Battersea Arts Centre & GOAT Music Present Borderless
Plus New Shows Added With… Sons Of Kemet, Andrew Ashong, Metá Metá, Family Atlantica & More
‘Since working at Battersea Arts Centre, I have often heard stories of legendary gigs in the Grand Hall three and four decades ago, including The Jam and Fleetwood Mac. It’s great to be working with Goat Music to bring live music back to Battersea Arts Centre, in the historic Council Chamber at the front of the building, starting out with a series of fresh musical talents for summer 2016.’ David Jubb, Artistic Director, Battersea Arts Centre.
Tickets are on sale now via: www.bac.org.uk/borderless
We have a limited number of press spots available for each show, please get in touch with katie@therestisnoise.co.uk as soon as possible to reserve your place.
BORDERLESS EVENT PROGRAMME
HACKNEY COLLIERY BAND
+ Support TBC
2nd Aug | 8pm | Tickets £15
BOOKING LINK: www.bac.org.uk/hackneycolliery
In August & September 2016, Battersea Arts Centre and former Roundhouse music programmers GOAT Music will collaborate to present Borderless, a series of live music gigs bringing the festival feel straight to your doorstep.
Borderless is excited to announce the addition of 5 new artists to the forthcoming series at Battersea Arts Centre. The new additions bring 3 artists in August; widely acclaimed British-Ghanian soulman Andrew Ashong, Mobo award-winning jazz trio Sons of Kemet, and Dele Sosimi with his unique blend of danceable funk and traditional African music to grace the venue’s beautiful Council Chamber.
September additions also enhance the smorgasbord of global music at Borderless. Hailing from Sao Paolo, Metá Metá will showcase their Brazilian roots with their avant-garde take on Samba, jazz and Afro-punk influences, with inspiration from the chants of the ancient orixas shining through. Family Atlantica bring their multi-continental sound fusion to Battersea, following an array of intense live shows throughout the European festival circuit.
The Councli Chamber, Battersea Arts Centre – Photo Credit – Vikki Ellis
MONEY
+ Support TBC
3rd Aug | 8pm | Tickets £15
BOOKING LINK: www.bac.org.uk/money
ANDREW ASHONG
+ Support TBC
9th Aug | 8pm | £15
BOOKING LINK: www.bac.org.co.uk/andrewashong
SONS OF KEMET
+ Support TBC
11th Aug | 8pm | £20
BOOKING LINK: www.bac.org.uk/sonsofkemet
DELE SOSIMI
+ Support TBC
18th Aug | 8pm | £12.50
BOOKING LINK: www.bac.org.co.uk/delesosimi
NUBIYAN TWIST
+ Support TBC
24th Aug | 8pm | Tickets £12.50
BOOKING LINK: www.bac.org.uk/nubiyantwist
HÆLOS
+ support TBC
25th Aug | 8pm | Tickets £15
BOOKING LINK: www.bac.org.uk/haelos
KATH BLOOM
+ Support TBC
30th Aug | 8pm | Tickets £12.50
BOOKING LINK: www.bac.org.uk/kathbloom
ELECTRIC JALABA
+ Support TBC
7th Sep | 8pm | Tickets £12.50
BOOKING LINK: www.bac.org.uk/electricjalaba
METÁ METÁ
+ Support TBC
13th Sep | 8pm | Tickets £12.50
BOOKING LINK: www.bac.org.uk/metameta
FAMILY ATLANTICA
+ Support TBC
14th Sept | 8pm | £12.50
BOOKING LINK: www.bac.org.uk/familyatlantica
ROSEAU
+ Support TBC
20th Sept | 8pm | Tickets £12.50
BOOKING LINK: www.bac.org.uk/roseau
MAMMAL HANDS
+ Support TBC
21st Sept | 8pm | Tickets £12.50
BOOKING LINK: www.bac.org.uk/mammalhands
FRANCESCA BELMONTE
+ Support TBC
29th Sept | 8pm | Tickets £12.50
BOOKING LINK:
www.bac.org.uk/francescabelmonte
Body Of Songs
Get ready to be overwhelmed by creative concept ‘Body Of Songs’, a series of 10 songs, bringing together Britain's most talented musicians to contribute a single about the mysteries of the body’s organs.
Get ready to be overwhelmed, better yet staggered by creative concept ‘Body Of Songs’, as this is going to be one of the craziest yet brilliant ideas you have encountered so far. Starting off with the somewhat dark visuals and simultaneously easy-going tunes of Raf (music) and Ben Wheele (video), the song ‘Ooh Ha (Carolina) ‘ about the appendix is just the start of a series of 10 songs, bringing together Britain's most talented musicians to contribute a single about the mysteries of the body’s organs.
With artist like Ghostpoet, Bat For Lashes, Mara Carlyle & Max De Wardener, Afrikan Boy, Dave Okumu, Scruffizer, Sam Lee & Llywelyn ap Myrddin, Andreya Triana and Goldie, this music and science experiment is bound to be a success. As the songs are based on experiences the artists have had in their own life, from illness to age, the combination of this personal given and the distinct interpretation of the amazing line-up makes for a variety of unique songs. The collaboration with multiple body specialists, from scientists to medics, results in songs that are as accurate as possible while still allowing for emotional stories and great tunes.
If you’re curious about this exciting concept, you can get yourself the album on November 27th!
Dele Sosimi
Dele Sosimi stands out as one of the most active musicians presently on the Afrobeat scene worldwide. Here he talks about duty to Afrobeat, relentless performances and his latest CD.
Dele Sosimi stands out as one of the most active musicians presently on the Afrobeat scene worldwide. Here he talks about duty to Afrobeat, relentless performances and his latest CD.
His tutor and guru was one of the world’s most feted and controversial music icon - Fela Kuti, also known as Fela Anikulapo Kuti or simply Fela - before his family, bandmates and friends and indeed the world was rocked by his passing on August 2, 1997, from Kaposi's sarcoma which was brought on by AIDS. Nonetheless, this loyalist, representative and artist - Bamidele Olatunbosun Sosimi, known as Dele Sosimi, from teenage keyboard player for Fela Kuti's Egypt 80 to bandleader for his son Femi Kuti's Positive ensemble, was tutored and raised in Fela Anikulapo Kuti’s shadow and worked and travel around extensively with Fela around the world at the pinnacle of early 70s Afrobeat fever. Picked by Fela to join his band at a somewhat tender age, he was still a young man when sharing Fela’s Glastonbury stage in 1984. But be that as it may, Dele Sosimi - born in Hackney, East London, raised in his native Nigeria from the age of four, refutes to slow down. He is here and now one of the leading forces/important voices of Afrobeat holding fort the Afrobeat music on the Afrobeat scene internationally.
After Fela’s passing in 1997, Dele went on to concentrate on his solo career and, with meticulous endurance, sliced out his own Afrobeat trophy in London, where he now dwells. Totally, this Nigerian-British boy is done admirably well. Sosimi has helped define the sound alongside some of its most iconic figures – he is an inspiration to many. Check this out: Vocalist? Tick. Keyboard player? Tick. Producer and Afrobeat giant? Tick. And the founder of his own orchestra? Tick. In addition more recently he was the Musical Director & Afrobeat Music Consultant for the award winning musical FELA! Currently on a global tour. And what’s more? Sosimi is an Afrobeat Composer, Producer, Musician, educator and instructor (via London School of Afrobeat) as a Visiting Lecturer at London Metropolitan University, Trinity Laban Conservatoire of Music and Dance - the UK's only conservatoire of music and contemporary dance and Cardiff University.
Once again an experience awaits with another marathon session (four-hour-non-stop) of keeping Afrobeat, the music, spirit & legacy of Fela Anikulapo Kuti alive in London at The Forge, Camden, UK
Saturday 28 November 2015. The Dele Sosimi Afrobeat Orchestra are a gang that must be seen live in all its astounding fierceness. Dele is returning to London for his third Album lunch gig ‘You No Fit Touch Am,’ a 7-track collection of compositions – his third solo album and his first for 10 years that is immersed in socio-political messages and showcase classic 1970s Lagos song writing. “You No Fit Touch Am” was recorded in London with a crew of long time players and producer Nostalgia 77 (Tru Thoughts) presenting a 21st century clarity to the mix. There's no silly compromises to the music here though, just a thoroughly modern sense of energy in the mix with an aptly heavyweight bass charisma.
Dele Sosimi: Afrobeat Vibration is my way of keeping Afrobeat music alive and accessible to Afrobeat music lovers and musicians in the UK bi-monthly, are creation of the spirit and ambiance of Fela's Afrika Shrine.
