Label: Cinq 7
Country: Finland
Release Date: 2011.03.07

The first note on the standard musical scale is “do” which is the last note also, representing what’s new and what’s old, giving the musicians and artist the latitude & longitude to re-invigorate any musical genre, from blues, rhythm & blues, jazz, bebop, doowop & hip-hop, not to mention rock & roll, and eitherway to sing or play you’ve got to do it with your heart & soul. Enter the band with the note-scale name and you add a new picture to the frame, only it’s double entendre; for the “do” is the “do” who are doing a double take by rolling the rock uncovering the hole left in rock & roll after disco & pop skyrocketed to the top eclipsing all the other musical genre’s except for hip-hop. Pop then jettisoned disco like a booster and flapped it’s wings like a rooster, and crowed that it knowed all of the music and had taken the best and left the rest. Well the rest came, to put the picture back in the frame, and keep it simple like a dimple, on a teenager’sface, and are now filling the hole by popular demand spanning the space between the rock and the roll, with wholesomeness & simplicity that excite like electricity.
Dan & olivia are the “do” and are two of the freshest faces in view, and by being in between their influences span the scene, cause both the letter “n” and the sign “&” signify no end from old to new, and that’s what the “do” love to do. A veneration from the “now generation” with classical & jazz music as prime sources of their inspiration, they training & gaining by tonic application, within the non-boundairies of jazz improvisation, applied to rock ‘n roll, to let their hopes, dreams & consciousness streams come to fruition through the root’s of their influenced musical intuition. Thus, you can hear a bit of all the genre’s that you know, without having to categorize it so, because it’s been minimalized to the size befitting the sound by the “do”. Tech & live, they thrive on the balance between swing & serene, to instill a fil in a picturesque scene, of subtle melodies, and distant rhythms while lyrically identifying various “ain’ts and ism’s” do’s, don’ts, will & won’ts”. Dan call’s, olivia answers, like a groove in between dancer’s. Dan plays, olivia sways sings in stylish praise, that float with hope for the now generation to cope with “the burden on their shoulder’s, and one can feel the weight, which is also double entendre, phonetically in contrast to the word “wait” but the do will let you know it’s not yet too late. (by !ndie people)

Label: Oi Va Voi
Country: United Kingdom
Release Date: 2009.05.15

Oi Va Voi’s third album ‘Travelling the Face of the Globe’ is the sound of a band absolutely at the top of their game. All the elements that the band has developed over the past five years are realised with new found confidence and independence. The band have returned to their roots, taken control of every aspect of their career and reunited with the Grammy award winning producers of “Laughter Through Tears”, Kevin Bacon and Jonathan Quarmby. Travelling is the main theme of this album, besides that the band took influences from different countries and cultures they also use different languages. Vocal wise I have been blown away. Three of the band members contribute vocals but the first one that got me was Bridgette Amofah. She uses her voice on such a controlled way where many other vocalists can learn of. Take a song like “I Knew What You Are” or the title track for a repeated listen and you will be blown away by the sound of this poppy voice with classic influences. Instruments like the trumpet and clarinet bring atmosphere in the music. Don’t forget to pay attention to the string section which is added by violist Anna Phoebe.
The traveling goes on and on and the song “Magic carpet” brings you to the middle east. Remember those nights in such a lovely village restaurant where you hear this music as well. The album ends with a song called “Photograph” featuring guest vocalist Dick Rivers, which has a typical sound from an Ayreon musician. He sings in French and so the journey has ended there.
With Oi Va Voi you don’t need to bring your camera equipment on holiday, just this album is enough to bring up memories of places where ever you go. For a music fan this band is very interesting. For some shallow music listener I can not tell whether the band can deliver their message clearly or not. It is music you really have to listen to and you don’t just put it on as a background sound. I say, it is a jewel. Very pleasant and a lot to discover. It even inspires me to go and visit places I have not been to yet. (by sabine van gameren)

Scene Release: Oi_Va_Voi-Travelling_the_Face_of_the_Globe-2009-ONe
Release Info: 56Mb / 320Kbps

