#outhererecords

[groovynerdtree-blog]

(OuthereRecords)

[thevinyldigest]

#Kalenderblaetter 24/03/2021 - 08/365 1979 | Holger Czukay - Movies From Can #HolgerCzukay #EMIelectrola @holger.czukay @emirecords The Art Of Hip Hop Covers: 03/365 2016 | Liquid & Maniac - Slang Funk Slam Dunk #LiquidAndManiac #OutHereRecords     @outhererecords 0,0 Happy Birthday Holger Czukay. Auch wenn man von ihm und seinen Projekten, auch musikhistorisch betrachtet, einiges in seinen Beständen haben sollte... Bei mir hat es nur zu zwei „Can“ gereicht. Auf den Flohmärkten auf meinen Listen. 2022 oder so. Deutsch Rap bei Liquid & Maniac? Gehe davon aus. Hoffentlich kein Vocoder Einsatz. (Hasse das) Gassi Runde. Disclaimer: Was das hier ist? Nachdem ich 2018 diesen kleinen Kalender gekauft hatte, kam mir die Idee, diesen auch wirklich zu „nutzen“. Was ich dann in 2019 auch umsetzte. Außer jeden Tag drauf zu schauen, ein Kalenderblatt abzureißen, nahm ich mir vor, das jeweilige Album am gleichen Tag auch zu hören. Gleichzeitig schaue ich nach ob ich das Album in meiner Sammlung habe und wenn es mir gefällt, oder ich tatsächlich „schwerwiegende“ Lücken in meinem Regal entdecke, dann kauf‘ ich das Album nach. Auf jeden Fall eine nette Art, neue Musik kennen zu lernen. Statistik 2019: 59/365 Statistik 2020: 60/366 https://www.instagram.com/p/CMykS_YMRYU/?igshid=1b63uilxz9b8z

[artfotofarm]

(OuthereRecords) let’s dance

[somdia]

TUAREG POWER!

[the64thfloor]

about an hour left for y'all to tighten up and get it together. Stay Down video dropping at 12 noon. Shouts to my #loftlife bredren @airlinejay from Spanishtown, JA to the finest Spanish women in our sheets. We goin up!!! And it's Jamaica's Independence Day today...we all goin up today!!! Large up unu self and watch the video when it drops at 12. 🔥🔥🔥🔥 #staydownboyz #outhererecords #fuckherlifeupent #neverbeenthesameagainproductions #loftlifeorenjoythatkoolaidonyourpissyasssofa

[ntebohelengwm]

X PLASTAZ – Maasai HipHop (release date: 16.8.2004) Only little music has found its way out of East Africa in the past years. Almost unnoticed from the rest of the world a new generation of musicians has created its own style. Their mix of hip hop with local melodies and Swahili lyrics, sometimes called Bongo Flava, has quickly become East Africa’s number one selling pop music, rocking the airwaves through newly formed private radiostations in and around Tanzania. X Plastaz and their album Maasai hip hop set out to introduce their version of this new Tanzanian sound to the rest of the world. X Plastaz have taken the Bronx invented hip hop culture into their homes in Arusha (‘A-Town’), a city in northern Tanzania. They have created a unique style that brings together local Maasai a cappella chants with rapping in Swahili and Haya languages. Although the Maasai people have become an internationally known symbol of rural lifestyle, in Tanzania they are often seen as backward and not fitting into modern urban s

[ntebohelengwm]