Why are you staging a four-hour-non-stop musical marathon? Why 4 hour non-stop and why the chosen venue? Can you really keep this up?
Dele Sosimi: I stage it because it is a duty that must be done by me as an ambassador of the genre and culture. It is an experience hence it is 4 hours nonstop as we take you on a journey based on the repertoire selection for the night. We initially used the New Empowering Church in Hackney till November 2014 when the lease expired. Since then we used the Forge in Camden once before moving to Shapes in Hackney Wick May 24th 2015. We chose Shapes because it had the ambience size and potential for a late license till 5am. The importance! People or musicians who did not have the opportunity to listen to live afrobeat now have a regular bi-monthly platform that we have kept going for 7 years - last Saturday of January, March, May, July, September and November which is usually the anniversary month. We cover a wide range of Felas Classics and original new compositions featuring a wide range of guests and young musicians who have either attended one of my Afrobeat masterclasses or workshops. This year we are celebrating the 7th year of keeping it going.
Could you reveal names of guest stars contributing to this extravaganza on Friday November 28th? And what should fans expect?
Dele Sosimi: We never know who will turn up until the night itself bit we have had Tony Allen, PA Fatai Rolling Dollar, Cheick Tidiane Seck, Afrikan Boy, Breis, Shingai, Byron Wallen, to name a few.
Fans should expect to be delightfully Afrobeaten up.
You have a new album out - third album -”You No Fit Touch Am”. Tell us more about this album - and why the title; "You No Fit Touch Am?"?
Dele Sosimi: Release earlier this year by WahWah45s on the 24th of May, the literal meaning is “You cannot touch it”. On a conceptual level "the thing is too cool", "too tasty to be messed with", "you can't even come close", "and it is beyond you". "The jam just baaad", "don't look at it with common eye" with regards to what I do, what we do, the experience we provide, the spirit of music. Identity my 2nd Album was released 10 years ago, and I had made up my mind the third Album would have to wait for the right conditions, right record label at the right time with an offering of a clear development of the Afrobeat idiom, an important restatement of what Afrobeat is about, in the current scene where the term is used quite indiscriminately (and unfortunately confused with the rather more superficial “Afrobeats”). I strongly believe this is now the case. Suffice to say its taken 10 years but once the record deal was in place from recording, production to release nine months as most of the songs had been written years ago.
What is your message here?
Dele Sosimi: It depends on which angle you look at it from. Spiritually be open, tolerant and aware, appreciative and humble. Musically, there is a jewel of infinity contained here that will most likely be missed by many, who lack the ability to see the greatness in small things. On the other hand, beauty will be discovered and found here by many. Mainly the message draws attention to the state of things worldwide today with songs like "Na My Turn" (Elections worldwide with special attention on so called democracy in Africa pre and post elections) ~ “E go betta” (Despite facing abject poverty the admirable spirit of resilience and resolve to carry on and soldier on with the song of hope for a better tomorrow)~ “We siddon we dey look” – (Ferguson incidents, Boko Haram, ISIS and most recently Xenophobia) “Where We Want Be” (The intolerance prevalent in world society with the message being bring love back BIG TIME!) “Sanctuary”- (In line with Fela’s “Music is the weapon of the future” message. In this case music being the Sanctuary where you recharge your batteries to keep on) and “You No Fit Touch Am” as earlier indicated.
What drives Dele Sosimi?
Dele Sosimi: Breath, life, love and family drives Dele.
Saturday 28 November 2015
Shapes, London, UK
Shapes, 117 Wallis rd. Hackney Wick E9 5LN
Cost of Tickets: £10 Adv. £12 Otd
Tuesday 09 February 2016
Kings Place, London, UK
Fuzz Club Festival – Edition 2015
Somewhere under two railway arches, psychedelic sounds and rock-and-roll beats are echoing and exclusive vinyls are calling your name.
Somewhere under two railway arches, psychedelic sounds and rock-and-roll beats are echoing and exclusive vinyls are calling your name.
This November 13th and 14th, Independent label, online store and production company Fuzz Club, known for bringing in the best experimental music and upcoming music genres, celebrates the 2015 edition of their annual event: Fuzz Club Festival. Co-presented with Bad Vibrations, the festival has gathered their go-to psych and underground bands from Europe and places beyond, as well as some of their recently spotted talent.
The musical madness is divided over two stages located inside the London Fields Brewhouse. Known for its cultural versatility and popularity in the music industry, the venue makes for a perfect match. The line-up features artists such as Camera, The Telescopes, Lola Colt, The Janitors, Radar Men From The Moon, and Dead Rabbits, making the festival is a first-class feast for lovers of psychedelia, noise, garage, blues, folk, electronica, basically anything that doesn’t have your everyday pop song sound.
With The KVB chosen as the main act for this event, you’ve got your go-to performance already set. Prepare for a headline full of shoegaze guitars, hypnotic voices and abstract visuals, causing the show of the Berlin-based duo to be a rare experience on its own.
As for the die-hard fans planning to be present at the event, Fuzz Club has some exclusive pre-releases of upcoming albums, as well as a selection of releases including sold out vinyl editions from Austin Psych Fest up its sleeve. If that wasn’t enough, the production company is launching the Fuzz Club Black Editions, allowing everyone to devour up to 10 copies, selling them exclusively at the festival.
Fuzz Club London 2015, November 13th & 14th at London Fields Brewhouse
FRIDAY NOV. 13th
THE KVB
CAMERA
THE TELESCOPES
10,000 RUSSOS
NEW CANDYS
THROW DOWN BONES
SATURDAY NOV. 14th
THE MYRRORS
LOLA COLT
SONIC JESUS
MUGSTAR
THE CULT OF DOM KELLER
RADAR MEN FROM THE MOON
THE JANITORS
THE ORANGE REVIVAL
DEAD RABBITS
BUY TICKETS HERE
Early Bird from £12.50
Weekend from £25
Doors:
Friday at 7pm
Saturday at 4pm
HOO HAs - Yankee... The EP Launch
Yes you read that right. There is a new band in the undesiccate puddle that is London and they’ve put their money on the name: HOO HAs. Celebrating their new EP, ‘Yankee’, the band is inviting you all to their launch party.
Yes you read that right. There is a new band in the undesiccate puddle that is London and they’ve put their money on the name: HOO HAs. Celebrating their new EP, ‘Yankee’, the band is inviting you all to their launch party.
As unapologetic their name appears, as equally insolent is their new sound. Yankee’s penetrance causes the song to be stuck with you for weeks, leaving your head spinning from the dynamic guitar sounds and the raw voice welding over them. Mixing up punk rock with an old school blues feel, Yankee echoes innovation in an effortless and straight-out-of-the-heart kind of way. As for the message behind the tune, the band describes it as a battle between the self and society. “Some say we are a product of our society – touching on moral and political frustrations too. Like we haven’t heard enough. Where do you live?”
If the boys blew you away with their music, there is no other option but for you to head over to Dalston tonight, as HOO HAs is hosting their first single launch party at The Victoria. The doors open at 19:30, and you will be welcomed with beats from Mystery Jets, Desert Planes, La Horse, and the band I’ve just been going on and on about (how could you not).
HOO HAs' 'Yankee' Single Launch at The Victoria
+ (Jack) Mystery Jets DJ Set - Support from Desert Planes + La Horse
27 October | Doors - 7.30pm (Live Room)
Hackney Wonderland 2015
Hackney Wonderland's sold out 2014 success has left us wanting more.
Hackney Wonderland's sold out 2014 success has left us wanting more. The one-day rock'n'roll festival returns for its second year to Hackney's coolest music venues. With just 10 days to go we are gearing-up for it. Get your tickets before you regret it!
When: 10 October 2015
Where: Oslo | Seabright Arms | London Fields Brewery | Oval Space
Tickets here
TOY - Interview
Bo Ningen - Photo by Cat Stevens
To Kill A King - photo by Wolf James Photography
Late at the Library: Felabration
Celebrating the birthday of Fela Kuti, ‘Late at the Library: Felabration’ is a musical tribute to the pioneer of Jazz, Funk and Afrobeat and praised defender of human rights in Nigeria.
Celebrating the birthday of Fela Kuti, ‘Late at the Library: Felabration’ is a musical tribute to the pioneer of Jazz, Funk and Afrobeat and praised defender of human rights in Nigeria.
Prepare for a night full of rhythmic vibes, as it will be loaded with recognizable hits and new beats from some of the most renowned African musicians in the world.
Starting of with former band members and friends of Kuti, Dele Sosimi who was part of Fela’s band ‘Egypt 80’ will be leading the event with his 16-piece Afrobeat Orchestra. Following up is legendary drummer Tony Allen, who is known as co-creator of Afrobeat.
