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DMMANIAC |
Hakuna Kulala Label Pack (Web)
 Жанр: Experimental, Dubstep, Abstract, Techno, House, Dancehall, Hip Hop, African, Gqom, Grime, Trap, Juke, Bass Music, Breaks, Tribal, Dark Ambient, Glitch, IDM, Hardcore, Industrial Страна-производитель диска: Kampala, Uganda Год издания диска: 2018-2024 Тип издания: WEB Аудиокодек: FLAC (*.flac) Тип рипа: tracks Продолжительность: 25:05:49 Источник (релизер): bandcamp, qobuz Наличие сканов в содержимом раздачи: cover Благодарность и Уважение: parcrykeef  Club explorations from the East African and Congolese Electronic Underground and beyond.  Аудиокодек: FLAC (*.flac)Тип рипа: tracks Продолжительность: 17:05 Наличие сканов в содержимом раздачи: cover Tracklist: 01. Slikback - Acid (3:04) 02. Slikback - Bantu Zen (2:50) 03. Slikback - Ascension (3:15) 04. Slikback - Just I (4:05) 05. Slikback - Venom (3:52) 24Bit Five rough and ready club explorations from young Kenyan producer Slikback to kick off Hakuna Kulala's upcoming series exploring new producers from the East African and Congolese Electronic Underground. released June 29, 2018 Mastering by Declared Sound Recorded at Boutiq Studios, Kampala. Uganda Graphics by Kid Gringo 
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Аудиокодек: FLAC (*.flac)Тип рипа: tracks Продолжительность: 11:20 Наличие сканов в содержимом раздачи: cover Tracklist: 01. Rey Sapienz - Hakuna Kulala (3:54) 02. Rey Sapienz - Eya Eya (3:25) 03. Rey Sapienz - On Est Bon La (4:01) 24Bit Haling from Nord-Kivu, Congo DRC, Rey Sapeinz's debut ep offers a window into his Soukous mutations. released June 29, 2018 Mastering by Declared Sound Recorded at Boutiq Studios Kampala Artwork by Kid Gringo
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Аудиокодек: FLAC (*.flac)Тип рипа: tracks Продолжительность: 7:54 Наличие сканов в содержимом раздачи: cover Tracklist: 01. Disco Vumbi - Jo-ducuroma roma (4:26) 02. Disco Vumbi - Wilobo Man (3:28) 24Bit Kenyan artist Alai K’s ‘Disco Vumbi’ moniker returns with a new two track ep recorded in the village of Bombo outside Kampala in collaboration with the a number of children from the village performing Buganda Folk Songs. released August 3, 2018 Mastering by Declared Sound Graphics by Kid Gringo Vocals by Bikumbi Yusuf,Oyella Josephine ,Nangiro Judith, Muwadho Sumaiya,Kiberu Christopher, Nsubuga Brian, Wasswa Jovias, Sabano Daphine Naula, Peruth Claire, Logose Victoria.
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Аудиокодек: FLAC (*.flac)Тип рипа: tracks Продолжительность: 14:13 Наличие сканов в содержимом раздачи: cover Tracklist: 01. MC Yallah - Ndi Mukazi (2:56) 02. MC Yallah - Ndi Mukazi (Debmaster Instrumental) (2:52) 03. MC Yallah - Ndi Mukazi (Jay Glass Dubs Version) (4:13) 04. MC Yallah - Ndi Mukazi (Jay Glass Dubs Instrumental) (4:13) 24Bit Killer fresh rap music from MC Yallah, backed with cavernous Jay Glass Dubs versions on Hakuna Kulala - the mean yung sibling of Nyege Nyege Tapes... Kenyan, but Ugandan born and raised Yallah Gaudencia Mbidde a.k.a. MC Yallah oozes style inside the cold, sparse boom/crack and vaulted electronica atmospheres of ‘Ndi Mukazi’ - one of the most urgent yet deep, dark blue rap tracks we’ve heard in a minute - while Debmaster’s instrumental carries its weight beautifully well. In a genius A&R move, Jay Glass Dubs is tagged in for two versions, vocal and instrumental, embedding Yallah in acres of spiralling psychedelic space ducking his ricocheting snares and sweltering electronics. released August 10, 2018 Mastering by Declared Sound Graphics by Kid Gringo
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Аудиокодек: FLAC (*.flac)Тип рипа: tracks Продолжительность: 10:27 Наличие сканов в содержимом раздачи: cover Tracklist: 01. Debmaster - Space Tribe (2:38) 02. Debmaster - Solar Leone (2:49) 03. Debmaster - 1av2 (2:06) 04. Debmaster - Crocodiles Homieees (2:55) 24Bit With is borderline obsessive ìwonkinessî longtime Hakuna Kulala collaborator Julien Deblois aka Debmaster, trims his mustache every day the same way he trims his music. A kind of tornado of bleeps finding its strength as much in hip-hop as in more obscure genres such as Moldavian 8bit or African accordion. Following from his production on Mc Yallah's Ndi Mukazi, Debmaster presents his first debut ep on Hakuna Kulala. Crocodiles Homieees reworks African field recordings from Kampala's Boutiq Studio's archives. released October 26, 2018 Mastering by Declared Sounds Artwork by Kid Gringo
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Аудиокодек: FLAC (*.flac)Тип рипа: tracks Продолжительность: 13:34 Наличие сканов в содержимом раздачи: cover Tracklist: 01. Sleeping Buddha - Goro (4:59) 02. Sleeping Buddha - Onimusha (4:01) 03. Sleeping Buddha - Tengu (4:34) Young Durban producer Sleeping Buddah's s/t ep presents three Gqom killers. ***Boomkat Product Review*** Killer Gqom from Durban’s Sleeping Buddha for Hakuna Kulala, the sister label of Uganda’s amazing Nyege Nyege Tapes. Keeping the levels high after aces from Slikback, MC Yallah, Rey Sapienz and Disco Vumbi, the label looks due south to the virulent sound of South African taxi techno, or Gqom, with Sleepign Buddha’s debut volley. Frozen, nut-crack drums and cold sweat-inducing bass drones pave the way for stinging strings, sirens and tart trance stabs in ‘Goro’, before ‘Onimusha’ keens off on an even darker path with some of the finest, trippiest soundscaping that we’ve heard on a Gqom cut, and ‘Tengu’ balances the mood between lighter, breathy vox and chords, but it’s ultimately still dread AF and irresistibly rugged. Don’t miss!!! released November 2, 2018 Mastering by Sleeping Buddah Artwork by Kid Gringo
----------------------- foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Аудиокодек: FLAC (*.flac)Тип рипа: tracks Продолжительность: 11:14 Наличие сканов в содержимом раздачи: cover Tracklist: 01. Ecko Bazz feat. Biga Yut - Tuli Banyo (3:31) 02. Ecko Bazz feat. Biga Yut - Tuli Banyo (PQ Instrumental) (3:31) 03. Ecko Bazz feat. Biga Yut - Tuli Banyo (Ekhe rework) (4:11) 24Bit Grimy rap killers from two of Uganda’s finest MC’s, Ecko Bazz & Biga Yut, with production from Nihiloxica’s pq and a remix from new name, Ekhe, all doing it for Nyege Nyege Tapes’ sister label, Hakuna Kulala Moving from strength to strength after shots from MC Yallah, Demaster, Slikback and Sleeping Buddha, Ecko Bazz takes the lead on ‘Tuli Banyo’, trading bars with Biga Yut, another MC from the Gabba ghetto surrounding NNT’s Boutiq studio in Kampala. The energy and rudeness of the original recalls early UK grime, with pq’s Mr. Slash-like rhythm held tight for the rambunctious MCs, before Leeds/London’s Ekhe reworks the ting as a grimy stepper with serious hardcore techno intentions. released November 9, 2018 Produced by pq Mastering by Declared Sound Artwork by Kid Gringo Recorded at Boutiq Studios, Kampala Uganda on the 28th September 2018
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Аудиокодек: FLAC (*.flac)Тип рипа: tracks Продолжительность: 17:34 Наличие сканов в содержимом раздачи: cover Tracklist: 01. Slikback - Sonshitsu (3:05) 02. Slikback - Gemini (2:18) 03. Slikback - Kyokai (2:28) 04. Slikback - Karum (3:31) 05. Slikback - Zuhura (3:00) 06. Slikback - Rage (3:11) 24Bit Kenya’s Slikback stuns again with the singular, forward rhythms and stark electronic space of ‘Tomo’, his follow-up to the resoundingly acclaimed ‘Lasakaneku’, also for Nyege Nyege Tapes sister label, Hakuna Kulala At the vanguard of a vital East African electronic music scene, Slikback combines local rhythmic heritage with sheer, abstract electronics in ways that utterly fascinate bodies on the ‘floor. Stepping ahead from his debut EP in 2018, he offers twice as much material and amps up the energy and noise in ’Tomo’, surely setting the benchmark for anything to follow in its wake in 2019. Between the Nostrofmo-like atmosphere and mutant footwork-like percussive intensity of ‘SONSHITSU’, thru the dissonant dancehall swagger of ‘Gemini’ and the hyperhall push of ‘Kyokai’, to the polymetric fizz and parry of ‘Karuym’, and the pelting hardcore of ‘Zuhura’, Slikback’s music will leave nobody wanting on the ‘floor. But if you’re the insatiable type, then the inferno of his parting shot ‘Rage’, switching from full frontal rhythmic noise to industrial swagger and back, will polish you the fuck off. Massive recommendation! Slikback is a Kenyan DJ and Producer. After joining the Boutiq Studios in Kampala in mid 2017, he began to find his sound which fuses a diverse sonic pallette borrowing from footwork, trap, grime and a variety of contemporary underground African club styles into a uniquely accessible dark presentation. His Debut EP "Lasakaneku" was released in June 2018. The ep and individual tracks have gone on to top charts, being placed among the best electronic music of 2018 including on Pitchfork and Fact magazine. Since then, he went on to perform at MTN Nyege Nyege Festival in Uganda. He then had an European premier at Unsound Festival in Poland. His performance there was highlighted by Resident Advisor as one of the 5 key performances of the festival. He has upcoming performances at CTM Festival Berlin, Sonic Acts Festival, Amsterdam, Elevate Festival, Graz, Mutek Festival, Barcelona , Sónar Festival, Barcelona and an upcoming China tour in collaboration with Chinese label SVBKVLT. Slikback continues to create new interesting sounds and collaborate with amazing vocal talents from Kampala. He also has a new project called o g n i k i with polish producer, Morgiana Hz combining their respective worlds into one composition. TOMO is his anticipated follow up ep featuring six new tracks of mutant African club explorations. released February 1, 2019 Mastering at Declared Sound Graphics by Kid Gringo Recorded at Boutiq Studios, Kampala Uganda
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Аудиокодек: FLAC (*.flac)Тип рипа: tracks Продолжительность: 18:33 Наличие сканов в содержимом раздачи: cover Tracklist: 01. Don Zilla - From The Cave (5:42) 02. Don Zilla - Inside Me (12:50) 24Bit Following on from his two remixes on STILL's 'I' album released in November 2018 on PAN records, Boutiq Studios manager and producer Don Zilla presents his debut ep of dark club bangers built on nasty drums and terse drones. Boomkat Product Review: Nyege Nyege Tapes sibling, Hakuna Kulala host the hardass debut by Don Zilla, manager of the Boutiq studio at the heart of Kampala, Uganda’s vital music scene Following up his remixes of STILL’s ‘I’ album cuts in 2018, Don Zilla bares his teef in both parts of ‘From The Cave to the World’, first churning up a viscous groove full of shadow-boxing drums and gutter bass distortion on the cusp of dubstep rave and halfstep D&B with ‘From The Cave’, before opening up a stargate like portal in his studio with 12 minutes of plunging beatless depth and unheimlich terra forming in ‘Inside Me’, and in a way recalling early Emptyset or stare-out Prurient piece. released March 8, 2019 All tacks produced by Don Zilla in Boutiq Studios Kampala Mastering By Declared Sound Artwork by Kid Gringo
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Аудиокодек: FLAC (*.flac)Тип рипа: tracks Продолжительность: 4:49 Наличие сканов в содержимом раздачи: cover Tracklist: 01. Will'stone feat. Le Bon - Mbv5 (2:24) 02. Will'stone feat. Le Bon - Mbv5 (Instrumental) (2:25) 24Bit Hailing from the Eastern Congo city of Goma, Will’Stone’s barking, stentorian style has come to define the sound of his city’s war torn youth. On ‘Mbv5’ he’s joined by Kampala-based Congolese MC, Le Bon to spray fire over a crushingly heavy groove built from drop forge drums and sweltering, even panicked patina of field recordings, and in a way that wouldn’t sound outta place on JPEGMAFIA’s ‘Veteran’. Cutthroat, hardcore business. Not to be missed! released April 12, 2019 Produced by Debmaster Mastered at Declared Sound Graphics by Kid Gringo
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Аудиокодек: FLAC (*.flac)Тип рипа: tracks Продолжительность: 21:09 Наличие сканов в содержимом раздачи: cover Tracklist: 01. Rey Sapienz - Mushoro (3:19) 02. Rey Sapienz - Ngando (2:56) 03. Rey Sapienz - Dancehall Pigme (4:00) 04. Rey Sapienz - Anti Machine (3:37) 05. Rey Sapienz - Nzela Mabulu (3:40) 06. Rey Sapienz - Entaintenment (3:38) 24Bit Hailing from the Nord Kivu, Democratic Republic of Congo, exiled Kampala based producer Rey Sapienz new 6 track ep continues to explore his unique style of weirdly abstracted Soukous and Kalindula. Fitting into a trajectory of Congolese artists who were fascinated by the possibilities of progressive electronic music of their time such as Denis Mpunga and Zazou Bikaye. Rey breaks down traditional Congolese pop music into its constituent elements of dramatic vocals, fluid bass chords and dark and slowed down Soukous Synth melodies. **** BOOMKAT PRODUCT REVIEW **** Sickest mutant dancehall from Uganda’s Rey Sapienz, returning to Slikback’s Hakuna Kulala (sublabel of Nyege Nyege Tapes) with a marked step forward from his debut of crooked soukous ‘Mushoro’ packs twice as much material as Sapienz’ 2018 debut ‘Hakuna Kulala’ for a start, but the production is also detectably slower, more detailed and layered to express a wider range of moods and killer drum patterns stemming from the Congo, while the vocals are also more diverse and speaking to current club tastes. Pairing wonky acidic stabs with low-slung vox in the dark sidewinder ‘Mushoro’, he finely toggles the vibe between playful technoid and Terminator cold throughout the EP, shifting his weight on an off the beat with icy control in ‘Ngando’, while ‘Dancehall Pigmé’ turns out a gripping take on acid-hall styles shades away from Equiknoxx. ‘Anti Machine’ then start out super brooding but buoyed by psyched-out bleep melodies like some early Warp cut, before ’Nzela Mabulu’ cuts the lights for a proper piece of central African voodoo nearly compatible with Gqom, and ‘Entaintenment’ roudns back to a rugged flip of soukous styles. Strong looks for the dancers and DJs! released September 23, 2019 Artwork by Kid Gringo Mastered at Declared Sound
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Аудиокодек: FLAC (*.flac)Тип рипа: tracks Продолжительность: 8:05 Наличие сканов в содержимом раздачи: cover Tracklist: 01. Otim Alpha feat. Leo Palayeng Kenna - Tongwen (4:03) 02. Otim Alpha feat. Leo Palayeng Kenna - Tongwen (Instrumental) (4:03) 24Bit Otim Alpha & Leo Palayeng team up with Umojah for a tasty cut of electro acholi dancefloor madness. For the Music Video head over here: youtu.be/xwS9-hP3LZo released October 22, 2019 Artwork: Kidgringo
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Аудиокодек: FLAC (*.flac)Тип рипа: tracks Продолжительность: 8:53 Наличие сканов в содержимом раздачи: cover Tracklist: 01. Slikback & Yen Tech - Cane (2:43) 02. Slikback & 33EMYBW - Zeno (3:12) 03. Slikback & OSHEYACK - Onja (2:59) For the first output of an ongoing exchange between East Africa and East Asia via collectives Nyege Nyege/Hakuna Kulala (Kampala - Uganda) and SVBKVLT (Shanghai – China), we are excited to present ‘Slip A’ and ‘Slip B’, two Eps made during Slikback’s China tour/residency in April 2019. After making first contact online in late 2018 and subsequently meeting up at CTM festival, Berlin, in January 2019, Nyege Nyege and SVBKVLT founded the beginning of a long term project exploring collaborations between East-Africa and East-Asia based artists. For the first stage of the project, SVBKVLT invited Kenyan producer Slikback to China for a 3-week tour and residency in April 2019. During these 3 weeks, Slikback performed in 5 cities (Shenzhen, Shanghai, Hangzhou, Nanjing and Beijing), spending time in the studio with artists throughout the tour. The results of these studio sessions are now being presented in the form of two Eps, to be released simultaneously across the two labels Hakuna Kulala and SVBKVLT on September 6th, coinciding with Nyege Nyege Festival 2019, Jinja – Uganda, at which Slikback and 2 of the collaborators, Hyph11e and 33EMYBW, will perform. ‘Slip A’ The first EP, entitled ‘Slip A’ consists of 3 collaborations with SVBKVLT artists 33EMYBW, Osheyack and Yen Tech. Started in China and then finished remotely between Nairobi and Shanghai, the 3 tracks each find their place right in the middle of the artists styles, each track complimenting but twisting each others sound into something new. ‘Slip A’ will be released via Hakuna Kulala on September 6th 2019. released September 6, 2019 Tracks 1 & 3 mixed by Raphael Valensi Mastered by Raphael Valensi Artwork by Moroto Hvy Ind
