{"id":72680,"date":"2021-02-19T17:20:18","date_gmt":"2021-02-19T16:20:18","guid":{"rendered":"https:\/\/pan-african-music.com\/?p=72680"},"modified":"2021-02-19T17:20:21","modified_gmt":"2021-02-19T16:20:21","slug":"albums-19-02-2021","status":"publish","type":"post","link":"https:\/\/pan-african-music.com\/en\/albums-19-02-2021\/","title":{"rendered":"9 new albums you should listen to this week"},"content":{"rendered":"\n
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Something Else<\/em><\/h5>\n\n\n\n
Mr Eazi<\/h5>\n\n\n\n

The Nigerian music giant returns with the much-anticipated EP, Something Else<\/em>. He explains: \u201cThis project was inspired by Kel P and Killertunes, who kept coming to meet me in Accra until I finally recorded \u2018The Don.\u2019 And that opened the door for me to go back into the studio<\/em>.\u201d The single \u201cThe Don\u201d is a true exploration of Mr Eazi<\/a>‘s growing success. He says: \u201cI spent the whole year working on building emPawa Africa and turning into Don Eazi, the tycoon.<\/em>\u201d This new EP promises a return to the smooth fusion of Afrobeats and highlife. <\/p>\n\n\n\n

Listen here<\/a> <\/p>\n\n\n\n

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With Love<\/em><\/h5>\n\n\n\n
Omar Khorshid<\/strong><\/h5>\n\n\n\n

The WeWantSounds label have re-released the album With Love<\/em> by one of the greatest guitarists of the Arab world, Omar Khorshid<\/a>, an artist who played with the likes of Abdel Halim Hafez, of the \u201cfourth pyramid of Egypt\u201d as well as Oum Kalthoum and Farid El Atrache. Here, we are able to rediscover a true monument in the history of fusion. This cornerstone of pan-Arab music includes humorous arrangements, sounding as modern as ever decades after its release. His unique playing style seems to reflect his life as an immigrant, having left Egypt in the early 1970s following political unrest, to settle in Lebanon, before moving to Syria in 1978. <\/p>\n\n\n\n

Listen here<\/a><\/p>\n\n\n\n

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Saturday Night \u2013 South African Disco Pop Hits \u2013 1981 to 1987 <\/em><\/h5>\n\n\n\n
Various Artists <\/h5>\n\n\n\n

Entitled Saturday Night – South African Disco Pop Hits – 1981 to 1897<\/em>, this is an irresistible pop and disco compilation from the Cultures of Soul label, paying tribute to many South African artists and hit tracks.  Brenda & The Big Dudes grace the record twice on \u201cNo No No Senor\u201d and \u201cLove Action.\u201d Supa Frika is also present with \u201cLet’s Get On It\u201d and \u201cLove Satisfaction,\u201d a track imbued with his signature, irresistible romanticism. Margino contributes \u201cHoliday\u201d and \u201cYou and Me,\u201d which at times recall the character of Afro-electro. Others  honored include: Black Five, Soundburger, Vukamai and the Hot Soul Singers, promising us \u201cGood Vibes\u201d from start to finish. <\/p>\n\n\n\n

Listen here<\/a><\/p>\n\n\n\n

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Dialogue.<\/em><\/strong><\/h5>\n\n\n\n
Ol’ Burger Beats & Vuyo<\/strong><\/h5>\n\n\n\n

Ol’ Burger Beats, the master of lo-fi in Norway, is once again teaming up with rapper Vuyo for their new album, Dialogue<\/em>, following the success of their 2020 EP All Yours<\/em>.. The latter creates a symbiosis between hip hop, jazz and soul, aiming to sublimate Vuyo’s soft rap, which blends in sharp social critique. Their interplay is full of reflections on current debates, in the era of Black Lives Matter. They  expose the considerable number of Black men murdered on \u201cBrothers,\u201d while mocking certain paradoxes in \u201cSummer of George,\u201d where Blackface is evoked: \u201cYou see I\u2019m so not racist that I don\u2019t see racists.<\/em>\u201d <\/p>\n\n\n\n

Listen here<\/a><\/p>\n\n\n\n

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AXUXA<\/em><\/strong><\/h5>\n\n\n\n
QOQEQA<\/strong><\/h5>\n\n\n\n

The Peruvian QOQEQA<\/a> transports us to the land of Afro-Latin polyrhythms via electronic music, exploring the sounds of his ancestors: \u201cThis album is a consequence of my Peruvian roots, the coast, the Andes and the Amazon jungle.<\/em>\u201d He adds: \u201cOn this record, you can hear African patterns on \u2018Omega,\u2019 \u2018Qoqeqa\u2019 and \u2018Puntea,\u2019 Andean influences on \u2018Latido,\u2019 \u2018Tutume\u2019 and \u2018Ama,\u2019 tribal and Amazonian textures on \u2018888,\u2019 \u2018CalaXucla\u2019 and \u2018Kshanti,\u2019 and a modern mix with dembow on \u2018Kilo\u2019 and \u2018Momposina\u2019.<\/em>\u201d This album represents a second wind for electronic music. <\/p>\n\n\n\n

