#agogo records

[trevlad-sounds]

Wednesday 20 September Mixtape 374 “Summer Stone”

Experimental Library Instrumental Wednesdays, Fridays & Sundays. Support the artists and labels. Don't forget to tip so future shows can bloom.

Secret Circuit-Ripe Ready 00:31

Pneumatic Tubes-Summer's End 04:49

The British Stereo Collective-In the Tall Grass (from The Ghosts of Fleet Forest) (New Mix) 06:29

Pete Jolly-Leaves 07:43

Oscar Rocchi, Franco Godi-Fantastica 09:20

Piet Van Meren-Stoned 11:40

Satoshi & Makoto-Crawl Up 14:06

The Sorcerers-The Horror 16:49

Peel Dream Magazine-You Really Mean It? 20:26

Roedelius-Sonnengeflecht 21:22

Moon Mullins-Over the Marine Parkway Bridge 24:36

Belbury Poly-Earth Lights 28:23

Bravo Tounky-La Bonnette 32:45

Trevor Bastow-Chopping Block 35:28

[mywifeleftme]

340: Various Artists // Two Tribes

Two Tribes Various Artists 2019, Agogo (Bandcamp)

A double-LP mixtape/compilation from Hannover electronic label Agogo Records, Two Tribes “makes an effort to give insight in how [sic] musicians living in Europe today incorporate and transfer musical traditions particularly from the African continent into their oeuvre” (per the liner notes). Ostensibly, everyone here is either a musician living in Europe with African roots of some kind, or is a European musician collaborating with Africans, though in some cases what you get is just a Euro DJ using a few “tribal” sounding drum stems.

I had a lot of fun listening to the most ‘70s sounding funk stuff here and trying to guess how white the musicians were, but I was underprepared for the intensity of unpasteurized Funky Continental Guyness I was exposed to. Winners included guitarist Petri Kautto of Finnish-Beninese Afro-jazz combo Trio Toffa (pretty good), who strongly resembles Bill Nighy wearing a bucket hat with fake dreads attached to it, and Berlin’s slavishly authentic Afro-funk group Onom Agemo and the Disco Jumpers, who look like the S-Bahn Bloodhound Gang.

Petri Kauto of Trio Toffa

Onom Agemo and the Disco Jumpers

The compilation has what strikes me as a downright quaint (and very German) attitude towards the notion of cultural exchange that runs the risk of being pilloried for appropriation, but I’m sympathetic to it. Certainly, a collaboration like that between Zimbabwean mbira player Jacob Mafuleni and French DJ Gary Gritness that is neither explicitly “African” or “European” is by nature a more truly cross-cultural enterprise than Onom Agemo’s reverent homage or German DJ Elias “Agogo” Foerster’s vaguely Books-ish chops of African beat and vocal samples, but whatever. Influence is impossible to strictly regulate, and I don’t know that it’s even desirable to. White guys nerding out and riffing on the music of the cultures their governments currently oppress isn’t a problem—that their governments are oppressing those cultures, and that the scenes they operate within often have the taint of trickled down racism despite their utopian values, is. One hopes that Agogo and these musicians are cognizant of these challenges, even as they radiate a genuine and laudable affection for African music.

It’s worth noting that, while the European club sounds represented range from ‘90s style techno and 2-step to more modern forms of minimal house and bass music, the African face of the coin is almost exclusively defined by the funky ‘70s and ‘80s sounds that drive record collectors into quasi-sexual spasms. Being one of those guys, I don’t mind it aesthetically, but it’s interesting that the most contemporary-sounding piece is the 15-minute minimal house track “Just in a Moment to Find a Way to Sun Day” by Ivorian-born Hamburg DJ Raoul K. The centrepiece of K’s track sounds to me like a synthesized mbira, but he doesn’t feel the need to flag his music as African—perhaps because he actually is a young guy of African descent. Instead, he puts on a master class in using simple shifts in rhythm and dynamics to keep a room vibing in near perpetuity.

