Mala's 12" "Cuba Electronic" will be available in at Conch very soon, contact us at firstname.lastname@example.org to reserve a copy.
"Mala in Cuba" is due to be released in September 2012 on CD & 4LP, to pre-order please contact us at email@example.com. Introduction 2. Mulata 3. Tribal 4. Changuito 5. Revolution 6. Como Como feat. Dreiser & Sexto Sentido 7. Cuba Electronic 8. The Tunnel 9. Ghost 10. Curfew 11. The Tourist 12. Change 13. Calle F 14. Noches Sueños feat. Danay Suarez
Brownswood Recordings is delighted to announce that the second volume of its "Worldwide Family" series comes courtesy of LA native Kutmah, London's newly transplanted DJ, producer, visual artist and eternal beat-seeker. Kutmah designed all the artwork - pen and ink steez - for the sleeve, collaborating with his good friend Brandy Flower from Hit+Run LA.
Tracklisting & Soundclips:
Due out May 2012 on CD & Vinyl, to pre-order a copy please contact us at firstname.lastname@example.org
Brownswood Recordings is delighted to announce that the second volume of its "Worldwide Family" series comes courtesy of LA native Kutmah, London's newly transplanted DJ, producer, visual artist and eternal beat-seeker. Kutmah designed all the artwork - pen and ink steez - for the sleeve, collaborating with his good friend Brandy Flower from Hit+Run LA.Tracklisting runs like this…
It’s the emotive, dreamy quality of Gang Colours‘ debut EP, ‘In Your Gut Like A Knife’, that really grips the listener to his/her core; indeed, all the way to the gut. Floating in ambiguity, not leaning towards one genre nor another, its organic simplicity leads to a unique groove: one that maybe hasn’t been paved just yet.
As a portal into a world of daydreams, tumbling into shadows and embracing luminescence simultaneously, Gang Colours turns drum patterns into magic. Breeding surreal headphone-friendly landscapes, he fills them with unexpected sounds that would otherwise seem out of place. Within his intricate collages however, they nestle so comfortably – it’s hard to remember their usual context. At times his sound effects strike a peculiar balance between otherworldly and familiarity (reminiscent of slide whistles or insects buzzing). At other points they conjure a sense of longing. Think Mount Kimbie with a playful sense of humour, Burial on a soft, sunny dancefloor, Gold Panda with an R&B lean.
Due for release May 2011 on CD & LP, to pre-order please contact us at email@example.com
In 2009 a close-knit London-based collective of musicians travelled to Kenya to collaborate with local musicians in Nairobi. There they met Joseph Nyamungu – a phenomenal nyatiti player/teacher whose scope of knowledge of traditional Luo music is unparalleled – and Charles Owoko, a drummer specialising in traditional Luo rhythms. A series of inspiring jam sessions concluded with time in a downtown Nairobi studio where the sound developed into something unique, fresh and full of verve.
The project – dubbed Owiny Sigoma Band – will finally be released on 2nd May 2011, preceded by a 12” boasting a monstrous Theo Parrish remix available exclusively via Record Store Dayon 16th April 2011. The Motor City legend stripped back the melodic content to the bare essentials and built one of his trademark twisted trips in a whirlwind session with Floating Points at Eglo Studios, London.
Africa is still largely untapped. The US has been dug to death, likewise most of South America and Brazil. Africa is the new Colombia in terms of uprooted treasures by the likes of Analog Africa and Soundway. Nigeria, Ghana and the French Colonies – Congo, Sierra Leone and maybe Ivory Coast – they’re the ones that have been tapped, but there’s so much more. I’ve started hearing stuff from Eritrea and Mozambique… funk bands… James Brown made an impact everywhere.What I heard when I first played Owiny Sigoma Band on the radio was a phat, wayward dance record with African leanings and it just felt completely right. That’s why it was good to continue along the path that they’d followed, because they’ve got a different approach to how the drums should sound and the bass should sound – it’s like they’ve been listening to a bunch of Arthur Russell and Liquid Liquid records. These characteristics alongside the nyatiti, the vocals and the cow’s horn, lend it these unique properties that you don’t hear in any other African music and make it exciting. But, fundamentally, the reason that it works for me (and Brownswood) is that it’s drum and bass heavy… rhythmically heavy. And all those little disco tricks… the reverbs and the tape delays that they used are brilliant. It’s by no means a disco record, but it’s got enough of that in it to make it sound new and inventive. Plus of course there’s the whole thing with bands like Vampire Weekend, the Damon Albarn touch and World Circuit… all of that has been embedded in people’s heads. So basically you throw this project in the mix which has all of those elements and that’s why it’s fresh.
Owiny Sigoma Band on Facebook