Carrying on Fela’s legacy at this event are non other than 2FaceIdiba, multimillion selling recording artist and producer who brought life into hip-hop with the hit ‘Afrikan Queen’, Shingai Shoniwa, vocalist and bassist of the insanely popular indie rock band Noissettes, and other brilliant guest vocalists such as: Laura Mvula, Afrikan Boy, Bumi Thomas, Ed Keazor, Terri Walker, Audrey Gbaguidi and The Floacist (Floesis). Plus DJ Koichi and The Trinity College Afrobeat Ensemble.
For the art fans attending the event, there is free access to the British Library’s outstanding new exhibition West Africa: Word, Symbol, Song - dedicated to the power of words and its sociocultural influence on West Africa.
The event will take place on Friday, October 16th in the beautiful atrium of the British Library.
Music Premiere : Makeshift Happiness, a new EP by Christa Vi
Inspired by origami and paper craft, Christa Vi’s new EP, Makeshift Happiness, creates something beautiful and bright out of the ordinary, futile optimism, and fragility of the existentialist everyday.
Photo by Jon Enoch. Origami by Papershake
Inspired by origami and paper craft, Christa Vi’s new EP, Makeshift Happiness, creates something beautiful and bright out of the ordinary, futile optimism, and fragility of the existentialist everyday. The record is resplendent with a peppy positivity as vibrant as the redhead the song lyrics were spurn from. Contemplative, reflective lyrics and Florence Welch wispy new romantic vocals hook onto a driving, electronic melody; reticent of Oh Land and the like. The moody Germanic undercurrent and Australian optimism of her two home countries have blended with the flux, grit and shift of new base London to create a unique brand of lyric-driven, synth-centric, electronic indie pop in a record preoccupied with making the best of life’s hard knocks.
Headed up with the eponymous title track, the EP also includes a radio edit and remixes by L.A. dweller Small Pyramids (Glasgow Underground) and renowned beat-master DJ AMTRAC who brings textured, sizzling and liquid layers to his evocative remix.
Released on her own record label, Tangelo Records, Vi often handpicks guest producers to pepper her music and has spent years honing her sound with Box of Wolves, Ben Salter and AIMES. This time she has teamed up to co-produce with the multi-instrumentalist mastermind Andrew McDonnell (Crystal FIghters, Petite Noir, Suns). This collaborative interest in crafting feeds into her video and album artwork with pastel-toned illustrative cover art by Erin Greer a video by Chris Turner / Favourite Colour Black.
It may be making music makeshift, but it is certainly not make do.
Makeshift Happiness, EP by Christa Vi, will be released 25th September on Tangelo Records. It can be preordered here:
In My Shoes: Switchst(d)ance
An interview with Marco Antão resident DJ’s at Lux Frágil, Lisbon.
Photo by Tiago Reis
My name is Marco Antão, I was born and raised in Lisbon and I am one of the resident DJ’s at Lux Frágil. As a producer I am associated with the German music label Beachcoma. I am something of a collector of synths and admittedly it’s been a growing obsession of mine over the years. The name "Switchst(d)ance" came from my longtime love of skateboarding. If you remove the letter “d”, it’s the name of a trick that i spent my teen years mastering. When you add the letter “d”, the word gains new meaning and symbolises the start of something new, a game-changer as it were, when I started DJ’ing.
I started spinning records at a friend’s party almost ten years ago, basically to keep the thing going. The feeling I got once I was behind the turntables was a turning point (excuse the pun) for me; it was a wicked experience, watching people dance to the music I was playing. After that night, I began playing in the bars of Lisbon and five years ago I became a resident DJ at Lux. I consider myself very lucky, since it only took me a couple of seconds to realise what I wanted to do with my life.
Photo by David Tutti dos Reis
Of course, it wasn't always easy. Looking back, the most challenging phase for me, artistically, was around 2008, when I was having a hard time finding gigs. This was because the kind of music that was popular in Portuguese nightlife at the time was really different from what I was playing. However, the pursuit of new and original sounds always kept me going. And it was rewarding because now I have the privilege of playing for and connecting with some really great crowds, which for me is, hands down, the best part about making music. The beauty of music is that it is very communal, yet at the same time a hugely unique experience. Transmitting emotions and feelings through sound in a way that every single person can feel and interpret into their own private experience is a totally unique way of communication. It leaves me both proud and humbled to enable this and it is a big part of what inspires my style.
For me the most important element to making music is creating something intelligent and, above all, something sensory. I like music that gets inside your head because it has unique textures like interesting synth sounds, twisted arpeggios, off-key notes, that kind of thing. I like rhythm patterns that don’t sound like they were rigidly quantised to a grid, but help distinguish a track from your straight up "four-to-the-floor" dance floor fodder. Personally, I don't really rationalise my music and I try not to overthink it. Instead, I focus on mixing sounds that come together in a good way and I like to think I am always pushing the boundaries of what is already out there in order to create something distinctive and different. Even though the general opinion is that everything has already been created, composed, written, spoken or sung, I believe that the possibilities to create and grow remain infinite. And that's the really exciting part about doing what I do.
Like Father Like Son.
In conversation with Seun Anikulapo Kuti, son of the renowned and fearsome Afrobeat pioneer Fela Anikulapo Kuti .
An Intuitive tête-à-tête with Seun Kuti, the second and youngest son of that 20th century icon/super star, the late Fela Anikulapo-Kuti, at the UK’s flagship live jazz music venue – Ronnie Scott’s. Soho’s home of jazz welcomes Seun Kuti and Egypt 80 in a rare intimate outing with his band, celebrated as Seun Kuti & Egypt 80: FELA/AFROBEAT. I was not sure if Ronnie Scott’s will be able to withstand the Afrobeat power, fury and constant swear words of Seun Kuti and Egypt 80, but it was fun finding out. Boy-oh-boy, it was absolutely mental. The audience was blown away by the power and the ferocity of the fire-raising Seun Kuti and the legendary EGYPT 80 band – one of the greatest live acts sound ever. What would his father think of him performing at Ronnie Scott’s? Read on!
In 1997, Nigeria and Africa, and certainly it would not be a hyperbole to affirm that the music and political world lost a music legend and fearsome Afrobeat innovator Fela Anikulapo-Kuti; simple known as FELA and still rightly acclaimed as one of the 20th century most incendiary live acts. On the other hand a young man lost his father. It cannot be pressure - free being the offspring of a music Giant, nonetheless, Oluseun Anikulapo-Kuti (known simple as Seun Kuti) the youngest son of the Nigerian legend of Afrobeat and political protester extraordinaire, seems to have no worry stepping into the big size puffy unusual shoes of his father Fela Kuti. Five years after their inception, following the death of the legend – Fela’s original band EGYPT 80, made-up of a quarter-century of Afrobeat musicians now headed by Seun Kuti continues to travel musically forward and find themselves more and more loved by fans of Fela Kuti and fans of Seun Kuti. This just shows Seun’s ease with his inheritance. But Seun exclaims otherwise.
“It’s been a battle to get to where I am now”, said Seun. “There were those naysayers and detractors alike who denounced my choice to front my father’s band as both lead vocalist and saxophonist; (including the British press amongst others) who said it was shockingly arrogant of me and that I have a speck exaggerated pride or self-confidence to try and fill Fela’s boots. This was never my intention or ambition or aspiration. While my father’s influence cannot be underestimated, nobody can walk in Fela Kuti’s boots. No one can beat Fela Kuti. No one can replace Fela Kuti. Full stop. And who cares what critics’ think anyhow? Just kidding!” he sighs. (Laughing hysterically) He adds: “The British press are cool with me these days. I love the British newspapers. I believe everything in them about me, good and bad. You have to work hard to remain in this business.” Seun is been scripting and singing live in concert with Fela since he was a child. He maybe the son of a music icon but was and still is determined to do it his way, he tells me. He disputes any idea that he might need to intensify either his fury or racy moves on stage or with his soundtracks to stand out in the world of Afrobeat music still dominated by his late father.
When it comes to Afrobeat hopes are high and this is an unwelcome distractions I think Seun could do without or take on as a challenge. It’s a proverbial situation for kids from musical families. “Yeah. I’m definitely used to it. It’s f**king cool. I don’t mind it.” he tells me. “Fela will always be number one”, Seun said, letting the thought follow. “I do accept who I am considerately. You cannot be the son of Fela Kuti, a truly inspirational person without feeling that huge shadow over you. A renowned protest vocalist who orated against immeasurable suffering in his home country of Nigeria and across the continent of Africa, he asked? A multi-instrumentalist, human rights activist, a revolutionary and political rebel for the less privilege the world over, he asked? “Nonetheless, it has not stopped me from doing my own thing while carrying the baton. Really and truly, if you be yourself, fans and critics alike will accept you for that” he enthused. Furthermore: “Afrobeat is more than just music. It’s a movement. It’s about politics, economics, social welfare, culture, anti-corruption – all of that and more besides in musical form. I grew up believing in good old African values set by my father: hard work, equality and freedom. I am never led by money or headlines grabbing regardless”. More than anything Seun wants the youths and followers alike to always do what makes them feel better about themselves. “You have to love what you do in other to be successful, he opined.
