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Don’t have time for cover art and little write ups, so you will have to deal with the list dump style of this post (cover art and sometimes scans of liner notes should be in most archives). Includes 2 versions of the much sought after and rare Dogon vinyl, with substantial differences in tracklisting, which among the first wave of awesome recordings was never reissued on CD. For the uninitiated, was one of, if not the, most well researched and presented labels which dealt with indigenous sounds from all over the earth, and i made the promise, which i still do intend on keeping, of making the entire past catalog of 500+ recordings available on this blog. There has been quite a few South Asian and African posts already, just look for it. To be continued. For more Ocora awesomeness, head over to.

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Best metal fusion beyblades. / Dj Rashad Just A Taste Rar Download This is dance music from Chicargo that originates from house roots over the last 30 years or so. Via a sample heavy hip-hop tradition and fuck knows what else, I'm just a dude from Yorkshire after all.

• • • • • • • • • • • • • • • Posted in Tagged, . Rougher and tougher twin of the previous DRUM volume, Amandla explores the somber and serious side of contemporary electronic dance music from South Africa and Angola. Honeywell V4600c Gas Valve Manual. Boris Fx Continuum Complete Serials. In 2013 capitalist brainwashing and new waves of cultural and economic imperialism replaces the overtly oppressive policies of Apartheid and colonialism; inequity, injustice, and corruption still pandemic on the African continent; but the indestructible beat of Soweto, Pretoria and Luanda lives on. These new urban sounds express the frustration, longing, joy and hope of a new generation, the continuing struggle and of the people.

Rhythm as a weapon, music as a weapon: a real weapon in the concrete sense. OR: STREAM: //// DOWNLOAD: Posted in, Tagged, . And here is a repost from the, of classic Congolese Rumba, literally the sweetest sounds i have ever heard. Tracklisting: /. Big big thanks to Bolingo69 for the original upload.

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It is criminal that these heavenly sounds are out of print and commercially unavailable anywhere. Here are both volumes together on. And I’ve been meaning to do an official NGOMA volume of modern dance floor Soukous for some time it will happen soon. But until then, there are lots of awesome tunes in this episode of Radio Ngoma: Posted in, Tagged, . I have seen this band twice now, the first at Haus Der Kulturen Der Welt, around 2009, where they played a long-form, track-less continuous set where the unbelievable ecstatic energy just kept building and building — just when you think it can not possibly get any more hype, the drummers would kick it up another notch – the electric mbiras sending out ever greater waves of rhythmelody.

Second time i played after them in (photos), Feb. This time it was songs, and they had a deeper, lower register and lower tempo, almost rock’n’roll sound, with the amplified mbiras sounding at times like the epic overtones of This slideshow requires JavaScript. This 1 hour long sound-board recording from Stadtgarten Cologne May 14th 2010 is truly delicious: great quality and fully capturing their magic – i like it better than their studio albums (for sure Konono needs to be experienced live to truly understand their unique power and finesse) sorry, link taken down at Crammed Disc’s request. Instead, i will upload the mother lode: the first recording of this music ever, the amazing and super rare original 2+ hours long double tape release of the various groups which are closely related to and later became today’s version of Konono No. 1, recorded in 1978 and released in 1985, from which the legendary Ocora CD (73 minutes in duration) was culled (which, at the time of release, re-ignited interest in the group and made possible their international success today).

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Dj Rashad Just A Taste

Footwork is, first and foremost, dance music. At least that’s what it is in Chicago’s converted warehouses and rec centers where combatant footworkers form circles and take turns battling, dozens-style, with.

But while this signifyin’ form of dance has yet to be shrinkwrapped and sold, the jagged shrapnel from the actual music has crossed geographical borders and social cliques so incisively that, from the perspective of everyone outside the circles, its origins are beside the point. If footwork’s original meaning was established in these underground dance circles in Chicago, then its currency to everyone else now rests somewhat heavily on those too busy rationalizing the noise/music cleavage or politely tracing dance music’s trajectory to actually do any footworking themselves. I know this because I’m one of them. I don’t live far away from Chicago, the city where 90s ghetto house transfigured into juke and (due largely to tracks like “11-47-99” and “Baby Come On” by RP Boo) subsequently birthed its disfigured mutant child, footwork.

But as with non-Western musics — say, (new wave dance music from South Africa) — my relationship with footwork is conflicted: Any enjoyment I get out of listening to it hinges on attaching my own values to music that otherwise resists, detracts, or is simply indifferent to such readings. But given the confrontational style of footwork dance, it seems like any conflict, physical or not, is welcome. After all, this music isn’t about fucking; this is battle music: violent, propulsive, and visceral, and it’s internalized brilliantly within “Ghost,” the intro track to DJ Rashad’s Just A Taste.

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Here, Rashad, a key member of the Ghettoteknitianz DJ crew and pioneer of juke/footwork, bursts out of the gates with stuttering sub bass, piercing hi-hat, stabbing snare hits, and X-Acto knife’d samples, all pitched to a frantic 160 BPM. When the beat kicks in, it’s over; no matter what your opinion of the song or footwork in general, this shit penetrates so deeply that your body has to react to it. By the time Rashad drops a sample of Nas’ “Still Dreaming,” which is at odds with the ice-cold beats he’s thus far commanded (it’s half the tempo, mind you), it’s clear that the sheer momentum of the rhythmic interplay and tonal disparities would destroy any critical commentary you could muster up. Any tension here exists to soundtrack dance circles, not intellectual tautologies. Not that Just A Taste doesn’t inspire critical analysis.