----------------------- foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Аудиокодек: FLAC (*.flac)Тип рипа: tracks Продолжительность: 43:48 Наличие сканов в содержимом раздачи: cover Tracklist: 01. Slikback - Acid (3:04) 02. Slikback - Bantu Zen (2:50) 03. Slikback - Ascension (3:15) 04. Slikback - Just I (4:05) 05. Slikback - Venom (3:52) 06. Slikback - Shell (2:51) 07. Slikback - Sonshitsu (3:05) 08. Slikback - Gemini (2:18) 09. Slikback - Kyokai (2:28) 10. Slikback - Kite (2:38) 11. Slikback - Karum (3:31) 12. Slikback - Zuhura (3:00) 13. Slikback - Rage (3:11) 14. Slikback - Senshi (3:39) 24Bit Slikback's vinyl LP compiling his pair of acclaimed Hakuna Kulala releases plus a trio of exclusive new bonus bangers - remastered by Rashad Becker. ***Boomkat Product Review*** Slikback’s long awaited vinyl debut compiles his pair of acclaimed Hakuna Kulala releases plus a trio of exclusive new bonus bangers - basically the most incendiary new club mutations from East and Central Africa highly compatible with Gqom, trap, speedcore, dancehall Hailing from Nairobi, Kenya via Kampala, Uganda, Slikback has rapidly attracted a wave of attention to his undulating mutations of current club styles, as found on the ‘Lasakaneka’ and ‘Tomo’ EPs between 2018-2019. Due to popular demand both those EPs now make their vinyl debut, packaged along with three previously unreleased zingers to weigh in the most significant showcase of Slikback’s acclaimed style and pattern in club circulation right now. Mashing and distilling a range of inspirations from local East African hip hop to Congolese rhythms and Gqom’s cold percussion, plus influence from US trap and footwork, and the subbass common to JA and UK soundsystem cultures; Slikback’s music has arrived at a grippingly powerful sound which, while singular, is also entirely symptomatic of the thrilling styles emerging from Central Africa right now, and after many years of underrepresentation in the shadow of West and South African styles which have been popularised around the world. On his debut ‘Lasakaneka’ EP Slikback swaggers from icy, robotic dancehall in ‘Acid’ to a gripping fusion of footwork and Gqom with a jungle bent in ‘Bantu Zen’, and dancehall techno drill on ‘Ascension’, along with the palpitating footwork pressure of ‘Venom’, and a nervy new ace in the itchy step of ’Shell.’ The follow-up of 2019’s ’Tomo’ meanwhile represents a mean progression of his sound; exerting a firmer control of his scudding bass rudeness in ‘Sonshitsu’, and the dissonant synth tone of ‘Gemini’, while the syncopated gabber styles of ‘Zuhura’ and ‘Rage’ give way to almighty exclusive joints in the hard seam of trap called ‘Kite’, and the Equiknoxx-gone-psycho styles of ‘Senshi.’ If you’re new to Slikback, trust this 2LP is the perfect place to get acquainted with his lucid, hi-tech madness, before checking for the full frontal futurism of his two new EPs in collaboration with Svbkvlt’s Hyph11e, Yen Tech, and Osheyack. But if you’ve already heard Slikback’s EPs, his Boiler Room at Nyege Nyege Festival, or witnessed him in the flesh, you'll already know this one's on fire... released April 20, 2020 mastered and cut by Rashad Becker at D&M Berlin artwork by Kind Gringo
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Аудиокодек: FLAC (*.flac)Тип рипа: tracks Продолжительность: 27:43 Наличие сканов в содержимом раздачи: cover Tracklist: 01. MC Yallah x Debmaster - TT12 (1:22) 02. MC Yallah x Debmaster - Kubali (2:24) 03. MC Yallah x Debmaster - Nasonga (3:28) 04. MC Yallah x Debmaster - TT32V2 (1:29) 05. MC Yallah x Debmaster - Teba Kuda Mabega (2:51) 06. MC Yallah x Debmaster - Sifa Leero (3:15) 07. MC Yallah x Debmaster - TT145 (2:04) 08. MC Yallah x Debmaster - Balibanyoma (3:28) 09. MC Yallah x Debmaster - Dunia (2:30) 10. MC Yallah x Debmaster - Sifa Leero (Gangsta Edition) (3:15) 11. MC Yallah x Debmaster - TT26 (1:37) 24Bit Hakuna Kulala run out their first album with ‘Kubali’, revolving MC Yallah’s fiercely controlled delivery matched by rugged riddims from Debmaster. A prime showcase of east Africa’s incredibly fertile electronic dance music scene, ‘Kubali’ catches Uganda-born, Kenya-based MC Yallah step on and off 11 seriously ruffshod productions blessed with the best of both scuzzy industrial fetish styles and up-to-the-second global bass/trap movements. The mode is slow but urgent, toggling the gauge between Debmaster’s pressurised instrumentals and Yallah’s hot gobs of fire in a manner that recalls The Bug’s workouts with warrior Queen as much as a nastier version of Equiknoxx and Shanique Marie or a colourful counter to Coucou Chloe’s work with Sega Bodega. Bookended by fractious reflections of their sonic environment int he shopped up vocals of ‘TT12’ and the distorted scenes of chants and percussion in ‘TT26’, the session flows thru big vocal highlights in the cold ragga slam of ‘Kubali’, the blown-out, shark-eyed killer ‘Teba Kuda Mabega’, their clash of sour sirens with demonic dembow bumps in ‘Malbanyoma’, and the grimy swagger of ‘Sifa Leero (Gangsta Edition)’. But that’s not to discount the smart placement of Debmaster’s succinct, scowling instrumentals, strung out between the bashy rogue ‘TT32v2’ and the psychoactive militancy of ‘TT145.’ 100% bad as fuck. released September 23, 2019 Mastering at Declared Sound Artwork by Kind Gringo
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Аудиокодек: FLAC (*.flac)Тип рипа: tracks Продолжительность: 14:52 Наличие сканов в содержимом раздачи: cover Tracklist: 01. Ecko Bazz - Kyusa Embela (4:29) 02. Ecko Bazz - Nightmare Song (4:24) 03. Ecko Bazz - Kyusa Embela (Gunfinger Mix) (6:00) 24Bit Kampala rude boy Ecko Bazz teams up with Hakuna Kulala veteran pq for another round of grimy rap twisters following on from last years acclaimed Tuli Banyo ep. Music Video for Kyusa Embele here: youtu.be/v11Z1GtI-b8 released November 29, 2019 Produced by pq Mastering by Declared Sound Artwork by Kid Gringo Recorded at Boutiq Studios, Kampala Uganda in 2019.
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Аудиокодек: FLAC (*.flac)Тип рипа: tracks Продолжительность: 37:30 Наличие сканов в содержимом раздачи: cover Tracklist: 01. Villaelvin - Troof (1:20) 02. Villaelvin - Ghott Zillah (3:58) 03. Villaelvin - Headroof (2:23) 04. Villaelvin - Etiquette Stomp (5:36) 05. Villaelvin - Zillelvina (3:12) 06. Villaelvin - Hakim Storm (1:12) 07. Villaelvin - Kaloli (9:14) 08. Villaelvin - Troffj (3:52) 09. Villaelvin - Door 2 Porte Parole (1:52) 10. Villaelvin - Rey (4:52) 24Bit In April 2019 improvising lyricist, producer and sound artist Elvin Brandhi moved into the 'Villa' in Kampala Uganda working on a collaborative album with several artists from the Nyege Nyege collective. Auto-tune blast beats from field recordings of Evangelist churches, the swamps surrounding the studios, with warped drums by Kampala based percussionist Omutaba, improvised stream of consciousness lyrics from local rappers Hakim and Swordman Kitala, with glitched out bassy productions with Boutiq Studio manager Don Zilla and Congolese producer Oise. This new project called Viillaelvin is the first full LP to be released on Hakuna Kulala. released January 30, 2020 Mastered at Ten Eight Mastering. Photography by Elvin Brandhi Graphics & Layout by Kid Gringo
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Аудиокодек: FLAC (*.flac)Тип рипа: tracks Продолжительность: 20:06 Наличие сканов в содержимом раздачи: cover Tracklist: 01. Menzi - Impazamo (4:10) 02. Menzi - Minimal Surge (2:08) 03. Menzi - Underground Abaphansi (4:04) 04. Menzi - QGM Dance (2:18) 05. Menzi feat. Ecko Bazz - Gqom Tera (4:08) 06. Menzi - Zulu Warrior (3:18) 24Bit 
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Аудиокодек: FLAC (*.flac)Тип рипа: tracks Продолжительность: 6:00 Наличие сканов в содержимом раздачи: cover Tracklist: 01. Swordman Kitala - Batufitina (2:36) 02. Sekelembele - Moto Nyama (3:32) 24Bit Ruinous rave tackle on both sides of this plate, dialling up the energy of ‘90s Kingston and Brixton to equatorial boiling point with rowdy and industrial scale riddims supplied by two Japanese mutants. DJ Scotch Egg renames himself after Uganda’s favourite street food with a hardcore mix of dancehall and frenchtek strapped to rasping, barked vox by Swordman Kitala, while DJ Die Soon follows with a jabbing steppers beat for producer/MC Sekelembele, debuting on record like a turnt Elephant Man with ‘Moto Nyama’. Moto Nyama Video: youtu.be/eZ58fhKSNDI released August 12, 2020 Mastered at Declared Sound Artwork by Kid Gringo Vinyl Sleeve by Moroto Hvy Ind
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Аудиокодек: FLAC (*.flac)Тип рипа: tracks Продолжительность: 4:22 Наличие сканов в содержимом раздачи: cover Tracklist: 01. Biga Yut - Walah (2:17) 02. Biga Yut - Nu13 (2:04) 24Bit Following his killer delivery in Ecko Bazz' remarkable Tuli Banyo, rapper Biga Yut returns more loaded than ever and drops two absolute club bangers on stellar, militant-style production by Debmaster to explosive effect. Using flow and mics as lethal weapons, Biga Yut goes more personal in Walah and scats infectious dancehall vocals about himself. From the streets of Kampala ghettos straight to a pulsating future, the rhymes spiral with acidic energy over technoid, industrial-fueled propulsive beats. Maniac and relentless, for madness on the dancefloor. *** Boomkat Review *** Weapons grade industro-dancehall gyrations from Uganda’s Biga Yut and French producer Debmaster on Nyege Nyege Tapes’ Hakuna Kulala Biga Yut’s chatty flow and Debmaster’s gruff payload in ‘Wallah’ comes off like the UK’s Chunky riding a bad-to-the-bone production from The Bug - pure carnival carnage styles - while ‘Nu13’ hits a little deeper with tension-raising choral pads before launching into something like a raging grime missile from Dexplicit, with Biga Yut chopped into manic robotic barks. Anyone lamenting a lack of grime proper out there needs to get their teeth in here. released August 28, 2020 Artwork by Kid Gringo Mastered at Declared Sound Produced by Debmaster
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Аудиокодек: FLAC (*.flac)Тип рипа: tracks Продолжительность: 28:18 Наличие сканов в содержимом раздачи: cover Tracklist: 01. Leon Duncan - Ai Took Err Jobs (3:11) 02. Leon Duncan - Ching (3:06) 03. Leon Duncan - Rucio (2:22) 04. Leon Duncan - Babur (2:19) 05. Leon Duncan - Nintendo Dub (4:55) 06. Leon Duncan - Digital Drug (2:57) 07. Leon Duncan - Plugged In Kalimba Blues (1:16) 08. Leon Duncan - Portable Anxiety (2:15) 09. Leon Duncan - Acute Psychosis (5:58) 24Bit Growing up in Nairobi, Leon Duncan learned to produce music by experimenting with recording software in his high school's computer lab. Before long he was selling beats, but his restless, anxious mind quickly drew him closer towards extreme music. Duncan had never played guitar, but answered a call for guitarists from local heavy metal band Lust of a Dying Breed. Together with vocalist Martin Kanja (now half of Nyege Nyege's Duma), he developed an idiosyncratic form of Kenyan industrial music, patching a synth that sounded as serrated as distorted guitar and getting kicked out from his apartment in the process. When a track made its way to Nyege Nyege Tapes, Duncan was extended the creative freedom to develop his sonic experiments. "Fuck a rosetta stone for my brain waves" is the result of Duncan's tireless tonal and rhythmic research, and a narcotic voyage into a fiercely independent mind. Chaotic opener 'A.I took err jobs' is a layered pile-up of five algorithms that bend a rhythm into fragmented shards of stuttering glitches and rolling kicks. 'Ching' is slower and more measured, reminding of Actress's squashed futurist techno fuzz, with a sublime trip-hop loop loping through stuttering digital guitar noise. The album is a reflection of Duncan's experiences and desires, sketching out responses to his environment and interests: 'Babur' is his way of translating the sensation of watching Nyege Nyege Festival performances while on acid, while the synapse-blasting 'Digital Drug' tangles with primordial triggers in the sounds of nature to activate fight or flight responses. One of Hakuna Kulala's most surprising records, "Fuck a rosetta stone for my brain waves" is an uncompromising introduction to a young Kenyan original. Like Muslimgauze, Klein or Slikback, Leon Duncan maps out uncharted musical territory, challenging expectations and paradigms in the process. ********************************** Boomkat Product Review ********************************** Blinding debut volley of industro-dub and free-jazzed electronics by Kenyan prodigy Leon Duncan - a peer of the incredible Duma - unveiling a shockingly distinctive style for NNT’s Hakuna Kulala sibling. Imagine Slikback toe-to-toe with Actress, dubbed to tape by Klein and then piped thru Equiknoxx's FX chain >> Absolutely following his nose for radical electronic music, Duncan delivers one of the most thrilling new albums of 2021 with nine blasts of algorithmic shrapnel gelled into freakish, pranging arrangements pieced together after getting kicked out of his apartment for being too loud and writing personal soundscapes that matched the rhythmic chaos of East African club music with the physical intensity of harsh noise and grindcore. It all stems from research with software at his high school computer lab, which quickly resulted in him selling beats, with his urges eventually leading him off on more experimental tangents to extreme music, ultimately linking with Duma’s Martin Kanja and developing a perpendicular style of rhythm-driven and wildly atonal experiments. However, rather than anything self-consciously “i’m mad, me” styles, Duncan’s music feels like an urgent expression of independence, like he’s really searching for something, and is practically unbound by notions of trend; just doing what feels right, and resulting in what may be perceived as delirium in the process. Trust it’s not all frenetic, making room for slower strains of psychedelia in ‘Ching’ and Jahtarian digi-dubbing in ‘Nintendo Dub’, plus the beatless rendering of ‘Plugged in kalimba blues’, all lending a necessary balance to the rambunctious club suss of ‘Rucio’ with its steamrolling percussion, or the likes of his breathless tumble in ‘Babur’, and the radical freeness of his searing leads and skewed Singeli-esque rhythms in ‘Digital Drug.’ When the album comes to a close on 'Acute Psychosis', with its pineal stroking synths and tweaked woodblock rhythm (part East African culture musiq and part first wave dubstep), there'll be no doubt in your mind that Leon Duncan's operating on another plane entirely - showing up so much contemporary Western club and electronic music as boring line-dance reenactments. It’s real deal upfront gear for 2021 = devour without delay. released August 20, 2021 Mastered by Declared Sound Artwork by Kid Gringo
