfolding. It is followed by Naat, a praise to the prophet that provides a taste of the singer’s staggering surges. Another praise of the same duration (16 minutes), Manaqib Ali, is addressed to the son-in-law of the prophet Ali, considered to be the first Sufi and Qawwals’ most esteemed saint. It’s an emotional moment that starts slowly with a nostalgic melody and, little by little, follows a rising and flaming path, to finish with a voluptuous and tender landing. The last chant is also a praise, Manaqib Khawaja Mueenuddin Chishti, addressed to Mueenuddin, Master of Masters, the most important Sufi saint in this branch of Islam that expresses divine love through music, dance and poetry. This historic recording, attesting of the rise of one of the leading figures in Asian music, constitutes a strong foundation to discover and enjoy – regardless of the listener’s beliefs − the incredible strength that has driven his career. © Benjamin MiNiMuM / Qobuz  
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Indiase muziek - Verschenen op 25 mei 2004 | naïve

Onderscheidingen The Qobuz Ideal Discography
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Indiase muziek - Verschenen op 1 maart 2018 | Ocora Radio-France

Onderscheidingen 4F de Télérama
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Indiase muziek - Verschenen op 16 maart 1987 | Private Music

Onderscheidingen 4 étoiles Classica
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Indiase muziek - Verschenen op 29 juni 2018 | Seyir Muzik

Onderscheidingen Songlines Five-star review
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Indiase muziek - Verschenen op 1 mei 2017 | Ocora Radio-France

Onderscheidingen 4F de Télérama
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Indiase muziek - Verschenen op 5 juni 2013 | Label Caravan

Hi-Res Booklet Onderscheidingen Hi-Res Audio
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Indiase muziek - Verschenen op 9 september 2016 | BnF Collection

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Indiase muziek - Verschenen op 30 september 2016 | Quart de Lune

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Indiase muziek - Verschenen op 15 januari 2015 | Akimoto

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Indiase muziek - Verschenen op 22 februari 2014 | Ocora Radio-France

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Indiase muziek - Verschenen op 1 juli 2015 | Manorama Music

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Indiase muziek - Verschenen op 1 januari 1962 | MLP

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Indiase muziek - Verschenen op 12 maart 1998 | Magnasound

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Indiase muziek - Verschenen op 17 augustus 2018 | Think Music

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Indiase muziek - Verschenen op 1 maart 2004 | Ocora Radio-France