Jul 30, 2014

The Shaolin Afronauts - Follow the Path




The driving force of The Shaolin Afronuats is Ross McHenry, the ARIA nominated composer, bandleader, producer and bassist based in Adelaide. Alongside co collaborators Lachlan Ridge and Dylan Marshall, It is their opmbined wide ranging musical tastes, impeccable production and instrumental skills that always result in music that is original, thought provoking, unexpected and quite beautiful.

2011's debut album 'Flight Of The Ancients' was a critical and commercial success story. The follow up 'Quest Under Capricorn' further cemented the bands reputation for forging their own very particular sound - and now in 2014 - as the band prepare to tour Japan & Europe (including 2 prestigious shows at The Glastonbury Festival) Freestyle Records is proud to present the expansive & epic Follow The Path.

Follow The Path is a 21 track, double album that expands upon and delves further into the musical genres that inspire and influence the group - rhythmic and pulsating afrobeat, and the avant-garde/spiritual jazz inspired by artists such as Sun Ra and Mulatu Astatke.

One superb example of how this band execute their musical vocabulary is Ojo Abameta, a percussive & frenetic number, built on a bed of amazing percussion and topped off with some deeply sweet ensemble horns, the end result is reminiscent of African hi life sounds which acts as a curtain raiser for this incredible album. The albums title track 'Follow The Path' uses afrobeat as a template, but with strong funk undercurrents, as the insistent beat underpins the beautiful ensemble horns and bubbling analogue synth sounds to dramatic and hypnotic effect.

In contrast, the second volume emphasises The Shaolin Afronauts more experimental and introspective side. As an example, the three part suite Outside Beyond/Three Ways Back is a genuine musical journey that takes the listener through many musical moods and textures...;this is deep, spiritually rooted music that locates the band almost in a genre of their very own - having such an original and individual approach and sound.



Tracklist

1.Ojo Abameta
2.To The Water
3.Baie De Sangareya (Intro)
4.Baie De Sangareya
5.Sissoko
6.Lagos Chase
7.At The Shrine
8.Interlude 1
9.Follow The Path
10.Boogie Back Accra
11.To The Water (Interlude 2)
12.Abyssinian Suite, Pt. 1
13.Abyssinian Suite, Pt. 2
14.Abyssinian Suite, Pt. 3
15.Caravan To Tao Ceti (Intro)
16.Caravan To Tao Ceti
17.Outside Beyond / Three Ways Back, Pt. 1
18.Outside Beyond / Three Ways Back, Pt. 2
19.Outside Beyond / Three Ways Back, Pt. 3
20.Interstellar Griot, Pt. 1
21.Interstellar Griot, Pt. 2

Jul 14, 2014

New album "Burnt Offering" by The Budos Band coming ...



When it came time to title their new album, one decision was easy: “This isn’t The Budos Band IV,” proclaims drummer Brian Profilio. “This isn’t just more of the same.” The Budos Band embarked on an experimental journey since the release of The Budos Band III in 2010, seeking inspiration from sources far and wide.

While wizards use books of spells and alchemy to mix their masterful potions, the Budos employ heavy doses of continent-spanning psychedelic rock to beckon the occult and conjure the supernatural.  Hence the title of the band’s fourth album: Burnt Offering. 

“We made a conscious decision to embark on a new sound,” explains baritone saxophone player Jared Tankel. The heavy, trippy side the group unveiled on The Budos Band III reaches full flower on new tunes like “Aphasia,” “Trouble in the Sticks” and particularly the title track “Burnt Offering.” “We were messing around with an old Binson Echorec at practice one night and this loop emerged,” recalls bassist Dan Foder.  The droning fuzz guitar is a call to the gods from below and encapsulates the band’s sonic progression perfectly. “This record is fuzzy, buzzy and raw, and more obviously psychedelic,” adds Profilio.

Like a cratedigger’s classic from a parallel universe, “Tomahawk” melds heavy, distorted guitar riffs with bright blasts of brass and bubbling drums. An eerie, ceremonial vibe awakens the slumbering giant “Into The Fog” and prods it to life.

Driven by melodies, rhythms, and changes that animate muscle and bone to move, yet compel the ear to lean in closer, these full-bodied instrumentals push Budos’ music deeper into new territory.
All lingering traces of touchstones of yore—be they Fela Kuti, Dyke and the Blazers, or Black Sabbath—have been wholly absorbed and filtered through the Budos Band’s ever-evolving aesthetic. “We sound nothing like our first record anymore,” confirms Profilio. Anyone content to just slap the old “Staten Island Afro-soul” tag on Burnt Offering and move on clearly didn’t listen to the music first.

The group composed more than two dozen songs in the course of making Burnt Offering, yet only recorded fifteen, further distilling its essence to ten classic cuts for the full-length release. If a new tune failed to capture the rambunctious energy of their live show, if it revised familiar territory or obvious influences, it got cut. Budos was determined to break new ground. “If any band says that’s easy to do, they’re fooling themselves—and not writing good enough songs,” insists Brenneck.
In order to reach the apex of the mountain, the band had to come together like never before. Always a brotherhood, the time spent writing and recording Burnt Offerings saw changes that many bands would have run from, but for the Budos presented opportunities to hone their craft.  “Making this record reaffirmed that we work together really well,” says Profilio.

Burnt Offering breaks from Budos’ earlier records in another significant regard: this is their first album without an outside producer. “We had arrived at a different place sonically and needed see it through completely ourselves,” says Tankel. They still praise Daptone mastermind Gabriel Roth, who worked alongside Brenneck co-producing their first three records, but parting ways at this juncture made sense.

“We know exactly where we’re at,” says Profilio. “We didn’t want to have to explain ourselves if we were in pursuit of a specific sound or vibe.”

