!K7 has an excellent free sampler for download here

Tracks:

Impressive mixes from Riga, Lativa’s DJ  Årno

Mundovibe’s World DJ of the Week

Download Mixes here

MARTYNw/ Lorn, Marley Carroll, Cleofus Williams
Saturday, March 27th, 2010
10:00 PM (Doors at 9:00 PM)
$13 advance / $16 door
18+

ONE WORLD Entertainment presents …

MARTYN (3024|Tectonic|Hyperdub|Netherlands)
with special guests
Lorn (Brainfeeder|Milwaukee),
Marley Carroll(Melanaster|Mr. Invisible|Asheville),
and Cleofus Williams (Temple of Boom|Freq Lab|Asheville)

Martyn has provided body moving funk to dance floors since the mid nineties. A love for Detroit techno, Chicago house and hiphop fueled his need to be seriously involved in music. When exposed to drum & bass in 1995, Martyn was destined to take things further musically and began to lay the foundations of his career as a DJ, producer and promoter.

In 2005, Martyn’s own productions started surfacing in the drum & bass scene, and in Autumn of 2005 the first high profile releases for Martyn made it to the shops on play:music and Marcus Intalex’s Revolve:r imprint. Martyn’s close involvement with Revolve:r/Soul:r crystallized with another 12″ and four tracks on Soul:r’s compilation CD “Dat:Music” released in December 2006. In 2007 Martyn took the world by surprise with “Broken” and “Shadowcasting,” a sizzling dubstep 12″ release that came out on Revolve:r. These two tracks were definitely a breakthrough for Martyn into the wider dance music scene, as his music is now being recognized by DJ’s in the techno, house and dubstep world. His tracks have been receiving healthy radio and dj play by great names such as Gilles Peterson, Mr. Scruff, Ricardo Villalobos, Laurent Garnier, Ame, Mark Pritchard, Skream, Kode9, Flying Lotus, The Bug, Pole, Attias, Luciano, Underground Resistance and Appleblim of Skull Disco. Full of musical ideas, Martyn finished an EP for Revolver – “After Seven / JW on a Good Night / Storm Watch,” a 12″ for Appleblim’s Applepips label, and his remix for Leeds-based Hessle Audio (the mighty TRG – “broken heart martyns DCM mix”) instantly turned Martyn into a highly in-demand remixer. Over the course of 2008, he remixed Black Pocket (aka Steve Spacek), Shut Up and Dance, Flying Lotus (on Warp), Shed (on Ostgut Ton) and remix for Ican (planet E, UR). With every release his fusion of techno, dub and dusty old samples receives more exploration.

Teaming up with old friend Erosie (one of Europe’s most talented and well known street artists), Martyn started his own label 3024 in November of 2007. The label is a playground for all the music (in various styles) Martyn is producing and collaborations with other artists. The first release came out in December 2007 – “Velvet / Twenty Four” – and was followed up in June 08 by “Natural Selection / Vancouver.” Both these releases received an enormous amount of good press and DJ/radio play, and were followed by two impressive remixes by Flying Lotus and fellow dutchman 2562. With 3024’s fourth release, a solo release by 2562, and fifth, Martyn’s debut album “Great Lengths” (released on April 20th 2009), Martyn and 3024 have garnerd praise accross the world.

Pitchfork has called Martyn, “one of dubstep’s most versatile tallents”; Mixmag called Martyn’s “Great Lengths” the “sleeper hit of 2009″; and XLRBR review of “Great Lengths” gave the album 9.5 out of 10.

As a DJ, Martyn has played illustrous venues such as Berghain, Robert Johnson, Fabric, Plastic People, Watergate, The End, Cielo, Club Love and festivals like BLOC, Mutek, Iceland Airwaves, Lowlands, Sonar, and Camp Bisco. He has also become a regular at Flying Lotus’ Brainfeeder events.