Anyway, as a mix, Two Tribes contains a lot of fine music and flows nicely. I dig Andrea Benini’s Francis Bebey-esque “Jawa” and the K track in particular, but nothing aside from Selma Uamusse’s anime-sounding “Mozambique (Ao Sul Do Mundo)” actively irks me. I’ve listened to Two Tribes a lot more than many other records in my collection that dig deeper, or make more powerful statements, because in the end, I just like the way it sounds.

340/365

[beatthiscic]

Antonio has been recording a variety of instruments today including, bongo's, didgeridoo, a stick with a hoe in it, bass drum and the agogo's...Peace and Love yeah man!!!!!!

[resident-idiot-simp]

Anything 4 u bestie 🔐 SMTH PEOPLE WONT EXPEVF ABT U YADDA YADDA YADDA

WWOOOHHHH OK OK!

So for being a redneck hick I I'm actually very well traveled! I love going places and learning new things about cultures and countries! I'm very fortunate to be able to travel and i am aware of that so I like to share everything I learn and experience with others!

I have collectibles every place I go to I get an instrument it started with Jamaica I got a drum and it's continued ever since so here's a picture of all the instruments and then a list of where they're from and what they are.

A drum from Jamaica (my favorite place I've ever been), Cozumel I got a ukulele, Aruba I got shakers, Turks and Caicos I got Agogos, Republic dominicano I got Monkey Drum, Carousel I got a wooden recorder/flute and then the death whistle from (I don't know why it cut it off but the last one is the death whistle I got from Costa Maya

[lovejustforaday]

2022 Year End List - #10

Electricity - Ibibio Sound Machine

Main Genres: Electro, Afro-Funk

A decent sampling of: New Wave, Synth Funk, Electro-Disco, Dance Punk, Electroclash, Indietronica

And this year’s obligatory entry for the “artist I knew about for several years, liked one or two of their songs but only just checked out a full-length project” award goes to Ibibio Sound Machine.

Ibibio Sound Machine are an electronic funk and dance music (EFDM?) septet from London, fronted by their boldly charismatic contralto vocalist Eno Williams. Williams herself is of Ibibio descent, and often sings in her peoples’ native tongue with a warm and commanding presence.

The band’s music takes influence from a myriad of West African sounds and rhythms, and combines them with electro, new wave, and a variety of other upbeat dancey/funky/electronic genres that are often at least partially indebted to the music of the 80s. In this way, the band’s sound and image can be described as both Afrofuturist and retrofuturist, which just so happen to be two styles of art that I absolutely adore.

On their latest LP Electricity, Ibibio Sound Machine takes us through a neon technicolour playground of electro meets afro-funk, with utopian ideals of what a dancefloor might sound like on another planet or a hundred years from now. Indeed, it feels like Ibibio Sound Machine are either space travelers, time travelers, or both, who brought their sounds from another place or time to grace us with this new record.

Opener “Protection From Evil” is a buzzing, funky, bass-y cyberpunk sci-fi wet dream, with an ominous and menacing tension that climaxes in a wondrously cacophonous breakdown of saxophones and keyboards, lighting up the night sky with sonic laser beams destroying all nearby passing spacecraft. Williams delivers an almost occult spoken word performance before it gets to the chorus, as if instructing the listener to dance with oppressive force.

“Afo Ken Doko Mien” is a bit of an anomaly on the record; a post-minimalist take on West African folk music, with whirring background synths and a repetitious refrain that translates to “you promised me that you'd be by my side”. The song plays as a soothing lullaby, transcending spirit as well as the measurement of past, present, and future.

It is hard to overstate the relentless banger that is “Wanna See Your Face Again”. Hands down the best dance track of the year. Passionate, romantic, rhythmic, futuristic, sonically colourful, and avant-chic. The kind of music that aliens from the planet Funk 3000 would use to sell you high-end makeup made from rare intergalactic space dust. Kicks all kinds of ass with its afro-funk meets house beats, and I especially love the steel drums (or agogos?) at the end.

“Something We’ll Remember” is playful, audacious and delightfully nerdy new wave funk that makes you want to shake your ass for hours on end. The “Na Na Na Na Na”s of the chorus are infectious as all hell.

