1
Nfaly Diakité - Negue Tigui
2
Nfaly Diakité - Ngon
3
Nfaly Diakité - Donso
4
Nfaly Diakité - Mougoukan
5
Nfaly Diakité - Nankama
6
Nfaly Diakité - Mogote Diabeye
7
Nfaly Diakité - Sadionan
8
Nfaly Diakité - Ngoni
9
Nfaly Diakité - Dounoukan
Born in 1989 in Bamako, Mali, Nfaly Diakité is a member of the Donsow, Bambara animist hunters. Nfaly Diakité is named after his grandfather, the late Nfaly Diakité, one of Mali’s most respected donso chiefs. His grandfather did not play, but as a leading figure in the donso brotherhood, he was always accompanied by musician Yoro Sidibé. Nfaly grew up alongside Yoro Sidibé, who became his first master of the donso ngoni, a type of eight-stringed antelope skin harp. After leaving school to devote himself to his instrument, Nfaly continued his apprenticeship with Diakaria Diakité and Oumar Sidibé, two donso masters from the Wassolo region.
He quickly made a name for himself in the donso community and was much asked to play at the traditional ceremonies of his brotherhood. He then met percussionist Ibrahim Sarr and joined the BKO Quintet, with whom he recorded an album and toured Europe and the United States. His virtuosity on the donso ngoni soon attracted attention, and he took part in numerous music and dance festivals in Mali and abroad, with the aim of raising awareness of this little-known traditional instrument.
Nfaly Diakité is also a Kônô, meaning that he is responsible for passing on the history and culture of the Bambara people through music and song. He pursues his mission by combining tradition with more contemporary sounds and by collaborating with artists from a wide range of musical backgrounds. For him, music is a means of conveying messages of peace, love and harmony, and his compositions evoke the values of respect, tolerance and open-mindedness.
‘Tribute to Toumani Koné’ is Nfay Diakité’s first solo album, recorded in Bamako in June 2020. On the album, Nfaly is the only singer, providing backing vocals and playing the donso ngoni and keregne. The album is a tribute to the storyteller and poet Toumani Koné, the greatest donso ngoni player since N’gonifo Bourama. Nfaly Diakité is a representative of the new generation of donso ngoni players and he wishes to pay tribute to Toumani Koné, who throughout his long career has been a symbol of courage, daring, loyalty and honesty.
The nine-track of this solo album leaves no room for hesitation. Three instruments (donso ngoni, voice and keregne) manage to carry one into another dimension without ever tiring. The fitting and precise rhythm is a deep but melodious transe. Nfaly’s voice plays between expressive urgency and calm wisdom, and the choruses with his own voice multiply the planes of dimension of the music. The donso n’goni, of which Nfaly is an excellent player, sounds rough and earthy but always clear and sharp. All the strength of a music that does not belong to a single musician but to a long cultural tradition of which he is the spokesman is expressed here. The young Nfaly, thanks to his experience and sensitivity, succeeds on his own in pushing us into this world without feeling the weight of tradition but only the liberation of music that sounds all the more contemporary. This album is to be listened to in its entirety as one tight journey between repeated formulas, highlights and moments of rest within the same relentless rhythm. The densest moment is probably found in the heart of the album, between the tracks Nankama (the predestined one) and Mogote Diabeye (no one can please everyone). Here, the message, which can be deciphered from the translation of the lyrics, seems to transcend language barriers and intepret us directly about our human condition, urging us to move our bodies to the dense rhythm of life.
A1 - Negue Tigui
A2 - Ngon
A3 - Donso
A4 - Mougoukan
A5 - Nankama
B1 - Mogote Diabeye
B2 - Sadionan
B3 - Ngoni
B4 - Dounoukan
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
He quickly made a name for himself in the donso community and was much asked to play at the traditional ceremonies of his brotherhood. He then met percussionist Ibrahim Sarr and joined the BKO Quintet, with whom he recorded an album and toured Europe and the United States. His virtuosity on the donso ngoni soon attracted attention, and he took part in numerous music and dance festivals in Mali and abroad, with the aim of raising awareness of this little-known traditional instrument.
Nfaly Diakité is also a Kônô, meaning that he is responsible for passing on the history and culture of the Bambara people through music and song. He pursues his mission by combining tradition with more contemporary sounds and by collaborating with artists from a wide range of musical backgrounds. For him, music is a means of conveying messages of peace, love and harmony, and his compositions evoke the values of respect, tolerance and open-mindedness.
‘Tribute to Toumani Koné’ is Nfay Diakité’s first solo album, recorded in Bamako in June 2020. On the album, Nfaly is the only singer, providing backing vocals and playing the donso ngoni and keregne. The album is a tribute to the storyteller and poet Toumani Koné, the greatest donso ngoni player since N’gonifo Bourama. Nfaly Diakité is a representative of the new generation of donso ngoni players and he wishes to pay tribute to Toumani Koné, who throughout his long career has been a symbol of courage, daring, loyalty and honesty.
