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Afrika - Verschenen op 19 juni 2020 | No Format!

Hi-Res Onderscheidingen 4F de Télérama
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Franse chansons - Verschenen op 10 april 2020 | Universal Music Division Mercury Records

Onderscheidingen 4F de Télérama
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Wereldmuziek - Verschenen op 14 februari 2020 | Strut

Onderscheidingen 4F de Télérama
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Wereldmuziek - Verschenen op 17 januari 2020 | Glitterbeat Records

Hi-Res Booklet Onderscheidingen 4F de Télérama
A figure of the Catalan hardcore scene from the 1990s, Raül Refree has now transformed himself into one of the wisest producers of today. He has uncovered some of the biggest voices of the contemporary Spanish scene, having contributed to the launching of the careers of the remarkable Rocio Marquez, the moving Silvia Perez Cruz and international megastar Rosalía. This time, Raül Fernandez Miró aka Refree was ensnared by a voice from across the border of his own native country. Before crossing paths with the revolutionary mentor, Lina had been pursuing an acclaimed career in Portugal as a traditional fadista under the name Carolina. For this project of radical fado music modernisation, she has decided to use her real name and has given her all to this album. The whole undertaking was a risk, as the source material itself is almost sacred having been taken from the queen of the entire genre: Amália Rodrigues. Renowned for his inventive technique on the guitar, Refree has done away with traditional string-based orchestration in order to concentrate on an inspired use of keyboards, piano (both alone and arranged), organs, synths, and electronic ornamentation. He creates astonishing ethereal twilight atmospheres, all while respecting the intrinsic harmonies of classics which are here given a fresh lick of paint. The album progresses with works that are more and more emblematic of Amália Rodrigues and therefore of fado as well. In Portugal, Foi Deus, Barco Negro, Fado Menor and Ave Maria Fadista are practically considered national anthems. But Refree’s novel approach is both sensitive and respectful, and Lina’s clear and impassioned singing shows the magnitude of her connection to one of the legends of fado. The album closes with the only song to be accompanied by guitar, Voz Amália De Nós (which has never been sung by Amália herself), a tribute by António Variações (1945-1984), someone many consider to be one of the great pioneers of modernising Portuguese traditional music. Of course, this work by Refree and Lina will have churned the stomachs of some purists who maintain rigid ideas on the matter, but it’s clear that this enchanting record will be remembered for years to come. © Benjamin MiNiMuM/Qobuz
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Franse chansons - Verschenen op 11 oktober 2019 | Kwaidan Records

Onderscheidingen 4F de Télérama
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Wereldmuziek - Verschenen op 20 september 2019 | naïve

Hi-Res Onderscheidingen 4F de Télérama
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Afrika - Verschenen op 20 september 2019 | Mr Bongo

Onderscheidingen 4F de Télérama
Charismatic singer and saxophonist Gyedu-Blay Ambolley is the missing link in the musical evolution of his native Ghana, linking the highlife of the 50s and 60s with contemporary afrobeat. Control is a reissue of a 1980 album which saw a combination of the brassy swing of the highlife orchestras, the pan-African funk of afrobeat, the relaxing nonchalance of reggae as well as the frivolity of disco, influences we would not be surprised to find elements of on a Wizkid or Fuse ODG record. A veritable tour de force, the Zantoda Mark III group masterfully touches on all these aesthetics, all while ensuring total control of the dancefloor. An accomplished reggaeman (Woye Afofo), charming crooner (Don’t Go) or convincing prophet (The Message), Gyedu-Blay Ambolley rouses his troops and wins every battle. Forty years after its release, Control can’t cheat the dated electronic effects, which could make you smile somewhat, but the level of musical density and richness hasn’t aged a bit. © Benjamin MiNiMuM/Qobuz
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Franse chansons - Verschenen op 13 september 2019 | Universal Music Division Polydor

Hi-Res Onderscheidingen 4F de Télérama
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Wereldmuziek - Verschenen op 25 juli 2019 | Bad Habit - On A Spaceship - Atlantic

