Caprixo de Fashion

«Les enfants de l’immigration maghrébine, reprenant les traditions musicales de leurs parents, se nourrissent de l’électronique et s’appuient sur des tendances musicales urbaines et occidentales pour préparer un tajine sonore des plus surprenants. Les chansons présentées sur cet album balaient un large spectre des tendances actuelles : hip-hop, dub, jungle, ragga, house, techno… mixées avec du

«Simon Nkabinde Mahlathini (nicknamed “the Lion of Soweto”) came to international attention via the 1985 sampler The Indestructible Beat of Soweto. He began to tour internationally with female singers the Mahotella Queens, although he has been playing and singing his brand of mbaqanga (Zulu pop music, heavily influenced by traditional singing styles) since the early ‘60s. Mahlathini started

«Recorded in a trio with bass-guitarist Etienne Mbappe and drummer Francis Lassus, Ray Lema’s new album, Paradox, is an eclectic mix of language and genre. It is hardly surprising to find such diversity from a musician who has always been frustrated by pigeonholes.RFI Musique: Let’s talk about a word that you seem fond of, “paradox”, since it is the title you gave your album.Ray Lema: We live in

«A rare compilation of Guinea’s modern musicians which confirms the country’s major musical status. Stars like Mory Kanté and Kanté Manfila rub shoulders with the excellent and little known Dourah Barry and others. Foudé Kouyaté’s contribution, “Sokho”, is a particular muscular dance track, synths and drum machines to the fore, but not omitting that quintessential Mande chorus.» (From S.

«There's a lot to like on Paris Combo's Attraction, the postmodern Parisian cabaret quintet's third album. As with previous efforts, the band updates the French chanson and gypsy swing tradition by adding a stylish hipster element that could be construed as French lounge music, but most of the arrangements for the album's 13 original tunes display a developing maturity that avoids gimmickry in

«The Quarteto Novo was a seminal group with a strong Northeastern accent. They brought the tradition of that region of Brazil and mixed it with the bebop jazz language, the result so influential that it broke cultural and physical barriers throughout the planet. […] Certainly modern, distinguished proponents of that genre, like Egberto Gismonti, have the Quarteto Novo to thank for that. In 1966,