Dj Zhao - NGOMA 8 Saudade (Love Mix) (MP3)

Historically the Afro-Caribbean connection has produced so much amazing music about romantic love, and particularly in Angola and Cape Verde there developed particular strands of musical expression which focus, in a particular way, on a particular feeling: that of loss and longing, of desire and nostalgia, of love mixed with sadness. (an example most are familiar with would be the Cape Verdean Morna artist Cesaria Evora) Since Zouk arrived (back) in Africa from the Guadeloupe and Martinique islands, where rhythms and melodies of the African "expats" mixed with Rumba, Calypso, Gwo Ka, Compas, Reggae, and even Salsa (and where they must have looked across the ocean with infinite longing for home), it has since been influenced by another deeply emotional music: Portugese Fado. Long story short, during the last few decades Zouk, Kizomba, and related styles have become IMMENSELY popular and ubiquitous in many parts of Africa. And, sadly, we all know what this kind of huge commercial success does to a genre: it becomes cheap and watered down, quantity replaces quality. So 99% of the modern Zouk and Kizomba we encounter today is tacky and paltry rubbish of incredibly bad taste, garishly saccharine instead of deeply moving like the Zouk of bygone years. (for examples of amazing older Angolan music look no further than this recent Analogue Africa release, compiling musical precedents of both Kizomba and Kuduro) Yet in this sordid state of affairs there are artists which are producing music which retain more than a touch of the bygone golden years, making songs which are soul stirring as they are groovy. So if one digs deeper, there IS such a thing as good contemporary Zouk and Kizomba: this is what i hope to convince people of, especially long time lovers of African music who have given up on these genres. and, of course, to satisfy all you sweet loving freaks out there for Valentines Day :)

Genres: brazilian dub, ethio-jazz, kizomba, morna, semba, tarraxinha, zouk

Source: http://differentwaters.blogspot.com/2011/02/ngoma-8-saodade.

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Dj Zhao - NGOMA 7 HARDASS (MP3)

I don’t know what Kuduro means in the Kimbundu language of northern Angola, but its colorful translation in Portuguese is in some ways fitting of the music in both form and theme. Still, even though a lot of the music is hard, and a lot of the songs about fucking, the phrase is very much limited in describing the rich layers of word and sound, and becomes reductionist if taken only at face value. Kuduro can also be playful, humorous, soulful, emotional, ominous, scary, joyful, celebratory, and uplifting. It is also sonically adventurous in radical ways, fearless in its pushing and often destruction of dance music’s aesthetic boundaries, in ways often more bold and creative than sound-design obsessed electronic music from North America or Europe: from sweet accordions to reckless synths, from 8-bit game console palettes to near industrial noise, from samples distorted way beyond recognition to some of the deepest basslines in the world. And the vocals are just as wildly diverse: from “normal” singing to what sounds like children rapping to animalistic growling, grunting, yelling. The many different flavors of Kuduro come from both its roots as well as later influence: mainly evolving from Batida rhythms (itself a fusion of African and Caribbean traditions) of the 1980s, Kuduro has since branched out to sometimes incorporate elements from many other styles including Cape Verdean Funaná, Coupé-Décalé from France and the Ivory Coast, Afro-Brazilian percussion, Western Hiphop and Techno. A concise example of this melting of tradition, current club culture, and ruthless sonic experimentation might be track 28: Batida – Tribalismo Com Sacerdote, in which what sounds like distorted Mbiras (thumb piano) coexist with Angolan rap, furious rave energy and absolutely mental synth lines which verge on noise. And speaking of Western Hiphop and Techno, this mix adopts quite a few Detroit Ghetto-Tech and Chicago Juke samples, to draw parallels between inner-city Afro-diaspora underground and African urban sound. Because, at least from where i’m standing, the Parallels are many: relentless and insistent focus on rhythm; use of repetition past the point of monotony in becoming pure abstraction; fast tempo and intensity pushing the dancefloor near breaking-point; gritty, raw, and unpolished sound; and finally, ruthless libidinal energy which defies any attempts at restraint. Also, besides a few entirely unexpected and thrilling use of cultural pastiche in the songs themselves, such as what sounds like Gamelan in Dj Clintonn’s track 09 and Arabic strings in Dj Znobia’s track 10, there are 2 of my mashups here: track 16 which incorporates Indonesian Jaipong drums and track 35 which transforms the orchestral version of an old rave number we all know. Mostly consisting of both older and newer Kuduro from Angola, this mix also includes a few songs from Cote d’Ivoire, Cape Verde, and Brazil. I tried to avoid Westernized hipsterized “blog-Kuduro” altogether, but 3 tunes feature non-African collaborating producers or remixers: their inclusion is testament of the strength of these tracks.