“Martyn’s ‘Great Lengths’ album was the sleeper hit of 2009. Now the Dutchman is back with an astonishing mix that fuses ‘future garage’, house, dubstep, UK funky and more in the comp of the year so far.” – Mixmag reviewing Martyn’s ‘Fabric 50′ mix

“Can Martyn do any wrong now? The only sane conclusion is no.” – DJ Magazine reviewing Martyn’s ‘Fabric 50″ mix (4.5 out of 5)

“By encapsulating the zeitgeist of forward-looking electronic music in a completely listenable album, ‘Great Lengths’ achieves something truly special in the pantheon of dance music.” – XLRBR reviewing Martyn’s “Great Lengths” album (9.5 out of 10)

“One of dubstep’s most versatile tallents.” – Pitchfork

Luminescence Electronic Sound Summit

Friday-Saturday April 9 & 10 @ Club 828, Asheville, North Carolina
Tickets sold at: https://club828.ticketleap.com/luminescence410

Asheville, North Carolina is emerging as a hotbed of activity for dance and electronic music with several national events now staged in the mountain city including Luminescene.

Bonobo Live Band will perform April 9

Under One Beat Presents:

LUMINESCENCE Electronic Sound Summit

April 9th & 10th, 2010

Limited 2 day combo tickets and VIP passes available. VIP includes private lounge and bar…

April 9th, 2010
Euphonic Conceptions Presents:
Bonobo Live Band
The Invisibles
More TBA

April 10th, 2010
Bluetech Presents:
Satori Social- Bluetech Live Band
Kraddy
Collective Efforts (1320)
DJ Bowie
Sonmi Suite
Par D

Podcast compiled by Tommy T, bassist of Gogol Bordello, with music from his recent solo release, ‘The Prester John Sessions’ (Easy Star Records), plus favorites from his personal collection. Music includes artists like Aster Aweke, once dubbed “the Aretha Franklin of Ethiopia,” British reggae group, Aswad, and Michael Rose of Black Uhuru. Tommy concludes with one more track from ‘The Prester John Sessions,’ “Tribute to a King,” dedicating the mix to The King of Ethiopian music, Dr. Tilahun Gesesse.

Download it here

A Mundovibe exclusive interview with Silhouette Brown vocalist Lady Alma

After half a decade, Silhouette Brown – the original production and songwriting team of vocalist Bembe Segue, Kaidi Tatham (Agent K / Bugz In The Attic) and Dego (2000black / 4hero / dkd) – return with their aptly titled sophomore album, two. Silhouette Brown’s second LP two features the unmistakable vocal sounds of Philadelphia’s Lady Alma who has appeared on countless club classics from Sylk130’s “When the Funk Hits The Fan” to Soul Dahmma’s “Happy” and 4hero’s “Hold it Down”. Soaring with a distinctive soulful voice from start to finish, showing all her versatility and warm spirit, Lady Alma delivers two into a relaxed head-nod-soul experience.

Alma’s distinctive soulful voice brings a vivacious energy to the various sounds introduced in the album.  With two, Silhouette Brown guides us toward a new dimension of modern soul music with a distinctively London-esque flair. It conveys a touch of melancholy in tone through contemplative yet hopeful lyrics and just enough groove for those looking for that “je ne sais quoi” in their regular dosage of Jazz and Nu soul.

“Get With It” is a hip-hop song featuring Brand Nubian’s Sadat X, which talks about uniting and progressing. “Leave A Note” talks about suicide, while “Hear Them Often Say” is about having faith. Another instant hit is the collaboration with M.D Akwasi on “Strawberries in Vinegar,” which is a guaranteed boogie anthem. Silhouette Brown’s extremely skillful production team pushes a warm, sumptuous melody, which delivers groove in a way only they know how. This group of extra-ordinary artists created two, which is the musical product of their skills and talents.

Listen to the full interview here. Full transcript below:

Mundovibe Editor John C. Tripp spoke with Lady Alma from her Philly base just before the release of “two”.

Mundovibe: It’s an honor to speak to you, I give you big respect. I’ve been a fan of y0ur contributions going way back to, of course, King Britt and I’m a big fan of the EP you did with Mark de Clive-Lowe and your work with 4 Hero. Big respect.

Lady Alma: Thank you very much.

MV: So, let’s go right into this new Silhouette Brown and my first question is, how you became the vocalist on this recording.

LA: Well, I’m friends with all three of the creators of Silhouette Brown, which is  “Dego” McFarlane, Kaidi Tatham and Bembe Segue and I knew about the first Silhouette Brown. I’m a fan of those three cats so I was already in on it, but I did not know that I was going to be a part of Silhouette Brown until the later part of 2008 when Dego started talking about it. We stated recording in February of 2009 and now here we go.