“What I want is for young people in Africa to believe in Africa, to come together for Africa. It’s horrible to hear about these stories of Migrants dying like mammals in the seas. African migrants in particular escaping to Europe with all the risks involved to come and build Europe more than anything else”. Seun is a strong contender for the angriest musician on the planet. He still rages and talk wildly and utter profanities profusely on stage like his father. And he brought it on full throttle to the Ronnie Scott’s show. And the audience approved at every word. Once he was known for colourful costume trousers and funky boots just like his father, that were just as wild as his music, and a lifestyle of wide-eyed partying that rivalled any rock band in the western world. Seun (Angry) “I am just like you yeah! You are a journalist/reporter, observing, looking for breaking news and highlighting and analysing news worthy stuff and then put pen-to-paper. As a musician singer/songwriter I put the message out there in my lyrics to raise awareness about the untruth and the s**t propagandas politicians and big businesses do in Africa and if truth be told in the UK and the US put out there too”.
“The vision of the Afrobeat movement is to challenge the way people think about the mainstream news they read by offering them different, wholesome and productive perspectives”. Seun believes that no matter what you do or who you are, you have to give back and his way of giving back is to educate the people, be it in Africa. UK or far-flung Australia. “We become teachers to the masses via our music-words. We’ve definitely been affected and continue to be affected by a lot of s**t in the world at the moment. I feel more comfortable in telling it as it is. We deliberately set out to challenge the governments in Africa for their ill-treatment of their citizens, however, we note and deliberately set out to challenge global perceptions of Africa and its people, because we recognise that Africa is misrepresented and underrepresented in global affairs and in global media because its stories continues to be largely told by the non-Africans who have never lived and research the continent properly. Africans are very resilient. What I want to do as a number one priority is to show young transnational Africans that their homeland is beautiful”.
“Yes, there is poverty-stricken people in Nigeria, Sudan, Ethiopia and England. Yes, there are Somalia’s that are struggling. F***k it. That story has been written in Western newspapers and broadcast on BBC-TV and Radio and American TV, over and over. It’s about time we talk about Africa’s growth rates. The economy may not be at a galloping pace, but they are surely better than those of many other regions of the world. Africa is going through remarkable changes. I challenge you to print this. We aim to educate the masses that there are different ways of taking in the news - more productive rather than the negative sensationalism news that is delivered currently in the western mainstream”.
There’s no doubt that SEUN KUTI & EGYPT 80 is one of the guiding voices of Nigeria’s and indeed Africa’s contemporary instrumental music scene. They are a band that deftly searches for untracked and thrilling musical spaces to occupy. But will Fela Kuti not turn in his grave if he is aware that his almighty radical youngest son (inheritor to the throne) performed at a mainstream/British establishment music venue – an avant-garde venue - welcoming the Mothership radical son to planet Ronnie Scott? Oh JMJ!
This Liverpool university music graduate, described as ‘frighteningly intelligent’ said: “This is not just about music, I reiterate. Everything I write is personal. Topical lyricism. I’ve got to feel something, fundamentally, I’ve to have something to say. I have to have experienced it before I go down that road to that stage, any stage for that matter to perform live". “People always ask, what’s the difference between Western audiences and audiences in Africa? I always say it’s not about the country. It is about the venue. I believe my father will part me on the back”.
Seun first began performing with Egypt 80 at the age of nine, warming up audiences in Africa, UK and North America included with performances of his father’s songs. Though, Fela Kuti passed away over twenty years ago, his Afrobeat vibration is unbelievable booming as never before, thanks a lot to Seun and his brother Femi Kuti. Seun was 15 when he lay to rest his father in Lagos-Nigeria and also took over his band at age 15. His half-brother Femi was 20 years older, had already established a distinctive musical path of his own, but over the past 13 years Seun has cut his own unique musical path, incorporating contemporary influences into the traditional Afrobeat approach. And the older guys in the band (average age 60) help keep his ego in check. “The one thing I am is very humble. This is not the be-all and end it all. I still have a lot of work to do and that keeps me grounded”.
Grounded, perhaps, but unquestionably on the way up. Regrettably Seun finds himself challenging many of the same injustices his father battled in his glory days, from corporate self-indulgence chiefs to pugnacious leaders to the ever-futile battle on corruption and human rights.
Justin Vernon returns with his very own Music and Arts Festival | Eaux Claires 2015
If there had to be one man who’s successfully captured the essence of a gruelling bitter heartache and put it into song, then it’s Bon Iver’s front man Justin Vernon.
If there had to be one man who’s successfully captured the essence of a gruelling bitter heartache and put it into song, then it’s Bon Iver’s front man Justin Vernon.
Image via Eaux Claires
And four seemingly quiet years later he’s returned, bursting with high–held visions that speak to a man and a mind that was never quite done with playing in the woods of Eau Claire. This July marked the first Eaux Claire Music and Arts Festival and for those lucky enough to have nabbed a ticket, Vernon secured quite the line up. Among them, Sylvan Esso, The Tallest Man on Earth, Spoon, Sufjan Stevens, Francis and the Lights, Liturgy, the National and the much-anticipated return of Bon Iver.
When Justin took to burying his past in the snow-covered woods of Eau Claire, the result was a desolating infusion of guitar chords and soul destroying-ly beautiful lyrics. So much so that it came as no surprise when a friend mistook Vernon’s song writing for no more than a sympathy calling, feverish attempt to lure us deep into the cracks of a gut wrenching, stab in the heart Bridget Jones kinda break up. But delve in a little closer and you will discover something quite the opposite. In just two albums, Justin Vernon showed an astounding ability to take us on a journey of heartbreak, bitter resentment and ultimately hope, reaching far beyond the soppy I need wine calling love song and very quickly turning into an indie folk prodigy.
Friday at Flambeaux, Hiss Golden Messenger. Photo by: Zoe Prinds-Flash Photography
Bon Iver’s first album in 2008 For Emma, Forever ago effortlessly captured Vernon’s bitter heart-ache in a string of dark, subdued songs, absent mindedly sung and backed only by the bare strings of his acoustic guitar. In The Wolves (Act I and II) Vernon layers his vocals to project anguish, climaxing with an electrifying, soul infused clashing of chords that are quickly counterbalanced by the familiar undertones of his soft guitar strumming | ‘Someday my pain will mark you’ | he utters. And then there are other more fragile tracks like Re Stacks; so reassuringly simple but indicative of a man’s ability to use his own, pure voice to take comfort in his troubles and serving to remind us that we are all human, after all. ‘To me, it is not about getting over things and moving forward, it is about going through the sadness, taking some of it with you and being made whole because of it’.
Bon Iver. Photo by: Graham Tolbert
Bon Iver’s self titled album in 2011 marked a turning point in Vernon’s life and his first foray into multi tracking, transforming his music into something so alive that you could almost feel Justin emerging from his cabin in the woods, soaking up the joys of spring in the rich pulsating guitar melody that introduces ‘Towers’ and the blissfully potent humming that features in the one and a half minute track ‘Lisbon’.
As Vernon explained, this festival was designed to melt away the music-genre-walls that we have become so accustomed to and to create an experience that goes far beyond any ordinary festival and boy, he delivered. In a setting sat very close to Vernon’s heart, Eaux Claire bragged an impressive roster of musicians, actors, filmmakers and visual artists, reveling as one to unite in a collision of artistic forces, on a stage unique to its own and in the comfort of Vernon’s very own home, Eau Claire.
Eaux Claires Festival July 17 – 18, WI | eauxclaires.com
An Interview with Ethiopian-American singer Meklit Hadero
Here comes a delightful music superstar with substance - simply known as Meklit.