The nine-track of this solo album leaves no room for hesitation. Three instruments (donso ngoni, voice and keregne) manage to carry one into another dimension without ever tiring. The fitting and precise rhythm is a deep but melodious transe. Nfaly’s voice plays between expressive urgency and calm wisdom, and the choruses with his own voice multiply the planes of dimension of the music. The donso n’goni, of which Nfaly is an excellent player, sounds rough and earthy but always clear and sharp. All the strength of a music that does not belong to a single musician but to a long cultural tradition of which he is the spokesman is expressed here. The young Nfaly, thanks to his experience and sensitivity, succeeds on his own in pushing us into this world without feeling the weight of tradition but only the liberation of music that sounds all the more contemporary. This album is to be listened to in its entirety as one tight journey between repeated formulas, highlights and moments of rest within the same relentless rhythm. The densest moment is probably found in the heart of the album, between the tracks Nankama (the predestined one) and Mogote Diabeye (no one can please everyone). Here, the message, which can be deciphered from the translation of the lyrics, seems to transcend language barriers and intepret us directly about our human condition, urging us to move our bodies to the dense rhythm of life.
A1 - Negue Tigui
A2 - Ngon
A3 - Donso
A4 - Mougoukan
A5 - Nankama
B1 - Mogote Diabeye
B2 - Sadionan
B3 - Ngoni
B4 - Dounoukan
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
More records from Mieruba
1
Mama Sissoko - Diarabi
2
Mama Sissoko - Safiatou
3
Mama Sissoko - Fisiriwale
4
Mama Sissoko - Iri
5
Mama Sissoko - Soleil de minuit
6
Mama Sissoko - Douga
7
Mama Sissoko - Manssane
8
Mama Sissoko - Hommage à K.
9
Mama Sissoko - Boma ma
10
Mama Sissoko - Soleil de minuit rappel
A veteran of the great Malian orchestra, the Super Biton de Ségou, Mama Sissoko is an accomplished musician. His music traverses Mandingo, Bambara, Sarakolé, Songhai, Bobo, Peul, Malinke and Bozo traditions, all while flirting with jazz. On stage, Mama Sissoko is a purist who engages with the audience bringing his energy, urgent vocals and truly inspired guitar solos throughout the concert. ‘Live' brings together recordings from a concert given in Paris at La Villette in 1998 and takes us back to a high point in Mama Sissoko's career.
In ‘Live’, we find tracks from Mama Sissoko's second solo album 'Soleil de Minuit', which was released in 1999 by Buda Music. As on the album, the different guitars overlap without compromising the unity of the music, rendering an earthy atmosphere despite being very complex. The recording of this concert was superb. We can hear every note, every nuance, every instrument and voice in the many-layered compositions.
As on the album ‘Soleil de Minuit’, this live recording opens the session with ‘Diarabi’, followed by ‘Safiatou’. Both are up-tempo love songs in which Mama Sissoko's powerful voice sings with all of the passion that such love songs deserve over a clean rhythm driven by the percussion of several guitars. The heavy bassline of ‘Safiatou’ adds to the urgency of the song. After these two beautiful renditions, the energy continues with the guitar-driven ’Fisiriwale’ and then a surprisingly original version of Super Biton’s famous song, ‘Iri’. We are then treated to a lively version of his ‘Soleil de Minuit’, called out by the artist as a ‘salsa Africana’ with a shout out given to Cuban salsa mid-way through when he calls the song ‘El Sol de Medianoche’ in perfect Spanish.
Throughout this concert, Mama Sissoko’s deep and melodic voice seems to emanate effortlessly from his body and soul. Multiple guitars back up his signature solos adding depth to the music that harkens back to the traditional music of Mali. Perfect examples of this are given in the songs ‘Douga’, ‘Manssane’ and ‘Hommage a K’. The last song, before a rousing second version of ‘Soleil de Minuit’, is ‘Boma Ma’, a truly modern rendition of a traditional Malian hunters’ song with multiple guitars, shakers, lively djembe and an outstanding vocal duet with Toussaint Sainé, Mama Sissoko’s long time musical collaborator.
Accompanied by incredible musicians, including Toussaint Sainé, his partner in the Super Biton orchestra, "Live" plays in the timeless way of Malian music. What's more, it gives us the gift of its most direct and powerful dimension, that of live music, as if 20 years hadn't passed.
A1 - Diarabi
A2 - Safiatou
A3 - Fisiriwale
B1 - Iri
B2 - Soleil de minuit
C1 - Douga
C2 - Manssane
D1 - Hommage à K.