MV: Yeah, well it’s exciting because you’ve got a history with those guys and, of course, ‘Hold It Down’ was such a phenomenal track so this is kind of a bearing the full fruit of that collaboration I would say.

LA: Yeah, I think so. I’ve had the opportunity of performing with Kaidi and Bembe on stage and working with Dego in the studio. So, for me it was an honor for it to happen. That they even considered me as pulling it off: it’s five years in the making so I’m very honored to be the one on the next installment.

MV: So, how do you describe Silhouette Brown?

LA: Definitely different from the first installment. Dego is now living here in the States, so it’s a little more States friendly. He and Kaidi are very complex with their drum patterns and what they lay down and I think him being here kind of Americanized the sound of Silhouette Brown to make it more American friendly. More boombap beats and more just laid-back, grown folk &B tracks with some heavy contemporary gospel influence chords played by both Dego and Kaidi. So, it’s definitely different from the first installment.

MV: And, of course, five years ago was kind of the peak of the “broken beat” sound, so they’ve clearly evolved and matured and I’m sure you have to.

LA: Oh, yes. It was such a challenge doing this album. But I appreciate the growth of my craft from it.

MV: Well, you come from a long, long background — I watched the documentary on your career, which stretches all the way to being a child. That’s phenomenal. I know that you came up with the church choir but wow did you end up with your style that you have now?

LA: I would like to say how it evolved to where it is now: it definitely has to do with the church but more, even more that my mom had me in music school, going for music/academics with GAP, which was my day school. And she also had me in after school activities at Settlement so, even though my background was classical it kind of helped me to mesh so many different genres of music that I was learning to develop the style that I have now. I’ve always sang, from age 3 all the way up to now. So, I think just being around different entertainers, my friends that are also in the music business. Being influenced by all of this different music that I’ve been exposed to, whether it’s been personal or professional I just think that everybody has had a part in making my sound what it is now.

MV: And how much of that is part of the whole “Philly Soul” kind of thing?

LA: Oh, I would say it has to be at least 60 percent. I have a lot of friends in the business like my cousin is Jaguar Wright and I’ve watched her perform. And Asia from Kindred and even Jazmine Sullivan. Marsha Ambrosius from Floetry and all these ladies and even some guys and even the old classics like
Diana Reeves and Dinah Washington and Martha Reeves: all of those cats are what has brought my sound to the forefront as Lady Alma. I’ve been influenced by a lot of vocalists and I try to take a little piece of something from each one, and not try to copy. They’re successful in their own right so noone wants another one. If anything you should be able to take something and evolve it and I think that’s what has happened. But I thank all of those people, even the producers that I’ve worked with, I’ve noticed that the notes that I choose become more complex because they’re complex. Everybody influences me.

MV: You hooked up with King Britt and you attribute him to launching your career to some degree.

LA: I’m very proud of King, King is like my brother number one. And it started out as an admirer to the admiree. You know, he was a DJ at Silk City. I just used to enjoy the music with the live element they had. My and my girlfriend, who was actually my partner in the early Sylk 130 recordings, used to go out on those Monday and Saturday nights and I would get so moved by the music that was spinning because it was at a time where top 40 music was really taking over and you wished you could get a little bit of the grown folk music that you were brought up on. So, that’s what these cats used to spin — not only that but I’m a lover of house music. So, that’s how it came to be, just kept going out and one day me and Tandy was just in the middle of the club singing and they couldn’t believe it.King heard us over the top of all this stuff and was like, ‘Oh my God I’ve gotta work with those girls.’ And Tandy knew King already prior to us working so I was introduced to him and from there it’s where it is now. And I do attribute and I have to say if it wasn’t for God first, bringing me to Tandy and her bringing me to the club to meet King I probably would be at my regular 9-5 helping doctors fit patients for lenses.

MV: You definitely like to collaborate with people: how did that process work with Silhouette Brown?

LA: Well, I was only working with one person as far as the music production part of it. But I had worked before I worked with all of those cats prior to this project, in some form. So, it wasn’t too difficult.

MV: Were the lyrics your collaboration?