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Аудиокодек: FLAC (*.flac)Тип рипа: tracks Продолжительность: 35:49 Наличие сканов в содержимом раздачи: cover Tracklist: 01. Wulffluw XCIV - Kuama (3:40) 02. Wulffluw XCIV - Ash Bay (3:34) 03. Wulffluw XCIV - ii (3:38) 04. Wulffluw XCIV - One54 (3:26) 05. Wulffluw XCIV - Turberarossa (4:06) 06. Wulffluw XCIV - Bara (2:40) 07. Wulffluw XCIV - Nyege Digital Immersion (3:22) 08. Wulffluw XCIV - Durilla (2:33) 09. Wulffluw XCIV - Transmitted Quartal (3:22) 10. Wulffluw XCIV - Endelea (5:29) 24Bit Absolutely killer 10-tracker debut album on Hakuna Kulala by Russian avant-club producer and DJ Wulffluw XCIV. Designed to cause serious cerebral and physical damage on dance floors across the world, due for release on Hakuna Kulala. Innovative and genre-blending, Wulffluw XCIV incorporates industrial/EBM techno and synthetized tones with dembow rhythms, kuduro and gqom to forge layered corporeal music with no geographical borders that feels vast. Each track is richly textured, surgically produced with agility and fierce finesse connecting a barrage of sounds and cultural influences plus high doses of playful and visual appeal. Wulffluw drops multiple emotional club bangers that are intriguing and jittery, marked by the front, harsh and unrelenting percussions, and enriched with repetitive sonic explosions, haunting vocals, cyberpunk ambience, and emphasized loud-soft dynamics. Standout tracks include Ash Bay and the psy-trancy Endelea. Check out the video for the first track here With this album that was started to be produced during his residency at Nyege Nyege Studios in Kampala following the 2019 edition of the label's annual festival, Wulffluw XCIV's reveals a vigorous artistic sensitivity defined by his interest in connecting disparate communities and diasporic styles. In the past he has collaborated with musicians from all over the world, among others Ink Midget, Santa Muerte & Rafa Maya, Blastah, Nahshi, Yoshitaka Hikawa, AN System, Icy Flame, and Whiterose. Video for 'Nyege Digital Immersion' here: youtu.be/RnH1lsgpYe4 released October 30, 2020 Mastered at Declared Sound
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Аудиокодек: FLAC (*.flac)Тип рипа: tracks Продолжительность: 31:00 Наличие сканов в содержимом раздачи: cover Tracklist: 01. Don Zilla - Full Moon (2:22) 02. Don Zilla - Tension (3:48) 03. Don Zilla - Automated (3:24) 04. Don Zilla - Buziba (3:16) 05. Don Zilla - Entambula (3:07) 06. Don Zilla - Shots (4:06) 07. Don Zilla - Moving Space (4:02) 08. Don Zilla - Bujingo (3:16) 09. Don Zilla - Ekivuuma (3:38) 24Bit A few years ago, Don Zilla was sat alone in an internet cafe teaching himself FL Studio, dreaming of becoming one of Africa’s greatest music producers. These early experiments evolved into 2019’s “From the Cave to the World”, an EP that showcased Zilla’s rare fusion of eerie industrial electronics, lurching bass and constantly shifting East African rhythms. Now the manager of Kampala’s Boutiq Studios, Zilla returns to Hakuna Kulala with his eagerly-awaited debut album “Ekizikiza Mubwengula”, a labyrinthine album that weaves freewheeling dance sub-genres into a bejewelled tapestry, signalling a path to the future. There’s the cybernetic ‘nuum funk of dBridge, Empty-set’s overdriven, cacophonous anxiety, the hyper-paced airlock club of Shanghai’s Hyph11E and the confrontational intensity of Dreamcrusher; everything is melted into a groove-fwd whole that’s tough to resist. Tangling trap into slippery, atmospheric doom-step on ‘Buziba’, experimenting with uptempo, Slikback-es-que rhythmic complexity on ‘Tension’ and reshaping noisy industrial ambience on ‘Shots’, Zilla uses the album to continuously challenge expectations, folding sounds in on themselves Inception-style and allowing fresh rhythms, textures and forms to peek through. It’s a bold step from a central character in East Africa’s rapidly-growing stable of paradigm-shifting experimental club producers. released June 18, 2021 Mastered by Declared Sound Artwork by Kidgringo
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Аудиокодек: FLAC (*.flac)Тип рипа: tracks Продолжительность: 36:42 Наличие сканов в содержимом раздачи: cover Tracklist: 01. Scotch Rolex - Omuzira (ft. MC Yallah) (3:19) 02. Scotch Rolex - Success (ft. Lord Spikeheart) (3:30) 03. Scotch Rolex - Cheza (ft. Chrisman) (3:18) 04. Scotch Rolex - Nfulula Biswa (ft. Swordman Kitala) (2:24) 05. Scotch Rolex - Afro Samurai (ft. Don Zilla) (3:50) 06. Scotch Rolex - Tewari (3:29) 07. Scotch Rolex - Juice (ft. MC Yallah) (3:27) 08. Scotch Rolex - U.T.B. 88 (3:07) 09. Scotch Rolex - Sniper (ft. Lord Spikeheart) (3:12) 10. Scotch Rolex - Wa Kalebule (3:12) 11. Scotch Rolex - Lapis Lazuli (ft. Lord Spikeheart) (3:54) 24Bit Veteran Japanese producer Shigeru Ishihara (aka DJ Scotch Egg) has been assembling serrated, genre-busting ear bleeders for almost two decades, and arrives to the Hakuna Kulala stable with a crucial new project: Scotch Rolex, named after the popular Ugandan street food. On "Tewari" the Berlin-based noisemaker melts his breakcore, gabber and chiptune background into a fresh palette of influences, with help from collaborators MC Yallah, DUMA's Lord Spikeheart, Swordman Kitala, Chrisman and Don Zilla. The record was assembled after Ishihara was invited to Uganda for a residency at the Nyege Nyege Villa in 2019. Exposed to Hakuna Kulala's family of artists, the producer began experimenting, twisting trap and dancehall rhythms with 8-bit immediacy and the ragged energy of grindcore. Somehow he has managed to distill the essence of Nyege Nyege's scene-shaping yearly festival, where global dance and experimental forms come together under a banner of East African musical experimentation and physicality. Ishihara is no stranger to collaboration; in recent years he's been spotted working with King Midas Sound's Kiki Hitomi in dub-pop outfit WaqWaq Kingdom and playing bass with electro-shoegaze pioneers Seefeel. But Scotch Rolex is his most ambitious project to date, jumping seamlessly from slithering doom trap ('Omuzira') to anxious hyper-fast electro death metal ('SNIPER') to breathless Ugandan club ('Afro Samurai') and beyond without stopping for breath. Whether crafting rhythms for MC Yallah's tongue-twisting rhymes, Lord Spikeheart's hoarse, guttural screams or Swordman Kitala's familiar sing-along chants, Ishihara feels completely at home with his collaborators and celebrates their presence. "Scotch Rolex & Co." is a love letter to Hakuna Kulala from one of experimental dance music's true originals, it's a joyful rumination on the fluidity and versatility of electronic music that manages eclecticism without ever sacrificing coherence. released May 28, 2021 Masters at Delcared Sound Artwork by Kid Gringo
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Аудиокодек: FLAC (*.flac)Тип рипа: tracks Продолжительность: 10:45 Наличие сканов в содержимом раздачи: cover Tracklist: 01. Oyisse - Dark Side (3:02) 02. Oyisse feat. Sekelembele - Ekopola (2:48) 03. Oyisse - Pema (2:35) 04. Oyisse - Skunk (2:20) 24Bit Launching Hakuna Kulala's new club white label series, is young Congolese, Kampala-based DJ & producer Oyisse. Oyisse drops a pure gem of a debut EP featuring 4 fresh tracks of slower and somber forward-thinking club music bridging abstract electronics, obscure gqom and trap with various Central African influences, rude esoteric voices from Congolese singer, Sekelemebele and a cascade of futurist imagination. A clever, harmonious balance of kicks and sophisticated experimentation that will grace our ears and bodies on the floor. BOOMKAT REVIEW Hakuna Kulala kick off a new white label series with the pressurised debut from Congolese, Kampala-based DJ/producer Oyisse with four kongo tekno drillers Chasing up that zinger from Leon Duncan, ‘Elembo’ extends a fierce introduction to Oyisse’s inch-tight mutations of gqom, dancehall and Congolese rhythms, including a barking banger starring the hoarse bars of Sekelembele. It’s proper, upfront body music in a guess-again style that Nyege Nyege Tapes’ sibling label Hakuna Kulala have taken to heart, offering a strong taste of nightlife in the Ugandan capital that’s bound to catch fire in clubs across the world. The two A-side cuts hew to a slower dancehall/dembow tempo, with the staggered kicks and grinding flow of ‘Dark Side’ echoing Afro-Caribbean currents as much as industrial mutations from Shanghai, while ‘Ekopola’ hits with the might of The Big productions, placing urgent Sekelembele vocals on a shark-eyed blend of ragga and gqom rhythms articulated with a tekno intensity. No doubt the B-side keeps it lip-bitingly on point, squaring up craftier staccato drums recalling Nazar’s hard kuduro rhythms in ‘Pema’, while ’Skunk’ exerts a danker spin on the kind of gqom experiments explored by Menzi, but again taking it back to source in Congolese rhythms. Stone cold tip! released August 27, 2021 Artwork by Kid Gringo Mastered at Declared Sound
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Аудиокодек: FLAC (*.flac)Тип рипа: tracks Продолжительность: 9:54 Наличие сканов в содержимом раздачи: cover Tracklist: 01. Biga Yut - Cash Boss (2:26) 02. Biga Yut - Kampala (2:23) 03. Biga Yut - Vamparina (2:04) 04. Biga Yut - Motor Version (3:03) 24Bit Ugandan MC Biga Yut is a pivotal member of the Hakuna Kulala family. Raised in the Gaba ghetto just next door to Nyege Nyege's studio, Yut contributed to Ecko Bazz's incendiary 'Tuli Banyo' before dropping his own debut EP "Walah" last year. Now he's back with a fresh set of genre-fritzed soundsystem burners that frame his tongue-twisting rhymes against a backdrop of cyberfunk club futurism. "Cash Boss" is a collaboration with HHY & The Kampala Unit's Jonathan Uliel Saldanha, who under his new DJ Lithium moniker kindles the embers of dancehall, reggaeton and UK funky and offers Yut an open-ended sonic universe to traverse. The result is almost crossover pop from a parallel world, as Yut trades unexpected, infectious hooks and breathless bars over Saldanha's electric neon club constrictions. Anyone looking for future-facing dance music that's got the textural intensity of industrial noise, the rhythmic pressure of gqom and the earworm infectiousness of Atlanta trap, "Cash Boss" has you covered. released March 12, 2021 Mastering by Declared Sound Artwork by Lithium
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Аудиокодек: FLAC (*.flac)Тип рипа: tracks Продолжительность: 39:15 Наличие сканов в содержимом раздачи: cover Tracklist: 01. Tony Gallardo - Bruja (4:08) 02. Tony Gallardo - Lider Juvenil (4:24) 03. Tony Gallardo - Mi Pesa (3:30) 04. Tony Gallardo - Tormento (3:36) 05. Tony Gallardo - Kibosé (3:58) 06. Tony Gallardo - Plata O Plomo (3:51) 07. Tony Gallardo - La Conquista (4:10) 08. Tony Gallardo - Violentao (5:01) 09. Tony Gallardo - Ultra (Hakuna Kulala) (3:13) 10. Tony Gallardo - Club Negro (3:25) 24Bit Enigmatic pop outsider Tony Gallardo makes music that's perpetually perched on the outskirts of Mexico's fertile electronic underground. Since 2008, he has been releasing music that inhabits its own artistic universe, a cross between Frank Zappa, Daniel Johnston, The Knife, OutKast and Rosa Pistola. He co-founded the Cocobass label, pioneered the fusion of L.A. noise and cumbia known as ruidosón and has released music under a plethora of monikers: dark techno as Boi Patrol, ramshackle electronic pop as María y José, experimental surf rock as El Capricho and experimental dembow as La Fiebre X. "Selected Works" assembles some of Gallardo's most crucial material from a run of EPs released between 2008 and 2013. These tracks show the breadth of his output, running through sleazy, neon electro ('Bruja', 'Mi Presa'), neck-snapping tropical dance music ('Kibosé', 'La Conquista'), and eerie Mexican trap ('Plata O Plomo', 'Ultra'). It's introspective, haunted music from one of Mexico's most original and most under-appreciated artists that paints a picture of a psychedelic musical landscape that's hard to resist. One listen to the album's closer 'Club Negro', originally released in 2013, should tell you all you need to know. This track is the perfect introduction to the world of Tony Gallardo, with screwed 'n chopped Spanish vocals, doomy syncopated beatbox rhythms and wobbly houseparty electronics. released January 14, 2022 Artwork: Tony Gallardo Mastered at Declared Sound
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Аудиокодек: FLAC (*.flac)Тип рипа: tracks Продолжительность: 9:51 Наличие сканов в содержимом раздачи: cover Tracklist: 01. 3xOJ feat. Al Nasser - Amikiri (3:33) 02. 3xOJ feat. Al Nasser - Stork (3:00) 03. 3xOJ - Stork (Don Zilla Remix) (3:18) 24Bit Raised in the Moroccan city of Meknes and currently based in Casablanca, 3xOJ is a producer and DJ who folds decolonial North African concepts into genre-bending contemporary bass music. Following his fascinating 2019 debut EP 'sneper.exe' and a slew of collaborations with Sam Fan Thomas , TAIJI SCIN and others, 3xOJ returns with "Stork", a molten fusion of collapsing beats, urgent sociopolitical rap and the omnipresent ghosts North African folk styles. The title track is a collaboration with Casablanca's Nabil Enmiri, aka Al Nasser, a rapper who has been mapping out the country's systemic oppression since 2004. On 'Stork' he snarls over 3xOJ's eerie cyberpunk minimalism, adding a poetic foundation to the duo's music that links decades of Moroccan musical culture. The EP is an ode to the power of lyricism, dedicated to legendary Algerian raï singer Cheb Hasni. The EP also comes with a garbled, ass-shaking rework of the title track and 3xOJ instrumental production 'Amikiri' by Hakuna Kulala regular Don Zilla. released July 9, 2021 Mastered at Declared Sound Artwork by Kid Gringo
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Аудиокодек: FLAC (*.flac)Тип рипа: tracks Продолжительность: 26:40 Наличие сканов в содержимом раздачи: cover Tracklist: 01. Adomaa - You Used To Love Me (Intro) (3:29) 02. Adomaa - In The Clouds (3:23) 03. Adomaa - Smoke & Mirrors (3:28) 04. Adomaa - Circus (4:14) 05. Adomaa - Crash (4:10) 06. Adomaa - Utopia (4:38) 07. Adomaa - Beginning Again (3:18) Since 2015, Ghanaian/Nigerian artist and performer Joy Onyinyechukwu Adomaa Serwaa Adjeman, better known simply as Adomaa, has been impressing listeners with her instinctual fusion of Afro-jazz, highlife, neo-soul and experimental sounds. Her first long-form release, the impressive "Afraba" EP, arrived in 2016 and highlighted Adomaa's interest in a wide spectrum of music, from pop and rock to classical. She also made waves on the big screen, taking a significant role in 2017's "Bad Luck Joe". But after winning awards in Ghana and achieving international acclaim, she realized she needed to take a step back and reconsider her priorities. After a three-year struggle with depression, she returned to the spotlight in 2020 with "Barely Adomaa", a compilation of older unreleased songs that made up the first part of a proposed trilogy of releases that deals with her struggles and passions head-on. Simultaneously, Adomaa also re-emerged as an actor, taking the titular lead role in popular TV show "Dede". Now, Adomaa is ready to reveal the ambitious second installment in her triptych: an audiovisual, theatrical selection of heartfelt tracks that waves cinematic smoke around Adomaa's delicate, vulnerable and soulful lyrics. Imagined as not just an album, but a short film, a documentary and a three-hour music that fully explores Adomaa's complex journey, "Becoming Adomaa" is an expressive, emotional narrative from an artist who refuses to wall herself in to just one mode of expression. Just as her earliest music nudged into different genres and styles, "Becoming Adomaa" uses Adomaa's wide-ranging talents to tell a multi-faceted story of rebirth and perseverance in the face of challenge. It begins with the minimal and unsettling 'You Used To Love Me', a widescreen, scene-setting track that brings listeners up to date with Adomaa's mindset and journey. After explaining how she wishes she'd made music just for herself instead of to please others, Adomaa introduces a tight chronological mashup of her back-catalogue, plunging us into her creative universe while concurrently cleansing herself of her past. Led by an evocative and subtly joyful vocal rhythm, 'In the Clouds' is indicative of the level of magic is capable of creating. Both unashamed operatic pop and coolly experimental soul, the track showcases Adomaa's range and is as memorable as any glittering movie theme; 'Circus' is even more poised, decorating Adomaa's characteristic voice with carnivalesque instrumentation and downtempo jazz groans. It's her light touch that's most impressive: on 'Crash' she signals to highlife history with the most delicate whisper, using a gossamer woodblock beat and joyful acoustic guitar riffs to carry her soaring vocals. Saving orchestral flourishes until the song's final act, she recounts the period of her life when she gave up on music and was looking for something different. Adomaa found her salvation when she was cast in a Nigerian TV series, and she explains this in 'Utopia', before bringing us right up to the present moment on the jazzy closing track 'Beginning Again'. Motivated by her own desires and making music on her own terms, Adomaa has never been more driven in her creative odyssey. "Becoming Adomaa" is a fresh start that doesn't seek to erase the past, but build on it towards a future that's completely unwritten. released November 16, 2022