D2 - Boma ma
D3 - Soleil de minuit rappel
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
In ‘Live’, we find tracks from Mama Sissoko's second solo album 'Soleil de Minuit', which was released in 1999 by Buda Music. As on the album, the different guitars overlap without compromising the unity of the music, rendering an earthy atmosphere despite being very complex. The recording of this concert was superb. We can hear every note, every nuance, every instrument and voice in the many-layered compositions.
As on the album ‘Soleil de Minuit’, this live recording opens the session with ‘Diarabi’, followed by ‘Safiatou’. Both are up-tempo love songs in which Mama Sissoko's powerful voice sings with all of the passion that such love songs deserve over a clean rhythm driven by the percussion of several guitars. The heavy bassline of ‘Safiatou’ adds to the urgency of the song. After these two beautiful renditions, the energy continues with the guitar-driven ’Fisiriwale’ and then a surprisingly original version of Super Biton’s famous song, ‘Iri’. We are then treated to a lively version of his ‘Soleil de Minuit’, called out by the artist as a ‘salsa Africana’ with a shout out given to Cuban salsa mid-way through when he calls the song ‘El Sol de Medianoche’ in perfect Spanish.
Throughout this concert, Mama Sissoko’s deep and melodic voice seems to emanate effortlessly from his body and soul. Multiple guitars back up his signature solos adding depth to the music that harkens back to the traditional music of Mali. Perfect examples of this are given in the songs ‘Douga’, ‘Manssane’ and ‘Hommage a K’. The last song, before a rousing second version of ‘Soleil de Minuit’, is ‘Boma Ma’, a truly modern rendition of a traditional Malian hunters’ song with multiple guitars, shakers, lively djembe and an outstanding vocal duet with Toussaint Sainé, Mama Sissoko’s long time musical collaborator.
Accompanied by incredible musicians, including Toussaint Sainé, his partner in the Super Biton orchestra, "Live" plays in the timeless way of Malian music. What's more, it gives us the gift of its most direct and powerful dimension, that of live music, as if 20 years hadn't passed.
A1 - Diarabi
A2 - Safiatou
A3 - Fisiriwale
B1 - Iri
B2 - Soleil de minuit
C1 - Douga
C2 - Manssane
D1 - Hommage à K.
D2 - Boma ma
D3 - Soleil de minuit rappel
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
Idrissa Soumaoro - Diré taga
2
Idrissa Soumaoro - Kalata
3
Idrissa Soumaoro - I djidja
4
Idrissa Soumaoro - Kassi
5
Idrissa Soumaoro - Bi fourou
6
Idrissa Soumaoro - N’den tedi
7
Idrissa Soumaoro - Don’t worry
8
Idrissa Soumaoro - Sally
9
Idrissa Soumaoro - Sababou
10
Idrissa Soumaoro - Yélé
‘Diré’, Idrissa Soumaoro new album, comes as a surprise to Malian and international audiences. Composer, singer, guitarist and master of the kamalen n’goni Idrissa Soumaoro presents here a beautiful collection of songs on his third album, Diré, named in honor of the town where he met his wife and where his first daughter, who is no longer with us, was born.
In 1971, after his studies at the INA in Bamako, Idrissa was transferred to Diré to teach music at the lPEG (Pedagogical Institute of General Education). He was 22 years old when he arrived in Diré. Idrissa has always been nostalgic for this beautiful place in the 333 Saints of Timbuktu region. As Idrissa sings in ‘Diré taga’ (Going to Diré), the track that opens the album, the city evokes deep emotions for the artist, as if it were a long-lost friend or lover. Celebrating the memory of the city of Diré leads the artist to retrace stories and lived situations that marked and animated him in years gone by: ‘I really miss the people, the colleagues, the friends and that period. Despite the time that has flown by, I would ardently wish to see Diré again’. Today, at the difficult time Mali is experiencing, remembering the city of Diré in the 1970s also means for the artist not giving up hope for peace: ‘The memory of Diré, a beautiful town in northern Mali, strengthens my hope for peace, union and real independence for the happiness of my people’; as he sings in ‘Sababou’, ‘Without hope, there is no life. Together we will succeed’.
The ten highly original compositions of the album are strongly based upon traditional music of Mali, but Idrissa’s life experiences, travels, education, collaborations and personal musical career have led him to compose and perform music with other influences. As Idrissa quotes: ‘My inspiration generally comes from the donso n'goni, a Bambara instrument played by and for hunters throughout Mali. This is a pentatonic instrument, similar to the blues exported to the USA by black African slaves. I've also spent so much time playing a variety of music that my music also reflects rumba, salsa (as well as Bamanan blues and a few derivatives: jazz, country, soul, rhythm and blues) etc. I have looked for and hope to have found my own form of expression from these influences’.