Rokia Traoré – Beautiful Africa (releasedate: D/A: April 9th) “I really like rock,” says Rokia Traoré about her new album Beautiful Africa, “and it was because of rock that I wanted to play music, but I didn’t want to make rock and roll in the Western tradition … I wanted something that’s rock and roll but still Malian and still me.” When she was growing up, an older brother used to play her Dire Straits and Pink Floyd. “It wasn’t all I listened to—I discovered jazz and blues with my dad, and Malian and other African music, and French chanson, but it was rock music that made me want to learn guitar.” There are three guitarists on the album, John Parish, Stefano Pilia and Traoré herself, but though the record is constructed around rock riffs and sturdy bass work, it still has a distinctively West African feel, thanks to the genius of Mamah Diabaté on the n’goni, the ancient, harsh-edged African lute. It’s an instrument that Traoré has used in compositions throughout her career, and she argues, “I’ve used n’goni in classical music projects, and it goes with blues, or jazz, or rock and roll. It’s a great instrument!” Traoré’s changes of musical direction usually start with “a sound that I imagine…a sound inside my head.” She didn’t want to imitate what other people had done “because I need to do what I imagine—that’s the reason I’m making music.” But she needed someone to help her create the sound that she imagined, and eventually decided on John Parish, the writer, guitarist, and producer who has worked with Tracy Chapman, Eels, and PJ Harvey. During the recordings “he just asked me to listen to things and make my choice.” The collaboration worked. “This is what I wanted to make. it’s even more than I imagined.” The past year has been a quite extraordinarily productive period for Traoré. The Barbican invited her to wirte three wildly different new sets of music: the acoustic Damou (Dream), the often bluesy Donguili (Sing), and the rock- influenced Donke (Dance), in which she set out to show “three different aspects of Malian culture and my own personality.” She has toured Britain lately on the Africa Express train, collaborating with Damon Albarn as well as Paul McCartney and John Paul Jones, who joined her backing band for the London finale. And she has continued acting as well, with British and European performances in Toni Morrison and Peter Sellars’ much-praised theatrical/musical re-working of the Shakespearian story of Desdemona, for which she wrote the music. The songs on Beautiful Africa are in the West African language of Bambara, as well as French and occasional bursts of English, and the often personal lyrics are concerned with Traoré’s thoughts on her own life, and on her tragically battered homeland. The album’s title track, built around the sturdiest rock riff on the album, is very much a love song to “battered, wounded Africa,” and reflects Traoré’s despair and fury at what has happened to her country. “The flood of my tears is in full spate, ardent is my pain,” she sings, while arguing that, “Conflict is no solution…Lord, give us wisdom, give us foresight.” Other songs on the album include the thoughtful ballad “Sarama,” a praise song to Malian women, partly sung in English, and the personal “Mélancolie,” a surprisingly upbeat song about loneliness and sadness that has already become a radio hit in France. Traoré says that she was lonely as a child, partly because her father was a diplomat and constantly on the move. Another, more upbeat song, “Sikey,” is also autobiographical, looking back at the criticism she received when she first set out to become a professional musician, after all, she was not a griot, from a family of traditional musicians, but the daughter of a diplomat. And although she had no musical training, she gave up her studies in Brussels to return to Mali to create a new form of music, in which her songs would be backed by her acoustic guitar, along with n’goni and the xylophone-like balaba balafon, two instruments not normally played together in Africa. Traoré, Parish and Stefano Pilia play guitars on the album, with Nicolai Munch- Hansen on bass, percussion from Sebastian Rochford (Polar Bear), ‘human beatbox’ effects from Jason Singh, and n’goni playing and backing vocals by fellow Malian musicians Fatim Kouyaté and Bintou Soumounou, both members of the Foundation Passerelle that Traoré established in Bamako, the Malian capital, to help her fellow Malians prepare for careers in music and sustain the growth of Mali’s rich musical culture. It is difficult to think of anyone else who can switch from ancient Malian culture to acting and then to African rock and roll. She will be touring Europe in May and June presenting her album Beautiful Africa during a run of summer festivals, including Glastonbury and Roskilde.

[pqsounds]

