Review: Solo Moderna is a Dutch producer who hails from Tilburg, and who specialises in eclectic grooves inspired by world music, or in his words, "cumbia, Afro, ragga, electroting, lo-fi and baile". Accordingly, this album - his third - ranges from the Latin party vibes of 'La Bandolera' and 'Feliz Sintetizador' to the Afro-funk of 'Boum Boum', via doses of 1950s Jamaica ('Mento Moderna'), high-life ('Momento Disco') and more. Hammonds, hand percussion and fluttering acoustic guitars are much in evidence throughout but there are hints, too, of a more contemporary, post-house/techno production aesthetic on cuts like 'Sonido SiD Africano'.
Review: Galletas Calientes simply won't stop handing us the goods, piling up the compilations on a weekly basis, and opening our ears to whole batches of new artists out there. This particular episode is the second remix instalment of the Palenque Records AfroColombia series, showcasing the very best of South American Afrobeat. Plenty of killer dance vibes and carnival moves throughout, from the likes of DJ Panko, Umoja, and the rest of the contemporary dance scene blurring the lines between African heritage and Hispanic tones. Wonderfully seductive material for those looking to add a bit of warmth to their January blues.
Review: Galletas Calientes is our sort of imprint, never shy of offering the bizarre to the bizarre, and the left field to those standing just to the right. For their 18th outing, the label have called upon Dragao to offer up some sun-kissed vibes, something which the debutant clearly knows how to address. Camino is much more than a debut album, however, it's a statement of intent. Hear us when we say that this guy just needs a but of time, and his charismatic take on the enlarged dub framework will blow up - big! Using dub as the main element in his formula, Dragao creates an LP which will be enjoyed by many for its far-reaching use of latino and dub beats, something which will never cease to excite and intrigue the masses. What an album, and what a TIP!
Review: Ghetto Kumbe are a three man band. Their music is a unique blend of house beats with traditional west African rhythms such as the lambam, soli, sofa, kassa and makru among others. These are merged with Afro-Colombian rhythms such as cumbia, bullerengue, son palenquero and the chalupa del rio. Their forthcoming EP "Soy Selva" (translated as "I'm Jungle") is about the ancient people of Colombia, their traditions, their relations with mother nature, universal respect and ritual dancing. The high-octane spiritual life music of "Ware Warrior" for instance reaches neat tribal moments while Dagbani Dance (feat Zongo Abongo) goes for a more traditional and ritualistic vibe with its hypnotic rhythm arrangements and vocal chants. Sublime music for proper trance induction sessions. However, there's much more about this EP than the ultimate innovative act from the emerging Colombian melting pot.
Review: Both renowned electro swing producers and outstanding DJs, French duo Stabfinger and K.D.S have been involved in numerous musical projects for the past years. Having collaborated with artists from the underground techno or UK ghetto funk scenes, Stabfinger's productions don't limit themselves to a single music genre. KDS, for his part, has been DJing across the globe since he was young and especially known for his communicative performances.. The Llore EP is an uptempo release fit for Summer dance floors, with more Latin and Afro influences than their usual productions; the result of inspiring trips they recently made to Colombia and Argentina. "Llore" is a hypnotic and progressive house track composed with techno producer Audioflow from Killadisco. The children singing on "Iguazu", the ancestral voices and sizzling percussions of "afro house", the disco, funk, and fantastic energy of "Elastick"; all these elements come together for a great combination of musical backgrounds and influences.
Review: On his second album, Colombian Party, Sunka succeeds where so many others have failed and unites electronic music with south American influences. In this process, he works seamlessly with a range of collaborators. On the bass-heavy title track, he weaves the rude vocals of Raspapulaman into the bouncy groove, while "Bajo La Luna" is more reflective as Marlen Obregon's hypnotizing tones unfold over mournful brass and tom-toms. In the main though, this is a celebratory affair, and Sunka brings a party mood to the Latino hip-hop of "Lo Que Suena" - which features Kartel Pacifico on vocals - as well as the good time, party house of "Amaneciendo".