I’ve been loving this French producers simple yet melodic, feel good take on Kizomba for a while now, always makes you feel happy and ecstatic and often that’s all music is meant to do.
So great to hear Fish Finger with his finger back on the pulse and this new Dub number that he’s dropping with Canadian vocalist Sinerise and Tosti from the Netherlands sounds pretty damn amazing.
Can’t wait for the whole thing to drop, wow!
Really feeling the Sinerise stuff too, gorgeous vox and some awesome productions, keep your eye on her too:
If you’ve been watching the progress of the Generation Bass label the past 18 months or so you might have noticed a lot of our artists getting picked and propped up by the Enchufada label too and vice versa, which provides greater exposure to them.
Would love to say that I loved the new Buraka album like I did their debut some years ago but sadly it really didn’t make me feel the same way. Maybe it’s a transitional period for them and they’ll come back stronger and better with their next offering, I hope they do anyway. I’m only really saying what a lot of people are thinking but feel unable to say publicly and you know I don’t shy away from those kinds of things (bad boy umb lol)!
Most good artists have peaks and troughs and I certainly would never write them off, I’m sure there’s more greatness to come from their ranks in due course.
For now, cop a load of this, a free remixes EP featuring the likes of Castro, King Kong, Jstjr, Copia and some others.
Some good stuff on this and so grab it:
Here’s what they say:
FREE DOWNLOAD –> bit.ly/burakaremixesdl
After releasing their third studio album ‘Buraka’, Lisbon’s most tropical band Buraka Som Sistema took a break from touring the world to invite some of their favorite producers from the Enchufada family to rework their new songs. The results were as unpredictable and varied as they were absolutely captivating, with some of Global Club Music’s most talented beatmakers contributing their own visions to this unprecedented – and 100% free – 6-track remix EP.
I’ll always remember Reso dropping one of the best Dubstep sets I’ve personally ever witnessed just before Joker at Generation Bass Festival in Tilburg back in 2009 with his rucksack firmly on his back throughout the set.
Feels good to be blogging him again but never expected to be blogging a glorious Ambient version of one of his tracks that he put up on his soundcloud for a bit of fun. It’s actually not that funny, it sounds awesome.
Here’s what he says:
Fun with Paulstretch. Was messing around with it and sprite city sounded bloody awesome.
It’s not serious, just for fun 🙂
Great new release from Aero showcasing the deep heat and pure brilliance of the House scene in South Africa that has been going from strength to strength in recent years.
Big ups to Akwaaba for bringing this release and here’s what they say:
Aero Manyelo is one of the most promising South African house music producers of his generation. He has steadily stuck to his own musical path, contributing greatly to expand the musical horizon of house music in SA.
Born in Limpopo and raised in the Ivory Park township of Johannesburg, Manyelo started messing around with Fruity Loop as a teenager. After years of refining his productions, Manyelo’s trademark sound draws as much from South African folklore as it does from heavy hitting electro basslines and synths.
“When it comes to house music, a lot of people in SA are so easy to turn on to good sound,” and so it has become Manyelo’s mission to keep pouring out his own version of what he calls electro township house. “I think there is room for a lot of stuff, especially when you bring something interesting. Whether it’s deep house or commercial or electronic, people adopt new sounds.”
Cover art made from real Lego by up and coming artist and designer Fujiia: www.flickr.com/photos/fujiia/
Article in the Fader: www.thefader.com/2014/09/29/lungu…-to-his-own-beat
Free song download Bum Jive feat. Qhizzo:Fadermedia – Meet-aero-manyelo-bum-jive-feat-qhizzo
Before I went to the art-festival Watdajel, I didn’t know that there has been a thriving party going on in my very own town for many years, bringing tropical vibes onto a dancefloor, deep in a secret forest. Every time people go there, they enter a magical world, hidden behind the leaves of the trees where the organic percussion and menacing bass sounds, the forest air and the warmth and happiness radiating from the visitors and the DJ’s are blended together into one amazing experience that can only described with one word: Safari!
This time, 20 November, it was too cold for an actual forest. But the entire dancefloor of the cultural event centre ACU, was transformed into one big, foggy rainforest. On the lineup were, next to the Argentinian heavywheight Chancha Via Circuito, Utrecht’s homegrown global bass formation Kako Da Ne, Utrecht’s alround tropical legend Café de Calaveras and of course Safari’s own DJ’s Prace & Booze’em.
As usual, I was late and just missed Kako Da Ne’s opening set. When entered the vibrant dancefloor-jungle, I was greeted by bird-sounds and the deep, organic grooves of Chancha Via Cictuito, second on the list, who moved back and forth between deeper, thoughtful and more passionate vibes, varying between cumbia, 3ball, zouk, and amazing digital folklore that goes beyond any categorisation. Whenever a fantastic beat dropped, people ululated and uttered ecstatic sounds out of pure joy. Café de Calaveras, in turn, raised the tension, heating up the atmosphere with a number of popular reggaeton, dancehall and Dutch bubbling classics that gave just the necessary spark of familiarity for people to be drawn into the groove completely.