Jupiter & Okwess International's international debut album Hotel Universtakes you right into the heart and onto the streets of modern day Kinshasa, capital of the Democratic Republic of Congo, a politically and economically troubled country. Band leader Jupiter Bokondji is the charismatic and outstanding representative of the innovative scene of street musicians in Kinshasa, a scene which became internationally well-known through the success of Staff Benda Bilili, a band who they shareclose ties with. His idea is to reactivate the forgotten rhythms and melodies of Congo, by injecting the urban groove of the city. “At independence in 1960, the country was in good condition, utilities worked. But our parents were unable to pass the idependence "test", they blew it, they were given the chance but they messed upand they created a sacrified generation”,Jupiter says, “but I'm not interested in the past. What matters now is to lay the foundations for our children and grandchildren.” When Jupiter wants time off from the daily hustle on the streets of Kinshasa, he rents a room at Hotel Univers. There he can hide from the noise of the streets and seek new inspiration. Many of the ideas of his songs were made up between his room and the bar where he drinks whisky and meets the characters that roam the streets of Kinshasa at night. The song “Magerita” is dedicated to the dangerously attractive women in Kinshasa's nightlife. It became an immediate hit in Lemba, the area on the outskirts of Kinshasa where Jupiter is from. He identifies with this place where many better educated people stay still struggling to find a job. The middle class is small in Congo and many of the country's riches leave the country immediately or end up in the hands of a small elite. “Bapasi” has become a common expression for the daily life struggles of the community in Lemba. It is a catchphrase people use to search for new motivation in order to tackle their daily difficulties – for instance when the public cleaning service doesn't work, the people in Lemba decided to take care of cleaning up the streets themselves. Jupiter, who refers himself to be the 'rebel general' of Congolese music, doesn't see the richness of the country in its mineral resources of coltan and diamonds but in the undiscovered talents. “The material is but an elution,“ he sings in the song “Bakwapanu”, “but only the spiritual remains eternal”.Unlike many of the commercial successful Congolese pop-stars, he doesn't want to praise the ones in power, but relies on the musical richness of the county. To him big musical stars like Kofi Olomide or Werrason often wash down the musical heritage, when their connection to the ones in power as well as their fancy dresses becomes more important than the music itself. Jupiter knows that he won't be at the top of mainstream music in Congo, a place that is quite conservative when it comes to pop music. But he has a brighter vision. Through his music Jupiter tries to encourage people to take the future into their own hands. Instead of seeking a better future and immediate wealth by emigrating to the west, common expections shown in many local pop music video clips, he wants people to draw from the talents they already have. “I saw how immigrants struggled in Europe and didn't want this for my life. I wanted to make something for my country. I realized that it is my mission to bring a new sound into the Congolese music." Jupiter has indeed seen this himself. In 1974, as a young boy, he left the Congo to go to East Germany with his father who was appointed executive assistant for the Congo's embassy in Germany. There he spent his adolescence and discovered Europe and its vibrant music scene, and artists such as the Rolling Stones, Deep Purple and James Brown. He set up his own rock band called Der Neger (The Negro) with fellow young Berliners. Their sound was a strange cocktail of Mongo percussions and Zeppelin-esque guitar. The song “The world is my land (Deutschland)” he captures the experiences of this period of his life. At the age of 20 his father’s mandate ended, and Jupiter went back to the bubbling 80s Kinshasa, his head full of dreams, glory and sounds unimaginable to most of his friends. He left the family home, earning a living singing at funerals and playing percussion in several local orchestras. "From 18 to 20 years, I have lived as a street child. To earn some money, I was doing music in traditional ceremonies. I worked with families from all ethnic groups in the country, this is how I was able to discover the richness of our heritage." He started developing his own unique style, surrounding himself with musicians from Europe. He named this explosive mix 'Bofenia Rock' and in 1983, succeeded in forming his first orchestra, Bongofolk. Then in 1990 he founded his own band: Okwess international. The band developed a vision of a new Congolese sound experimenting with the musical heritage of a nation with more than 450 different ethnicities. In early 2004, Jupiter met two French travellers, Renaud Barret and Florent de la Tullaye. The connection was immediate, so much so that the Barret and de la Tullaye returned to record the songs of Okwess International and other groups surrounding Jupiter, such as Staff Benda Bilili. "I knew something like this would happen, I was convinced."Jupiter's Dance, a film documenting his musical exploration was released in 2007. On screen, we see his slender silhouette exploring the various districts of Kinshasa, discovering talent artists undiscovered and unknown by the rest of the world. Little Jupiters, he calls them. "Today, there are plenty of young bands who are like me to do music research, dipping into our historical resources. My mission is accomplished transmission. Even if I disappear today, I achieved my goal." The film became his international introduction and worldwide recognition. Damon Albarn ofBlur and Gorillaz fame worked with him on several projects including the electronic album DRC Music - Kinshasa One Two (Warp). Albarn also invited him to perform at the 2012 Africa Express tour in the UK. Jupiter and his band also toured the world with Amadou & Mariam. After an extensive tour around Africa, Jupiter & Okwess International will be on tour in Europe from May 2013. His debut album will be released on 20 May. Later this year a collection of remixes will be released, including 3D (Massive Attack), Spoek Mathambo, Aero Manyelo and DJ Mo. Further Links: Website Artist: http://www.jupiter-okwess-international.com/Website Release: www.outhere.de/homeroots/releases/jupiter-okwess-international/ Facebook: https://www.facebook.com/JupiterAndOkwessInternational MySpace: http://www.myspace.com/okwessinternational YouTube: http://youtu.be/fGyPKv-jfqI Soundcloud: https://soundcloud.com/outhererecords/jupiter-okwess-international Jupiter's Dance trailer: http://youtu.be/TxkaVmpgHcs Tourdates: 18/05/2013 Music Meeting - Nijmegen NL (The Netherlands) 19/05/2013 Festival Musique Métisse - Angoulême (France) 22/05/2013 Bee Flat - Bern (Switzerland) 23/05/2013 La Rodia - Besançon (France) 24/05/2013 La Bellevilloise - Paris (France) 25/05/2013 Festival Mix' Terres - Blois ( France ) 28/05/2013 Festival Mawazine - Rabat (Morocco) 28/06/2013 Glastonbury Festival - Pilton (UK) 19/07/2013 Festival Terre de Couleurs - St Croix Volvestre (France) 20/07/2013 Festival Détours du Monde - Chanac (France) 27/07/2013 Festival Fiesta Sete - Sete (France) 28/07/2013 Olympic Park - London (Uk) 07/08/2013 Oya Festival - Oslo (Norway) 09/08/2013 Flow Festival - Helsinki (Finland) And more dates to be announced soon!