Throughout the album, his strong, clear voice sings in French, Bambara and English. It rides seamlessly upon a complex rhythmic sea of distinctly West African stringed instrumentation and percussion with accents of flute and balafon. There are keyboards in a few songs, but these, happily, do not dominate the music as we hear so often in today’s music. This album presents the music of a mature artist who has ‘been there, done that’ and returned to celebrate his country, his roots and his dreams in a flawlessly produced collection of songs of love, reassurance, fatherly advice and hope.
The album already has a long history: it was initiated in 2012 by Marc-Antoine ‘Marko’ Moreau, former producer and manager of Amadou and Mariam. Moreau had plans to produce the album and invited Idrissa Soumaoro to start recording in Manjul's studio in Bamako. When Moreau suddenly passed away, work on the album was still missing. The pandemic still added time for the production to continue. With the help of Climax Orchestra, arrangements and orchestrations were finalized in France. At the artist's behest, 'Diré' will finally be presented to the public by Mieruba, the independent label based in Ségou, the home of the blues in Mali. 'Let's stand together so that Mali can flourish': from conception to production and distribution, this is the message that 'Diré' carries.
A1 - Diré taga
A2 - Kalata
A3 - I djidja
A4 - Kassi
A5 - Bi fourou
B1 - N’den tedi
B2 - Don’t worry
B3 - Sally
B4 - Sababou
B5 - Yélé
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
In 1971, after his studies at the INA in Bamako, Idrissa was transferred to Diré to teach music at the lPEG (Pedagogical Institute of General Education). He was 22 years old when he arrived in Diré. Idrissa has always been nostalgic for this beautiful place in the 333 Saints of Timbuktu region. As Idrissa sings in ‘Diré taga’ (Going to Diré), the track that opens the album, the city evokes deep emotions for the artist, as if it were a long-lost friend or lover. Celebrating the memory of the city of Diré leads the artist to retrace stories and lived situations that marked and animated him in years gone by: ‘I really miss the people, the colleagues, the friends and that period. Despite the time that has flown by, I would ardently wish to see Diré again’. Today, at the difficult time Mali is experiencing, remembering the city of Diré in the 1970s also means for the artist not giving up hope for peace: ‘The memory of Diré, a beautiful town in northern Mali, strengthens my hope for peace, union and real independence for the happiness of my people’; as he sings in ‘Sababou’, ‘Without hope, there is no life. Together we will succeed’.
The ten highly original compositions of the album are strongly based upon traditional music of Mali, but Idrissa’s life experiences, travels, education, collaborations and personal musical career have led him to compose and perform music with other influences. As Idrissa quotes: ‘My inspiration generally comes from the donso n'goni, a Bambara instrument played by and for hunters throughout Mali. This is a pentatonic instrument, similar to the blues exported to the USA by black African slaves. I've also spent so much time playing a variety of music that my music also reflects rumba, salsa (as well as Bamanan blues and a few derivatives: jazz, country, soul, rhythm and blues) etc. I have looked for and hope to have found my own form of expression from these influences’.
Throughout the album, his strong, clear voice sings in French, Bambara and English. It rides seamlessly upon a complex rhythmic sea of distinctly West African stringed instrumentation and percussion with accents of flute and balafon. There are keyboards in a few songs, but these, happily, do not dominate the music as we hear so often in today’s music. This album presents the music of a mature artist who has ‘been there, done that’ and returned to celebrate his country, his roots and his dreams in a flawlessly produced collection of songs of love, reassurance, fatherly advice and hope.
The album already has a long history: it was initiated in 2012 by Marc-Antoine ‘Marko’ Moreau, former producer and manager of Amadou and Mariam. Moreau had plans to produce the album and invited Idrissa Soumaoro to start recording in Manjul's studio in Bamako. When Moreau suddenly passed away, work on the album was still missing. The pandemic still added time for the production to continue. With the help of Climax Orchestra, arrangements and orchestrations were finalized in France. At the artist's behest, 'Diré' will finally be presented to the public by Mieruba, the independent label based in Ségou, the home of the blues in Mali. 'Let's stand together so that Mali can flourish': from conception to production and distribution, this is the message that 'Diré' carries.
A1 - Diré taga
A2 - Kalata
A3 - I djidja
A4 - Kassi
A5 - Bi fourou
B1 - N’den tedi
B2 - Don’t worry
B3 - Sally
B4 - Sababou
B5 - Yélé
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
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1
Al Wootton - a1. March
2
Al Wootton - a2. Slow Rock
3
Al Wootton - a3. Foxtrot
4
Al Wootton - a4. Beguine
5
Al Wootton - b1. Shuffle
6
Al Wootton - b2. Bajon
7
Al Wootton - b3. Swing
8
Al Wootton - b4. No Selected
In January 2025 Al Wootton was invited to Melbourne Electronic Sound Studio in Australia, home to a unique collection of rare vintage drum machines. Al made recordings of multiple drum machines utilising their individual rhythms, characteristics and quirks. These recordings were taken back to the UK and treated with various processes and additions to create Rhythm Archives.