Admittedly, one or two of the songs feel a little redundant of some of the better tracks on the record. But then I also feel that, by their very nature, dance records often struggle to maintain a varied listening experience, and for the most part this record delivers on that front with a few exceptions.

And with what little it may lack in variety on one or two of the tracks, it more than makes up for by having a very unmistakably singular sound throughout. SImply put, no one is making music that sounds like Ibibio Sound Machine, and Electricity is a wholly unique experience unto itself, made with evident passion and boasting a lot of eccentric style and attitude. Definitely give this one a listen if you’re in the market for something different and eclectic.

8/10

Highlights: “Wanna See Your Face Again”, “Protection From Evil”, “Afo Ken Doko Mien”, “Something We’ll Remember”, “All That You Want”

[ubuntufm]

Laíz & The New Love Experience - "Ela Partíu"

Laíz & The New Love Experience - "Ela Partíu" 🇧🇷 🇩🇪 Brazilian Hip Hop, with a golden-era glint and a 20-strong cast is given fresh impetus on Ela Partiu, 24 year old rapper Laiz’s breakout recording on Agogo Records. Brazilian rapper Laíz & The New Love Experience releases a remarkably self-assured debut combining tropicalia and samba with her languid flow to produce a lively modern Latin American take on Hip-Hop.

The recording was brought to life in Laiz’s relaxed city of Hildesheim in 2023, at a studio that became a sort of creative-community drop-in centre, where artists stayed for a few hours or a few days, living side by side, eating ice cream and helping craft a record that discuss topics concerning colonisation, exodus and diaspora. The roll-call of artists from Germany’s nascent hip-hop, soul, jazz and global music scenes is impressive, with musical identities and expressions plugged in, from Cuba, Algeria, Brazil, Colombia, Germany, Australia, South Africa, Ivory Coast, Ghana, Sudan, Peru, USA and Madagascar.

With the album release taking a alternative path in its release strategy with a new single from the 14 track album reaching digital platforms every fortnight, the first song to be given a full radio release is Carcará, with tongue in cheek, a samba swag, and a story of the ‘Brazilian smile’. Laiz explains, “this mystical place that cannot be found on a map, but in the guts of a good lover”. But she turns that around insisting “we ain’t Disneyland. And reality always comes hurling back” and sings “the skin shows you the price of Brazilian smiles”, signalling to “one of the most brutal and structurally racist systems in the world”.

#UbuntuFM #HipHop #Radio

[caseyneill]

Happy New Year! There’s a lot ahead for us for 2023. TWO NEW RECORDS in the coming months. A limited press solo CD ‘time zero land’ has been available at shows and will soon be up for order online (and digital after that). Then a new full length band album ‘Sending Up Flares’ in June. The big news for now is that we’ll be playing SXSW official! Plus some day party sets. See below for info. xoxo

MARCH 15 - AUSTIN, TX @ Lambert’s (SXSW Official) 8pm MARCH 17 - AUSTIN, TX @ The ABGB (Yard Dog party) 6pm set. Also The Waco Brothers, Bob Schneider, Wild Seeds, The Silos, John Langford, John Dee Graham & more) MARCH 18 - AUSTIN, TX @ Antone’s Records Noon set (Freddie Steady’s Frontier AGoGo)

[nwdsc]

(Gyedu-Blay Ambolley and Hi-Life Jazz | Gyedu-Blay Ambolleyから)

Gyedu-Blay Ambolley and Hi-Life Jazz by Gyedu-Blay Ambolley

新譜

“Afro-American jazz, soul and funk with Ghanaian highlife, enhanced by his signature Simigwa style and powered by polyrhythms.” Pan African Music

“Gyedu-Blay Ambolley continues to explore the infinite possibilities of his afro-groove cocktail as militant as it is danceable.” FIP

“Wonderful” Debbie Golt

Gyedu-Blay Ambolley and Hi-Life Jazz is the new album from revered Ghanaian highlife and Simigwa Do exponent Gyedu-Blay Ambolley, known for his deep, soulful, and funky highlife sound and sometimes referred to as the “James Brown of Ghana.”