Genres: funana, ghetto bass, kuduro, rave, semba

Source: http://www.tropicalbass.com/2010/12/dj-zhao-ngoma-7-hardass-

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DJ Zhao - NGOMA 6 UKULWA (MP3)

Framing house music, perhaps the most depoliticized of all urban musics, whose narrative revolve around unreflective pleasure seeking, in a political context may seem incredulous to some. Yet this incredulity would be based on a superficial reading of the essence of house music culture, despite what it has become in the commercial sphere: in its very inception, the escapism into a fantasy hedonistic world was an expression of the underprivileged and marginalized, and the creation of a sanctuary of acceptance was nothing less than a political act of the oppressed and discriminated against. Perhaps even more than Chicago or Detriot 67, the political dimension is deeply interwoven into the urban musical fabric of South Africa, and has profoundly influenced its evolution. Zulu protest songs live on through Kwaito, the first musical expression of a free South Africa, and from there the current House culture developed: if less overtly rebellious, it nonetheless retains in its beats and voices the spirit of revolt: the urgent and passionate expression of a people who have been subjugated for too long. The Zulu word Ukulwa means war and struggle. and in this context it can only mean a war against oppression and the struggle for freedom and independence. Apartheid may have officially ended, but its myriad effects can be unmistakably felt in a slew of social problems which plague the nation today, from crime to domestic violence as result of the break up of families, from poverty to various hardships which come from an entire generation having been systematically deprived of formal education. Thus even while many positive things are taking place, as South Africa is surely rising as a proud modern nation, even as we rejoice in these blissful rhythms, we must remember this war, and both continue, and continue to be inspired by, this struggle against domination, against injustice: Ukulwa.

Genres: african house, derbuka, house, kuduro, kwaito, township bass, uk funky, zulu electro

Source: http://differentwaters.blogspot.com/2010/06/ngoma-6-ukulwa_0

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DJ Zhao - FUSION 2 Ancient Dubnology (MP3)

Traditional and contemporary music from 5 continents, 25 countries, re-edited, mashed up, and dubbed out. The Fusion series is more for listening compared to the dancefloor heat of NGOMA, but there are certainly some bangers in here, alongside more tripped out and lyrical numbers.

Genres: african, ambient, arabic, brazil, cumbia, dub, electro, gamelan, gnawa, hiphop, illbient, kizomba, mbira, mongolian throatsing, nubia, percussion, semba, shaabi, tribal, uzbek

Source: http://differentwaters.blogspot.com/2010/10/fusion-2.html

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dj zhao - NGOMA 5 - Nomad Boogie (MP3)

here is one for the heart, one for the boogie: classic and soulful grooves designed for more intimate spaces. i made this mix for the purpose of getting more employment in smaller and "normal" local bars and clubs: really tried to make something both for the general public, meaning anyone from any walk of life, as well as the music heads. the ideal is a CD that almost any bar anywhere in the world can pop in their stereo at any given night and have people nod their heads, tap their feet, and maybe even get a little jiggy. how close the actual product ended up being to this ideal is yet to be tested, as well as my thesis that one does not have to succumb to lowest common denominators to appeal to everyone. (we will see, i have already started giving these out to local establishments in berlin) bass freaks need not worry: 6 is already finished and it's an Afro-Futurist banger! but i will give people a little time to digest this one a bit first...

Genres: afro-beat, afro-reggae, afro-rock, afro-soul, balkan-beat, bhangra, biguine, charanga, chouval bwa, congolese rumba, cumbia, ethio-funk, funk, gypsy swing, hiphop, jazz, kompa, mambo, mento-calypso, morna, soca, tropical disco

Source: http://differentwaters.blogspot.com/2010/04/ngoma-5-nomad-bo

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dj zhao - NGOMA 4 - Generation Bass (MP3)

Continuing where NGOMA 1 stopped, this is an excursion into non-western "hiphop" (a term used in the loosest possible way). Heavy on Kwaito from South Africa, both more contemporary as well as earlier examples of the genre are presented. Arthur Mafokate with his track Oyi Oyi from 1993, for example, who is often referred to as the King of Kwaito, is both an innovative artist as well as pioneering businessman, having started 999, one of the first non-white record labels in South Africa. There are also offshoots from Kwaito, such as a style known as Guz - as represented by the track of that name by TKZEE. Also want to mention, in the classic Kwaito style, the immense talent that was Mawillies (rest in peace), whose effortlessly powerful voice graces the track GaGu. tunes from other parts of Africa are also sprinkled all over this mix. the AshThomas project is based in the US, but consists of members from Nigeria and other places. The incredibly clever DJ Rams who does Kizomba and Kuduro (or Kuzomba, a combination of the hard hitting aggresive and emotively smooth) in Angola; Marvelous Benji coming with the refreshing energy from Nigeria; and of course, Emmanuel Jal, the former Sudanese child soldier (from age 11-16). and the Indian, Columbian, Syrian tunes in this mix i hope all work together as one experience -- it can be difficult to transition different sounds and keys and rhythms in a single mix.