----------------------- foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Аудиокодек: FLAC (*.flac)Тип рипа: tracks Продолжительность: 1:13:24 Наличие сканов в содержимом раздачи: cover Tracklist: 01. DJ Iche - Side A (35:44) 02. DJ Iche - Side B (37:40) 24Bit Sickest Kenyan drill/genge/rap crud from DJ Iche, racking up her first international release with Hakuna Kulala. Unflinchingly upfront and echoing the viral US/UK sound, but mostly rapped in Bantu Swahili, ’Nai Yetu’ is an unmissable introduction, where needed, to the world of Kenyan urban music. It stars a stellar roll call of Nairobi's hottest drill rappers; Natty, Buruklyn Boyz, Dyana Cods, Jovie Jovv, Da Vaji, Tulia, Wakandinali, Mbogi Genje - as well as select cuts of the more dancefloor-primed Gengetone sound from the likes of Mbogi Genje / SWAT/ Kenya Sihami/ Oksyde, and contemporary Kenyan “urban”, such as Nah Eeto / Monski/ Oksyde ft. Ares66 - BAZUU/ Mastar VK, for 74 minutes of properly crucial listening. released December 1, 2021 Artwork by Kind Gringo Mastered at Declared Sound
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Аудиокодек: FLAC (*.flac)Тип рипа: tracks Продолжительность: 21:01 Наличие сканов в содержимом раздачи: cover Tracklist: 01. Chrisman - Hewa (3:12) 02. Chrisman - Mada (3:15) 03. Chrisman - Mlinzi (3:15) 04. Chrisman feat. Yunis - Ku Mwezi (5:21) 05. Chrisman - Mukwano Gwange (2:53) 06. Chrisman - Lamuka (3:06) 24Bit If you haven't heard of Chrisman yet, in 2021 that's all about to change. The rising Congolese producer is one of East Africa's most low-key innovative talents, firing off tracks that tear down the borders between ggom, taraxina and Afrohouse. He's currently at the helm of the Nyege Nyege/Hakuna Kulala studios in Kampala, and judging by the sounds presented his debut EP "Ku Mwezi", it's easy to hear why. "Ku Mwezi" is the Congolese producer's chance to express his expertise at constructing unique ggom and trap influenced Afrohouse mutations. It's a set of moody dance-floor weapons that fuse the late nite darkness of ggom with trap's trunk-bumping low end and the rhythmic swing of Afrohouse. Opener 'Hewa' sets the bar high, welding Ibiza synths and rushing pill-munching white noise blasts to blood-curdling drones and squelching, breathy percussion. 'Mlinzi' expresses Chrisman's dark side, as he knocks holes out of the gqom template, pushing airlock atmospheres into the gaps, while 'Mada' expresses his love of trap, with rolling kicks punching through a blanket of scraping industrial noise. On the title track, he links up with Cairo's Yunis, an influential producer who has an experimental take on the Egyptian Mahraganat dance mode. It's a perfect union of sounds: Chrisman's unsettling atmospheres and innovative rhythmic tweaks balance Yunis's Egyptian percussion and microtonal warbles, resulting in a slithering downtempo banger that reverberates through the African continent. ****BOOMKAT PRODUCT REVIEW***** A new addition to the Hakuna Kulala family, Congolese producer Chrisman torches the borders between gqom, trap, taraxina and Afrohouse on his debut release 'Ku Mwezi' - a potent club cocktail that's one part Slikback, one part DJ Lag and one part DJ Plead = next gen dancefloor futurism. Erupting in a haze of trance arps, gqom-influenced kicks and convulsing synths, 'Hewa' is an apt introduction to Chrisman's musical star system. Currently the in-house engineer at Nyege Nyege's villa studio - having recently replaced Don Zilla - he brings serious technical knowhow to the kind of cybernetic next-wave intensity familiar from Kenyan wunderkind Slikback, slowing gqom to a ruff crawl, cross pollenating it with Atlanta trap and double-timing it into frenetic hard dance. The title track offers a curveball; a collab with Egyptian mahraganat alchemist Yunis that evolves from a molasses-slow Cairo template into eerie, synth-led 2CB nightmare fuel. It's a midpoint between 3Phaz's furious electro-mahraganat hybrids and Jasmine Infiniti's aerated, midnight electronix, but without any easy payoffs. 'Lamuka' and 'Mukwano Gwange' lock into a Durban rattle, slicing into the template and introducing weightless vocals and synths, anxious percussion and nauseous atmospherics. Chrisman once again demonstrates East Africa’s rich seam of delirious club invention. The Hakuna/Nyege axis is basically untouchable, still. released November 5, 2021 Mastered at Declared Sound Artwork by Kid Gringo
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Аудиокодек: FLAC (*.flac)Тип рипа: tracks Продолжительность: 14:23 Наличие сканов в содержимом раздачи: cover Tracklist: 01. Makossiri - Juicy Juicy (2:50) 02. Makossiri - Lifeline (2:41) 03. Makossiri feat. Blaq Bandana - AEIOU (1:48) 04. Makossiri - Moving On (2:16) 05. Makossiri - Tek Ka (2:42) 06. Makossiri - Ossiris Drums (2:07) 24Bit Erupting in a high-pressure spray of pummeling kicks, metallic industrial percussion and disorienting alien vocals, Makossiri's debut EP is a fearless introduction to her unrestrained DIY narrative. Born in Kenya, the Kampala based producer and DJ draws on a wide range of musical and cultural interests, from hard techno and extreme noise to folk-punk and traditional African sounds, spiking these raw ingredients with radical politics, Egyptian mythology and Afrofuturism. "Juicy Juicy" is her first attempt at production, and documents her uncynical excitement and ambition. An accomplished and intrepid DJ, she produces with a similarly borderless mindset, curling eccentric club rhythms and foundation-rattling rap with sheet noise, anxious drone and a widescreen sense of storytelling. Fractured East African experimental club cuts like 'Lifeline' and 'Moving On' are as propulsive and futuristic as her Hakuna Kulala labelmate Slikback, with seismic, dancefloor-demolishing bass and awkward, robotic synths meeting in almost ceremonial grandeur. On 'AEIOU' however, she strips her sound back to the bare essentials, allowing Ugandan rapper BLAQ BANDANA to take the spotlight. He shifts rhymes between Makossiri's fuzzed woodblock bumps and eerie synth drones, impressing again after an electrifying appearance on STILL's "KIKOMMANDO". Most surprising is the EP's closing track 'Ossiris Drums' that looks to Cairo with its rousing mahraganat-inspired beat that slides it alongside music from Egyptian innovators like 3Phaz and Dijit. *** Boomkat Review *** Drawing on Egyptian mythology, Afrofuturism and radical politics, Kenyan DJ and producer Makossiri impresses with an unhinged rattle of pneumatic techno, industrial noise, post-punk and experimental club sounds. Like the best Hakuna Kulala material, it's tough to classify, or ignore. It's hard to believe that 'Juicy Juicy' is Makossiri's debut release, her productions are anything but rudimentary. She's clearly had an expansive and diverse musical education, and channels her expertise as a DJ into her wide-ranging productions; the title track sets her vox - somehow in the same sphere as Warrior Queen’s killer album sessions with Marina Rosenfeld - over rolling kicks and clanking metallic percussion, while 'Lifeline' decompresses into a musical airlock of thumping drums and acidic DSP and 'AEIOU' pastes BLAQ BANDANA's laconic flow over an overdriven punk-trap exo-skeleton that sounds as if it's been cut from rusted metal sheets with a bandsaw. Things only get stronger from here: 'Moving On' sounds like Makossiri's Hakuna Kulala labelmate Slikback but with a chaotic punkishness expressed in the collapsing prismatic rhythms and fuzzy low-end rolls, while Tek Ha' switches the pace completely, pushing an Afro house rhythm into the void and using echoing vocal loops to conjure a moonlit ritual. Makossiri saves the best for last with 'Ossiris Drums', drawing on Egyptian themes to construct her version of Cairo's innovative mahraganat, building hollow, propulsive rhythms and slowly feeding in grinding, disorienting white noise. *********************** Dubplates are cut at MAP Charity// Leeds. An alternative education provider working with young people who are unable to access the mainstream school system. Based at Hope Foundry in Leeds, MAP is also the home of the legendary Cosmic Slop Sound System and Leeds Producer Forum which help raise money for the charity. Mastered by Dominic Clare at Declared Sound, also based at Hope Foundry. All profits from the dubplates are donated to support the education programme. released October 1, 2021 Artwork by Kid Gringo Mastered at Cut at Declared Sound // MAP Leeds
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Аудиокодек: FLAC (*.flac)Тип рипа: tracks Продолжительность: 35:26 Наличие сканов в содержимом раздачи: cover Tracklist: 01. Authentically Plastic - Aesthetic Terrorism (3:54) 02. Authentically Plastic - Anti-Fun (5:10) 03. Authentically Plastic - Paranoid Intuition (4:02) 04. Authentically Plastic - Spine Jolt (3:50) 05. Authentically Plastic - Buul a'Nyich (4:19) 06. Authentically Plastic - Sakata (3:43) 07. Authentically Plastic - Instigator Barbie (3:10) 08. Authentically Plastic - Buul Okyelo (4:01) 09. Authentically Plastic - Chaosmos (3:19) 24Bit "RAW SPACE" is rooted in chaos and chance, sensuality and intensity - it's an album that's able to sound alarmingly freeform and tightly controlled simultaneously. Already established as a genre-disrupting DJ, and even dubbed "demon of the Nile" by Ugandan politicians after an exuberant performance at Nyege Nyege festival in September 2019, Kampala-based sonic hypnotist Authentically Plastic brings a digger's literacy, an activist's intent, and an artist's playfulness to their jagged debut album. As both a DJ and a producer, Authentically Plastic is drawn to the idea of chance as a creative tool - to push against the idea of the all-knowing genius, and approach artistry instead as a facilitator, unraveling parallel mismatched rhythmic events. Their musical process is to start with chaos, then attempt to mold those fleshy structures into polyrhythmic mutations, pulling influence from East Africa's innovative musical landscape and augmenting it with an exploratory sense of surrealism. On opening track 'Aesthetic Terrorism', rough-hewn industrial rhythms chug mechanically against course, dissonant synth blasts and acidic arpeggios. There's a faint sparkle of Detroit's chrome-plated Afro-futurism, but bathed in neon light, reflecting Africa's contemporary electronic revolution. Authentically Plastic's productions have a sense of thematic coherence, but their myriad influences are torched into cinders, leaving inverse impressions and ghost rhythms: the tuned overdriven clatter of 'Anti-Fun' echoes Ugandan kadodi modes, yet simultaneously mirrors the rugged out-zone grit of Container or Speaker Music; standout centerpiece 'Buul Okyelo' meanwhile is as rhythmically cross-eyed as Slikback or Nazar, but juxtaposes kinetic dancefloor thumps with chaotic microtonal ritual cycles. Writing "RAW SPACE", Authentically Plastic found themselves fascinated by sonic flatness. They realized that in Western art, there's an obsession with depth of field that carries into music, robbing it of intensity. The album is an example of the power that can be reclaimed when you let go of depth, letting sounds rub together carnally and spawn something fresh and unexpected released September 16, 2022 Artwork by Angelo Dolojan Mastered at Declared Sound
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Аудиокодек: FLAC (*.flac)Тип рипа: tracks Продолжительность: 34:58 Наличие сканов в содержимом раздачи: cover Tracklist: 01. Chrisman - Alarmed For Passion (3:21) 02. Chrisman - Angels Of Kivu (3:45) 03. Chrisman - Apana Gusa (4:15) 04. Chrisman - Fatiliya (3:08) 05. Chrisman - Haaa-Hooo (2:57) 06. Chrisman - Lupupu (3:36) 07. Chrisman - Makila (2:25) 08. Chrisman - Mazingira Is Bleeding (3:48) 09. Chrisman - Njiya (4:25) 10. Chrisman - No Umeme (3:19) 24Bit While Chrisman's "Ku Mwezi" ep mostly explored gqom and trap influenced Afrohouse mutations, his debut album heads in a different direction. On "Makila", Chrisman provides an experimental vision of the taraxina sound: a molasses-slow fusion of the Angolan kuduro and kizobma dance templates that dips in-and-out of fuzzy drones and syrupy gqom. On 'Angels of Kivu', he pushes the clicking skeletal rhythm into the background, allowing electrified likembé melodies to take pride of place. It sounds like Congolese legends Konono No.1 shocked into a psychedelic electronic future by way of Durban. 'Fatiliya' pushes more solidly into taraxina territory, with familiar saw synths accenting low 'n slow kicks and air blast leads. The backbone is Angolan, but Chrisman approaches his music with a full awareness of Atlanta trap and gqom, never ignoring the gut-rattling pressure of sub bass. That's never more evident than on the title track, where he constructs a haunted atmosphere of bells and drones to sit beneath staccato percussive hits and and winding drill slaps. "Makila" is challenging music that takes divergent African forms and melts them together with next level skill and sleight of hand. It's another bold step for East African electronic music that underscores the wild creativity and talent emerging from the Democratic Republic of Congo. released June 24, 2022 Artwork by Kid Gringo Mastered by Declared Sound