LA: Nooo, the only thing you are getting from me is vocal arrangement. A lot of the lyrial content was written by Bembe or Dego. That’s why I said earlier that it was a challenge, because I didn’t write any of the lyrics and to bring what they heard, as far as to them what they’re interpretation of their songs would be for me to give them what they want, that was a big challenge. Good thing I personally do know them and know how they like things and what they would do as the artist. Like, when Dego was being Dego the artist I know what he wants. When Kaidi, as madd as he is with all that talent, I know what he likes to hear from just working with him in the studio. And then being onstage with Bembe, I know where she goes. She’s so uninhibited, she can take a song with no lyrics and you’ll think it’s lyrics the way she does things. So, I tried to like put myself in those positions and then bring Alma, the sound that they want. That was such a challenge but I grew so because I allowed myself to just rest in my vocals and let someone do something else.

MV: That would be very challenging I would imagine. Especially, there’s some pretty heavy — it’s kind of emotional, some of the lyrics. Some heavy, adult topics in there.

LA: Yeah, it is. And it’s funny actually, I’m not ashamed, there’s a few songs where you’d have thought I wrote them because they really were personal tunes. Actually two of the songs, and I’m getting a little choked up right now, but ‘Casualties of Honey’. Well, I broke up with my boyfriend about the time that we started recording and ‘Leave a Note’. I had contemplated last year of leaving a note, and that can be on record I’m not ashamed, I’m doing much better right now. I think the mere fact of just finishing this group of work has helped me to heal a whole a lot. And I also seek through my pastor at church for spiritual guidance now. A couple of songs there are verrry personal so if they sound as if I wrote them or some sort or I’ve experienced them it’s because I have.

MV: Well, you definitely did put that into the songs because you interpreted them very well and I listen very closely to the lyrics, one which grabbed me was ‘I want to dream forever and rest my head in a pool of red’. That’s heavy stuff and we all go through these moments where were just wondering, especially these days. But I don’t want to get all heavy here because it’s really uplifting music.

LA: Oh, yeah. Because on the flip side, I got my healing from this album. The good part is that I was healed through this body of music and lyrical content that has substance. And it really caused me to just reflect on my life and if I had, even going through all my down stuff, if I had a chance to live my life differently or do it again I’d do it the same way.

MV: I listened to all of the tracks, I didn’t get to listen to the full length of them because it’s not out yet, but it was really resonating, it really sounded great. Now I understand why it has a different flavor to it because as you said, it’s more accessible to American ears. Now, how are you going to interpret this live?

LA: Oh yeah, we’re getting ready to start rehearsals and I’m so, so excited. My personal keyboard player who plays in my band has been pulled into the Silhouette Brown family and I know that Dego is going to get Kaidi over for some of the shows so he’ll be playing as well. So, I’m really excited because all three of those cats are sick, madd musicians and I know just those three right there is enoght that it will be mind blowing. It will be new and different because as a collective group we haven’t worked together in that sense. So, the first couple of shows might be rough but after that please. Actually I think from the first show to the last show it’s going to be something new every time.

MV: And you’re know for just taking over and giving everybody that uplift and your live show is supposed to be phenomenal. Tell me about some of the recent live work you’ve done.

LA: Actually, I just got back from LA. A girlfriend of mine, Felicia (the Poetess) Morris, her dad has been in radio for 45 years and that is a milestone because if you last 45 minutes you’re doing well. But they had a benefit concert for him at the Congo Room, which is Sheila E’s club, and my girlfriend works for Jamie Fox on his radio station the Foxhole. I was performing last Monday at the Congo Room and Jamie Fox came up and sang with me. I got to meet and see Mr. Stevie Wonder, Lenny Williams, some great, great talent. It was really a good event. Before then I would have to say, I did something local and I did a gig at S.O.B.’s in New York for my friend Manchild Black, he has a party called Soul Ascension and I did it with DJ Mr. V and it was dope because it ended my whole trip, I’d been in Atlanta with DJ Kemit. I don’t know if  a lot of people know who he is but he’s the DJ for Arrested Development and who went on to work with a lot of great people who also was the resident DJ of this big party in Atlanta that happens every three months called the Fall Jazz. And he brings in some heavy cats, the whole idea of this even is you never know — people fly into Atlanta from all over for this event. Me and Kemit did a track for his album called ‘You Don’t Know’ and that’s dope. So it started in Atlanta and then I went to LA and made some connects out there and came home and then headed up to New York. And it was freezing, but the hottest night ever.

