REVIEW

Various Artists

Le Pop Volume 6

The last decade has seen the rise of French electronica and disco: one doesn’t have to try hard to conjure up their favorite dance groups or DJs like Daft Punk, Dimitri From Paris or Air. The French may have become synonymous with thumping beats but there’s a whole other French sound that has been equally fruitful, the chanson Française. This is not the French music your beatnik parents grew up with though. The sixth incarnation of the French compilation “Le Pop” shows just how far and wide the French song has come with sixteen tracks from across the French diaspora, from Paris to Louisiana. There’s an uptempo and feel good vibe to the selection, with but a couple songs showing a more melancholic side (Fredda’s ‘Fenêtre À Collioure’ is one). For the most part it’s a sweet, sassy and wild ride in an open convertible with the tunes blasting.

La Patère’s ‘Chocolove’ is a whimsical, jaunty pop tune with sweet female vocals and banjo. Olivier Goulet’s ‘Alors Il Y’a La Lune’ is a smokey and vocal-driven song with Mali-esque blues guitar. Caracol’s ‘L’amour Est Un Tricheur’ is a catchy reggae-blues track with chocolate-rich female vocals. Jérôme Minière’s ‘Avril’ is a sensuous male-female duo that reminds me of Thievery Corporation’s ‘Lebanese Blonde’. Féloche’s ‘La Vie Cajun’ is the most “urban” song here, a scratch-laden and swamp-infused track with a dash of masala. Emmanuelle Seigner’s ‘Dingue’ is one of the collections more infectious songs with upfront vocals and a memorable chorus.

If there’s one influence that permeates “Le Pop 6” it would be Manu Chao: you might not be able to pinpoint it but you can feel his influence. Of course there’s also a smattering of Serge Gainsbourg, Django Reinhardt et al. If you’ve been sucked into the vortex of French dance music and want a breath of fresh pop-vocal air, “Le Pop 6” is a welcome treat of French chanson. And don’t worry about the words, you’ll still find yourself humming these songs. –John C. Tripp

Tracklisting and videos at the break

The Barcelona collective Ojos de Brujo could never be accused of going about their business conventionally as they celebrate their tenth anniversary with a special recording. A celebration in which many artist friends collaborate on the group’s songs as well as providing two brand new ones: the title track, produced by long time spar Nitin Sawhney and “La Machine” by Juno Reactor. Also included is their lusciously fluid flamenco re-styling of Marley’s “No Woman, No Cry”.

“Corriente Vital” (Lifestream) contains songs from the extensive OdB canon transformed by producers such as Italy’s Tom Waits Vinicio Capossela, Jorge Drexler – the first Uruguayan ever to win an Academy Award (for his work on The Motorcycle Diaries) and Roldan from Cuba’s Orishas as well as the aforementioned Nitin Sawhney and Juno Reactor (who participated in the OST of “Matrix”).

Word has it that “Corriente Vital” could be the band’s last offering for some time as the different members experiment in other areas; and if that proves to be the case it can honestly be said that they kept their freak flag flying until the end, staying true to themselves and their principles.

A large part of Ojos de Brujo’s legend is based on spectacular live shows where they have never been known to give less than 100%. Their performances are rooted in flamenco with flavourings from reggae, raga, rumba, hip hop and house melded into their trademark jip jop flamenkillo. The last chance for the foreseeable future to catch one of the world’s most vibrant and inventive bands in any genre, takes place on April 15th at the Barbican. Prepare for a musical version of El Clásico with multifarious musical fireworks.

[youtube=http://www.youtube.com/watch?v=35jswgBc0lY]

Being an accomplished guitarist, Nick Radford also cites players such as Grant Green, Kenny Burrell, Boogaloo Joe Jones and BB King as a constant source of inspiration. The album title, Colours reflects the wide range of moods and grooves found on the album which also features the instrumental and production skills of Lack Of Afro.