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Аудиокодек: FLAC (*.flac)Тип рипа: tracks Продолжительность: 23:41 Наличие сканов в содержимом раздачи: cover Tracklist: 01. Mbulelo - Play The Beat (4:59) 02. Mbulelo - Kalibre (5:32) 03. Mbulelo - Uranus (6:48) 04. Mbulelo - God's Groove (6:23) 24Bit Twenty-six year old South African producer Mbulelo Mehlomakhulu grew up with a passion for house music. He began releasing music early at only 18, working with Blaque Core's Profound Nation and issuing a slew of records under the Xerophytic Soul moniker. Achieving local and global success with tracks like 'Ancient Cultures', he began to pioneer a more experimental sound - a cross between Durban's dark, propulsive gqom sound and vintage Detroit techno. This forward-thinking composite didn't go unnoticed, and Mehlomakhulu was tapped by Derrick May to release "The Robotics People" EP on Transmat in 2018. Now Mehlomakhulu returns with four stargazing hybrid compositions that again dance in the shared sonic space between Detroit and Durban. Gqom's slow, sensual pulse carries 'Play the Beat' with chants and echoing cowbell smacks swallowed into a wormhole of squashed analog bass and reverberating Underground Resistance stabs. Title track 'Kalibre' is less florid, but commands the dancefloor with clattering South African drums, ballroom slams and the ticking urgency of Chicago's DJ Sneak. 'Uranus' and 'God's Groove' lift the dancefloor to a higher plain, spiritually connecting with Carl Craig's historic early run and layering synthetic neon pads and cinematic shimmering effects. Mbulelo's sound is smart and poignant, and completely his own. By linking contemporary South African dance music to Detroit's pioneering 1980s techno vision, he makes a connection that's never felt more current. Boomkat Product Review: Highest grade club moves from SA’s Mbulelo, chasing a sorely slept-on 12” for Transmat with four unmissable, deep house and gqom-adjacent bullets for Hakuna Kulala, First spotted by keener heads on a stunning 12”, ‘Robotic People’ for Detroit’s legendary Transmat in 2018, Mbulelo has been cutting rug since at least 2013 under the Xerophytic Soul alias, responsible for some of the decade’s best broken beat/gqom/deep techno mutants you’ve never heard. In 2022 Mbulelo puts his bad foot fwd again for NNT’s Hakuna Kulala sibling, working up a slick sweat with masterful body control in each part thru swingeing, propulsive, encrypted African rhythms galvanised by cutting edge electronics. A wee story for ya: this writer was spinning an Mbulelo track at 7am at Nyege Nyege Festival, 2018 when the Nile rain gods arrived after 3 days without. Hakuna Kulala however took a track ID and reached out to Mbulelo, hence this release. And it’s a fucking pearler! ‘Play The Beat’ set the tone with a killer cowbell and neuro synth-driven zinger gwan like Leonce’s brother from a different mother, before ‘Kalibre’ comes thrillingly harder with militant, gqom-like log drums and biting-point synths that slay the floor. The Detroit-toned pads and slinkier gait of ‘Uranus’ are perhaps closest to the deep technoid sensuality and proggier house traction of his Transmat 12” - a super classy antidote to gqom’s brutalism - and ultimately leads to the suspenseful depths of ‘God’s Groove’, with trancey pads and weightless rhythm precipitating a masterfully refined permutation of South African deep tech futurism. TIIIIIP! released August 5, 2022 Mastered by Declared Sound Artwork by Kid Gringo
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Аудиокодек: FLAC (*.flac)Тип рипа: tracks Продолжительность: 34:29 Наличие сканов в содержимом раздачи: cover Tracklist: 01. Troposphere 7 - Boda Boda Ride (4:10) 02. Troposphere 7 - Butu Na Moyi (3:29) 03. Troposphere 7 - Mwinda (3:13) 04. Troposphere 7 - Isabyre (3:45) 05. Troposphere 7 - Mpuku (2:45) 06. Troposphere 7 - Atmosfer (4:09) 07. Troposphere 7 - Fog (3:02) 08. Troposphere 7 - Korean Weather Report (3:31) 09. Troposphere 7 - Grey Parrots (6:25) 24Bit Back in 2007, ambitious Congolese scientist Jean-Patrice Keka Ohemba Okese established the Democratic Republic of Congo's first space program. He called his family of rockets "Troposphere", and used his own money to fund a series of launches that were progressively more complex. After learning from his successes and a few failures, Keka crowdfunded Troposphere 6 in 2019, intending to send a satellite into space to photograph the earth at a 200km altitude. "Troposphere 7" is MB Jones' dedication to the DRC's enigmatic space program, named after a rocket that has yet to be conceptualized. Jones - a former US special agent from Masachussets who defected to the Republic of Korea - is already notorious for his decompressed K-pop experiments on Feeding Tube and DRAMA, but "Troposphere 7" explores radically different territory. Recorded in Uganda with Hakuna Kulala's Rey Sapienz, it's a mysterious blend of electronic funk, dimly lit 4/4, and abstract, psychedelic textures. The first few seconds of opening track 'Boda Boda Ride' land us directly in Kampala, with the familiar sound of the city's motorcycle taxis eventually dissolving into white noise, synth drones and a squelchy Detroit-inspired rhythm. Like Actress's criminally underrated Thriller 12"s crossed with Kelis-era Neptunes, it's cosmic dance music that's grounded in the 2020s East African landscape. The sound extends further on 'Butu Na Moyi', dipping into pulsing 4/4 and echoing Digital Mystikz's bleakest dubs. 1980s movie soundtrack synths bubble over reverberating sci-fi FX on 'Mwinda', and rhythmic elements slowly disappear, giving way to 'Isabyre' with its mind-altering synth splatter and untangled percussive rolls. 'Atmospher' is deeper still, allowing gloomy interplanetary drones to wash over Jones' peculiar sonic landscape. He brings each element together on closing track 'Grey Parrots', finding a UK funky groove in textured environmental recordings, kalimba, and bleeping electronics. Cosmic shit. released July 1, 2022 Troposphere 7 is Rey Sapiens & MB Jones with additional input from Isabirye Henry and Oyisse Eun Young Ju Vocals on "Korean Weather Report" Tim Sheldon: Guitar on Grey Parrots. Tim Paugh on Isabirye guitar. Artwork by Kid Gringo Mastered at Declared Sound.
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Аудиокодек: FLAC (*.flac)Тип рипа: tracks Продолжительность: 33:19 Наличие сканов в содержимом раздачи: cover Tracklist: 01. Ecko Bazz - Mmaso (2:59) 02. Ecko Bazz - Twala (2:46) 03. Ecko Bazz - Lwakyi? (3:18) 04. Ecko Bazz feat. Slikback - Empungu Mubanga (2:42) 05. Ecko Bazz - Teli (3:12) 06. Ecko Bazz - Mugulu E'yo (2:05) 07. Ecko Bazz - Bikuba (2:38) 08. Ecko Bazz - Nkoowola (4:18) 09. Ecko Bazz - Sesamu (3:59) 10. Ecko Bazz - Twala (NOSTB Version) (2:48) 11. Ecko Bazz - Omubiri (2:34) 24Bit Since the appearance of his cult breakthrough debut Tuli Banyo released on Hakuna Kulala in 2018, Ugandan conscious rapper and MC, Ecko Bazz has challenged perceptions of East Africa's burgeoning rap scene. His style is hard to categorize blending elements of grime, dancehall and US hip-hop and twisting politicized lyrics in Luganda that explore violence, religion, drug abuse or the poverty in the Ugandan slums. This personality anchors his debut album Mmaso, an explosive call to action that balances his manic presence with production from MC Yallah collaborator Debmaster, Kenyan club futurist Slikback, Berlin-based Japanese beatmaker DJ Die Soon and the inimitable DJ Scotch Rolex. Mmaso is driven by Ecko Bazz's kinetic performance on the mic. Anyone that's had the privilege of seeing him live will know what to expect, and his unadulterated flow is immediately focused on the grinding title track. The rapper alternates freely between sober truths and hyperactive screams, flipping between intensity from verse to verse. On Lwaky?, an anxious Debmaster beat underpins Bazz's visceral hedonism bending his rhymes in double and half-time and wrenching his voice gymnastically over 808 booms and claps. There's a pause for breath on the more intimate Mugulu e'yo or the relatively restrained Empungo Mubanga where Slikback provides a breathy and minimal midnight trap rumble to couch the rapper's surreal exuberance. With DJ Die Soon's Bikuba, Bazz mimics the bouncy lead synth to command a presence that refuses to let you forget that, even at his most claustrophobic, he makes music that lives at the club. That's never more evident than on Nkoowola, a standout that made it to Nyege Nyege - Soundcloud Music for the Eagles compilation. Bright, powerful and charged with rebellious energy that resonates through East Africa and beyond. released March 18, 2022 Mastered By Declared Sound Photography by Ian Nyanzi Photo Editing by Lithium Beats Layout by Kind Gringo All tracks recorded by Chrisman All tracks produced by Debmaster except: Track 4 produced by Slikback Track 7 produced by Dj Die Soon Track 11 produced by Scotch Rolex *Additional Vocal production by Chrisman
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Аудиокодек: FLAC (*.flac)Тип рипа: tracks Продолжительность: 39:50 Наличие сканов в содержимом раздачи: cover Tracklist: 01. DJ Scriby - Goi (4:49) 02. DJ Scriby - Esheee!!! (5:18) 03. DJ Scriby - Friday 13th (4:44) 04. DJ Scriby - Igqom Libuye (4:17) 05. DJ Scriby - Ouuu1 (3:07) 06. DJ Scriby - Qumqum!!! (5:00) 07. DJ Scriby - S3 (3:13) 08. DJ Scriby - Siyangqongqoza (5:16) 09. DJ Scriby - The Night (4:06) 24Bit
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Аудиокодек: FLAC (*.flac)Тип рипа: tracks Продолжительность: 1:51:32 Наличие сканов в содержимом раздачи: cover Tracklist: 01. DJ Scriby - Goi (4:49) 02. DJ Scriby - Esheee!!! (5:18) 03. DJ Scriby - Friday 13th (4:44) 04. DJ Scriby - Igqom Libuye (4:17) 05. DJ Scriby - Ouuu1 (3:07) 06. DJ Scriby - Qumqum!!! (5:00) 07. DJ Scriby - S3 (3:13) 08. DJ Scriby - Siyangqongqoza (5:16) 09. DJ Scriby - The Night (4:06) 10. DJ Mariio - Gqom Nyege (3:04) 11. DJ Mariio - Pink Light (2:31) 12. DJ Mariio feat. Hot Chicks - Ngom ya Phesh (4:29) 13. DJ Mariio - IZandia (3:56) 14. DJ Mariio feat. Hot Chicks - umShini (4:10) 15. DJ Mariio - Ixhaphozi (3:58) 16. DJ Mariio feat. Hot Chicks - uSkukela (4:14) 17. DJ Mariio - Ubhuku (4:27) 18. DJ Skothan - The Gringo (4:40) 19. DJ Skothan feat. Phelimuncasi - Salut to Phelimuncasi (4:12) 20. DJ Skothan - Salut to DJ Lag (4:39) 21. DJ Skothan - Qhafaza (6:57) 22. DJ Skothan - Section A (4:06) 23. DJ Skothan - Shadow (5:13) 24. DJ Skothan - The King of Gqom (3:48) 25. DJ Skothan - Congo Dance (3:08) 26. DJ Skothan - Uzalo (4:10) 24Bit Highlighting the continuing evolution of Durban's globally influential gqom sound, this special trilogy of releases showcases three separate artists from South Africa's fertile musical landscape. The set captures a fresh wave of gqom innovation from veteran producer DJ Skothan aka DJ Scoturn, DJ Scriby, and 20-year-old DJ MaRiiO. DJ Skothan has been a key figure in Durban's underground scene for many years, producing alongside Phelimuncasi, Bhejani, Tweeyking, Lafaristo, MaRiiO and DJ MP3. His gqom and house tracks have quietly provided a rumbling engine for the city's scene, and "Nevegation" is his debut full-length, providing a complex diagram of his dancefloor versatility. This isn't the gqom you might expect to hear: immediately on opener 'The Gringo' familiar sounds - shovel kicks, chopped vocals, sampled gasps, horror movie strings - are shuffled into atypical patterns, creating jerky soundscapes rather than the expected four-on-the-floor bump. 'Salut to DJ Lag' pays respect to Durban's Beyoncé-approved pioneer, but twists the template into a propulsive new form, adding rolling and evolving percussion that teases fractal shapes each bar. But the album's most unexpected and forward-thinking moment arrives with the aptly titled 'The King of Gqom', a track that simmers the genre's percussive sounds into limber sci-fi club futurism, tweaking the bass sounds into patterns that nod to dubstep, Jersey club and ballroom. 25-year-old DJ Scriby has been working behind the scenes since 2013, assisting the first wave of gqom innovators promote their sound both inside Durban and beyond. In 2017 he joined London's Trax Couture to release "The Clermont EP", and here he introduces his long-awaited follow-up "Izingoma zeGqomu". Scriby's approach to gqom is well-studied and self-aware, which gives him the ability to stretch the sound's scope across the diaspora: just peep the Atlanta trap synths on the dynamic 'Friday 13th', or the absorption of tight grime snares on opening track 'Goi'. Scriby's engineering skill pushes his productions to the next level, lending slithering downtempo tracks like 'Ouuu1' and 'Igqom Libuye' a widescreen, big-room punch without losing the genre's undulating funk. And the producer even eyes the EDM mainstage with 'Qumqum!!', balancing saccharine synths with jerky kicks, claps and rolling toms. The youngest artist featured in the collection, DJ MaRiiO started producing when he was just 12 years old, watching YouTube production videos. "No one told me how to use FL Studio," he admits, "and no one helped me doing different genres." This might be why his music sounds so completely unique; the basic structure of gqom is still present, but MaRiiO augments these elements with youthful energy and carefree use of unusual sounds and production methods. "Zulu Man" opener 'GQom NyeGe' manages to mash together trance synths, DMZ bass and a driving woodblock rhythm that reminds you of its Durban roots, while the bizarre 'Ngom ya Phesh', featuring MaRiiO's regular collaborator Hot Chicks on vocals, pushes the gqom template into the red, with overdriven kicks and disorienting environmental sounds. All three records provide a 360 degree view of Durban's contemporary underground, nodding to the past, present and future of gqom. It's a genre that's constantly in flux as it moves from South Africa's bedrooms and basements to main stages and movie screens across the globe. released September 30, 2022 Mastered By Declared Sound Artwork by Kid Gringo
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Аудиокодек: FLAC (*.flac)Тип рипа: tracks Продолжительность: 42:58 Наличие сканов в содержимом раздачи: cover Tracklist: 01. Afrorack - Osc (4:31) 02. Afrorack - Last Modular (5:31) 03. Afrorack - Inspired (5:11) 04. Afrorack - Bass Plus (5:12) 05. Afrorack - Rev (3:26) 06. Afrorack - Why Serious? (9:50) 07. Afrorack - Cowbell (2:07) 08. Afrorack - African Drum Machine (2:34) 09. Afrorack - Desert (4:36) 24Bit Bamanya is responsible for building Africa's first DIY modular synthesizer, a huge wall of home-made modules and FX units that he dubbed, fittingly, The Afrorack. His reason for embarking on this difficult project was simple: as he began to investigate the world of modular synthesizers, he realized it would be difficult to acquire the technology in Uganda. Not only were there relatively few retailers across the whole of Africa, but the modules were often prohibitively expensive. After quick search online, Bamanya realized he could easily download circuit diagrams and buy the required parts locally, so he taught himself electronics and constructed a CV-controlled system that's been evolving ever since. "The Afrorack" is Bamanya's debut album and displays the producer's untethered creativity and restless energy. He's all too aware that these modules were developed with European and American musical styles in mind, so developed his own musical methodology and language to coax the system into suiting his needs. His starting points are often abstractions of acid and techno, but Bamanya curves East African rhythms and different scales into these familiar structures, splintering them into fractal shards. "I believe Africa is at that point where people are getting new tools which were not available to them, and then experimenting with them in a different context, because Africa has its own traditional music," he told Pan African Music back in 2019. This attitude is most evident on 'African Drum Machine', where Bamanya uses a Euclidean rhythm sequencer to divide his CV signals into complex algorithmic patterns that mimic the polyrhythmic structures that exist in many East African musical forms. If you're not listening closely it might sound like 4/4 techno, but focus your attention and you'll hear different layers of drums and jagged oscillators bouncing between each other creating hypnotic new rhythms. Bamanya takes a similar approach on 'Why Serious', fuzzing dubby basslines and plasticky percussive sounds into a frenetic hybrid of abstract electronics and fwd-thinking East African club sounds. At times, Bamanya's meditative, bass-heavy compositions echo the psychedelic sounds of Shackleton or Adrian Sherwood's African Head Charge, particularly on tracks like 'Inspired' and 'Last Modular'. With lysergic tonal shifts and precision-engineered drums, both tracks sound defiantly metallic, but sculpted by a producer who's always completely in control as he introduces risky eccentricities like feline groans and videogame blips. And on less beat-heavy tracks like 'Osc' and 'Rev', Bamanya makes a conscious nod to the history of modular music, approaching the kosmische universe of Popol Vuh, Klaus Schulze and Emeralds, augmenting it with East Africa's idiosyncratic rhythmic intensity. "The Afrorack" is the beginning of a conversation that's been long overdue. released May 27, 2022 Artwork by Kid Gringo Mastered by Declared Sound
