Ata Kak's first new song in over 30 years!

Ata Kak created a peculiar slice of Ghanaian music history with his debut album “Obaa Sima”. While it barely made a ripple at the time of its release in 1994, the cassette found a new life online in 2006. A not-so-underground cult obsession grew after it appeared on the blog Awesome Tapes From Africa as its very first post, a sort of manifesto for the project. His addictive amalgam of left-field electronic music and Twi-language hiplife reached surprising levels of awareness among music fans of many stripes. The mystery behind the musician’s identity grew. Eventually Yaw Atta-Owusu came out of the shadows, from his quiet home in Kumasi, to tour the world playing high-energy, sweat-soaked performances at major festivals like Glastonbury, Sónar and Pop Montreal.

Now, for the first time since 1994, Ata Kak releases new music. Honed in studios around Kumasi over the last several years, the songs feature the rapper-singer’s acrobatic rap, signature scatting, dramatic drums and even traditional Akan harp. The compositions are more ambitious than his earlier work, with more complex arrangements and layered harmonies. Ata Kak’s new songs are also the natural expression of a restless artist—he is a prolific poet and author of a half-dozen books, as well as an active gardener and busy painter.

Born in Ghana in 1960, Ata Kak wasn’t always involved in music. But his travels and openness to the world lead him into the music industry. While living in Germany, he was invited to play drums in a reggae band and subsequently played in highlife bands in Ontario after moving to the Toronto area. He recorded “Obaa Sima” there at his home studio and released it in Ghana in 1994. He didn’t participate in music much in the intervening years until “Obaa Sima” was reissued in 2015. He started performing his song live with the help of a brilliant cast of London-based musicians and has toured three continents and played to thousands of fans in venues of all kinds.

Moskito—Why Wena by Awesome Tapes From Africa

Jess Sah Bi & Peter One "Our Garden Needs Its Flowers" was a revelation to many folks outside West Africa when it was reissued worldwide a few years ago. However, the Country-Americana duo from Ivory Coast has been massive since they emerged in the mid-80s, playing stadiums and making a beloved home in peoples' ears across the region for decades. The enormous response from listeners and press around the globe speaks for itself.

Now we are making Jess Sah Bi's beautiful first solo album widely available for the first time. Recorded in South Carolina and released in Ivory Coast in 1991 only on cassette, Jesus-Christ Ne Deçoit Pas [Jesus Christ Never Gives Up] comes out April 18 in restored and remastered audio on digital and tape formats. It is the first in ATFA's new African Devotional Music series.

Jess Sah Bi narrowly survived a brush with death and promised himself and God that he would record an album in praise. While on an exchange visit to South Carolina he arranged to record some new songs and later released the album in Ivory Coast. At the time, locally-produced gospel music wasn't big yet—most of the well-known West African gospel artists hailed from Ghana and Nigeria. But with the success of Jesus-Christ Ne Deçoit Pas, Jess Sah Bi helped kick off a homegrown Ivorian gospel music movement that today thrives in many parts of the country and beyond.

Moskito—Mashonisa (Album out 23 May) by Awesome Tapes From Africa

Hailu Mergia — Tizita by Awesome Tapes From Africa

Hailu Mergia — Yegle Nesh (Live) by Awesome Tapes From Africa

Stream or Preorder LP/CD/Tape/Digital https://lnk.to/hailumergialive

Stream or Preorder LP/CD/Tape/Digital https://lnk.to/hailumergialive

Pre-order Roger Bekono LP/CD/Tape/Digital

https://lnk.to/RogerBekono

Roger Bekono made a deep mark in the contemporary history of Cameroonian music through the four-on-the-floor, ribald intensity of bikutsi. The Ewondo-language dance-pop style that forms an undulating tapestry of interlocking triplet rhythmic interplay came to international prominence in the European “world music” scene as the 90s began. But the relentless sound of bikutsi developed in Yaoundé at the hands of Bekono and many others, as it developed from a village-based singing style performed mostly by women into a cosmopolitan music force that rivaled the popularity of established musics like Congolese rhumba, merengue and makossa. With his unique—some say suave—voice, Bekono contributed much over a period of more than 10 years as part of the evolution of this traditional rhythm-turned-urban dance movement.

Roger Bekono a fait une profonde marque dans l'histoire contemporaine de la musique camerounaise grâce à l'intensité four-on-the-floor et hardie de bikutsi. Le style de musique pop dansante en langue ewondo qui forme une tapisserie ondulante d'interplay rythmique à triplets est devenu internationalement célèbre dans la scène de la « world music » européenne au début des années 90. Mais le son inlassable de bikutsi a été développé à Yaoundé entre les mains de Bekono et de beaucoup d'autres, alors qu'il se développait d'un style de chant basé sur les villages interprété principalement par des femmes en une force musicale cosmopolite qui a rivalisé avec la popularité des musiques établies telles que la rumba congolaise, le merengue et le makossa. Avec sa voix unique – certains disent suave – Bekono a beaucoup contribué pendant plus de 10 ans à l'évolution de ce mouvement de danse urbaine à partir d'un rythme traditionnel.

DJ Black Low "Impumelelo" comes out 17 March on LP and Digital formats:

https://lnk.to/DJBlackLow_Impumelelo

There’s more than a hint of ambition on the double LP sophomore effort from Sam Austin Rabede, the producer known as DJ Black Low. Pretoria, South Africa-born and based, the young man makes amapiano with new ways of expressing this local-turned-global style of dance music.

In DJ Black Low’s musical imagination, the songs manage to smoothly vacillate between dreamy and firmly-grounded. Adorned with vocalists across most of the twelve tracks, there’s a new dimension to Black Low’s now-signature approach to abstract, angular deconstruction of the rhythmic developments in his songs.

The album references influences and ambitions in its song titles and lyrics while the music itself is anthemic in its sonic and structural aspirations. On many of the songs a slow-burning tension transforms into something unexpected until you’re somewhere else as the track concludes. There is an emotional and compositional maturity that builds on his earlier work. Vocals and lyrics are in focus. Production collaborators among Black Low’s Gauteng Province circle add to the constantly churning array of ideas that populate this consistently surprising release. Despite being a relative newcomer, DJ Black Low is onto something here.