Here comes a delightful music superstar with substance - simply known as Meklit
I’ll admit, I didn’t get Meklit Hadero, the Ethiopian-born, San Francisco-based singer and songwriter when she burst onto the music scene some six years ago. But then one of her songs from her most innovative album to date, “We Are Alive” (Six Degrees Records), implanted in my brain. (The title track, ‘We Are Alive,’ with Meklit’s silky voice floating effortlessly above the guitar-driven song) quaked my foundation and my girl crush was born. As a-matter-of-fact I love the raw ambition of the “We Are Alive” album – the preposterousness, the simplicity and also the fundamental intelligence. But, witnessing her live-in-concert was mind-blowing. Meklit Hadero is the business. She performed songs from her second solo full length album to a packed audience and critics alike at Purcell Room at Queen Elizabeth Hall, Southbank, London. This singer, musician, and cultural activist simply known as Meklit took us on a musical odyssey of Ethiopian traditional tunes and more besides: American-Jazz, Hip Hop, street-level Jazz, Rock, East African Folk and Ethiopian classics - the lyricist practice of her auditory mother country.
Born in Ethiopia, from Ethiopian parents, she feels deeply African and deeply American and her records are deeply inspired by Mulatu Astatke, the Godfather of Ethio-Jazz. Her work builds upon the concepts pioneered by Astatke as part of the late 60s and early 70s Golden Age of Ethiopian music. Taking these principal elements of her heritage as introductory building blocks, she explores the cultural dreams happening as part of the arrival of the Ethiopian Migration en masse to North America. In spite of this, it must be celebrated that this artist's voice makes for compelling listening. Her performance on stage makes for compelling seeing. Her voice is earthy and soulful, supple and freed, and exudes all four. If champagne were a person it would be Meklit Hadero. She is stunning. In an alternate life, one where talent was spread out differently, this is the kind of music I would like to make. It’s subtle, contemporary and one of its kind, while being massively emotional. Oh well, fair enough! What is more? There’s more to this woman. We also find this touring performer, and a political science Yale University graduate, is a committed activist extraordinaire.
In 2011 she launched the UN Women's campaign for gender equality in Africa, and co-founded the “Nile Project” with dear friend Mina Girgis, an Egyptian ethnomusicologist, with background in hospitality experience, curating and producing innovative musical collaborations across diverse styles. The Nile Project brings together artists from the eleven Nile countries that borders the River Nile, namely, Tanzania, Uganda, Rwanda, Burundi, Kenya, Ethiopia, Eritrea, South Sudan, Sudan and Egypt, to make music that combines the region’s diverse instruments, languages and traditions. Meklit Hadero may not yet be your household one and you may not have heard Meklit Hadero's music before, but once you do, I promise it’ll be tough to get it out of your head.
If champagne were a person it would be you in your fizzy performance at the Queen Elizabeth Hall. How would you rate that performance at the Purcell Room at Queen Elizabeth Hall, Southbank, London?
We had an amazing time. The UK has always been good to me, and Southbank was just wonderful. And of course having the legendary Pee Wee Ellis there (long-time musical director for James Brown) was a life highlight, especially since the funk that he helped to create was so much part of the Ethiopian tune we played together, Tiz Alegn Ye Tintu.
Where do you go in your head when performing on stage?
Well, in the best moments the “I” disappears entirely. You are consumed by the music and the sound, responding like lightning to your instincts for movement and voice, and to the band around you.
Your band was downright superb on stage. Now, have you always believed you could be successful but did not know how?
I think you have to believe in yourself like that, no matter what your vocation. But music is different because there is no definite path, especially now. Everyone in music is just making it up as they go along, and trying new things. That’s all you can do!
Is it reasonable to term your music as subtly modern and unique while being massively emotional, fierce, and brutal and a no-nonsense dagger in the heart?
Well if you describe my music that way, then I’m doing something right! I describe my music as the intersection of jazz, the singer-songwriter tradition, and Ethiopian music. I think of myself as reflecting my three sonic homelands, Addis Ababa, Brooklyn and San Francisco.
It’s a highly commercial world we live in today. Everything is a trip to profitability. Are you under pressure to produce commercial music and to put out only a money-making album?
Of course everyone is under pressure to succeed in a massive way, but I think producing for the market is tricky. If you do that, you lose what drew people to your music in the first place, which is your authentic voice in the world. I think the more deeply you go inside yourself, the more you reach the universal place that can appeal to people in a wide way. It sounds backwards, but it’s the only way to do this long-term, and I’m in for the long-term.
Wise Lady! You are involved in more than two projects. Tell us about your projects - how do you get so much done?
2015 has been so full. The Nile Project, which I co-founded with Egyptian ethnomusicologist Mina Girgis in 2011, brings together musicians from the eleven countries of the Nile Basin to learn about each other’s music, to create music together, and to bring that music to the Nile and to the world. We just finished a four month US tour, and are in the middle of our second album. What a whirlwind! After the last show, I caught a flight to the UK for a two week tour and residency, and finished off this period with a show in Zurich. I’m looking forward to spending the second half of 2015 in the Bay Area writing new music based in Ethio-Jazz.
In the last two years refugees are streaming out of your country like ants – what is your perspective on this growing humanitarian crisis? Were you a refugee at some stage?
It’s very sad…. Recently Ethiopians felt this in a huge way when 28 of our countrymen died in Libya at the hands of ISIS. They were on their way to cross the Mediterranean into Italy. There was a national mourning and a big light shone on how far people are going to search for a better life. Ethiopia has gone through a huge development leap in the last twenty years, but sadly folks are still streaming out. My cousin Teodros Teshome just made a film called Sost Maezen (Triangle) that I believe everyone should see. In it, he tells the story of a group of friends from Ethiopia and Eritrea who walk across Sudan to Libya, then take a boat to Italy, fly to Mexico, then walk to the US. It is a treacherous journey. Thousands attempt it and many die along the way. My family and I were refugees in a different sense. It was the early 80s, just after the revolution and the Red Terror in Ethiopia, and we left for East Germany, and then crossed at Check Point Charlie through Berlin. We then came to the US and spent years in a kind of limbo, adjusting to life in the US. But we were lucky. Movement takes its toll in many ways, some small and some big. Recently, we are seeing tragedy after tragedy. We are all very sad.
Back to your recent album – We Are Alive – please describe it?
We Are Alive is a collection of songs about the big arc of life, the ups and downs, the magic and the absurd, the beautiful, the danceable, and the quiet. It is the through-line of life and living that crosses all our experiences.
Recently the US R & B /hip-hop star Lauryn Hill cancelled a concert in Israel because she was banned from performing in the Palestinian territories. As one who know injustice first hand, if you were in her position, what would you have done?
I understand her position. Injustice anywhere reverberates outwards. It has also been interesting how many links are being made recently between injustices in Israel and those in the United States. For example, Ethiopians in Israel have been marching recently because of racist treatment and brutality by Israeli Police, and many have been making links to the Black Lives Matter movement in the United States. It’s all related.
I know you have performed in Ethiopia on more than one occasion. How does it feel performing in your birth country?
I love performing in Ethiopia. The Ethiopian people have always been so supportive of me. And it will always be home, so it’s a homecoming!
Most musicians claim that their music is inspired by heartbreak – how about you? What is your song-writing and music inspired by? Do you write all of your own songs?
I like to think that music should be inspired by the widest of possible life experiences, from heartbreak, to the birth of a child, to the natural phenomenon in the world around us. You can write a song about anything! I write about 80% of the songs I sing, but we do reinterpret some Ethiopian traditional tunes like Abay Mado and Kemekem, and the occasional pop tune, by folks like David Byrne and The Police.
People will always judge if you are good or just terrible – how do you cope?
You choose a select group of folks whose opinion you value deeply and you listen to their feedback. Beyond that, you can’t listen to what people say about you. And you have to know that you will never please everybody.
Any obsessions at the moment?
I'm always obsessed with music.... Right now Muluken Melese is on repeat. He's a classic.
How many gigs do you roughly do a year? And do you do any in African countries?
Depends on the year but generally between 25-60 gigs a year. The Nile Project has been brining me to perform regularly in the Nile Basin as well.
Who does Meklit influence?
I hope I am influencing young women, especially from Africa and the African Diaspora to find their unique voice and to sing it loud! We need more of those voices in the public dialogue, and I think we are at a tipping point where they will soon be much more present in the world sphere. I want to be there to support them!
Eccentric Bxentric unveils his new catchy track - Chrome
You know that track you listen to once in a club and it just resonates within you? That track you shazam in that same club but fail to find? Then look no further – this is that track.
Photo by Alice Rainis
Under his own brand-new label, hackney-based producer Bxentric is to release his new single, Chrome, and it’s a bloody good track.
He’s got the ear for a banger. The Nanda records site states that the track was a result of a ‘2 day basement session that developed into a Neo-Electronic thumper.’ Its pretty much 80’s Disco meets 2015 Electro. Expect to be addicted.