A 360-degree musical tour de force as evidenced by his impressive and eclectic back catalogue, Gyedu-Blay Ambolley and Hi-Life Jazz makes his 35th album release to date. His third release on the German Agogo label, the release sees him breathing new life into some jazz classics, revisiting works by John Coltrane (Love Supreme), Thelonius Monk (Round Midnite), Wayne Shorter (Footprints) and Miles Davis (All Blues) alongside some brand new compositions, powered by polyrhythms and his signature highlife style. The record coincides with multiple live dates through October visiting Paris, Amsterdam, Rotterdam, Lisbon, Copenhagen, Brussels, Gothenburg, Malmo, Saubriges & Mugron.

Since his breakthrough in the early 1970s with his own Simigwa style he has shared stages and studios with some of Ghana's greats like Ebo Taylor and Sammy Larteh with whom he played In the Uhuru Dance Band. Together they founded the Apagya Show Band in 1974. He has since continued to push back boundaries, embrace, explore, create and cultivate an impressive catalogue of work. In recent times, he has become a go-to example of Ghana's rich traditional music form, so much so that he has performed tirelessly through Europe and US and most notably at Utrecht's Le Guess Who Festival and the Montreux Jazz Festival.

Gyedu-Blay Ambolley and Hi-Life Jazz jumps right out of the blocks with 3 straight-up, groove-laden highlife numbers in Sankumagye, Yekor Ye A Yea and Enyidado, a spontaneous mix of Afro-soul and groove with Ambolley's deep tonal and vocal interventions giving a sense that the influence of Afro-American soul music is never far away. Things continue to heat up as the maestro and bandleader approaches various songs from the songbook of classic modern jazz. The rhythmic pulse within each standard is pushed and pulled, ensuring the original is recognisable yet rooted in Ambolley's ancestral home. In John Coltrane’s Love Supreme he proclaims “John Coltrane said love is supreme & we heard him in Africa very loud and clear.” Taking a very different but direct approach filled with Ghanaian swing Ambolley matches the colours and energy with a rhythmic dexterity and an African spiritual sensitivity that immediately draws you in, allowing a space for the spiritual to rise. The Wayne Shorter classic Footprints receives a similar treatment - it's a toe-tapping workout that leaves you wanting more. Round Midnite, a Thelonious Monk staple, has been covered so many times as a ballad yet here Ambolley gives things an uptempo re-work, a wholly unique inception that makes total sense when you hear it. All Blues by Miles Davis is a well-loved staple of jazz players the world over and is known as a vehicle for endless improvisations and here, in the hands of this master craftsman, is a mesmerising and unapologetic dance floor journey.

Polish, panache, melodic and harmonic invention run riot throughout Gyedu-Blay Ambolley and Hi-Life Jazz. It's so much more than an experiment in bringing a Ghanaian pen to jazz standards rather a wonderful collision of Ghanaian roots, highlife and Ambolley's Simigwa stylings with Afro-American jazz, soul and funk. クレジット2022年10月7日リリース

[burlveneer-music]

Rhabdomantic Orchestra - Almagre - large band from Italy playing “Afrobeat, spiritual jazz, mediterranean melodies, salsa, kraut rock drifts and library music“

After 6 years from the acclaimed album “albore”, Rhabdomantic Orchestra is back with a new full length born from the meeting with the Colombian singer Maria Mallol Moya. “Almagre” is a sort of novel in music inspired by surrealism aesthetics and south american magical realism. Set in an imaginary Mediterranean, crossroads of encounters and clashes between cultures, red as the blood that keeps staining its waters, almagre is a visceral, reactionary, spiritual yet political album that marks a change of direction from the sense of purification of the previous work towards a continuous tension to the sublime.

After the allusion to the white of albore, now is the time for “almagre” an arabic-hispanic word used to name the red color obtained from iron oxide. The album was composed and arranged by Manuel Volpe with the intention to create a musical Babel made up of continuous contrasts of languages and suggestions with a strong narrative approach to orchestration. Each episode develops itself in linearity through the superimposition of cyclical figures where the instruments act as characters in continuous exchange with Maria's eclectic vocal shades.