The resulting record is a minimal exploration of rhythm via industrial, dub, post-punk and proto-techno sonics. It is a tribute to these machines and their creators, and resources such as Melbourne Electronic Sound Studio who maintain a huge archive of these and other instruments, prioritising public access and education.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
The resulting record is a minimal exploration of rhythm via industrial, dub, post-punk and proto-techno sonics. It is a tribute to these machines and their creators, and resources such as Melbourne Electronic Sound Studio who maintain a huge archive of these and other instruments, prioritising public access and education.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
non-exclusive
Strut present the first ever compilation series to access the archives of one of the greatest of all French Caribbean labels, Disques Debs out of Guadeloupe. Set up by the late Henri Debs during the late ‘50s, the label and studio has continued for over 50 years, releasing over 300 7” singles and 200 LPs, covering styles varying from early biguine and bolero to zouk and reggae.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Strut present the first ever compilation series to access the archives of one of the greatest of all French Caribbean labels, Disques Debs out of Guadeloupe. Set up by the late Henri Debs during the late ‘50s, the label and studio has continued for over 50 years, releasing over 300 7” singles and 200 LPs, covering styles varying from early biguine and bolero to zouk and reggae.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
soo:k - Simple Stars
2
soo:k - Sylvanus Never Slept
3
soo:k - The Living Mountain
4
soo:k - Thistle Kiss
5
soo:k - Grape Chariot
6
soo:k - Mother Orange
7
soo:k - Grotto
8
soo:k - Fire Green as Grass
9
soo:k - The Drift of the World
10
soo:k - There Isn't an Anchor
Ambient explorers SWIMS unpeel another heady debut, with the maiden effort by Korean artist Soo Kyung Kim, also known as soo:k. The curtain raises on ???????????????? with an elysian glow: electro-acoustic compositions painting a golden topography of impossible fruit and uncanny astronomy. soo:k's utopic brushwork finds obvious comparisons in the work of Hiroshi Yoshimura, and his meditations on the glacial pace of hidden, verdant spaces. Frida Kahlo's portraits of everyday life, intertwined with pain and magic symbology, also resonate in the album's exploration of fleeting moments. Dissonance and experimentation take hold as the record progresses, Soo's Edenic vision creaking open to reveal ripe, fetid spaces between ribs of earth. Recommended if you like Ulla, Kara-Lis Coverdale, Visible Cloaks, Perila...
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
Al Wootton - Descender
2
Al Wootton - All The World Is A Hospital
3
Al Wootton - A Pox Cast
4
Al Wootton - Number, Weight, Division
5
Al Wootton - Devarim
6
Al Wootton - The Norman Yoke
7
Al Wootton - Becoming Light
8
Al Wootton - A Cruel Sun Over Catalonia
9
Al Wootton - May Your Angels Of Light Accept Him About
Al Wootton returns to his label Trule with his second album “We Have Come To Banish The Dark”. The record is a product of dystopic times, taut with energy and restrained violence, yet never oppressive or nihilistic. The theme is one of unity, liberation and resistance to a darkening world, against the rising tide of fascism, hypercapitalism, and right wing politics. Yet there remains a constant hope and light, most evident in the downtempo roller “Devarim” and the closing bars of “May Your Angels Of Light Accept Him”.
Wootton brings to the fore his youth experiences playing in post-punk bands and his longstanding appreciation of Metal to this swung, robust techno album. “We Have Come to Banish The Dark’’ recalls the industrialism of Chris and Cosey, Coil and Throbbing Gristle, while the ghosts of the UK Hardcore continuum through Jungle and UK Garage remain an ever haunting presence. The rhythms maintain a flexibility and lightness of touch that provide contrast to the monochrome industrial sound palette.
Over nine tracks Wootton explores a variety of rhythmic styles, from techno steppers such as “Descender” and “A Pox Cast”, to the 4x4 house of “A Cruel Sun Over Catalonia”, the minimal Drum and Bass-esque “Number, Weight , Division” and the loopy techno of “The Norman Yoke”, while eschewing typical genre tropes to maintain a cohesive sound over the whole album.
We Have Come To Banish The Dark is an album that rewards both ecstatic club moments and repeated deep listening with its high energy and detailed, textured sound design.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Wootton brings to the fore his youth experiences playing in post-punk bands and his longstanding appreciation of Metal to this swung, robust techno album. “We Have Come to Banish The Dark’’ recalls the industrialism of Chris and Cosey, Coil and Throbbing Gristle, while the ghosts of the UK Hardcore continuum through Jungle and UK Garage remain an ever haunting presence. The rhythms maintain a flexibility and lightness of touch that provide contrast to the monochrome industrial sound palette.
