Pantayo - Ang Pagdaloy - VINYL LP

Acoustic guitar masters from East and Central Africa, an expansion of Mississippi's beloved African Guitar Box project.In 1979 and 1980, a young British-Kenyan musician named John Low hit the road to learn finger-style guitar from his heroes. He traveled across Kenya, Tanzania, Congo, and Zambia. He visited giants like Jean-Bosco Mwenda, Losta Abelo, and Emmanuel Mulemena, whose records sold hundreds of thousands of copies across the continent in the 1950s and 60s. He also documented brilliant but previously under-recorded artists like Tanzania's Francis Kitime and Kenya's Mtonga Wanganangu.Regardless of status, John approached each artist humbly, as a student. He recorded in homes, village squares, and watering holes. The sessions are intimate and casual, the artists at ease. It's a transporting and profound listening experience - children laughing, glasses clinking, the thump of the Marantz cassette deck, and John's single mic moving through space, sometimes documenting the vocals, sometimes zeroing in on the right hand against the strings.Five decades later, these practice tapes provide a rare glimpse into how fingerstyle guitar was actually played for family and friends, outside the tense confines of commercial studios.Some of these songs appeared on John Storm Roberts' out-of print Original Music compilations, which inspired the African Guitar Box. Others have never been made publicly available. All have been expertly restored and remastered from the original tapes by Andrew Walter (Honest Jon's, Abbey Road). John Low's liner notes and lyric translations provide insights into the recording context, and Tanzanian music scholar John Kitime's intro gives the musicians' perspective. Licensed from John Low and the artists, pressed at Chicago's Smashed Plastic. Album Tracks 1. Kijana Usisikitike 2. Ulayina Kubota 3. Cherie_Mupenzi 4. Mama Mobutu 5. Chinam

Album Tracks 1. Mentida 2. Soldats O Guerrers 3. El Meu Poder 4. L'edat Del Temps 5. Romanticidi 6. Entrebardisses 7. Pi 8. Diëresi 9. L'harmònic 10. Confins

El Nido a welcoming embrace in uncertain times.The world changed forever in the second quarter of 2020. The life we were used to ceased to be, as we were overcome by constant fear, distrust in all that surrounded us and a fatalist attitude towards the world we lived in. With the pandemic came lockdown, mandatory isolation for months, empty streets, face masks, hand sanitizer, the fear of going out, an absurd roll call of Covid fatalities, the daily tension of not knowing when it would all end and the urge to Inchget back to normal,Inch something that certainly never happened. Out of that pandemic saturation and that urge for InchnormalityInch came 'El Nido' (InchThe NestInch), the third album by Italy-based Colombian producer Montoya, who describes this record as Inchbecoming virgins of destiny again, facing up to that fatalist world and creating that longing for tranquility. Savoring that moment prior to the pandemic, that instant when the most important thing wasn't the immediate reality or the global situation.Inch Montoya sees 'El Nido' as that quiet place that you think of when you close your eyes; it is a beach or a mountain, a sunrise or a sunset, a wave in the sea refreshing your body, or an almost-whispering wind that immediately silences everything around you. On his previous records, 'Iwa' in 2015 and 'Otún' in 2019, his work as a producer prevailed, feeding the growing wave of Latin American electronica, fusing IDM and techno with indigenous root music, Andean folklore and rhythms from the tropical Caribbean coast and ancestral Pacific in terms of instrumentation. But on 'El Nido' Montoya splits the balance, offering us five merely instrumental tracks and six collaborations with Latin American artists, including Colombians Nidia Góngora on InchSoñé,Inch Montañera on InchSierraInch and Pedrina on InchNubecita.Inch It also features Mexican artist Pahua on I