Listen here<\/a><\/p>\n\n\n\n

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Super Somali Sounds from the Gulf of Tadjoura<\/em><\/strong><\/h5>\n\n\n\n
4 Mars<\/strong><\/h5>\n\n\n\n

The label Ostinato Records<\/a> plunges us into Djibouti’s with the release of the 4 mars group’s album, entitled Super Somali Sounds from the Gulf of Tadjoura<\/em>. The name of these artists echoes the date of the founding of the Rassemblement Populaire pour le Progr\u00e8s Party (RPP), which is still in power today. This party considered music as necessary in order to achieve independence, thus placing artists under the wing of the state. The recordings of this album were all made in the studios of the Djibouti Radio Television Broadcasting (RTD), but also during live performances at the national theater. It is therefore a real historical gem, revealing the little-known past of Djibouti. <\/p>\n\n\n\n

Listen here<\/a> <\/p>\n\n\n\n

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Conflict of Interest<\/em><\/strong><\/h5>\n\n\n\n
Ghetts<\/strong><\/h5>\n\n\n\n

The rapper Ghetts continues his campaign on the British music scene, praised by many media outlets, including The Guardian<\/em>. The artist is perceived as one of the most important grime talents and notably refused, at the end of the 2000s, to integrate pop into his sound. This would have prevented him from achieving higher success, but we are now in a new era. With his album Conflict of Interest<\/em>, Ghetts asks us to accept our contradictions: \u201cAt first I was trying to present just one version of myself \u2014 But then I got halfway through the album and realized that I\u2019m a very conflicted human being. I had a real moment of clarity where I realized that all these different qualities make you who you are, from anger to joy to pain. This album helped me learn to embrace that.\u201d<\/em> <\/p>\n\n\n\n

Listen here<\/a><\/p>\n\n\n\n

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O c\u00e9u \u00e9 velho h\u00e1 muito tempo (variations)<\/em><\/strong><\/h5>\n\n\n\n
Lucas Santtana<\/strong><\/h5>\n\n\n\n

The Brazilian singer and composer Lucas Santtana has released a soothing EP of bonus tracks from his latest album. A reflection on the links between intimacy and the social situation in Brazil, this artist leads a meditation on sublime political songs that are full of poetry. Faithful to the tradition of the tropicalists, Lucas Santtana develops a soft and positive ethical stance in guitar-voice, and places his love as well as collective resistance in opposition to the hatred of Bolsonaro’s government. His title “Uma (Crian\u00e7a)” gently evokes the joy of the arrival of a child in the world, while “Logout” encourages women to free themselves from the weight of social networks. <\/p>\n\n\n\n

Listen here<\/a><\/p>\n\n\n\n

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Destination: Known\/Paradise<\/em><\/strong><\/h5>\n\n\n\n
D<\/strong>\u00e2m-FunK<\/strong><\/h5>\n\n\n\n

Dam-FunK is back with its two-track EP Destination: Known\/Paradise<\/em>, released on its own label, Glydezone Recordings, which was founded in 2016. This master of funk unveils \u201cDestination:Known,\u201d a seductive track that lulls listeners with soft percussion while kicking up the energy on \u201cParadise.\u201d This track offers an exquisite mix of funk and jazz, reminiscent of the rhythms of the 80s, although he defines his style as \u201cmodern funk.\u201d <\/p>\n\n\n\n

Listen here<\/a>
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Something Else Mr Eazi The Nigerian music giant returns with the much-anticipated EP, Something Else. He explains: \u201cThis project was inspired by Kel P and Killertunes, who kept coming to meet me in Accra until […]<\/p>\n","protected":false},"author":10,"featured_media":72700,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[3944],"tags":[],"location":[],"yst_prominent_words":[33490,33485,8403,33491,33486,30895,9391,33488,33483,8435,33492,33487,33482,30896,30893,30897,30894,33489,33484,8543],"acf":[],"_links":{"self":[{"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/posts\/72680"}],"collection":[{"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/users\/10"}],"replies":[{"embeddable":true,"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/comments?post=72680"}],"version-history":[{"count":0,"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/posts\/72680\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/media\/72700"}],"wp:attachment":[{"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/media?parent=72680"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/categories?post=72680"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/tags?post=72680"},{"taxonomy":"location","embeddable":true,"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/location?post=72680"},{"taxonomy":"yst_prominent_words","embeddable":true,"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/yst_prominent_words?post=72680"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}