“What I would like to explore with Rhabdomantic is the evocative and narrative power of the arrangements to achieve a sort of magical realism where the imaginative power of music can speak for it self.” (MV)

Afrobeat, spiritual jazz, mediterranean melodies, salsa, kraut rock drifts and library music are just some of the ingredients used in this record, condensed and blended with the aim of giving back a fluid vision of what we call world music. “Almagre” was recorded and mixed by Volpe at Rubedo Recordings, Turin. the master is by Kelly Hibbert and the artwork is by the italian illustrator and collage artist Beppe Conti. Maria Mallol Moya: vocals Manuel Volpe: bass, guitars, farfisa organ, wurlitzer, synth Simone Pozzi: drums, percussions Marco Zanotti: percussions Juan Carlos Calderin: percussions Gianandrea Cravero: guitar Zevi Burdovach: farfisa organ Nicola Meloni: hohner organ, electric piano Fabio Mina: flutes Maurizio Busca: tenor sax, clarinet and bass clarinet Simone Garino: baritone sax, alto sax Diego Grassedonio: tenor sax Davide Pignata: alto sax Stefano Cocon: trumpet, flugelhorn

[votava-records]

Ticking Boxes · Wanubalé

Wanubalé is a collective of 9 young musicians based in Berlin and Potsdam, who bring an unique mixture of styles and a matchless energy onto the stage. Influences of modern electronic music paired with influences of Jazz, Funk and Dub. With a brass section of four and a rhythm section that has two drummers their live sets impress with clever beats, improvisations, and wonderful arrangements.

[thejoyofviolentmovement]

New Audio: Italian Percussionist Gabriele Poso Releases a French West Indies Inspired Banger

New Audio: Italian Percussionist Gabriele Poso Releases a French West Indies Inspired Banger @gabrieleposo @WonderWheelRecs @pressjunkiepr

Gabriele Poso is an acclaimed Italian multi-instrumentalist, master percussionist, Worldwide FM presenter and director of the Yoruba Soul Orchestra. Poso’s musical passion has taken him around the world, Initially to Rome, then to Puerto Rico, Cuba and most recently, Berlin. Between 1998 and 2001. Poso delved deeply into the study of Afro-Cuban percussion — first at Rome’s Timba School of Music,…

[senorcrumbone]

Lookin’ forward to this new album by Hoodna Orchestra!

[trulight]

8 minutes to go / Olivia Higurashi

[zef-zef]

Alhaji Haruna Ishola And His Apala Band - A Late Murtala Muhammed / Alhaji Tijani Orilemide (Iwo)   from: Alhaji Haruna Ishola And His Apala Band (Star Records, SRPS 31, 1976)

[insanitybyanothername]

Went to the record store. Got some CDs

Buddy Holly: The Definitive Collection

Ritchie Valens: The Best Of

David Bowie: Let's Dance

Ramones: Greatest Hits Live

Punk Mix: Anarchy In the UK

Björk: Telegram

KMFDM: Agogo

KMFDM: Don't Blow Your Top

KMFDM: Split

Marilyn Manson: Antichrist Superstar

Silverchair: Frogstomp

Alice in Chains: Self Titled

Our Lady Peace: Clumsy

Radiohead: The Best Of

[xmad8x]

ビックリマンの主題歌は渋すぎるよね…作曲はタケカワユキヒデだし。 #ビックリマン #ドリーミングagogo #スーパーウォーズ #小橋二郎 #織田純一郎 #ammy #タケカワユキヒデ #ゴダイゴ #アニソン #animesong #japananime #japan #record #レコード #vinyl #vinyljunkie #7inch #45rpm #邦楽 #japanesepop #jpop #recordcollecter #recordlover #musiclovers #アナログ盤 #昭和歌謡 #japan https://www.instagram.com/xmad8x/p/BwLkPplgBZ1/?utm_source=ig_tumblr_share&igshid=1coli0m70qtyc