Over nine tracks Wootton explores a variety of rhythmic styles, from techno steppers such as “Descender” and “A Pox Cast”, to the 4x4 house of “A Cruel Sun Over Catalonia”, the minimal Drum and Bass-esque “Number, Weight , Division” and the loopy techno of “The Norman Yoke”, while eschewing typical genre tropes to maintain a cohesive sound over the whole album.
We Have Come To Banish The Dark is an album that rewards both ecstatic club moments and repeated deep listening with its high energy and detailed, textured sound design.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
Ousmane Kouyaté & Ambassadeurs Internati - Kefimba
2
Bouba et Sokona Sacko - Mamaniya
3
Les Ambassadeurs du Motel de Bamako - Get Up James
4
Allata Broulaye - Moussokéléyato
5
Tentemba Jazz du Mali - Yayoroba
6
Tjiwara Band de Kati - Kogola
7
Rail Band - Massaré Mousso
8
Les Ambassadeurs du Motel de Bamako - Matou Kagni
9
Mystère Jazz de Tombouctou - Sidi Yahia
10
Allata Broulaye - Yayoroba
11
Les Messagers du Mali - Diamana Diarra
12
Tjiwara Band de Kati - Midnight Hour
Following the success of ‘The Original Sound of Mali’ compilation, we return with another explorative delve into the wonders of Malian music compiled by French writer, journalist and Grammy-nominated compiler Florent Mazzoleni and Mr Bongo’s very own David Buttle. Restoring, reissuing and contextualising iconic tracks from Ousmane Kouyaté & Ambassadeurs Internationaux, Rail Band, Les Messagers du Mali, Mystère Jazz de Tombouctou and many more, the second compilation in this series dives ever further into the richness of post-independence music emanating out of Mali. One in which traditional foundations and instrumentation, blended with modern musical advances and influence.
Following Mali’s independence, after ten years of maturation, the 1970s saw modern Malian culture revealed to the world through musical anthologies and overviews of national and regional productions. It was a remarkably fertile period of the country’s musical history, with state-sponsored bands and orchestras now able to be documented and recorded by sound engineers.
Mali has always had a diverse storytelling tradition through music, with each province and ethnic group having its own unique character and nuances. As influences and sounds from the West drifted over the Atlantic, Malian musicians began hearing artists like John Lee Hooker, Wilson Pickett, Johnny Pacheco, Celia Cruz and James Brown. Elements and ideas from blues, soul, rock and funk led to bands covering artists they’d heard from these genres. The Tjiwara Band de Kati’s raw cover version of Pickett’s soul / R&B classic ‘In The Midnight Hour’ and the James Brown funk-channelling cut ‘Get Up James’ from Les Ambassadeurs du Motel de Bamako, are two such examples featured on this compilation.
Most bands also relied on playing in hotels in Mali’s capital, Bamako, which naturally became where they honed their sound. With guests wanting to hear the influence of foreign styles and modern instrumentation becoming more available, this fusion of Western ideas with traditional Malian rhythms and organic instruments led to a one-of-a-kind musical excellence.
The second volume in this series, captures the raw energy of Mali in this period, with a spread of sounds that radiated from Mali’s newly recorded musicians. The afrobeat rhythms of Ousmane Kouyaté and mesmerising Malian classic from Bouba and Sokona Sacko, sitting side by side with the swirling hypnotism of Tentemba Jazz du Mali and a ngoni-infused, percussive dancer from Allata Broulaye. Elsewhere, the deep African desert music of Mystère Jazz de Tombouctou rubs shoulders with the grandeur of the Rail Band, powered by Salif Keita’s iconic vocals.
Those are just a handful of the recordings highlighted on this compilation, which includes an extensive booklet looking at the history and relevance of the tracks written by Florent Mazzoleni. With so much enchanting, deep and mind-expanding music coming out of Mali in this period, ‘The Original Sound of Mali 2’ is a perfect aid to discovering the richness of music this country has to offer.
Vinyl LP housed in a gatefold sleeve with A5 booklet liner notes.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Following Mali’s independence, after ten years of maturation, the 1970s saw modern Malian culture revealed to the world through musical anthologies and overviews of national and regional productions. It was a remarkably fertile period of the country’s musical history, with state-sponsored bands and orchestras now able to be documented and recorded by sound engineers.
Mali has always had a diverse storytelling tradition through music, with each province and ethnic group having its own unique character and nuances. As influences and sounds from the West drifted over the Atlantic, Malian musicians began hearing artists like John Lee Hooker, Wilson Pickett, Johnny Pacheco, Celia Cruz and James Brown. Elements and ideas from blues, soul, rock and funk led to bands covering artists they’d heard from these genres. The Tjiwara Band de Kati’s raw cover version of Pickett’s soul / R&B classic ‘In The Midnight Hour’ and the James Brown funk-channelling cut ‘Get Up James’ from Les Ambassadeurs du Motel de Bamako, are two such examples featured on this compilation.