Hi-Res Onderscheidingen 4F de Télérama - Pitchfork: Best New Music
The grandson of one of Fela Kuti’s first managers, Damini Ogulu aka Burna Boy shares Nigerian origins, African pride and a certain charisma with the inventor of Afrobeat. A superstar at home, his notoriety keeps on growing at an international level, evidenced by his collaborations with Drake, Lily Allen and Major Lazer, and his Best International Artist BET award from 2019. The 19-track-strong African Giant also justifies this level of success: the meticulous production and hefty melodies complement his suave, sexy and compelling vocals. His songs elegantly float between R&B, sophisticated pop, soca, zouk, hip-hop but also jazz and rock. Distancing himself from the commercial label of afrobeats, probably out of respect for the image of the original afrobeat, Burna Boy describes his music as afro fusion. The riotous music gives you an unshakeable desire to dance… and makes you ponder the huge influence Africa has on most of today’s music. The calibre of the featured artists (British soul sister Jorja Smith, American prince of R&B Jeremih, the heir to reggae’s leader Damian Marley and Beninese queen Angélique Kidjo for francophone West Africa to name but a few) only goes to show Burna Boy’s aristocratic status in the industry. But even without them, it wouldn’t be difficult to understand the importance of this African Giant. © Benjamin MiNiMuM/Qobuz
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Bossanova en Brazilië - Verschenen op 21 juni 2019 | Analog Africa

Onderscheidingen 4F de Télérama
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Afrika - Verschenen op 10 mei 2019 | Buda musique

Onderscheidingen 4F de Télérama
As demonstrated by the four languages (Zulu, Portuguese, Kiswahili and English) in their name, the members of the Bantu Continua Uhuru Consciousness collective address more than their community in the Soweto ghetto. While it bears witness to the corruption and social inequalities of their environment, their message is universal, and advocates the physical and spiritual liberation of man, wherever he may be. The organic and essential musical ingredients of their hybrid are simple but well-mastered. The funky bass dominates. The drums and congas push it towards dance. The voices from Zulu singing to hip-hop flow is refreshing to the ear and mind. The shona flutes and the mbomu horn call out to their ancestors, while the subtle electronic sound effects summon the present.All that’s left is to let yourself slide into a remedial trance. If BCUC's musical power is especially strong during live performances, this third album perfectly does them justice. Two long sequences exceeding 15 minutes in length vary rapidly in tempo in a very natural way. The presence of Femi Kuti - son of Fela and inventor of afrobeat - in the second track (Sikhulekile, "we are free" in Xhosa), makes the link between the fights of yesterday and those of today. His sax improvisations glimmer at the heart of the energetic and therapeutic flow of these seven South African wizards. The album ends with a third 4-minute track Isivunguvunguvungu ("the storm"), for which BCUC welcomes the American poet, slammer and activist Saul Williams, who is perfectly in tune with the group's objectives. After 50 minutes, The Healing certainly lives up to its namesake © Benjamin MiNiMuM/Qobuz
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Wereldmuziek - Verschenen op 29 maart 2019 | Sahel Sounds

Onderscheidingen 4F de Télérama - Songlines Five-star review
Since making his first recordings in 2008, singer and guitarist Mdou Moctar has gradually amassed an international audience on the strength of his earlier albums, which have ranged from live recordings to the acoustic compositions found on 2017’s Sousoume Tamachek, as well as his reputation as an engaging live musician. Recorded in Detroit and Niger, Ilana (The Creator) powerfully captures the energy of Mdou Moctar’s live show, both via the interplay of the quartet of musicians heard here and via the searing lead guitar work heard across the album. That’s not to say that this album is all guitar heroics and nonstop instrumental workouts — though those are certainly present. But just as Mdou's past work has showcased his stylistic range, so too does this album feature a dynamic range, as heard on the restrained and trance-like “Tumastin” and the title song, which decries French uranium mining in Niger. Listeners seeking impressive displays of musical virtuosity would do well to explore “Tarhatazed” and “Kamane Tarhanin,” which feature more guitar heroics. Ilana (The Creator) blends excellent feats of musicianship with welcome instrumental chemistry; it’s a fantastically-made and played rock album from beginning to end. © Tobias Carroll / Qobuz
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Wereldmuziek - Verschenen op 29 maart 2019 | Machette Production

Onderscheidingen 4F de Télérama
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Franse chansons - Verschenen op 15 maart 2019 | RCA Group

Onderscheidingen 4F de Télérama
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Azië - Verschenen op 1 maart 2019 | Buda musique

Onderscheidingen 4F de Télérama
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Franse chansons - Verschenen op 25 januari 2019 | Wagram Music - Cinq 7

Hi-Res Onderscheidingen 4F de Télérama
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Azië - Verschenen op 18 januari 2019 | Glitterbeat Records

Booklet Onderscheidingen 4F de Télérama - Songlines Five-star review
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Franse chansons - Verschenen op 9 november 2018 | Initial Artist Services

Hi-Res Onderscheidingen 4F de Télérama
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Franse chansons - Verschenen op 2 november 2018 | Universal Music Division Polydor

Hi-Res Onderscheidingen 4F de Télérama
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Dub - Verschenen op 19 oktober 2018 | Jarring Effects

Onderscheidingen 4F de Télérama

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Wereldmuziek in het magazine