MV: SOB’s a nice room too.

LA: Oh, yes it is. People in New York came out and showed their love. It was freezing cold but I’m serious, there was a lot of people that came out and showed their love. In those nine days I had I would have loved to stay out in LA and attend some Grammy parties but I had work to do.

MV: It’s good to hear that you’re playing out in different cities. A final question: do you see Silhouette Brown blowing up the spot in the States and worldwide.

LA: I see Silhouette Brown really impacting people who have not been impacted by grown folk music. I see people being introduced to it and I see it breaking some gaps that we have. I’d like to see Silhouette Brown for a while, for a long time. I feel that it’s going to catapult me for the other things that I have in the works. And I’m forever grateful to those three for even considering and then choosing me. I see longevity for Silhouette Brown, here and worldwide.

Free Silhouette Brown song

Constant Questions (right click to download to computer)

			two Silhouette Brown CD Released: Feb 8, 2010 Released By 2000black BUY NOW

Elizabeth Shepherd is among Canada’s most promising young talents and she has the widespread critical acclaim to prove it. The rave reviews for her first two studio albums as well as sold-out performances at prestigious venues like Tokyo’s Cotton Club, London’s Jazz Café and the Hollywood Bowl have been extremely gratifying for Shepherd, but the Toronto-based singer/songwriter/pianist has never been content to rest on past achievements. Shepherd’s debut Start To Move (2006) and follow-up Parkdale (2008) were both JUNO nominated (*Canada’s Grammy equivalent) and described as “pushing the boundaries of jazz”. With the release of her stunning third album Heavy Falls the Night, she pushes well past those boundaries to carve out her own niche of smart, sophisticated and adventurous music.

Shepherds explorations are as successful as they are unexpected. She collaborates with a Japanese DJ, a Canadian poet, an Afrobeat producer. She writes songs for the dancefloor. She transforms a twangy 70s hit into a moving soul recording. She writes songs about everything from feminism to homelessness to suicidal loved ones.

“These are songs that are dear to me, about the people who matter the most to me, about their suffering, their stories, the threads that link us, for better or worse” Shepherd says. “I’m proud of this record because it’s honest and the one that comes closest to my voice, to my heart.”

It’s also the first album that Shepherd produced herself. The album was recorded over 15 months, mixed by studio ace Scott Lake (Sam Roberts, City and Colour), and features some of Canada’s finest players, including long-time collaborators Scott Kemp (bass) and Colin Kingsmore (drums).

“takes the listener on a dynamic musical ride. It’s hard to pick a favourite track from such an eclectic album but, depending on your taste, it could be the dancefloor ready Seven Bucks, co-produced by Japanese mixmaster DJ Mitsu The Beats (Dwele, Jose James), and inspired by an NFB documentary. Or it could be The Taking – Shepherd’s powerful tribute to the women who came before her – knocked out in 11/8 time. Or maybe it’s the supremely soulful reworking of Anne Murray’s 70s soft-rock radio staple Danny’s Song, one of the few secular songs that made it past the gatekeepers in Shepherd’s Salvation Army childhood home.

Add to that the playful, old school soul of Numbers, the life-affirming live electronica of High and the whispered confessions of the haunting title track, and you have one of the most unique and memorable albums of 2010 in Elizabeth Shepherd’s Heavy Falls the Night.

Heavy Falls The Night

Elizabeth Shepherd
“Numbers” (mp3)
from “Heavy Falls The Night”
(Do Right! Music)

Buy at iTunes Music Store
Buy at Amazon MP3
More On This Album

Seven Bucks (mp3)

High (mp3)

Featured Artist: ChocQuibTown

Fresh off a Latin GRAMMY nomination for “Best New Artist,” ChocQuibTown presents their U.S. debut album, ‘Oro.’ The group is an Afro-Colombian hip-hop act who formed in the Chocó region in Colombia’s Pacific coast. They fuse hip hop, electronica and funk with traditional Afro-Colombian rhythms. ChocQuibTown is comprised of three MCs – Tostao, Goyo, and Slow.