The atmosphere was absolutely unique: a pinch of dancehall/urban, hippies with bubble blowers and Latin American folk. And of course the ever-present students on a night out, either because they’d been going to the party many times already or sticking around because the vibes were so good.
I had the chance to talk to the organisers again and recap what we talked about, back at Watdajel. And my amazement with what they managed to build up was only stronger now I saw it in front of my own eyes.
S: “It all evolved out of another underground party called Generator, which focused on different styles of music. That was at least about six or seven years ago. There was some Balkan and tropical involved back then but also a great deal of electro and other stuff. It was a little bit of everything. But at a certain point we decided to go ‘all tropical’ and turn the event into something fresh, which had to have a new name too. Once we sat down together in the garden, brainstorming about the new concept and what came to mind was Safari! It just hit us, that was exactly what we wanted to offer to Utrecht: something else, tropical sounds, a fresh trip away from the ever repetitive techno and electro of the underground in this city!
GB: How did you manage to build such a strong followers base, especially in a city like Utrecht, where most people are students who just want to get druk and don’t really give much about music?
S: We come from the world of illegal underground parties, which have always thrived in this city. The secret of their success is that they build entirely on personal social networks. We don’t advertise, don’t target the main party public, aren’t that much around on the web. We hardly ever use Soundcloud, LOL… Yet on the other hand, we maintain close contact with many people here, locally, who know that our parties are great. Advertisement goes from mouth to mouth and people usually like it so much that they keep coming back every new edition.
GB: Are you saying that people loved the sound of global bass and kept coming back?
S: Pretty much.. Especially girls were infatuated with the grooves of cumbia, dancehall or kuduro. And when girls have a good time, guys will follow automatically, haha. People even liked it too much so had to make sure that the party wouldn’t blow up too fast and lose its character. That happens to a lot of successful concepts. We’ve barely had any negative experiences, apart from gigs being cancelled and stuff like that.
GB: But I hear that this all happened a long time ago.. how did you ever find out about this music?
S: (DJ Booze’em) My brother got into it first. He gave me some things that he thought I just had to listen to. In the beginning I had to get used to it. It was different from anything I’d ever heard, but on a second listen, I realised it was great, something that more people deserved to hear. In fact we were one of the first ever that I know of who went into this kind of music in the Netherlands. Blogs such as Generation Bass didn’t exist yet, it were just ideas spreading from one DJ to another. And once you’re in this, the rest follows. We supported moombahton on our events right from the moment it was invented. We booked Fellow without knowing they would later become such a big name. That’s just how things happen, and they’ve always turned out right for us.
GB: With such a long history of succesful organising, is there anything in all those years you are most proud of so far?
S: Well, as I said, we don’t actually want to grow too big. Many events that started out like us have blown up and get caught up into this hyped world of commercial nightlife, often destroying themselves within a couple of years. We like to avoid that and keep it small and underground. That’s also why we try to know all our visitors in person with our Facebook account. But that too creates very nice situations. One thing that directly comes to mind is Oscilador Bass, who performed in my backyard on a private party, all dressed up with his iconic TV-mask on, in a garden in Kanaleneiland, on walking distance from your house actually. Such things are legendary. And now with Chancha Via Circuito, that’s also an achievement we are very happy about.
Right after his gig, I also had the wonderful opportunity to talk to Chancha himself and ask him what inspires him and how he came to develop such a unique style. A style that doesn’t even allow itself to be described by ‘global bass’. Rather, it is an intricate mixture of diverse folkloristic, ancestral music from the Andes, with deep, almost meditative electronic soundscapes.
CVC: One of my biggest inspirations is nature. I love to go into the forests and the mountains and be surrounded by the splendour of it. My other inspiration are the sounds of the streets, the music that you hear coming out of the houses everywhere when you walk in the villages and on markets. I try to soak in all these experiences.
GB: And how are is your music received? Is there a lot of attention for digital folklore? For example, is there anything like a scene you consider yourself part of?
CVC: In terms of reception, it is actually going quite well. Attention for what we do is increasing a lot lately. If you’re talking about a ‘scene’, the experimental Latin-electronic Zizek Club nights in Buenos Aires have been around for quite some years now and they were very successful. These events grew into the label and booking agency ZZK Records, where I am also signed. Other ZZK artists are acts like Frikstailers, El Remolón and La Yegros, who are all touring all over the world right now.
You saw my last album, ‘Amansara’, you may have noticed too that there I collaborated with Barrio Lindo and with Sidirum, two other artists who are doing very well in this genre. And the link between my work and traditional folkloric music is also very direct don’t forget Miriam Garcia, an indigenous Argentinian folk singer, she is amazing.
GB: And outside Argentina?
CVC: I’ve been around lately, playing my music in different places, and what I can say is that people’s response is usually very enthusiastic, even beyond what I expected. Even though the style may be a bit unfamiliar, from what I have experienced, people are usually feeling it almost immediately. Exactly like you saw here, the atmosphere was amazing. I don’t actually know how many of them already knew me before tonight but you could feel that they definitely had an amazing time.