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Аудиокодек: FLAC (*.flac)Тип рипа: tracks Продолжительность: 17:37 Наличие сканов в содержимом раздачи: cover Tracklist: 01. T5UMUT5UMU - Fireball (3:20) 02. T5UMUT5UMU - Desert (3:59) 03. T5UMUT5UMU - Sea Of Trees (6:10) 04. T5UMUT5UMU - Bottomless Valley (4:09) 24Bit Prolific Japanese producer T5UMUT5UMU has built up a reputation in the last few years for his ability not just to recreate club styles but to flip them into almost unrecognizable dancefloor hybrids. "Asyl" follows a blistering run of Bandcamp releases where T5UMUT5UMU has melted together gqom and techno, deconstructed grime and welded dubstep to traditional music from Japan and India. Here, he's operating completely off the grid, pulling raw materials from across the globe and hammering them into confounding shapes and patterns. On its surface, 'Fireball' sounds like a liquid metal approximation of South African gqom, but move in closer and you can make out dubstep bass squelches, trap hats, and industrial techno jet propulsion filling in the gaps with rubberized mortar. 'Desert' is the EP's most lightheaded cut, a psychedelic percussive spiral that curves micro-tuned mbira clangs around bee sting bass, aerated noise blasts and sub-aqueous kicks. It's a hard track to place, but fits in somewhere between Donato Dozzy, Menzi and 33EMYBW, all shifting rhythms and precision-edited sound design. 'Sea of Trees' retains this momentum, pushing the tempo and interspersing woodblock vibrations with syncopated bass drums and goosebump-inducing synths, while closer 'Bottomless Valley' shifts back into a gqom framework, shuffling the expected pulse with a powerful dembow swing, half step subs and Indian-inspired rattles. "Asyl" is a varied but shockingly coherent statement from an enigmatic producer who refuses to confine himself to a single path, and at a time when "cross-genre" is the norm rather than the exception, it's refreshing to witness a producer who's unafraid to truly make stylistic left-turns, rather than simply mash together top-level aesthetics. released November 18, 2022 Mastered at Declared Sound
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Аудиокодек: FLAC (*.flac)Тип рипа: tracks Продолжительность: 34:00 Наличие сканов в содержимом раздачи: cover Tracklist: 01. MC Yallah - Sikwebela (2:29) 02. MC Yallah - Miniboss (2:59) 03. MC Yallah - Tuli Mukintu (2:48) 04. MC Yallah feat. Ratigan Era - Sunday (2:40) 05. MC Yallah - Big Bung (2:54) 06. MC Yallah - Baliwa (3:19) 07. MC Yallah - Yallah Beibe (2:49) 08. MC Yallah - Mbakebere (2:50) 09. MC Yallah feat. Lord Spikeheart - No One Seems To Bother (3:09) 10. MC Yallah - Moss (2:38) 11. MC Yallah - Ukweli (2:38) 12. MC Yallah - Hera (2:46) 24Bit Born Yallah Gaudencia Mbidde in Kenya and raised in Uganda, MC Yallah has been involved in East Africa's rap scene since 1999. Alternating rhymes in Luganda, Luo, Kiswahili and English, her conscious, poetic and experimental style was slow to creep into Uganda's mainstream. Following a brief but necessary hiatus, she returned to the stage in 2018 with a new lease of life accepting her role as a central component of the Nyege Nyege/Hakuna Kulala family. "Yallah Beibe" is the fiery follow-up to Yallah and Berlin-based producer Debmaster's acclaimed 2019 debut "Kubali". After her tour plans were cut short as COVID-19 broke out in 2020, Yallah returned to Kampala and started work on her sophomore album at Nyege Nyege's villa. The process was more complicated this time around, developing pointedly from an initial back-and-forth with Debmaster and flourishing as beats appeared from Japanese producer Scotch Rolex and Congolese club maestro Chrisman. The finished album is an international patchwork of futuristic cyber-rap experiments fastened together by Yallah's unforgettable personality and elastic flow. More charged than its predecessor, "Yallah Beibe" is an apt soundtrack to a challenging era. Yallah is an experienced and versatile MC and channels her layered understanding of the complicated global cultural landscape into 12 stories that skate through trap, dancehall, club and industrial styles. Her authoritative guiding force is never more evident than on 'No One Seems To Bother', a collaboration with Duma's gravel-voiced singer Lord Spikeheart. Trading bars over Debmaster's slippery, bass-heavy rhythm, Yallah and Spikeheart ink an alternative East African sonic landscape, with activated lyrics ("the world is going under, no-one seems to bother") and rasping, death metal-inspired groans. "Yallah Beibe" is a call to action, a loud siren that's intended to educate the wider world of East Africa's shrouded history and bright future. Yallah's collaboration with rising star Rati Gan 'Bigbung Song' is the best evidence of this, looping Rati's Afro-Caribbean dancefloor flex and Yallah's politicized flow around a twisted bass-heavy beat from Chrisman, joining hands between the DRC, Uganda and the wider diaspora. Tracks like 'Baliwa' and the anthemic 'HERA' meanwhile completely center Yallah's signature lyrical dexterity, playing her tongue twisting raps against Scotch Rolex's pan-global foley-trap splatter. At times, the sounds feel as if they're from their own planet entirely - a fourth world that's rooted in collaboration rather than appropriation. If "Kubali" re-established Yallah as a force to be reckoned with, "Yallah Beibe" cements her status as one of the world's most exciting MCs, both on record and on the stage. There's nobody doing it quite like her. Video for Sikwebela : youtu.be/nXMKUL_1wcI released April 14, 2023 Tracks 1,2,3,8,9 & 11 produced by Debmaster Tracks 4 & 5 produced by Chrisman Tracks 6,7,10 & 12 produced by Scotch Rolex Mastered by Matthias Heinstein Vinyl Master by Declared Sound Photography by Michelle Isinbaeva Graphic Design by Kid Gringo
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Аудиокодек: FLAC (*.flac)Тип рипа: tracks Продолжительность: 15:30 Наличие сканов в содержимом раздачи: cover Tracklist: 01. Menzi - Shandis (Scratchclart's RnG Remix) (3:05) 02. Scratchclart - Drm Walk (Menzi Remix) (3:30) 03. Scratchclart & Menzi - Q (2:28) 04. Scratchclart - IC3 (Menzi Remix) (2:59) 05. Scratchclart & Menzi - Nasty Nasty Nasty (3:29) 24Bit As a Londoner, Scratchclart has always embraced the city's melting pot of influences that seep into the city from around the globe. And just as Detroit techno and Chicago house fused with Jamaican dancehall to splinter rave into a spectrum of microgenres in the 1980s and '90s, African sounds - from Afrobeats to gqom - are currently reprogramming the DNA of British dance music, whether it's drill, grime or breakbeat. This conversation is evident on Scratchclart's visionary "DRMTRK" series of EPs, and solidified more readily on last year's "Afrotek", where he collaborated with South African producer Mxshi Mo and Baltimore beatmaker :3LON. On "Scratchclart & Menzi", he progresses further, linking with one of Durban's most celebrated, and most outward looking dance music pioneers - Menzi Shabane. Cutting his teeth as part of early gqom duo Infamous Boiz, Menzi has produced for some of South Africa's most prominent stars, including Babes Wodumo, Moonchild Sanelly, Mahotella Queens, Zolani Mahola and Zakes Bantwini. His sound has always been hard to pinpoint, simmering between kinetic taxi techno and expertly engineered cinematic club music without pausing for breath. "Scratchclart & Menzi" is a fluid back-and-forth between these two musical vanguards that excavates commonalities in their approaches and exploits sonic loopholes, reworking their respective sounds into an energetic fusion of android diasporic bass pressure. First, Scratchclart strips Menzi's 'Shandis' down to its bare bones, channeling the spirit of RnG into a syrupy and soulful cybergqom shiver of elegiac pads and rattling Durban toms. Menzi's deconstruction of "DRMTRK EP III" banger 'Drm Walk' is equally as mindbending, swinging Scratchclart's rhythm and submerging it in rainfall and siren blares, slowly reassembling it into a downtempo sub-heavy groan. The duo's head-to-head 'Q' is even more impressive, opening in a fanfare of cinematic strings before dissolving into a tweaky froth of clicking drums, square wave synths, vocal cuts and woozy atmospheres; it's pure tension, never offering us the conclusion it threatens, but keeping us on our toes. Menzi's delirious remix of 'IC3' (the "DRMTRK EP VII" track that evolved into Lady Lykez' anthemic 'Muhammad Ali') might be the EP's most upfront floor-filler, repositioning the original's pneumatic bump on a warehouse floor of chants, cybernetic squelches and echoing fx. But the most unexpected turn is a fresh version of Scratchclart's grimey 'Nasty Nasty Nasty', that interrupts the cheeky bassline with amapiano-influenced machine-gun toms, and rocked-powered zero-g sound design. "Scratchclart & Menzi" is futuristic music from beginning to end that rips through established genre logic, emerging with concepts that lodge themselves not in South Africa or London, but somewhere beyond the solar system. We're not worthy. released April 28, 2023 Mastered by Scratchaclart Vinyl master by Declared Sound Artwork by Kid Gringo
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Аудиокодек: FLAC (*.flac)Тип рипа: tracks Продолжительность: 37:13 Наличие сканов в содержимом раздачи: cover Tracklist: 01. Kabeaushé - And Now A Word From Our Sponsors (2:37) 02. Kabeaushé - A Song About Joy And Sadness (2:19) 03. Kabeaushé - Bully Me (2:31) 04. Kabeaushé - Lift Your Spirit (3:14) 05. Kabeaushé - Arithmetical Error (2:50) 06. Kabeaushé - Caracas (2:41) 07. Kabeaushé - Had Lini (2:12) 08. Kabeaushé - Dichotomous Key (3:07) 09. Kabeaushé - Unidentified Sock Holes (2:46) 10. Kabeaushé - Intolerance (3:31) 11. Kabeaushé - Karachi (3:01) 12. Kabeaushé - Potassium (3:29) 13. Kabeaushé - Ramen Noodles (2:56) 24Bit except track 9 Since they were just a child growing up on the banks of the Kagera, the huge river that curls throughout East Africa, Kenyan multi-instrumentalist, singer and producer Kabeaushé realized there was a sparkle inside that set them apart from their peers. As other kids assembled hierarchies and favored aggressive competition, Kabeaushé became obsessed with compassion, cuteness and ecstatic softness; uninterested in friction, they were driven by a search for bliss that, in time, directed them towards music. Inspired by Prince, Grace Jones, Bollywood soundtracks and, more recently, the boundlessly creative hybrid sounds of Tyler the Creater, Kabochi slowly began assembling a unique style that melts together music and theater, cooking up songs that are as supple and funky as they are gentle and self-aware. "The Coming of Gaze" is the Shé’s ambitious debut statement, an album that's as meticulously conceived as an acrobatic stage-show, and as flexible as a silk scarf. Within seconds of opening track 'Andnoword' we're gifted a sense of Kabeaushé’s genre-free vision, as gospel-funk chorals are punctuated with overdriven TR-808 thumps, chipmunked raps, angular guitar fuzz and dancefloor-ready rhythms. It's like an exuberant fusion of Kanye West, OutKast and Spank Rock, re-painted in East African neons. On 'Bully Me' Kabochi breaks down the complexities of their character, sweetly cooing over brittle Atlanta-influenced trills, flipping dexterously between earworm choruses and rubbery raps. They reinterpret the unmistakable "Trading Places" vocal sample (that was notoriously lifted on Masters at Work's influential 'The Ha Dance') on 'Caracas' re-Africanizing it and shaping it into sultry, futuristic funk in a contextual shift that characterizes the album's self-aware musical literacy. And you can hear the Shé’s knowledge of NYC rap bonafides on 'Dichotomous Key', a riff on The Notorious BIG's 'Hypnotize' that shifts from an inverted, fractured beat into bare minimal electro, simultaneously highlighting Kabochi's production skills and their versatility on the mic. Elsewhere, on 'Karachi', the Shé pushes the tempo up, screaming "gimme a sign" breathlessly over pounding club-primed kicks and wiry synths. "The Coming of Gaze" is as layered and charged with cultural revolution as any of the litany of albums it references. Kabeaushé isn't interested in playing the clout game, they're making a statement: they're here, they're doing it on their own, and they're gonna be as extravagant and as cute as they want. Video for Caracas : youtu.be/bhTRJdf4PQE Video for Potassium: youtu.be/1a0ailuH1sU Video for Lift your Spirit: youtu.be/UeeGUvz8vtE released May 12, 2023 Artwork by Kabeaushé Mixed by Jonathan Uliel Saldanha Mastered by Matthias Heinstein Vinyl Master by Declared Sound
----------------------- foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Аудиокодек: FLAC (*.flac)Тип рипа: tracks Продолжительность: 38:48 Наличие сканов в содержимом раздачи: cover Tracklist: 01. Elvin Brandhi & Lord Spikeheart - Cruxify All The Prophets (4:18) 02. Elvin Brandhi & Lord Spikeheart - Drunk In Love!!!!!! Hate!!!!!! (5:01) 03. Elvin Brandhi & Lord Spikeheart - Death Code E666 (5:03) 04. Elvin Brandhi & Lord Spikeheart - Makkorsisi666.6668 (4:31) 05. Elvin Brandhi & Lord Spikeheart - Whiom8Warwomb666 (7:47) 06. Elvin Brandhi & Lord Spikeheart - Do You Like Feeling Awakeee33 Cult 8 Again (3:31) 07. Elvin Brandhi & Lord Spikeheart - Whiom8Warwomb5 Avecaffection 2 (2:37) 08. Elvin Brandhi & Lord Spikeheart - Intracloud666.6 (6:00) 24Bit Since they connected in Kampala back in 2019, Elvin Brandhi and Lord Spikeheart have been recording restlessly, developing a shared musical language that compliments their individual expressions. Both innovative improvisors motivated by the extreme potential of performance, they manufacture a synergistic shriek on their debut set, fluxing between jagged DIY noise, chilly sacred ambience, ratcheting hard dance and quirky leftfield pop. And despite their backgrounds, neither Brandhi nor Spikeheart have approached anything quite so piercing and direct. It's music that sits a few paces from the established timeline, doggedly avoiding contemporary trends and screaming hoarsely at passers by. Born and raised in Bridgend, Wales, Elvin Brandhi has built a reputation for her virtuosic collision of rubberized freeform vocalizing and skillful, irreverent production. Since breaking out as half of father-daughter improv duo Yeah You when she was just a teenager, she's released a slew of acclaimed solo projects including 2019's 'Headroof' recorded in Uganda with a host of Nyege collaborators. She has also collaborated with artists like Drew McDowall from Coil, Pat Thomas and Ziúr. Nairobi-based rapper-producer Lord Spikeheart meanwhile is best known for lending his unmistakable growl to Sub Pop-signed noise-metal duo Duma. Anyone who's seen their live shows will be acutely aware of Spikeheart's power on the mic, and he brings that same energy to this project, trading snarls and syllables with Brandhi over rasping industrialized detritus. The duo's fierce vocal interplay is the heart of their collaboration. On 'Cruxify all the prophets', Brandhi's guttural croaks appear to dematerialize into granulated electronics, transforming into emotional wails before Spikeheart's unmistakable death metal shouts writhe into the sunlight. Intermittently piped through electronics, the voices alternate between chilly cybernetic wails and sickly human spits and coughs, finding an unsteady balance between grindcore gutter punk and Atlanta street rap. Songs spark into life and then flicker into nothingness, switching momentum seemingly randomly before taking unexpected turns; 'DEATH CODE E666' is a terrifying noise lullaby that pivots into classical abstraction, 'whiom8warwomb666' is a long-form rhythmic tongue-twister that oscillates through pneumatic dizziness into grotesque sound art expressionism, and 'do you like feeling awakeee33' reforms squelchy hyperpop into cogwheel whirrs and disquieting cackles. Truly labyrinthine and never predictable, this partnership is a reminder that experimental music can be crucial and progressive without losing its vitality, or its wit. released August 4, 2023 Artwork by Elvin Brandi Graphic Layout by Kid Gringo Mastered by Declared Sound