2009 was a banner year for ChocQuibTown, beginning with the group’s U.S. debut concert at SXSW. In addition to the Latin GRAMMY nomination, they showcased at WOMEX and toured from London to Paris and all the way out to India and Las Vegas.

Nacional’s ‘Oro’ album includes the best of ChocQuibTown’s previous two albums released in Colombia – ‘Oro’ and ‘Somos Pacifico’. The acclaimed album ‘Somos Pacifico’ was produced by the innovative production duo of Richard Blair (of Sidestepper) and Ivan Benevides (known for his work with Carlos Vives).

Official Website

Free Songs by ChocQuibTown

ChocQuibTown
“Somos Pacifico” (mp3)

“De Donde Vengo Yo” (mp3)

“Alguien Como Tu” (mp3)

from “Oro”
(Nacional Records)

Buy at Napster
More On This Album

DJ Sabo “Latino Megamix” (download here)

David Starfire
“Sitarfire” (mp3)
from “Bollyhood Bass”
(Six Degrees Travel Series)

Buy at iTunes Music Store
More On This Album

The Sight Below
“Fervent” (mp3)
from “It All Falls Apart”
(Ghostly International/SMM)

More On This Album

“Assume Crash Position” is the new album from Congolese street band Konono No.1, the fourth volume in the Congotronics series from Crammed Discs. It will be released in May 2010.

Once again recorded in their home domain of Kinshasa, DR Congo by Congotronics series producer Vincent Kenis, the long-anticipated follow-up to Konono’s 2005 debut sees their trademark thrilling junkyard sonics and relentlessly hypnotic percussive grooves (as created using thumb pianos and drums made from scrap metal and disused car parts) further elevated with electric guitars and bass – played by neighbourhood musicians from a young Konono covers band! – as well as a wider range of vocalists plus guest appearances from guitarist Manuaku Pepe Felly (Zaïko Langa Langa) and members of fellow Congotronics band Kasai Allstars.

The band’s music is and will always be a very precise mixture of traditonal bazombo trance music with the distortion of their modern home-made equipment… but their sound on “Assume Crash Position” is somehow deeper, more layered and ethereal, without losing any of that signature raw power and driving energy. Those gloriously extended full band tracks take off like never before – but also, for the first time, we hear Konono stripped right back to their essence: the album’s final song, “Nakobala Lisusu Te”, features just the band’s founder and master, Mingiedi (now in his late-seventies) and his likembe. “I don’t feel like getting married any more”, he sings in sweet and mournful tones, “because women nowadays think marriage is just a six month affair”.

The album title is a rough translation from the Kikongo meaning of  ”Konono”, and if you’ve heard or seen the band in full flight before you’ll have some idea of the ride you’re in for here. If not – well, strap yourselves in…

Credits

Konono N°1
Mingiedi Mawangu: likembe
Augustin Makuntima Mawangu: likembe
Menga Waku: vocals, bass likembe
Antoine Ndombele: bass likembe
Pauline Mbuka Nsiala: vocals
Vincent Visi: snare drum
Ndofusu Mbiyavanga: percussion, tam tam
Duki Makumbu: bass guitar

Guests
on 3: Mbuyamba Nyunyi (bass likembe), Kabongo Tshisense and Kalenga Ditu (likembe), courtesy of Kasai Allstars
on 4: Felix Manuaku ‘Pepe Felly’ & Vincent Kenis (guitars)
on 1, 3 & 7: Nzila Mabasukisa (guitar)

Produced, recorded and mixed by Vincent Kenis
Recorded at Halle de la Gombe and Ndjili Quartier N°1, Kinshasa, Congo

Mundovibe is based in Asheville, here’s something for the local heads to check out:

Melanaster w/ If You Wannas & Mobley!

Saturday, March 13th, join Mundovibe at Club 828 in Asheville, NC for a very special night of live experimental rock with Melanaster Band.   We’ll also be checking out Austin innovators Mobley and local indie favorites If You Wannas.

Lots more details + video on the Melanaster blog.

Essential info : Club 828, 9PM | 18+ $8 Map / Facebook Event

Special note: Mobley features a groundbreaking interactive music video on their website.  Check it out!