“We made the demo that got us picked up by Daptone in my parents’ basement when I was eighteen years old,” Brenneck recalls.  “This album is a continuation of that, fifteen years later … with a lot more records under our belts.”

After all that time, Budos has become more than a band—it’s a brotherhood. “This is a real family band,” says Brenneck. “Guys who’ve been making music for a long time, and friendships that run completely parallel to the music.” They still rehearse religiously almost every week, even if some of those rehearsals encompass just as much drinking, socializing, and listening to music as actual practice.

That camaraderie doesn’t evaporate when they put their instruments down.  On tour, they hit a brewery or pub for lunch en masse before sound check whenever possible, and like to stir up trouble. There are dust-ups and reconciliations. All that kinship comes to a head when they hit the stage. “We’ve seen some things out there that most bands don’t get a glimpse of these days,” suggests Tankel. “All of that craziness just brings us closer together. We couldn’t shake each other if we tried.”
And capturing the intensity of Budos’ electrifying shows on wax, making the grooves vibrate with excitement, was one of the biggest challenges of Burnt Offering. “We record live to tape, with minimal effects,” Brenneck says. Nowhere to hide, then.  The band insisted that each song push the envelope. No room for filler.

The Budos have traveled far and wide—playing across four continents—since the band’s inception. A lifetime of world tours and weekly rehearsals went into the making of Burnt Offering, and the journey is far from over. As long as there are new audiences to thrill and sonic frontiers to explore, they’ll forge ahead. “We haven’t fulfilled our mission,” concludes Profilio. “We’re still very hungry.”

The Budos Band Official




Jul 10, 2014

Orlando Julius with The Heliocentrics - Jaiyede Afro




This fall, we’re extremely proud to announce the first ever internationally released new studio album by one of the all-time legends of Nigerian music, Orlando Julius, backed by the incredibly versatile London outfit The Heliocentrics.

On Jaiyede Afro, Julius takes us back to his roots, revisiting several compositions from his early years which have never previously been recorded. The album was recorded at the Heliocentrics’ fully analogue studio in North London. Like their their memorable collaborations with Mulatu Astatke and Lloyd Miller, the band takes Orlando’s sound into new, progressive directions, retaining the raw grit of his early work and adding psychedelic touches and adventurous new arrangements.

Jaiyede Afro is released September 9th on CD, 2xLP and digital formats. The physical formats feature new photos from the recording sessions by Alexis Maryon and track by track interview with Orlando Julius and The Heliocentrics. The release will be supported by a full European touring schedule.

Strut Records


 

Tracklist

01. Buje Buje
02. Love Thy Neighbour
03. Aseni
04. Sangodele
05. Jaiyede Afro
06. Omo Oba Blues
07. In The Middle
08. Be Counted
09. Alafia

Nigerian saxophone legend Orlando Julius’ collaboration with UK psychedelic jazz outfit The Heliocentrics is one of the most satisfying and progressive Afrobeat projects to come along in a while. The full album is due September 8th, but you can hear the lead track “Buje Buje” below.
The Jaiyede Afro album can be pre-ordered now on iTunes, with the track “Buje Buje” available instantly.

Orlando Julius on “Buje Buje:”

“My parents used to tell us stories, folk tales and there were a lot of different stories involving tortoises – they often made tortoises sound like human beings. There was one about a tortoise who had a farm and I always thought, ‘how could a tortoise have a farm?!’ This tortoise is working on his farm and a pretty lady is passing by. So, he cuts his foot with his cutlass and pretends that he is injured so that he can get her attention. The lady comes over and tries to help him and he says, ‘I can’t work with this cut. Could I climb on your back to go to get help?’ She agrees, he climbs on her back and she starts to walk. He says, ‘I’m too far up, could you push me further down your back?’ Finally, the lady realises that he is up to no good, she is very unhappy and tells him to find his own way. Once she has left, the tortoise continues to play this trick on other women.

“I made the story into a song and brought human nature into it – good people and bad people. The song teaches us not to copy something that is bad, fake or deceptive.”


Jul 7, 2014

From Venezuela: Tragavenao Orquesta Afrobeat (free album) !!!


 TRAGAVENAO ORQUESTA AFROBEAT.

Es un conjunto musical formado en Maracaibo, Venezuela por varios musicos que absorben influencias a traves de un gran peso del AFROBEAT, JAZZ y FUNK.

Un proyecto musical de Afrobeat que fusionando géneros como jazz, funk, y ritmos Venezolanos consigue un ritmo único y contagioso sin alejarse en su totalidad a la genialidad y pureza del Afrobeat moderno.

Con mas de 10 músicos en escena, se conforma como una orquesta en el 2010 dando mucha energía a su particular sonido étnico.

Originarios de Maracaibo, Venezuela llevan con su música la energía necesaria para sacudir el medio musical reviviendo y dando a conocer el fabuloso trabajo creado por Fela Kuti junto a su corriente musical; conformando la banda como la primera orquesta Afrobeat en Venezuela.

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Is a musical group formed in Maracaibo, Venezuela by several musicians absorbing influences through a great weight of Afrobeat, jazz and funk.

A project that fusing Afrobeat musical genres as jazz, funk, and Venezuelan rhythms with a unique rhythm and contagious without departing entirely to the brilliance and purity of modern Afrobeat.

With over 10 musicians on stage, is shaped like an orchestra in 2010 giving a lot of energy to their particular ethnic sound.

Originally from Maracaibo, Venezuela with his music carry the energy to shake the musical reviving and publicizing the fabulous work created by Fela Kuti with his current musical, forming the band as the first Afrobeat Orchestra in Venezuela.





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