Although it’s a rather lengthy tune (boasting nearly 8 minutes of pure, unadulterated synthy goodness), it’s not one to miss out on. There’s no unnecessary build up or painfully hackneyed dubstep-style drop. You’re pretty much thrown into the deep end from about ten seconds in. And the song teeters off to a cool ending – one that is wonderfully catered for other DJ’s to seamlessly mould it into their mixes.
And it comes with a pretty psychedelic music video too.
Bxentric will be DJing at the Lexington, Islington, on July 24. Be sure to bump this track several times and go see the man in action.
Chrome EP
Release Date: 20th July
Label Copy: Nanda Records
Five recent and upcoming releases that you want to put in your diary, but you can’t.
In an industry where solid release schedules and corporate control over the output of musicians has become the norm, some of this year’s most exciting releases are abiding by different rules.
In an industry where solid release schedules and corporate control over the output of musicians has become the norm, some of this year’s most exciting releases are abiding by different rules.
Musicians are taking control again. As consumers, we’ve gotten used to the record labels calling the shots on behalf of the artists: Musicians announce their new records proceeded by months of torturous marketing enabling ‘the suits’ a swift and large return on their investment. We find ourselves in 2015 it finally feels like musicians are using the Internet to its fullest potential. Below are five imminent releases that you should want to keep track of.
We begin with a release that actually has a solid release date, Tame Impala’s highly anticipated ‘Currents’. With four of the tracks appearing on the album already out in the open, fan’s appetites are truly whetted. Whilst some of these previews to the album have been released officially, others were just thrown onto the Internet by Kevin Parker through a Reddit ‘Ask me Anything’ in a true ‘rock and roll’ fashion. The new release sees Tame Impala take a more disco-infused direction, with some MJ-esque moments, which Parker handles with absolute ease. His voice sounds the best it has sounded in any of his records and production is unparalleled. With reports that the album has already leaked online, weeks away from the scheduled release, listeners have mixed opinions on the album online. Kevin Parker set the bar very high for himself, to the extent where fans expect more than his previous releases – but even if ‘Currents’ was anything less than older albums, it could still be a masterpiece.
Few artists make use of the Internet as a platform for releasing music as much as young label, PC Music. With only one ‘official’ release (which was a compilation of releases from their label only through iTunes and streaming services), PC Music have chosen to release music fairly spontaneously and without pomp: through soundcloud, one song or EP at a time, mostly for free. The music-makers who make up the label consist of computer-fiddling entities, usually with indiscernible identities to the extent where you wonder if it is art or music. ‘QT’, who has been signed to major independent label XL Recordings, has a single release which serves as almost an ‘advert’ for a fictional energy drink – which you could buy for a while in the US through the ‘QT’ online store. The music itself sounds exactly like you’ve had too many sweets at a primary school disco; for many, the sound of nostalgia. A. G. Cook, acting as ‘leader’ for this troop, cites Conlon Nancarrow (the 20th century pioneer of the player piano) as inspiration for the music the label churns – a mass of impossible sounds.
Image via Blood Orange
Devonté Hynes of Blood Orange is as much a collaborative artist as he is a independent musician. He has hinted online that a new Blood Orange record will be on its way very soon, and looking at his recent artistic output online can only make you incredibly excited for Blood Orange’s return. Having scored music for recent films such as Gia Coppola’s ‘Palo Alto’ and another which didn’t work out for reasons unknown (which resulted in Hynes posting the 40 minutes-worth of music online anyway), performing at New York fashion week and working on collaborative dance projects, Hyne’s output is extremely varied.
Image via Battles
Another New York group of musicians, Battles, have also hinted towards a new release, not yet made official, following a string of pictures online detailing working track titles, and performing new tracks in Poland and London. As a die-hard Battles fan, this is only good news – Battles have such a unique musical voice in the industry, following their highly underrated release ‘Gloss Drop’ which saw them collaborate with Gary Newman and Yamantaka Eye. John Stanier’s ability to play like a metronome in some of the most diverse of time signatures against the warped sounds protruding from the electronics and guitars of Ian Williams and Dave Konopka. Camera-phone videos of new tracks online hold a lot of promise for the next release, which sees the trio stay true to their sound whilst maintaining the electricity their records are known for.
Lastly, the surprise announcement of a APX release, more widely known as Aphex Twin. Through Warp Records, the collection of music (presumably created between 2006 and 2008 judging by the work’s title) will be released during August. If you’ve followed Richard James’ recent online efforts, you’ll know that he almost broke the Internet. Almost immediately proceeding one of the biggest releases of last year (‘Syro’), James went on to release a one-of-a-kind EP of acoustic instruments controlled by computers and simultaneously uploaded hundreds of old tracks onto Soundcloud anonymously, which he promised some of which would see a physical release soon.
5 new songs to sink your teeth into
Get your headphones on and your summer kit ready – here’s five summer songs to set you in the mood for these sunny days.
Puppy – Forever
To kick things off we have London-based indie-rock band Puppy with their debut track, Forever. This song brings in discernable heavy-metal influences (with significant nods to Metallica) but the London boys still ushers out their own anthemic, alt-rock banger.
This is the kind of song that if a band like Foo Fighters churned out, you’d have a sweaty-browed crowd of young adults, swaying to-and-fro, with their lighters burning as they harmoniously sing along to the lyrics. This is an all-out enjoyable song from beginning to end, and the band is certainly not one to be slept on either.
Deon Custom – Roses
When I heard Roses by Deon Custom I immediately thought “this sounds a lot like XXYYXX.’ And that’s exactly why I love it. Hailing from the Netherlands, 23-year old Deon Custom brings us a car-bumping, windows-wounded-down kind of track to get you really enjoying this weather.
Roses proves that he’s certainly a talented musician with a keen ear for composition. It’s an oddly enjoyable mish-mash of beats and electronic styles. This is the kind of track that sends elitist electronic aficionados crazy when trying to categorize it. I myself might call it future bass. But forget the finicky blurring of genres; it’s still a damn good track.
Wolf Alice – Bros
Wolf Alice is a band that has taken the UK by storm in the past year. This is a band that truly loves what they do, which leaves no surprises as to why they have die-hard fans across the world. Bros is a track that really showcases the band’s talent, as well as lead-singer Ellie Rowsell’s singing/songwriting ability.
When speaking about Bros, Ellie Rowsell has previously said, "It's an ode to childhood imagination and friendship and all the charm that comes with that." It’s a song that’s about friendship, and specifically, best friendship. It’s an upbeat, sort-of dreamy, pop-rock track that is guaranteed to put you in a great mood.
Vince Staples – Norf Norf
West-Coast rapper, Vince Staples has recently released his long-awaited debut album, Summertime 06. It’s an album that was extremely well met by critics and with tracks like Norf Norf, it’s easy to know why.
When I saw that Clams Casino produced the track, I knew the song was going to be marvellous. It’s one that you literally cannot prevent yourself from nodding your head to. It’s a no-nonsense kind of rap. One that comes out sounding different despite being conventional. But enough of that. Let the song do the speaking.
Jamie xx – I Know There’s Gonna Be (Good Times)
And lastly we have my favourite track of this list. Know that when you listen to this, you are guaranteed for some good times – pun intended. Jamie xx has always been a musical virtuoso, who has consistently churned out hit after hit since his remix album with Gil-Scott Heron, We’re New Here.
His new, debut album, In Colour has shown that kind of consistency we yearn for as fans. The fact that he is able to churn out such quality just cements his place as one of the greatest DJ’s of our time. Good Times proves that Jamie xx is such an accessible artist. For a lot of his fans, Young Thug is a bit of a cringetastic artist, but on Good Times he is a raw talent. Don’t believe me? Listen for yourself.
An Interview with Afriquoi
Delivering high-tempo tunes in the spirit of togetherness.
Based in London, Afriquoi is a UK afro cracking group, with every performer a band leader in their own right. The team stretches in age across three decades, devising from Africa, the Caribbean and the UK. How about that for World Music? They are an underground commotion, bringing an enriching fusion of live African music and electronica. Their masterful five-piece live shows always combine Gambian kora (the KORA is an ancient, and complex instrument from West Africa, shaped like a lute, with a 21 string bridge-harp and played like a harp), Congolese guitar plus Mandinka percussion styles (Mandinka is a drum-like instrument and has a body carved from hardwood and a drumhead made of untreated rawhide and comes from Mali, West Africa), with electronic music drawing on house, hip-hop, soul plus jungle, to produce incredible lock, stock and barrel exceptional vibration.