Most bands also relied on playing in hotels in Mali’s capital, Bamako, which naturally became where they honed their sound. With guests wanting to hear the influence of foreign styles and modern instrumentation becoming more available, this fusion of Western ideas with traditional Malian rhythms and organic instruments led to a one-of-a-kind musical excellence.
The second volume in this series, captures the raw energy of Mali in this period, with a spread of sounds that radiated from Mali’s newly recorded musicians. The afrobeat rhythms of Ousmane Kouyaté and mesmerising Malian classic from Bouba and Sokona Sacko, sitting side by side with the swirling hypnotism of Tentemba Jazz du Mali and a ngoni-infused, percussive dancer from Allata Broulaye. Elsewhere, the deep African desert music of Mystère Jazz de Tombouctou rubs shoulders with the grandeur of the Rail Band, powered by Salif Keita’s iconic vocals.
Those are just a handful of the recordings highlighted on this compilation, which includes an extensive booklet looking at the history and relevance of the tracks written by Florent Mazzoleni. With so much enchanting, deep and mind-expanding music coming out of Mali in this period, ‘The Original Sound of Mali 2’ is a perfect aid to discovering the richness of music this country has to offer.
Vinyl LP housed in a gatefold sleeve with A5 booklet liner notes.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
Al Wootton - "Ender"
2
Al Wootton - "Revin"
3
Al Wootton - "Snake Dance"
4
Al Wootton - "Lerzin"
a1: Ender a2: Revin b1: Snake Dance b2 Lerzin
Al Wootton drops a collection of stripped back two-stepping rhythms to form the 'Snake Dance' EP for Livity Sound.
At times uncompromising and austere, the swing of Al Wootton's reduced grooves, saturated with a steely dubwise brawn, provide an enduring soundtrack for stark times.
Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground music.
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WAS - Word and Sound Medien GmbH
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DE - 22113 Hamburg
Germany
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Al Wootton drops a collection of stripped back two-stepping rhythms to form the 'Snake Dance' EP for Livity Sound.
At times uncompromising and austere, the swing of Al Wootton's reduced grooves, saturated with a steely dubwise brawn, provide an enduring soundtrack for stark times.
Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground music.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
Bruno Pronsato, Roméo Poirier & Memotone - Above The Laundrette (Manières Bizarres Mix)
2
Bruno Pronsato, Roméo Poirier & Memotone - Thalassocratie (Extended Version)
3
Bruno Pronsato, Roméo Poirier & Memotone - The Way In(side)
3 contemporary electronic jazz tracks from the artist that are aware of bass music and Jon Hassell's City: Works Of Fiction.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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Germany
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1
Shaka - Build On Revolution (06:49)
2
Shaka - Consitand Blues (07:35)
3
Shaka - Lost In Time (06:50)
4
Shaka - Walking On Clouds (06:32)
Genre: Deep House / Soulfull House / Acid House / Vocal House / Chicago House
Tracklist 12", strictly limited to 250 copies, no repress!
A1. Shaka - Build On Revolution 06:49
A2. Shaka - Consitand Blues 07:35
B1. Shaka - Lost In Time 06:50
B2. Shaka - Walking On Clouds 06:32
Release Info:
Swiss Master SHAKA returns to Yore and brings as the deepest, most musical House for his new EP entitled as “Lost In Time”. Shaka got so much Jazz and that's a fact, so that we internally like to call him the European GU (Glenn Underground). This one is something for those who know and there's only 200 copies pressed. Strictly no repress. When they are gone, they are gone forever.
Strictly limited to 200 Copies worldwide (no repress). Grab yours while they last.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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Tracklist 12", strictly limited to 250 copies, no repress!
A1. Shaka - Build On Revolution 06:49
A2. Shaka - Consitand Blues 07:35
B1. Shaka - Lost In Time 06:50
B2. Shaka - Walking On Clouds 06:32
Release Info:
Swiss Master SHAKA returns to Yore and brings as the deepest, most musical House for his new EP entitled as “Lost In Time”. Shaka got so much Jazz and that's a fact, so that we internally like to call him the European GU (Glenn Underground). This one is something for those who know and there's only 200 copies pressed. Strictly no repress. When they are gone, they are gone forever.
