{"id":93679,"date":"2021-12-03T16:00:31","date_gmt":"2021-12-03T15:00:31","guid":{"rendered":"https:\/\/pan-african-music.com\/?p=93679"},"modified":"2021-12-03T16:00:57","modified_gmt":"2021-12-03T15:00:57","slug":"albums-03-12-2021","status":"publish","type":"post","link":"https:\/\/pan-african-music.com\/en\/albums-03-12-2021\/","title":{"rendered":"6 albums to discover this week"},"content":{"rendered":"\n
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Essiebons Special 1973 – 1984<\/em><\/strong><\/p>\n\n\n\n

Analog Africa<\/strong><\/p>\n\n\n\n

For most of the 1970s, Dick Essilfie-Bondzie<\/a>\u2019s Dix and Essiebons labels were synonymous with the best in modern highlife, and the producer\u2019s roster made for a who\u2019s-who of highlife legends. In the course of digitising his vast archive of master tapes, Essilfie-Bondzie found a number of Afrobeat and instrumental masterpieces that, for one reason or another, had never been released. Essiebons Special<\/em>, released via Analog Africa<\/a>, features a selection of obscure works from some of the label\u2019s mid-70s golden age heaviest hitters. <\/p>\n\n\n\n

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

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Pretty Girls Love Amapiano 3<\/em><\/strong><\/p>\n\n\n\n

Kabza De Small, MDU aka TRP<\/strong><\/p>\n\n\n\n

If amapiano tracks and albums are notoriously long, designed to last for hours of party, Kabza De Small<\/a> and MDU aka TRP might have this year\u2019s record with Pretty Girls Love Amapiano 3<\/em>. Spanning over 50 tracks, reaching almost six hours of music, the project will without a doubt invade the South African waves. It features mostly emerging artists, little known to the now vast amapiano audience, such as Acute Dose, Skroef 28, Stakev, Deeper Phil and many more. <\/p>\n\n\n\n

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

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But Only After You Have Suffered<\/strong><\/em><\/p>\n\n\n\n

Jamire Williams<\/strong><\/p>\n\n\n\n

Jamire Williams<\/a> has an extensive resume as an avant-garde jazz and independent artist. He is known for applying the practice of sampling to modern jazz composition, beatmaking, vocals as well as impressionistic drumming styles. His new album But Only After You Have Suffered<\/em>, released via International Anthem, is \u201ca whole work<\/em>,\u201d Jamire explains, \u201cit flows seamlessly and it\u2019s meant to be played until you really understand what\u2019s going on. It\u2019s meant to be listened to until you really understand all the messages and the prayers and the screams<\/em>.\u201d We had made you discover the single \u201cSafe Travels<\/a>\u201d. <\/p>\n\n\n\n

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

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Lucid Theory<\/em><\/strong><\/p>\n\n\n\n

Gina Jeanz<\/strong><\/p>\n\n\n\n

Coming off three EPs in the last two years, Gina Jeanz releases Lucid Theory<\/a><\/em>, produced during the height of the Covid pandemic. The project includes future bass, deep house, alternative soul or UK garage, while featuring a cast of African vocalists such as MOONGA K.<\/a>, Sio, Brad Knight, Jordan Baker and AliThatDude. Speaking about the inspiration behind her album, Gina says, \u201cI had been fighting my own battles, particularly after the passing of my mother in 2017, and I was severely anxious and could barely create music without running into creative blocks and worse, doubting my ability to bring my ideas to life. This is my story, this is my healing, this is my theory<\/em>\u201d.<\/p>\n\n\n\n

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

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Bixiga 70<\/em><\/strong><\/p>\n\n\n\n

Bixiga 70<\/strong><\/p>\n\n\n\n

To celebrate the band\u2019s 10th anniversary, Glitterbeat Records<\/a> reissues the debut album from Brazil’s 10-piece instrumental powerhouse: Bixiga 70<\/a>. The self-titled record is the bold, urgent and compromising mission statement for the acclaimed albums that followed. An inspired sound world where Afro-Brazilian traditions and retro and contemporary sonics seamlessly meld together. Keyboardist and guitarist Maur\u00edcio Fleury recalls: \u201cwe could feel that we were doing something that felt important then and we tried to come up with a Brazilian answer to what we were listening to from abroad. I think that listening to this album nowadays can bring some of that hope that we shared at that time, shedding some light on the dark times we are going through<\/em>.\u201d<\/p>\n\n\n\n

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

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Final Rage<\/em><\/strong><\/p>\n\n\n\n

Flohio<\/strong><\/p>\n\n\n\n

Flohio<\/a> has been pushing out her own breed of gritty and aggressive hip hop since 2018. She unveiled her debut album No Panic No Pain<\/em> in 2020, perfectly exemplifying her appetite for varied sounds: rap, grime, rock, electro\u2026 She now returns with Final Rage<\/em>, a four-track EP seemingly serving as a waiting room for her next long-format album. \u201cDon\u2019t be shy man, nobody cares, that\u2019s why my whole thing is \u2018rage fucking rage\u2019. I don\u2019t just wanna perform, I want everyone to be involved<\/em>\u201d, she had told us in an interview<\/a> about why rage was so present in her music. <\/p>\n\n\n\n

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

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Essiebons Special 1973 – 1984 Analog Africa For most of the 1970s, Dick Essilfie-Bondzie\u2019s Dix and Essiebons labels were synonymous with the best in modern highlife, and the producer\u2019s roster made for a who\u2019s-who of […]<\/p>\n","protected":false},"author":10,"featured_media":93676,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[3944],"tags":[22994,40884,5680],"location":[],"yst_prominent_words":[9391],"acf":[],"_links":{"self":[{"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/posts\/93679"}],"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=93679"}],"version-history":[{"count":0,"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/posts\/93679\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/media\/93676"}],"wp:attachment":[{"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/media?parent=93679"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/categories?post=93679"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/tags?post=93679"},{"taxonomy":"location","embeddable":true,"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/location?post=93679"},{"taxonomy":"yst_prominent_words","embeddable":true,"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/yst_prominent_words?post=93679"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}