The music is furious, sometimes deafening and distorted, although it can safely be described as hypnotic, funky and high-spirited, but overwhelming too. One wonder’s how an audience could endure such an onslaught and still be howling for more. On the other hand, it’s a great choice that the Songlines Encounters Festival management included Afriquoi as the closing performance of the festival. From the moment the lights dimmed and the five men appeared on stage there was no let up for the next 80 minutes as they belted out dazzling hit after hit with ageless but ecstatic excitement. And boy-o-boy did the crowd, in the moment believe these guys? They were all jumping, swinging their arms in the air and crying for more. Afriquoi knows how to keep the adrenalin flowing and they more than lived up to their reputation as crowd-pleasers. It was impossible not to admire the energy fueling this festival, especially from an ecstatic close quarter. Here is a question and answer stint with Afriquoi the group.
For anyone that does not already know about Afriquoi, tell us more about the band?
Afriquoi is a cross cultural collaboration based on fusing African music with electronic music. We started by doing some recording sessions in 2011 with Fiston (guitar), Jally (kora) and the marimba player Kudaushe Matimba, who no longer plays with us. These collaborations came about through Wormfood, the promotions company, booking agency +label run by Andre (Afriquoi percussionist - who put the band together). Running regular world music nights every Sunday at Hootenanny in Brixton, Andre got to know virtually all of the UK's African musicians, and so invited a few favourites for a collaboration, bringing in producer Nico Bentley on the controls. We didn't have a set idea of what would happen, we just came to experiment - and Afriquoi was born! Since then we've collaborated with lots of different artists including Jamaican dancehall MCs Serocee + Warrior Queen, but the band has cohered to a regular 5 piece line-up, playing shows across the UK + Europe including Glastonbury, Fusion Festival, Bestival, Secret Garden Party, London Olympics + a ton of others.
Tell us where you guys hail from originally and what instrument or instruments you play and how long you have been playing together?
Jally Kebba Susso, kora, Gambia. Andre Espeut, UK/Martinique, vox. , Fiston Lusambo – Congo. Nico Bentley - UK - production/ MD. Andre Marmot - UK – percussion. Oli Cole - UK - live electronics. We've all been playing together since the act started in 2012, except for Oli Cole - "the kid" - who has just joined us on live electronics replacing Nico. (Nico has just been on tour with Seal and is currently Musical Director for Grace Jones so needed some cover....) Nico will stay involved as Musical Director and main producer.
Why call your group and sound - African-electro dance band? And your group comprises of Africa, the Caribbean and the UK. Do you have a point here?
Ha-ha we don't call it African-electro dance band - you'd have to ask Song lines about that. We just call it music - or 'live African dance music' as we don't like to pigeonhole ourselves... not to one aspect of African music or one aspect of dance music. We just want to make exciting, positive music to make people dance. Yes, we have a point as a group - to draw on the best of African music plus electronic music plus make a new sound that represents the 21st century sound of London.
Afriquoi are a great African-electro dance band with live vocals: Gambian kora, Congolese guitar, percussion and electronics drawing on dubstep, house and hip hop with musicians from Africa, the Caribbean and the UK. However, there must be some challenges, back-biting and the root of collaboration can be a tad tricky? Who is the trouble maker in the group and who is the peace maker? Tell us more about the in-fighting stories?
Ha-ha, we are all a bunch of rascals and ruffians - especially Jally. But we always get on well together and that's one of the things that makes playing together so special. Fiston at 56 has nearly 40 years of professional experience as a musician so we look on him and respect him as a kind of father figure - Papa Fiston. And that's one of the best things about the group - we are different ages, different ethnic and social backgrounds, but we come together and collaborate as equals.
Are you guys still able to make your kind of music sculpted by your original beliefs and not that of your manager or record company or better still for solely what brings in the cash?
Absolutely. We are completely independent and make exactly the music we want to. We all believe that it is only through making music that comes from an authentic place that you have any chance of success.
How do you or the group stay motivated?
Chin-ups, pull-ups plus Fiston's beef brochettes and Andre's roast chicken. No, seriously, we just love playing the music we play and it's always a huge pleasure playing for new audiences and seeing them dancing and smiling and enjoying our music. That's the main motivating factor. It has to be or we might as well be doing something else. Catch us at show at one of the festivals we are playing this summer and see for yourself. Gig schedule is attached.
United in music: Songlines Encounters Festival
Let’s sing and dance together.
I can think of no place that welcomes the music of other countries with more enthusiasm than the UK. We have long had an unquenchable appetite for the music of other countries. A visit to any of the several UK summer music festivals will offer everything from timeless King Sunny Ade music (Nigeria) to Toots and the Maytals, Jamaica’s own godfather of soul and the Southern soul sister number one Candi Staton (USA) to acts from Romania and Ukraine. Keeping with this tradition and celebrating its fifth year, Songlines Encounters Festival brought an explosion of international talent across the globe to perform live to a packed audience at London’s stylish Kings Place spot.
Mahsa and Marjan and Duncan Chisholm Collaboration
It was faithfully a celebration of the richness of our blended heritage and culture with enchanting line-up of unique global acts designed to appeal to music audiences of all ages, enthusiasts and Johnny-come-latelies. It was a must hear and a must see for anyone interested in great live performance such as act number one, Scottish fiddler Duncan Chisholm in collaboration with Iranian vocalists Mahsa and Majan. Fado singer put side by side with Cypriot musicians. Anglo-Bangladeshi Latin beats playing with Bangladeshi virtuosi. Songlines blast proves an overwhelming and emotional experience for lovers of world music. It could only happen at the Songlines Encounters Festival.
Where politicians delve around for more sticky tapes and plasters to hold us together, to all intense and purposes, the creative industries is doing a better job uniting us through music. Arts should be a lot higher up the programme of any political party in this country. On the contrary what we have now is backed funding and that is thanks largely, to the lotto – participation in the arts has levelled a bit. Well, back to the fiesta: it opened with fiddler Duncan Chisholm, one of the demanding people on Scotland’s active folk scene with six solo critically celebrated albums behind him. Duncan’s performance was flawless. He performed traditional and contemporary music from the Highlands glens inspired by the Highland glens which are his family home.
Duncan Chisholm
The only reproach I have of Songlines Encounters is why give such a dynamic fiddler-performer thirty-five minutes on stage? Too brief of course. The ladies sitting beside me felt short change. Nevertheless, Songlines made-up for it and Duncan returned later in the evening for a special Songlines Encounters collaboration with Iranian vocalists Mahsa and Marjan Vahdat (sisters). Hallelujah! Next on the bill was Gisela João, new fado singer now making huge impressions in Portugal and currently touring the UK. She sings traditional fado music at its very best. You can hear the “saudade” in her voice - a feeling of longing, melancholy, or nostalgia that is supposedly characteristic of the Portuguese nature. Saudade is the Portuguese word for a feeling, a longing for something or some event that just might not happen. Gisela’s songs are based on love poems that evoke a melancholy “saudade” that draws in the audience to feel her world and make it all seem real. Gisela’s acclaimed debut recording was an album of the year in Portugal. She is one to watch!
Gisela João
Another showstoppers of the festival were world legendary Iranian singers – Mahsa and Marjan Vahdat - sisters. Their sultry voices intertwine so beautifully in a biological yarn of sound which had the audience transfixed from start to finish. Also their social conscious lyrics is a celebration of Persian poetry of love, unkindness, revolution and freedom, and of lives lived on the fringes. Readers take note - the sisters are forbidden to perform publicly back home in Tehran, however. How about that? What is more the sisters’ special Songlines Encounters collaboration with fiddler Duncan Chisholm really packs a deceive punch. Alright, musical collaboration between the East and the West have been explored before, though never with such experimental zest, or by three people like Mahsa and Marjan and Duncan so lauded with charisma and talent. The instrumental arrangement that followed was like no other I have seen. At the conclusion the sparks between all three led to a five minutes standing ovation. Amazing indeed.
Now wait for this, for the first time Songlines Encounter did what they have never done - there was a night of very danceable live Afro-electronica from Afriquoi, one of UK’s electro-African dance bands with live vocals, kora, guitar and percussion. They were a bundle of energy. Although the show stated 25 minutes late, nonetheless, when it finally kicked off for real, it was not a disappointment. They gave an extraordinary powerful performance, singing funk, rock, ballads and Afrobeat, you name it they had it all. The audience – young and old and racially mixed – showed their appreciation by non-stop, clapping and dancing and crying for more and more.
From one show to the next I find myself saying, this is the best I have seen. Then I attend another and I find myself repeating myself, this is the best Songlines Encounters has put on. Speaking to some of the attendees they were impressed too. One said: “all acts was the best”. Another said: “absolutely brilliant. Songlines Festival nailed it”. Songlines Encounters Festival is co-curated by Songlines Magazine and Ikon Arts Management. Watch out for 2016 festival programme, due out end of June, 2015.
All images by © Haydn Wheeler
5 up-and-coming artists to look out for in 2015
2015 has so far been a huge year for emerging artists and musicians. Jump on the hype train early and check out these five artists who are absolutely killing it this year.
2015 has so far been a huge year for emerging artists and musicians. Jump on the hype train early and check out these five artists who are absolutely killing it this year.
Source: YouTube Screengrab
London-based quartet BABEHEAVEN has only recently struck into the music scene – but what a bang they’ve made with their first single, Friday Sky. Lead Singer Nancy Anderson’s smooth soul vocals complement their ballad-like sound – dream-pop vibes meshed with trip-hop beats. Imagine the lovechild of The Durutti Column and Warpaint but with a 2015 spin on it.
Although we’ve only had a taster of BABEHEAVEN, we can be sure to expect big things from these Londoners this year. You can check out the music video for Friday Sky (directed by Raf Fellner, Tegen Williams and Frank Lebon) below:
Image via lilymercer.co.uk
With a career slowly beginning to blossom in his 30’s, Vic Spencer is a bit of a late bloomer in the Hip-Hop world. Hailing from Englewood, Chicago – the rapper is an emerging talent cited as the future of Chi-town’s rap scene despite fierce competition from his contemporaries born in the same city. That means you Lupe Fiasco, Chance the Rapper and Vic Mensa.
Listening to his music is sometimes rather like a lottery draw. You can listen to a cocky yet deeply lyrical track like Relapse and then find something entirely different in The Writers. This ability to diversify his style is a hallmark of his experience and we can only wait to see how he progresses from here. But for now, let the track below do the talking.
Source: Photo by Nate Ryan/MPR
Careers can also blossom prematurely. Corbin (formerly known as Spooky Black) has already developed a large cult following since his breakout single, Without U from the mixtape Black Silk. He has been taking the R&B world by storm and he’s not even 18 yet. His matured vocals juxtapose a youthful face – yet his sincerity always manages to shine through with the tenderness of his subject matter. Girls. Depression. And an all-round feeling of dejectedness.
Corbin has transmogrified R&B and made it his own and into something that is darker, more visceral and original. Those of you who can lend a sympathetic ear to lyrics that discuss the pangs of adolescence and heartbreak, definitely give this boy a listen. Or even listen to his work just because it’s so damn beautiful.
Source: Youtube Screengrab
My aural senses are tingling. Something that sounds like Tame Impala? Check. An artist from New Zealand? Check. Jamiroquoai-esque pop-funk? Check. A contemporary revival of rhythmic 60s soul? Check. LEISURE has all these boxes ticked and more.
Their (or his? Or her? We don’t quite know yet) debut single, Got It Bad, was initially intended to have a couple hundred views on soundcloud. Now it’s on 200,000. There’s no surprise as to why what with that smooth bassline and catchy repetition of “Girl you think you got it bad?” LEISURE’s music is a nod to the early days of funk – nothing too complex, just plain, unparalleled grooviness. Sit back, relax and soak in the song below.
Image via soulculture.com
And last but not least on our list we have Ben Khan. A UK artist reminiscent of a cheerier Jai Paul tinged with nuances of a young Prince. After his first successful EP, 1992 – Khan returns to 2015 with his 1000 EP – a similar yet more evolved sound than his debut work.
Khan’s music resonates with all things synth and all things snare. The blues-sounding guitars compliment the electro-funk feel to his music. Khan is another artist that is boldly experimental yet equally unassuming. To put it plainly, he’s not trying too hard to be alternative and thus always manages to churn out absolute bangers. But the greatest thing? His songs are accessible to all kinds of musical palettes and moods. Bump the track below at a party, a pre-gym pump up, at a picnic on your stereo or even (and especially) in the shower.
Field Day 2015 Photo-diary
The long-awaited Field Day festival took place last weekend in Victoria park under rays of sunshine and musical promises that were fulfilled – for the most part. Starting on Saturday with a rowdy crowd that rushed its way from stage to stage to see the artists headlining, the smaller acts performed beyond expectations while some of the headliners were good, at best. The highlights of the festival were undoubtedly Kindness, Mac Demarco, and Patti Smith, whose music and stage presence uplifted the audience with carefree dancing and head-banging moves. Todd Terje’s brilliant performance was only magnified by The Olsens and Sink The Pink, London’s famous gay, drag and queer club kids, and FKA Twigs’ gig was a theatrical show that deserved to be seen on a bigger stage. Ultimately, this year’s Field Day Festival remains a success for music lovers, and one can only hope the future line-ups will be as excellent as this year’s.
Photos by Suzanne Zhang
HIGHLIGHTS : NOS PRIMAVERA SOUND 15
NOS Primavera Sound lived up to its promise of diversity and presented a stellar line of top acts, arguably the best so far.
Photos by João Gambino and Hugo Lima
Just back from NOS Primavera Sound 15, the Porto-based cousin of the Barcelona Primavera, one can report a stunning venue with liberal in-and-out policy, near bars and restaurants, which was not too packed, yet full of friendly faces. But what of the actual centrepiece, the music? NOS Primavera Sound lived up to its promise of diversity and presented a stellar line of top acts, arguably the best so far.
Thursday, 8.45pm: arriving just in time to catch the end of Canadian Mac DeMarco , watching "Chamber of Reflection" as the sun sank, beer in hand and full of expectation. Funny guy, DeMarco is, dirty-talking in between songs, but one should not be fooled by his bizarre rambles - the guy knows how to build his space.
Kicking off the more heavy beats of the weekend was Young Turk, FKA Twigs.
Bathed in purple and blue, the little girl with the big big voice was on fine form. Twigs delivered a dark, erotic performance, her signature twists and twerks smooth and provocative as always. Although the light show was good, there was none of the usual theatrics, just a body and a voice, yet her ethereal style and depth of emotion was superior nonetheless.
Next The Juan McLean, presented the surprise of the day. I knew the DFA label and of course Nancy Whang, the American singer and musician who makes out half of the duo, beforehand. Whang, who is known for her work with LCD Soundsystem,
Soulwax, Shit Robot and Classixx's, comes highly recommended. The energy with which the duo presented an awesome hybrid of sound and style really got the crowd moving and grooving. The closing (in a big way) act Thursday was Caribou, a man who needs
little introduction. Known for his experimental style on record, Dan Snaith delivered a live set, in which he produced a liquid, bass-dominated electronic style. It resonated within, the world fading into a top quality visual backdrop. For me, this hypnotising performance reached a new level and showed Snaith's determination to continue to lead, to pioneer his psychedelic odyssey.
For us the rest of the weekend started with Patti Smith, performing her iconic debut album "Horses" on the 40th anniversary of its release in a hard-hitting mix of rock, dedications and old-school-kool. Sitting on a grass slope in the sun listening to the punk poet laureate we felt the presence of true legend and I for one fully understood the importance of the album and it's foresight of and influence on a variety of modern genres. Patti was in the building.
Possibly the greatest anticipation of the weekend was the phenomena, which is Jungle. From releasing their single "The Heat" in 2013 to being shortlisted for the Barclays Mercury Prize in 2014, Jungle has risen so fast to fame it is almost unfathomable.
Yet, seeing the vibe-collective with the psychedelic, uninhibited style live on Friday night it was clear that the hype, by no means, is unfounded. The group put on a spectacular, organic show full of collective energy in a mix of tribal wilderness, 1970s-style funk and mischievous bass. And the pure and contagious joy with which those on stage performed, built an unmatched connection with the crowd - standing still just wasn't an option.
It was a real shame that Jungle clashed with another highly anticipated act, Run the Jewels. As the former finished we made it to the last few minutes of the Hip-Hop act. The bit we caught was a dense and unyielding representation of dark electronic hip-hop. Yes, such a thing does exist and I would have liked to see more of what this interesting American duo has to offer.
And then there was Movement ...The undoubtedly biggest surprise of the weekend. The Sydney trio gave a fierce performance in a fusion of their own stuff and wellknown covers. Despite the youth of the Movement project, which is part of the Modular label,
something truly unique flickered through. Furthermore, the humbleness and gratitude the group demonstrated to the crowd was inspiring and definitely added to the experience. Musically, R&B and dance blurred in a dark, thick tone. The bass slow, lazy. The atmosphere loaded, transcendent. The sparse beats and unrelenting depth were complimented by exquisite vocals and controlled instrumental interference. Movement performed in a way, which made me lose myself, swaying with the rest of the transfixed crowd in an experience of smooth yet demanding and faceted beats and undeniably salacious undertones. It was hot. It was heavy. It was Movement.