GB: Anything more that we can expect from you in the future, something that our readers can already look forward to?
CVC: Well, in terms of music, I just released the album ‘Amansara’, shortly ago. That was a very big project, production-wise. Right now my focus is on touring and DJ-ing, communicating my music directly to people on the dancefloor. I like to alternate these two things a bit.
GB: We have readers from all over the world, where do they need to be to see you live on this tour?
CVC: On the Chancha Via Circuito facebook page, there is a scheme with all the dates and locations. Of course it would be great if people would come to see me play!
I was tired and even though I planned not to, I stayed (it always ends up like that somehow), chilling with the organiser of Watdajel, dancing and explaining visitors the word on my snapback, ‘cumbia’, until the lights went on and the Safari-trip had come to an end. With a smile on my face, I walked back into the cold night.
The date for the next edition isn’t known yet but we’ll keep you updated!
Check out some pictures here!
If it can’t be in a forest, we just make one!
Kako Da Ne in action
No safari without a good camera!
Me represenging Generation Bass (badass UMB-skull on my shirt just out of view..)
Chancha behind the desks
Chancha chilling in the crowd
DJ Prace chilling with the organiser of Watdajel
DJ Edgar Nevermoo
Café de Calaveras rocking it!
What was left of the camera at the end of the night..
Sarantis has been one of our favourite producers since we started this blog and we’re stoked that he decided to join our hallowed Artists Hall of Fame!
Sarantis is from Leeds has been making beats since 2002. He started with a grime release in 2005, featuring local talent Tauraus on vocals, establishing Senseless Records and following with a grimey dancehall /dubstep second release, these kind of mash ups would become a signature of trax to come by Sarantis, with mighty Warrior Queen on the vocals. More than money featuring Warrior Queen got a lot of support from djs such as Skream, Mary Anne Hobbes, Starkey, and Taso who put it in his Fabric set.
After a break for a couple of years Sarantis came back with a new sound but without forgetting his past making 160 bpm trax.
Releases on Senseless Records, Loose Squares, Modern Ruin, Booty Call followed based around the same Chicago influenced sound, but also grime and dancehall tracks came with it.
Still on the dancehall, grime and rap sound, there will be feature collaborations coming out with artists as Gala P, Crawler, and Dialect. Other vocalists Sarantis has worked with are Parly B, Dialect, Bunnington Judah, Bongo Chilli, and he has released on Black Acre, Terminal Dusk labels as well. He has support from a lot of DJs all over the world.
RELEASES ON GENERATION BASS:
You can now grab this brilliant EP for free!!!
4 years ago, we released our first Footwork EP called “Freaktion” by Middle Eastern artist Sabbo who used the American RnB scene as a major influence for the sounds on that EP.
4 years on, this time we take from Chicago, USA and go to the Middle East (via Greece & Leeds) with Sarantis for our next EP that features Footwork with some Trap, Dubstep and Grime thrown in for good measure. This new EP soaks in flavours from the Middle East region for a mind-blowing and ground-breaking collision of sounds.
It all started when Sarantis sent us a Syrian inspired Footwork track. We were mind-blown and so we asked for an EP. We shared some of our knowledge & tastes on the wealth of Middle Eastern music with him to provide some stimulation. He used some of that inspiration and came up with 3 additional tracks within 48 hours and so we now have this EP.
It’s an amazing feat considering the amount of time Sarantis spent on it and the results are simply sublime and mind-shattering. We’ve never quite heard anything like this ever before and we feel it might open up the floodgates for a Middle Eastern Footwork explosion.
The EP kicks off with “Harem”, the Syrian track that Sarantis originally came up with. It’s a brooding dark Grime/Dubstep/Footwork number that fires on all cylinders announcing the arrival of something new and sinister but totally captivating.
Next up is the title track “Karami” named after a certain Lebanese Pop Princess. Sarantis delves into Trap territory for this one, adding a certain Lebanese Pop Princess’ sampled vox and some darbuka to give it that extra oomph, whilst retaining that dark brooding mood of the EP opener!
We venture into North Africa for the next one with a Futuristic Rai number that will most surely cause an epic “Sandstorm” in the desert. The Queen of Algeria makes her graceful presence felt on this track as Sarantis weaves her call and response vocals on top of some crazy Tribal Footwork beats.
Finally, the EP closes with the funkiest track on the EP; “Leila’s Kiss” is firmly planted on your cheek. An uplifting Juke track where the worlds of Iran and Algeria collide with the West to create not war but exceptional cinematic beauty.
DOWNLOAD it for free in glorious WAV format from BANDCAMP:
This London dude wrote to us saying he’s a big fan of the blog and label and has been following us for some time and discovered a lot of great new music through us and of course, I have every reason to believe him.
Anyway, he’s created what he calls “Tropical Computer Game Music” and it sounds pretty damn funky and cool.
Really loving the feel good summery vybz and its perfect music to get you away from the terrible British weather today. It makes you dream about a beautiful Tropical Island where you wish you were instead of here.
3 tracks named after 3 colours and we’re loving this.
Def someone to keep your eye on for future material too.