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Аудиокодек: FLAC (*.flac)Тип рипа: tracks Продолжительность: 30:37 Наличие сканов в содержимом раздачи: cover Tracklist: 01. Aunty Rayzor - Stuttrap (1:48) 02. Aunty Rayzor feat. Slimcase - Doko (3:56) 03. Aunty Rayzor - Nina (2:08) 04. Aunty Rayzor - Bounce (2:21) 05. Aunty Rayzor - Never (2:21) 06. Aunty Rayzor feat. Titi Bakorta - Fall Back (4:00) 07. Aunty Rayzor - Tobaya (2:13) 08. Aunty Rayzor - Melodius Monk (2:34) 09. Aunty Rayzor - You Not Worthy Of My Love (2:18) 10. Aunty Rayzor - Tonedo (2:10) 11. Aunty Rayzor - Murder (2:17) 12. Aunty Rayzor feat. Titi Bakorta - Sise (2:31) 24Bit Bisola Olungbenga was just nine years old when she started writing music. Encouraged by her piano playing mom, she would come home from school and compete with her sister, dreaming up verses and choruses for rewards of candy. Since then, Olungbenga has evolved into Aunty Razyor, one of Nigeria's most vibrant emerging artists - a cross-genre innovator who blends hip-hop, Afrobeat, R&B and experimental sounds into an energetic portrait of contemporary Lagos. "Viral Wreckage" is Olungbenga's debut album, and follows the breakout success of her viral 2021 street anthem 'Kuku Corona'. This time she's assembled a lineup of some of the world's most exciting producers to help realize her vision: Congolese singer, guitarist and producer Titi Bakorta, young Ugandan producer Ill Gee, veteran Japanese innovator Scotch Rolex, São Paulo-based baile funk producer DJ Cris Fontedofunk, French beatmaker Debmaster, Nigerian singer and producer Slimcase, and Kenyan avant pop futurist Kabeaushé. 'Stuttrap' is the first blast of sound we hear, and Olungbenga quickly pilots us into her sonic universe, rapping assertively in Yoruba and English over Scotch Rolex's chrome-plated trap backdrop. It's not far removed from the producer's work with Kenyan/Ugandan underground star MC Yallah, but Aunty Rayzor's incendiary, tongue-twisting raps coax listeners into a musical expression that's hard to define and only gets more expansive when we hit 'Doko'. Featuring Slimcase, who's collaborated with Nigerian superstars like Wizkid and Mr Eazi, this track melts together swinging West African rhythms with complex poetics from both Slimcase and Rayzor. Olungbenga slips into a different mode again on 'Bounce' - one of the album's most dancefloor-ready cuts - almost whispering over a corrosive neo-baile shuffle from DJ Cris Fontedofunk. São Paulo is responsible for some of the world's most effervescent dance music right now, and with Rayzor on vocals the result is predictably explosive, making connections between vital street music from two separate continents. Recent Nyege Nyege signing Titi Bakorta brings Olungbenga into another different zone on 'Fall Back', linking to vintage Afrobeat with low-slung guitar riffs that perfectly compliment Rayzor's soaring vocals. Bakorta's voice is the perfect foil, centering the track in traditions that stretch back through Nigerian history without sounding nostalgic. Kabeaushé hits a similarly complimentary note on 'You not worthy of my love', twisting Rayzor's AutoTune-mangled rhymes into fresh-faced avant R&B that sits a few paces from the mainstream without losing its infectious sing-along quality. And that's the key to unravelling "Viral Wreckage" - Olungbenga is able to be eclectic but sharply focused, bringing in sounds from across a wide world of musical innovation without sacrificing her Nigerian identity. It's an album that's almost effortlessly creative, and one that comes straight from the heart of an artist who's deserves a way larger platform. Video for Nina: youtu.be/2oTW2MQSGCc released September 1, 2023 Photography by Michelle Isinbaeva Graphic Layout by Kid Gringo Mastered by Matthias Heinstein
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Аудиокодек: FLAC (*.flac)Тип рипа: tracks Продолжительность: 32:25 Наличие сканов в содержимом раздачи: cover Tracklist: 01. Ratigan Era feat. Chrisman - Gorilla Attack (3:16) 02. Ratigan Era feat. Modern Institute - Top Strike Force (2:35) 03. Ratigan Era feat. Lithium Beats - Badman Style (2:36) 04. Ratigan Era feat. Chrisman - Four Corners (2:06) 05. Ratigan Era feat. Debmaster - Gan Dem (2:34) 06. Ratigan Era feat. Scotch Rolex - Drop It Down (3:21) 07. Ratigan Era feat. Chrisman - Pussy (3:14) 08. Ratigan Era feat. Kush Arora - Cool And Deadly (3:11) 09. Ratigan Era feat. Scotch Rolex - I Feel Alright (1:43) 10. Ratigan Era feat. Modern Institute - Back (2:45) 11. Ratigan Era feat. Scotch Rolex - On My List (2:42) 12. Ratigan Era feat. Modern Institute - Stop (2:20) 24Bit Dancehall might have emerged in Jamaica, but over the last few decades the popular genre's tendrils have stretched out across the globe. In Kampala, Ratigan Era is adding a distinct Ugandan twist to dancehall, fusing it with East African humor and hyper-melodic afrobeats elements imported from Ghana and Nigeria. The versatile MC grew up listening to Jamaican music like Vybz Kartel, Busy Signal and Mavado - in his hometown of Kawempe there was almost no way to avoid it - and it blurred into the background, blending with local church music, US hip-hop and radio pop. He developed this diverse range of influences into a completely unique Afro-dancehall flow that simmers between Luganda, patois, Spanish and English, reflecting the melting pot of cultures and dialects that characterizes contemporary Africa. Ratigan broke out with a memorable feature on Pallaso's Ugandan hit 'Nsaba', a track that echoed throughout the country booming from nightclubs, motorcycle loudspeakers or from convenience stores. Now he's assembled his first album "Era", a furiously inventive interweaving of rubbery vocals and memorable chants backed by futuristic beats from Hakuna Kulala's most boundary-pushing producers. Congolese producer Chrisman takes the reins on 'Gorilla Attack', providing a downtempo groove that echoes recent Jamaican chop deployments from breakthrough artists like Skillibeng and Skeng. For his part, Ratigan ducks and dives between Chrisman's gqom-inspired low end womps and corrosive synths, commanding attention with his smart, dextrous flow and tongue-twisting lyrics. The Modern Institute and Golden Teacher's Richard McMaster handles 'Top Strike Force' leaving space in his wiry, minimal beats for Ratigan to flit between anthemic repetitions and ice-cold AutoTuned wails. On stand-out track 'Badman Style', Ratigan's guttural patois is measured against a dizzy trap-dancehall hybrid beat from HHY & The Kampala Unit's Jonathan Uliel Saldanha, aka Lithium Beats, while on the surreal 'Drop it Down', Japanese mad scientist Scotch Rolex brings out Ratigan's cheeky sense of humor with toytown bleeps and laser zaps. MC Yallah collaborator Debmaster appears on 'Gan Dem', meeting Ratigan's double-time raps with soundsystem destroying rolling subs, and veteran US noisemaker Kush Arora sprinkles magic dust on 'Cool and Deadly', galvanizing the link between global bass mutations, Jamaica and East Africa. And despite the grab-bag of producers and inspirations, "Ratigan" is a strikingly coherent listening experience that accurately snapshots Kampala's colorful froth of sounds and phrases. Ratigan's outsized personality is welcoming and captivating, providing the sights, sounds and smells of the city with a frenetic rhythm that's as intimate and local as it is far-reaching. It might just be the future we so desperately need. released February 2, 2024 Mastered by Matthias Heinstein Vinyl Master by Declared Sound Photography & Graphic Layout by Kid Gringo Track 1 & 7 produced by Chrisman Tracks 2, 10 & 12 produced by Modern Institute Tracks 3 produced by Lithium Beats Track 4 & 5 produced by Debmaster Track 6, 8 & 11 produced by Scotch Rolex Track 8 produced by Kush Arora
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Аудиокодек: FLAC (*.flac)Тип рипа: tracks Продолжительность: 29:55 Наличие сканов в содержимом раздачи: cover Tracklist: 01. PÖ - The Harvest (2:51) 02. PÖ - Cociage (2:45) 03. PÖ - Over The Clouds (4:50) 04. PÖ - Wind (2:54) 05. PÖ - Klafouti (2:49) 06. PÖ - Pleasing You (2:30) 07. PÖ - Fuck Jungle (4:08) 08. PÖ - Nuit Blanche (2:12) 09. PÖ - Galivanting (2:35) 10. PÖ - Koundo (2:21) 24Bit Living between France and Uganda, French-Ghanaian vocalist Pö possesses a unique perspective that shapes and deepens her artistic expression. "Cociage" is her incendiary debut release, and showcases a confident hybridization of vastly different sounds, from rap and noise to ambient and traditional folk. A member of electronic pop duo Poko Poko alongside Congolese producer Rey Sapienz, Pö creates her enveloping soundscapes almost exclusively with her voice. Looping it into hallucinatory textures, she juxtaposes transcendent shimmers with raspy, post-punk bulletins and quick-fire industrial rhythms. Opening track 'The Reaping' crashes into the frame with machine-strength kick drums that vibrate against Pö's spiraling ritual chants. It's her voice that holds everything together, looping and soaring with a level of intensity that can break down borders. The album's title track is even more jagged, highlighting Pö's assertive chants that punctuate pounding, distorted drums, sounding like a call to action primed to resonate through time itself. Hard to place sonically, it's music that's rooted in performance and improvisation, with as many thematic links to West African pop and chanson as there are to DIY noise and experimental electronics. It's not all pulverizing intensity either. Pö's sensitive side emerges on 'Over The Clouds', a restrained mantra that sublimes her voice into ethereal pads and breathy, reverberating coos. Sounding like an even more supernatural take on Grouper's faded soundscapes, it's psychedelic new age music seen through a Pan-African lens, far away from the self-mythologizing West Coast private press scene. 'Fuck Jungle' meanwhile flips into a completely different gear, corrupting Pö's voice into an alien gurgle and layering it over scorched earth synths and siren blasts. With "Cociage" Pö has defined a musical language that's steeped in cross-cultural history but feels frighteningly new. Urgent, political and defiant at every turn, it's an album that takes a megaphone and hotwires it, sending out a message that resonates on a spiritual level. released March 3, 2023 Mastered by Declared Sound
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Аудиокодек: FLAC (*.flac)Тип рипа: tracks Продолжительность: 1:33:59 Наличие сканов в содержимом раздачи: cover Tracklist: 01. Chrisman feat. MC Yallah & Ratigan Era - Hell Of Dance Song (2:18) 02. Chrisman - Jambo (2:12) 03. Chrisman - Kiki (2:46) 04. Chrisman - Balisa (2:39) 05. Chrisman - Engine Room (2:56) 06. Chrisman feat. Lebon BLS & Tshongo Le Magnifique - Ngonga (2:14) 07. Chrisman - Late Siren (2:17) 08. Chrisman - Gbada (2:50) 09. Chrisman - Itika (2:51) 10. Chrisman - Dozage (Instrumental) (2:42) 11. Chrisman feat. Blaq Bandana - Flo$$ (1:59) 12. Chrisman - Kongo Army (2:43) 13. Chrisman - Paneau (2:46) 14. Chrisman - Liquidity (2:37) 15. Chrisman - Balula (2:02) 16. Chrisman feat. Aunty Rayzor & Ratigan Era - Lost In The Darkness (2:05) 17. Chrisman - Mukumbi (3:32) 18. Chrisman - New Tech Vibe (2:54) 19. Chrisman - Noise Tarraxo (2:47) 20. Chrisman feat. Papalas - Christoven (2:26) 21. Chrisman feat. Ecko Bazz - Plani (2:22) 22. Chrisman - Lost In The Darkness (Instrumental) (2:44) 23. Chrisman - Shaaa (2:10) 24. Chrisman feat. Tracy The Rapper - Unforgettable (3:36) 25. Chrisman - Rap Gqom (2:26) 26. Chrisman - Giza (2:13) 27. Chrisman - Rave (2:48) 28. Chrisman - Plani (Instrumental) (2:19) 29. Chrisman feat. Aunty Rayzor - Idan (2:19) 30. Chrisman - Sumatra (3:41) 31. Chrisman - Tech Metal (4:03) 32. Chrisman - Underwater Life (2:11) 33. Chrisman - Kokota (2:36) 34. Chrisman - Ibada (3:40) 35. Chrisman - Pomba Gqom (3:16) 24Bit Kampala-based Congolese producer Chrisman returns with his most ambitious set to date: 35 tracks of mutant club music that immaculately crossbreed trap, Afro-Portugese tarraxo, hardstyle, amapiano, drill, rave, gqom and Afrohouse. Having headed up the Nyege Nyege/Hakuna Kulala studios in Kampala for a few years now, Chrisman has had the chance to rapidly develop his production skills and absorb influences from across the musical map. 'Dozage' is an eccentric proof of concept that explodes with fantasy and pure energy, deconstructing ubiquitous templates and revamping them with irreverence and palpable enthusiasm. His last two Hakuna Kulala releases, 'Ku Mwezi' and 'Makila', liberally dispersed dancefloor momentum from Angola, Durban and Atlanta, and 'Dozage' expands the reach considerably, throwing rhythmic curveballs at every twist and turn. Chrisman has also brought along a team of like-minded collaborators, including Ecko Bazz, Aunty Rayzor, Ratigan Era, MC Yallah, BLAQ BANDANA and Tracey the Rapper. The best place to start might be the album's title track, a murky fusion of distorted rave squeals, gqom percussion, blown-out 909 kicks and amapiano's unmistakable log drums. It's even blessed with a vocal from Nigerian rapper Aunty Rayzor, who punctures the beat with her tight, dextrous wordplay. Chrisman's fusion is eclectic, but reigned in by his intuitive understanding of dance music, and that constant motion anchors the sprawling set expertly. On 'Flo$$', Kampala's own BLAQ BANDANA slurs over a skeletal drill backdrop, and The Congo Techno Ensemble's Papalas Palata turns up on the hypnotic 'Christoven', screaming evocatively over Shackleton-like FM plucks and Chrisman's patented alloy of gqom and trap. Further evidence of this smart synthesis arrives with the aptly-titled 'Rap Gqom', a compelling crescendo of noisy FX, Durban-style vocal cuts and light-headed leads. But Chrisman goes even further into the unknown this time around, looking to the Indonesian pressure of Raja Kirik and Gabber Modus Operandi on 'Sumatra', a cacophonous compound of hardstyle kicks and elastic drill bass. Elsewhere, on 'New Tech Vibe', he reconfigures hard trance, adding dystopian, Blade Runner-style pads and swinging percussion, and with 'Giza' generates an industrial gabber tremor that'd level a small building. There's almost too much to absorb in one sitting: Chrisman's handed us a suite of dancefloor material that'll see us into the next year. Video for Late Siren: youtu.be/hF6rWicEMvw released October 31, 2023 Digital Album Cover by Ian Wainaina CD Cover by Kid Gringo Mastered by Declared Sound
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Аудиокодек: FLAC (*.flac)Тип рипа: tracks Продолжительность: 14:20 Наличие сканов в содержимом раздачи: cover Tracklist: 01. Wulffluw XCIV - Take A Ride (2:35) 02. Wulffluw XCIV feat. Chrisman - Tetemeka (2:29) 03. Wulffluw XCIV - Kluck (2:21) 04. Wulffluw XCIV - Naughty (2:56) 05. Wulffluw XCIV - Exp (3:59) 24Bit WULFFLUW XCIV brings his borderless productions to the label's ongoing Whitelabel series following a slew of dancefloor agitations from T5UMT5UMU, Menzi & Scratchclart, and others. "Toxica EP" builds on the mutant fusion of 2020's acclaimed "Ngoma Injection", stripping back the woozy psychedelia and chromium ambience and replacing it with pure soundsystem pressure. 'Take a Ride' bends acid techno machinery around rubbery East African rhythms, anchoring block party hedonism with a 4/4 bump that wouldn't be out of place in Kreuzberg and vocal shakes straight from São Paulo. But this isn't a mindless mashup of aesthetics, its a conversation with the world's fringe agitators, using stylistic and rhythmic strokes to highlight commonality, not exclusivity. Hakuna Kulala's own Chrisman appears on 'Tetemeka', and the two producers adapt the syrupy tarraxinha inversions the Congolese engineer perfected on last year's "Makila" full-length. Low, resonant gqom atmospheres underpin the entire track, but WULFFLUW XCIV's squeaky toy synths prevent it from slipping into darkness. Elsewhere 'Kluck' distorts the timeline completely, wedging flute-led Latin American tribal sounds into a riddim vs. trap superstructure, and 'Exp' sublimes speed dembow into delirious trance and minimal techno vapors. The boundaries between dance subgenres are slowly dissolving, and WULFFLUW XCIV's digital-era intermixture sounds like the cyberpunk carnival we're all desperately in need of. released November 3, 2023 Mastered by Declared Sound Artwork by Kid Gringo
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Аудиокодек: FLAC (*.flac)Тип рипа: tracks Продолжительность: 35:43 Наличие сканов в содержимом раздачи: cover Tracklist: 01. Ziúr feat. Elvin Brandhi - Eyeroll (4:02) 02. Ziúr feat. Abdullah Miniawy - Malikan (4:09) 03. Ziúr feat. Iceboy Violet - Move On (3:44) 04. Ziúr feat. Juliana Huxtable - 99 Favor Taste (0:57) 05. Ziúr feat. Elvin Brandhi - Nontrivial Differential (4:28) 06. Ziúr feat. Ledef - Partygoodtime (0:10) 07. Ziúr feat. Elvin Brandhi - Cut Cut Quote (4:20) 08. Ziúr - Pique (4:26) 09. Ziúr feat. Abdullah Miniawy & James Ginzburg - If The City Burns I Will Not Run (3:24) 10. Ziúr - Hasty Revisionism (3:10) 11. Ziúr - Lacrymaturity (2:54) 24Bit The world has changed, we shouldn't try and pretend otherwise. While we were shut away in isolation our routines shifted, social patterns evolved, and our hopes and dreams were twisted into cobwebs we're still trying to wipe from our fingers. Ziúr tentatively approached this on her last album Antifate, an ambitious and complex hybrid pop fever dream that looked back to a Medieval escapist fantasy as the scent of revolution seemed to hum in the air. But when restrictions were eased, she found herself staring down a discombobulated society that had trapped itself in a spiral of microwaved nostalgia and detached, narcotic repetition. Eyeroll then is Ziúr's musical panacea, a tincture to wake us from our creative slumber and prompt external connection and reflection. It's a polyphonous hex that demands human interaction, and Ziúr's hand-picked alliance of collaborators - Elvin Brandhi, Abdullah Miniawy, Iceboy Violet, Juliana Huxtable, Ledef, and James Ginzburg - each provide distinct voices that together herald a bewildering sonic epoch. Ziúr's palette had to evolve to match the scope of the project, but it was pure necessity that informed the album's defining tone. Recording mostly at night, Ziúr was conscious of the noise she was making so developed a unique way to record organic percussion. Using a set of rototoms - low profile tunable drums - she scratched, scraped and gently tapped the skins to build up the undulating and unstable rhythmic backdrop for each track. It's the first sound we hear on the opener 'Eyeroll', rattling like lost marbles against Elvin Brandhi's primal croaks and screams. And when Brandhi's twisted articulations form words, Ziúr matches the energy with chaotic thuds and serrated blasts of saturated electronics. "I roll the shittiest cigarette," she squeals like she's about to start a mosh pit at Paris's GRM Studios. Without pause, Abdullah Miniawy takes over on 'Malikan', building on the promise of material with Simo Cell, Carl Gari and HVAD with corrosive trumpet blasts and charged, politically incendiary Arabic vocals. Inspired by pre-Islamic poetry and the Qu'ranic chanters he heard growing up in Saudi Arabia and Egypt, he spins labyrinthine stories that cross between the worlds, breaking down physical and spiritual borders simultaneously. Miniawy's scope is expanded even further on his second collaboration, 'If The City Burns I Will Not Run'. "If it rains and the city drowns," he utters over gaseous electronics, "I will not run away, but I will be anxious for the heart of one close to me." After a supple vocal turn from Manchester's Iceboy Violet on 'Move On' and a surreal interlude from poet- DJ-artist-theorist Juliana Huxtable on '99 Favor Taste', Brandhi returns with two more hyperactive collaborations: ,'Nontrivial Differential' and 'Cut Cut Quote'. On the former she slices into Ziúr's skeletal jazz eruptions, screaming and crooning interchangeably, fluxing between the rap battle and the cabaret. The latter is completely different meanwhile, with Brandhi settling into her role as front-woman and groaning dizzying improvised passages that sound like grunge crossed with psychedelic no-wave. Brandhi's spiky musical history has prepared her well for this collaboration; she's a prolific producer and has been using her voice spontaneously since debuting with father-daughter improv duo Yeah You in the mid 2020s. She's found an ideal foil in Ziúr, a producer who matches her restless energy and willingness to bend formality, and leaves an indelible mark on Eyeroll. But the album's most tender moments are from Ziúr herself, who winds the album down on 'Hasty Revisionism', growling over collapsable beats and cascading strings, and comes to an unexpected conclusion with country coda 'Lacrymaturity'. Its feverish amalgamation of country music and euphoric, experimental electronics might seem incongruous at first, but in context with the rest of the album is the only possible conclusion. With Eyeroll Ziúr is making a firm statement about togetherness, humanity, and the renewal of hope when all seems lost. By bringing together such a wide but philosophically harmonic team of collaborators, she's conducted a body of work that speaks to the creative fringe in no uncertain terms. Now's the time to throw away what you think you know, and build bridges you didn't think you need. Now's the time for action. She may have spent her entire career avoiding the solipsistic trappings of "queer art", but by assembling a communal statement that questions so many normative assumptions about music, politics, and beyond, Ziúr has chanced upon her queerest album yet. Cringe? Eyeroll. Video for Eyeroll: youtu.be/trw4dj8s1UI released July 28, 2023 All music written and produced by Ziúr. Trumpet on Malikan, Move On & Nontrivial Differential by Abdullah Miniawy Piano on Malikan by James Ginzburg Co-composition on Malikan & If The City Burns I Will Not Run by Abdullah Miniawy Drone on If The City Burns I Will Not Run by James Ginzburg Mastered by Joker Artwork & Design by Bungalovv
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Аудиокодек: FLAC (*.flac)Тип рипа: tracks Продолжительность: 37:12 Наличие сканов в содержимом раздачи: cover Tracklist: 01. Masaka Masaka - Mental Construct (3:20) 02. Masaka Masaka - Before I Go (3:48) 03. Masaka Masaka - Come with me to Goma (2:50) 04. Masaka Masaka - Cut Right Through (2:42) 05. Masaka Masaka - 6pm Waiting on You (1:41) 06. Masaka Masaka - Days of Nothingness (1:47) 07. Masaka Masaka - Let Me Out (2:22) 08. Masaka Masaka - Elv8t (2:53) 09. Masaka Masaka - Barely Making Much (1:37) 10. Masaka Masaka - Gone (3:49) 11. Masaka Masaka - Nothing Makes Sense (1:48) 12. Masaka Masaka - NRG (2:12) 13. Masaka Masaka - Sacrifice (2:54) 14. Masaka Masaka - It's Okay to Dance Alone (3:29) 24Bit Growing up in Uganda, multi-disciplinary artist Ian Nnyanzi (aka Masaka Masaka) always knew he wanted to make music, he just needed enough time and breathing room to figure out what exactly his contribution had to be. He cut his teeth fashioning rudimentary hip-hop beats at a friend's studio on Makindye, a hill that overlooks Kampala's balmy Murchison Bay, and quickly realized that he wanted more. "Out here, everyone seems okay to listen to the same thing," he explains, and Nnyanzi wasn't interested in following the crowd. During regular commutes across the city, his mind was being cracked open by sounds from Dean Blunt, Slauson Malone, Arca, Jpegmafia and Vegyn; he knew he needed to show Kampala something similarly distinct. 'Barely Making Much' is a sprawling, ambitious album that's as sculptural as it is explorative, reaching through genre membranes and refusing to stay still for a second. Masaka Masaka wrote it over a fragmented two year period at Nyege Nyege's Kampala studio, and tapped into a jumble of interconnected sounds, from jungle and experimental hip-hop to techno and smoked-out, dubwise ambient music. He was particularly absorbed by the loose, open-minded production style he heard from Manchester's Sockethead, who makes an appearance on 'Before I go', a frayed tapestry of stuttering snares and floury breaks that billows into jazzy euphoria. On 'cut right through', Masaka Masaka bends fictile piano hits through a lattice of Afro-Brazilian-style vocal chops, trap hi-hat rolls and serrated, synthesized bass thumps. Airy and energetic, the track makes an unexpected left turn when the hats transform into insectoid rasps that cushion a woody hand drum patter. Elsewhere, Nnyanzi isn't afraid to go straight for the jugular: on 'elv9t' he sets atmospheric, back room pads against booming, soundsystem-ready Southern rap subs, and on the kinetic 'let me out', he remolds hard techno in his image, knocking the 4/4 kick off grid to perplex seasoned dancers, and hammering the nail in further with swirling, psychedelic synth fuzz. Even when Masaka Masaka's working in a more contemplative mode - like on the hypnotic title track and the fragile cinematic finale 'it's okay to dance alone' - he maintains the momentum, swirling otherworldly vocal loops and erratic percussion into pools of melted ambience. 'Barely Making Much' is a charming, hyperactive debut that wears its influences on its sleeve, playing like a lysergic, literate mixtape packed with layers and subtle gestures. Cool-headed and mysterious, it exposes the twilit side of the Kampala underground. Trailer for 'Barely Making Much' the 'Movie' youtu.be/2UtDcoWXE4k released March 22, 2024 Artwork by Masaka Masaka Mastered by Declared Sound
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Аудиокодек: FLAC (*.flac)Тип рипа: tracks Продолжительность: 39:00 Наличие сканов в содержимом раздачи: cover Tracklist: 01. Nsasi - Okudigida (4:55) 02. Nsasi feat. PQ - Endoongo (5:29) 03. Nsasi - Ludo (3:05) 04. Nsasi feat. PQ - Enjoole (5:55) 05. Nsasi - Tribune (4:42) 06. Nsasi - Gabvla (4:49) 07. Nsasi - Brok3n_Fac3 (2:32) 08. Nsasi - Penetencia (4:24) 09. Nsasi - Omweso (3:09) 24Bit A founder member of Uganda's rebellious ANTI-MASS collective (alongside Authentically Plastic and Turkana), Nsasi has built up a reputation with subversive DJ sets, smashing together slowed-down dance anthems and glossy R&B with propulsive fringe club experiments. His debut album is a dynamic, industrial rasp that draws on his expertise behind the decks, expertly meshing rhythms from across the musical spectrum into a coarse, dancefloor-ready frame. With the safety of queer people in Uganda compromised by a conservative, intolerant administration, 'Coinage' acts as a rallying cry for like-minded outsiders that mischievously perverts East African traditional sounds, considering their revolutionary potential within a new context. 'Gabvla' is a clear stand-out, a polyrhythmic anarchy of hand drums and psychedelic, electroid wheezes that transcends its influences completely. Before you've realized it, Nsasi has transformed the blustery beat into a weighty, 4/4 thud, disrupting the flow with light-headed, xenharmonic squeals and acoustic ticks. On 'Endoongo' meanwhile, pneumatic kicks pump through an electrified fence of quivering synths before Nsasi sends out an alarm call, reducing the rhythm to a distant vibration and letting dramatic stabs ricochet between the ballroom and the dungeon rave. There's the unmistakable echo of cavernous, minimal techno on 'Ludo', but Nsasi offsets the swingy, uniform rhythm with cybernetic rolls and eerie, sci fi atmospherics - it's a peak-time banger and a hypnotic reverie concurrently. Nsasi's percussive mastery is breathtaking throughout 'Coinage': on 'Tribune' he wakes up a dilatory, 96BPM shake with submerged voices and a tidal wave of abyssal, double-time thuds, and on the mind-melting 'Penetencia', burns quivering, off-grid snaps and stings with nauseous drones and swirling mbira loops. For a debut full-length, never mind one that pulls on so many seemingly loose stylistic threads, 'Coinage' is conspicuously coherent. The DJ and producer balances a precarious line, capturing the ramshackle energy of noise or industrial music and the digitized precision of club forms simultaneously, without losing focus or momentum. Breathtakingly unique, it's a record that peers into an uncertain future, accepting the world's chaos and operating outside borders and restrictions. released May 3, 2024 Artwork by Angelo Dolojan Layout by Marc TSQ Mastered by Declared Sounds
foobar2000 1.2.5 / Dynamic Range Meter 1.1.1  Аудиокодек: FLAC (*.flac)Тип рипа: tracks Продолжительность: 36:54 Наличие сканов в содержимом раздачи: cover Tracklist: 01. Violence Gratuite - Iséo (2:57) 02. Violence Gratuite - Olive (3:02) 03. Violence Gratuite - L'hiver avec toi (3:05) 04. Violence Gratuite - Smooth Operation (2:59) 05. Violence Gratuite - Baleine à Boss (3:39) 06. Violence Gratuite - Les Prisons de Nantes (4:04) 07. Violence Gratuite - Une Ouf (3:48) 08. Violence Gratuite - Ragga Nieztches (3:52) 09. Violence Gratuite - Cristal (3:03) 10. Violence Gratuite - Loup (3:02) 11. Violence Gratuite - Bad à Bras le Corps (3:23) 24Bit A multidisciplinary artist and curator, Violaine Morgan Le Fur (aka Violence Gratuite) has spent the last few years sharpening her creative perspective, developing documentaries, producing exhibitions, and directing music videos and short films. 'Baleine à Boss' isn't just her debut album, but her first venture into music production; Le Fur had only begun to experiment with music software a few weeks before dubbing the record, a fact that makes this unique set only more bewildering. Singing and vocalizing candidly and producing each track alone, she sounds profoundly polished, invoking a beguiling haze of chanson, rap, no wave and experimental electronics that hovers around the margins of pop and the avant-garde. Le Fur grew up in Paris's sprawling suburbs, and was provided with a diverse coterie of influences by her Breton mother and Cameroonian father. She's channeled her ancestry into her work before, splicing material from her mother's film archives with her own footage recorded in Bamiléké land to develop the autobiographical documentary 'À L'ouest' back in 2017. As Violence Gratuite, Le Fur thinks more cryptically, considering the vast forests of western Cameroon, lands ravaged by generations of bloodthirsty men and looping pulsing techno rhythms with fractured trap and the ghosts of French pop. Her voice stands out proudly on opener 'Iséo', layered into a charming mantra over a brittle, grime-y beat assembled from stuttering samples and 8-bit blips. Acrobatic yet somehow casual, Le Fur splits her delivery, singing in French over undulating chants and spectral coos. And she switches up the flow on 'Olive', rapping in an icy cool deadpan while spiky synths bubble around jerky, Neptunes-like stabs. Then, on the nocturnal 'Smooth Operation', Le Fur guides us towards a moonlit ritual, crying sweetly into the darkness as hand drums and dreamy plucks chatter in the background. On the title track, Le Fur strips the rhythm down to a moody, skeletal rumble, using rubbery drums and trapped chorals to mire herself in negative space. Speaking in a low rasp, she brings to mind Tricky's eeriest early material, or the wonkiest output of French no wave hybridist Lizzy Mercier Descloux. But the record switches gears relentlessly, lurching towards the Caribbean on 'Ragga Nieztches' and into spannered dembow on the hypnotic closing track 'Bad à Bras le Corps'. 'Baleine à Boss' is an unpredictable, labyrinthine suite that refuses to stay static, a variety show that's as comfortable in the club as it is at a fest noz. Video for Iséo youtu.be/sawqBEoayKo?si=IAaeu_3t-RhtJkLH released June 14, 2024 Artwork by Marc TSQ Mastered by Declared Sound
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