Strictly limited to 200 Copies worldwide (no repress). Grab yours while they last.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
Orlando Voorn + Han Litz - Bkac To What I Love (Original Mix)
2
Orlando Voorn + Han Litz - Bkac To What I Love (Soulfood Mix)
3
Orlando Voorn + Han Litz - Composers (Original Mix)
4
Orlando Voorn + Han Litz - Composers (Downbeat Mix)
Introducing What I Love by Orlando Voorn + Han Litz - A 4-Track EP Get ready to dive into the rich fusion of soulful beats and sophisticated grooves with What I Love, the latest 4-track EP by electronic music pioneer Orlando Voorn and jazz flautist Han Litz. This release perfectly captures Voorn's innovative mastery in electronic music paired with Litz's exquisite melodic touch. What I Love is a sonic journey, mixing the best of house, jazz, and electronic fusion with a unique, timeless vibe that fans of both artists have come to adore. Each track on this EP is crafted to captivate and elevate - from soulful harmonies and intricate rhythms to Litz's mesmerizing flute lines that add an organic, uplifting energy to Voorn's powerful beats. Whether you're a DJ, a long-time fan of house music, or new to the genre, What I Love offers a fresh take on sophisticated soundscapes. Don't miss your chance to experience this extraordinary collaboration. What I Love is out now, so bring it to your collection and let the groove take over!
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
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WAS - Word and Sound Medien GmbH
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1
Sade - A - Nothing Can Come Between Us (Remix)
2
Sade - B - King Of Sorrow (Remix)
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1
Samm - Does It Matter
2
Samm - Imagine
3
Samm - Does It Matter (Ajna remix)
Tracklisting
A1 Samm - Does It Matter
A2 Samm - Imagine
B1 Samm - Does It Matter (Ajna remix)
Sales Note
Magnifiks Samm (BE) is here to lay down his first EP ever. Coming from Belgium, Antwerp , he always said at one point in his life he'll start releasing music. Well here we are - Samm's sound is carved in a way harmonics and groovy percussion lines are build in a way there's no stopping it on the dancefloor. 'Does It Matter' has an unique warmth and musicality across the vocal and melodic production, 'Does It Matter' is one of those repeatable tracks for your listening ear. At the other side of the door there's 'Imagine' wich is doing some club damage for a while now. Tested and approved on Magnifik Showcases and gigs globally, 'Imagine' has an organic melody line with a rising afro percussion line that's setting the mood for any clubs, beaches or even festivals. We're sure to say 'Does It Matter' EP is an essential add to any dj's USB or your favorite playlist.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
A1 Samm - Does It Matter
A2 Samm - Imagine
B1 Samm - Does It Matter (Ajna remix)
Sales Note
Magnifiks Samm (BE) is here to lay down his first EP ever. Coming from Belgium, Antwerp , he always said at one point in his life he'll start releasing music. Well here we are - Samm's sound is carved in a way harmonics and groovy percussion lines are build in a way there's no stopping it on the dancefloor. 'Does It Matter' has an unique warmth and musicality across the vocal and melodic production, 'Does It Matter' is one of those repeatable tracks for your listening ear. At the other side of the door there's 'Imagine' wich is doing some club damage for a while now. Tested and approved on Magnifik Showcases and gigs globally, 'Imagine' has an organic melody line with a rising afro percussion line that's setting the mood for any clubs, beaches or even festivals. We're sure to say 'Does It Matter' EP is an essential add to any dj's USB or your favorite playlist.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
Omar - Lovey Dovey
2
Omar - This Thing Called Life (instrumental)
Impressive Collective & BBE Music announce an exclusive vinyl 45 single by Omar Lyefook MBE to celebrate signing the legendary UK soul star.
This new partnership continues Omar’s long standing collaboration with Impressive Collective’s Greg Boraman, which began in 2013 on Freestyle Records with the critically acclaimed ‘The Man’ album and continued with ‘Love In Beats’ and ‘The Omar Anthology’. To mark this auspicious news, we proudly announce the release of this limited-edition vinyl single featuring 2 tracks that is only available on this exclusive 45.
A side – ‘Lovey Dovey’ is box fresh but also classic Omar, and features his trademark assured vocal delivery over a bumping rhythm and synths provided by The Scratch Professor. The flip ‘This Thing Called Life’ is an opulent and epic instrumental piece, featuring swooping cinematic strings, over a funk laden arrangement that is part film soundtrack, part dancefloor filler.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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This new partnership continues Omar’s long standing collaboration with Impressive Collective’s Greg Boraman, which began in 2013 on Freestyle Records with the critically acclaimed ‘The Man’ album and continued with ‘Love In Beats’ and ‘The Omar Anthology’. To mark this auspicious news, we proudly announce the release of this limited-edition vinyl single featuring 2 tracks that is only available on this exclusive 45.
A side – ‘Lovey Dovey’ is box fresh but also classic Omar, and features his trademark assured vocal delivery over a bumping rhythm and synths provided by The Scratch Professor. The flip ‘This Thing Called Life’ is an opulent and epic instrumental piece, featuring swooping cinematic strings, over a funk laden arrangement that is part film soundtrack, part dancefloor filler.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore