This time we’re exploring some house bangers with that Pangaea Disco sound as we lead up to Mak and Pasteman’s vinyl set for us on the the 15th of April.
Tanzanian singer Mim Suleiman came together with 90s house originator Maurice Fulton for her latest album, Adera Dera. It’s a phenomenal exploration into the crossing of traditional African sounds and raw underground house.
The stand out track for us is Mwaitoma with its infectious opening chant that draws you in like the sultry sirens of yore off the ancient coasts of Pangaea. It is eerily spacious and airy, until Fulton’s production hits us with the punchiest of drum machine sounds and a flurry of hi-hats coming at you faster than Manny Pacquiao on a disco biscuit. What an emphatic marriage of continental sounds this tune is.
2nd tier tickets flying out: http://bit.ly/2lJu7hf
“Chicky BOOM!” Go on just shout it out loud, you know you want to!
We’re clearly just a smidge bit excited about l’homme français Chicky Boom who’s only gone and cooked up a club-ready disco delight of Patti Boulaye’s cover of ‘You Stepped into My Life’, originally produced by the Bee Gees. Prepare yourself for Patti’s silky smooth vocals, they’ll cast their spell and soulfully wash over you.
Word of warning: that guitar though, wowzers it bites like a snake! Once it gets its grip, it won’t let go, and you’re going to be addicted for days. You’ve been warned. Not only that, the reverb on the claps and snares are so damn tight.
On a serious note, we’ve really got to hand it to Patti. Not only does she have one hell of a voice, she’s the founder of the fantastic charity, Support For Africa. The charity aims to raise awareness about the horrific effects AIDS is having on so many Sub-Saharan Africans and to raise funds to provide medical care for the victims. The charity has built five clinics in rural Africa and built a school in Lesotho with HRH Prince Harry’s Charity. Big up!
Don’t forget to cop yourself the free download too!
Tickets for our Easter event: http://bit.ly/2lJu7hf
If you don’t know Nahawa Doumbia, then get to know Nahawa Doumbia. She’s by far one of the most popular singers from the Wassoulou region of Southern Mali. Like a mother to the continent, her soulful lyrics have been known to echo love and tenderness to the younger generation across Africa.
N’teri is the second tune off Nahawa’s 2011 album, Kabako. Enjoy her soothing voice as it crisply soars over the traditional African percussion, supported by the comforting backing vocals. This one’s definitely worthy of a set opener. Go on Nahawa do your thing – lay down the vibes!
Tickets to our Easter Saturday event: http://bit.ly/2lJu7hf
Seems like the Sofrito fam can do no wrong here. This is your Friday afternoon party starter. Drawing influence from across the Portuguese and African heritage of Cape Verde, Dionisio Maio takes on a Salsa journey with a twist. This Alma Negra edit made it onto this 2013 re-release of an early eighties classic. The bassline takes centre stage, sprinkled with piano and spanish guitar that’s enough to get anyone dancing, transporting you into another world. Listen out for the classic 80’s synth solo around the 3 minute mark.
Happy Friday people. Enjoy.
Pangaea Disco is all about showcasing the funkiest cuts from all over the world, and that includes any unknown gems from the home of disco: YOU ESS AY. It never got to see the light of day when it was first recorded back in the 70s but is one of the best tracks we’ve heard in the past year. The chorus is infectiously catchy with some awesome trumpet stabs accompanied by a boogie belter of a bass line. This is as good as Friday-night-on-the-dancefloor-and-finger-pointing-at-strangers music gets.
Check, check, one two, check, check…no need to check check anything just hit play, you’re going to be blown away!
This is Kozmonotosman’s chunked up, bass-driven, disco rework of Hülya Süer’s Turkish folk delight, Şeker Oğlan. Hold tight while the contrasting bassline and bağlama (Turkish guitar) work together like no man’s business to build the track up to Süer’s authentic vocals which fling us back to 1970s Turkey.
“Who the funk is Kozmonotosman?”, you may be asking. Well, the truth is, we don’t really know. But, what we do know, besides being an absolute mouthful to pronounce, is that he’s an underrated Turkish producer, often depicted as an astronaut, who has a real knack for bringing his countries’ folkloric roots back to life through a modernised disco prism.
You de man, Kozmono-thingy!
Check out the original tune here:
LET’S DO THE DISCO HI-LIFE!!
Yes, Mr Julius. Yes we will. That’s because this tune is exactly what us at Pangaea Disco are all about. Bass line smoother than butter? CHECK. Trumpets so glorious they could herald in the messiah? CHECK. Decent sax solo in the outro? NO YOU IGNORANT FOOL! This solo climaxes to head melting points and is definitely worth listening to the complete track for it. Of course, this is all accompanied by Orlando Julius’ soulful voice and some absolutely contagious backing vocals. A classic.
We would have loved to have seen this record being made. A massive group of Colombian musicians joined forces with the legendary Quantic to create a 42 strong assembly of players including everything from young hip-hop stars to 80 year old pianists. The result was Ondatropica, an album that never ceases to amaze in its variety and enjoyability. Fusing everything from funk, soul, dub, hip-hop and salsa – it even includes a Black Sabbath cover. With soaring horns, latin percussion and a dancing piano line, opener Tiene Sabor, Tiene Sazon will transport you to Colombia and have you shouting things you don’t understand in Spanish.
Next comes a funky little revision from Pangaea Disco resident Takao. He’s taken Bell’a Njoh’s masterpiece and made it into a bit of a monster by tightening it up with some thumping drums and letting the chorus really shine. Some proper club ready, feel good action coming at you from Cameroon.
We like to think that Ziad Rahbani, Lebanese composer and playwright, once stumbled across a Genie Lamp and one of his three wishes was, to one day compose a masterpiece that fused Western jazz and funk sounds with authentic Eastern melodies. Unlikely, you’re probably thinking. Nevertheless, in 1978 amidst the harsh Lebanese Civil War, Ziad travelled with his orchestra to Greece to record and press the magical “Abu Ali” with local drummers and guitarists. Ziad didn’t shy away from adding a sobering and truthful dimension to the finger-clicking groove of the first half of the track; the Middle Eastern flute (ney) cries out occasionally, reminding us of the pain and brutality subjected to Lebanon. The keys, synth, and sax combined with the bass guitar and buzuq really inject the jazz and funk into this joyful, political and innovative piece.