Genres: acid zouk, afro-dub, afro-hiphop, afro-reggae, arabic-skwee, bhangra, cumbia, dancehall, guz, hiplife, kizomba, kwaito, mbaqanga, naija, reggaeton, syrian folk

Source: http://differentwaters.blogspot.com/2010/03/ngoma-4-generati

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dj Zhao - NGOMA 3 - Zulu House (MP3)

while staying in the same territory as 2, the journey is not the same, and many things make this one unique: the psychedelic motorik genius of Dj Clock's "Durban Guitar"; the monolithic, earth shaking visions of Black Coffee; DJ Sdoko's ominous Kraftwerkian phuture; Manya's soul stirring take on traditonal Angolan melodies; a surprisingly wicked banger from the Dutch DJ Bigga (UK is not the only place currently Afro minded), and ending with Sami vocal style from Mari Boine, reinterpreting the sound of indigenous Norway*. most of the selection are not well known or commonly used tracks in the "scene", with only one exception: just could not stay away from the Yellowtail (but check how it is used before you complain). concerning the anti-apartheid and war samples used through out the mix: the struggle for freedom from colonialism is the context which gave rise to contemporary South African music: Kwaito was born amidst antagonism and bloodshed, and has led to the current house music scene. thus songs such as "100 Zulu Warriors" and the radio broadcast at the end should not be taken as an incitement of racial conflict (especially in light of last year's wave of horrible xenophobia) but as a reminder of the political realities of the Apartheid era from which this music comes. *you might think it strange to include a traditional song from northern Europe on an Afrocentric project, but 1. thematically it fits the recording as the vocalist has for decades fought for equal rights of her people, who have long been the subject of discrimination, like South Africans, in their homeland; and 2. Henrich Schwartz who made the remix is a producer certainly with a lot of Africa on his mind.

Genres: afro electro, dub techno, electro, funk carioca, house, kizomba, kwaito, minimal, techno, uk funky, yoik, zulu house

Source: http://differentwaters.blogspot.com/2009/02/ngoma-3_19.html

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dj Zhao - NGOMA 2 (MP3)

it is said that the drum itself was invented in Africa. and as far as i'm concerned, all modern pop and especially dance music have deep roots in the musical traditions of that continent. i have made the admittedly sensationalist proclamation "techno comes from Africa", and here is an extremely simplified version of my concept of this lineage: slave songs - blues - gospel - jazz - funk - disco - house - techno ---- the circle is complete. some may have problems with this generalization (and in some ways i do too), but all sidelines, exceptions, and details aside, essentially it makes sense to me. after all, the 4 on the floor hypnotic groove can be found in the myriad styles of African music from every era, be it high-life, rumba, or the thousands upon thousands of much older regional traditions. most people were, and still are, confused, skeptical, or straight up dismissive when i talk about this, but history was made in 2008 with Warp Records' release of DJ Mujava's Township Funk in Europe, which i believe is only the beginning of Europeans coming to grips with the awesome power of African Techno. i have been playing Euro-centric minimal, hard techno, breaks, electro, etc., for years, but in recent years have increasingly sensed a solipsism, stagnation, and bankrupsy. but i feel the style loosely termed "UK Funky" is leading the way out of the rut; and it is no coincidence that the most exciting thing happening in European dance music is directly derivative of African and Afro-Caribbean rhythmic structures.

Genres: afro-house, afro-techno, arabic, house, kuduru, kwaito, minimal, techno, uk funky

Source: http://differentwaters.blogspot.com/2009/01/ngoma-vol-2.html

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dj zhao - Fusion 1 Afro-Asian Dubstep (MP3)

this is a mash-up album fusing global traditional music and dub / grime / bass / electronics. if you've ever wondered what Digital Gamelan is like, or what happens when Capetown Gospel singers move to London Ghettos, or how Robots would play Ethiopian Jazz... full track listing here: http://differentwaters.blogspot.com/2008/10/fusion-one-revised-and-expanded.html

Genres: african, armenia, bollywood, burundi, dancehall, dub, dubstep, egyptian classical, ethiopique, french pop, gamelan, garage, gospel, grime, hip-hop, iranian classical, jazz, jungle, minimal, ragga, reggae, techno

Source: http://differenhttp://differentwaters.blogspot.com/2008/10/f

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dj zhao_NGOMA Afro-Asia Soundsystem Vol. 1. (MP3)

bass pressure and soul fire from 4 continents, 19 countries. Bongo Flava, Kwaito, Bhangra, Kizomba, Rai, Dancehall, Naija, Cumbia... from the rough to the smooth, from sun to twilight, jack up the volume for perfect boom-boom -- REAL party music for those who are NOT afraid.

Genres: arabic pop, balkan beat, bhangra, cumbia, dancehall, dub, dub, gamelan, genge, hiphop, house, kizomba, kwaito, mash-up, rai, reggaeton

Source: http://differentwaters.blogspot.com/2008/01/ngoma-mix-1-dj-z

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