Freestyle Records springs into 2011 with the release of the debut album Colours by Frootful, guitarist Nick Radford’s new project. Frootful bridges the gap between past and present, acknowledging influences, while reflecting the creative process of looking back to move forward. Those classic influences include 60s soul-jazz, latin, ska and R&B. Being an accomplished guitarist, Nick also cites players such as Grant Green, Kenny Burrell, Boogaloo Joe Jones and BB King as a constant source of inspiration.

[soundcloud url=”http://api.soundcloud.com/tracks/10205293″]

The album title, Colours reflects the wide range of moods and grooves found on the album. Having played guitar in the Lack of Afro live band for several years, Nick began making some home recordings of his own material. The Colours recording project came about when Adam Gibbons (Lack of Afro himself) seemed suitably impressed by the demos and offered his services to helm the production.

  //www.mixcloud.com/widget/iframe/?feed=http%3A%2F%2Fwww.mixcloud.com%2Fmundovibe2%2Fmundovibe-september-world-vibes%2F&embed_uuid=095d4aaf-5e6d-406d-8b43-6440f82ab803&stylecolor=&embed_type=widget_standard MundoVibe September World Vibes by Mundovibe Music Mix on Mixcloud Trapped Here By Adrian Sherwood 1 […]

Agoria has created an album that is at the same time constantly changing while also having a unique flow and mood of its own.

Sebastien Devaud, aka Agoria, entered the world of electronic dance music at a peculiar moment in time. Unlike the first generation of techno producers, he’s too young to have been actively listening to early 80’s electronic pop by groups such as Depeche Mode or New Order. But unlike younger DJs and musicians, he’s been exposed to house and techno more or less since the start of these genres.

Living in rural France, Agoria first got hooked to electronic music through listening to Kevin Saunderson’s classic Good Life on the local radio as a twelve-year-old kid in 1988. He was so impressed by the Inner City hit that he spent the following afternoons washing his neighbours’ cars to earn enough money to buy his first 12″. His next revelation came a few years later when one of the first DJ sets he experienced happened to be from Jeff Mills in nearby Lyon. It was the first time that I saw a DJ using three turntables and a drum machine. He really created something completely new rather that just playing records. And the way he moved, his precision and speed, impressed me.

The brian eno produced album sees Kuti finding his own idiosyncratic voice as songwriter, singer, and band leader, heading up Egypt 80, the extraordinary combo first fronted by his renowned father, Fela Kuti.


The mighty ‘From Africa With Fury: Rise’ is produced by Brian Eno, John Reynolds and Seun himself, with additional production by Godwin Logie. Eno – an avowed fan – has nothing but the highest praise for Seun and his band, hailing them for “making some of the biggest, wildest, livest music on the planet.” Co-producer Reynolds (whose work as musician, producer, and mixer spans such artists as Sinéad O’Connor, U2, and Natacha Atlas) agrees, applauding Kuti and Egypt 80’s distinctive Afrobeat as “a musical adrenaline rush.”

[soundcloud url=”http://api.soundcloud.com/tracks/11305365″]

FRIDAY APRIL 1st

Unsound Labs: COLLABORATIONS 1
Issue Project Room, Brooklyn – Price $12/$10
HATI (Poland) duo with Z’EV (UK) / ANNA ZARADNY (Poland) duo with AKI ONDA (Japan/USA) / DAWID SZCZESNY (Poland) duo with MERCE (USA)
File Under: Experimental, Improvisation, Electronic, Industrial

[vimeo http://vimeo.com/18422208]

SATURDAY APRIL 2nd

Unsound Labs: TOUR / ARTISTS TALK / SCREENING

Goethe-Institut Wyoming Building, New York Price – FREE
Tour COLUMBIA-PRINCETON ELECTRONIC MUSIC CENTER,
Listen to sound artists KABIR CARTER + ED OSBORN discuss AURALITY, MOTION, ARCHITECTURE and watch the film MISINFORMATION featuring music by MORDANT MUSIC