Label: Diquela Records
Country: Spain
Release Date: 2009.03.17

Aocaná means “Now” in the Spanish Romany language of caló and the album begins with “Todos Mortales” which is classic Ojos with a base of Catalan Rumba, a memorable melody and a tasty scratchy topping; “Nueva Vida” is a tango/rumba inspired by Marina’s recent motherhood. “Dónde te has metío” is a funky rapped rhumba with cajón and scratchismo while “Corre Ve Y Dile” (Run Go Tell Him) is about women and war: “How absorbed the women weave, with black thread and lace adornments, a tapestry of a boy laughing innocent, among grenades and rivers of blood.
“Una Verdad Incómoda” is a “Jipjopaos” Tango with tabla plus Kumar helping out; “Baraka” has elements of Tango, Rumba and Bolero and is a poignant description of the life of an immigrant and his feelings of solitude and constant struggle; “Rumba Del Adios” is where Rumba Catalana meets Salsa with a jazz horn arrangement garnish; a melancholy 7/4 intro featuring mandolin and violin announces the Electronic Bulería of “Tócale ya”; “Busca Lo Bueno” is a joyful Rumba in 5/4 featuring Cuba’s legendary Los Van plus Cuban pianist Roberto Carcassés. Prior to his involvement with OdB Xavi Turull led an outfit called Amalgama who collaborated with India’s Karnataka College of Percussion – “Tantas Flores” shows the relationship is still strong. On “Perico Y Juliana” Marina sings of a couple who only have their love to cling to in these hard times to a fine melody underpinned by Rumba, Flamenco and Cuban Timba; “Lluvia” is a down tempo meditation and literally ends “Aocaná” with a splash. In a world where music becomes more bland and inconsequential Ojos de Brujo still mean it. Their passion, experimentation and collaborative nature is real and ongoing and “Aocaná” is a testament to their collective adventurous spirit.

Label: YBrazil
Country: Brazil
Release Date: 2009.03.14

Comadre Fulozinha started in 1997 in Recife, Brazil and plays mainly a mix of rhythms and traditional poetry and music from northeast of Brazil. The bombo, zabumba, congas, djembê, ilú (Brazilian percussion instruments), saxophone, cavaquinho, guitar and rabeca (Brazilian cord intrument, similar to the violin) are used so that the group can creat its language full of presonality. Althought the band formation has changed many times, the music they play did not suffer from those changes. The group took part in recordings from another bands of the manguebeat movement like Dj Dolores, Mundo Livre S/A, Eddie, Bonsucesso Samba Clube e Erasto Vasconcelos. The group also produced music for theater plays and soundtracks.

Label: EMI
Country: Spain
Release Date: 2009.03.03

Macaco is a multicultural musical band from Barcelona, created in 1997 when ex-Magia Animal, Dr. No, and Ojos de Brujo, Macaco (Dani Carbonell) joined La Hermandad Chirusa, a band formed by talented musicians from Argentina, Colombia, Brazil, and Spain, to make his first solo record. The band has changed much over the years, the only exception being Dani. The band members come from different countries such as Brazil, Cameroon, Venezuela and Spain. (by lastfm)

Label: Chat Chapeau Records
Country: Austria
Release Date: 2008.10.07

After two successful full length records and five years of touring Europe, by now !DelaDap are considered among the worldwide respected fixtures in both, World Music- as well as in the club-scene. Some of the notable highlights in those eventful years were two nominations for the “price of German record critics”, the “Donauinselfest” performance in front of 10.000 thrilled fans and several live-radio-concerts on German WDR, Austrian ORF and Radio Troika in Poland. Furthermore !DelaDap seized the chance to present their spirited show to worldwide expert public at the Sevilla World-Music fair WOMEX 2007. In the neighbouring country Hungary they are already reckoned as an international top act, annually invited to the major festivals and steady broadcasted on popular tv and radio stations. In September 2008 the group around mastermind and producer Stani Vana finally release their third album “Sara La Kali”. This new longplayer even more emphasis the Magic of the voices of the three wonderful singers Melinda Stoika, Simona Senkiova and Kristina Gunarova. Also the Mystery that lives in the lyrics in the Roma-language that made it’s way from ancient India surviving centuries without a written word and transporting miracles and wonders from ine generation to another until now. And finally it is the Energy rooting in the emotionality with wich the musicians especially from the eastern parts of Europe are playing their typical Roma instruments, such as Violin, Guitar and Accordion, combined with powerful and tartfully set beats which gives the sound of !DelaDap it’s very original touch.

Label: Divucsa Music
Country: Spain
Release Date: 2006

En la busqueda, is the title of Nomhadas’ first album. A traveling and rebellious sound. Their music: brightly positive. An expression of Moorish, Mediterranean reminiscences and echoes of the Orient on electronic sound and tribal rhythms. From Reggae to Hip Hop, Funk to Drum&Bass, Pop to Electronic music, Folk to Trance, from Celtic inspiration to a mix of Flamenco-Andalusian music, Nomhadas boldly cross borders towards a breath of fresh air. Their luggage: their instruments and a lot to tell.
This music arises from a gamut of languages such as Maya, Sanskrit, Spanish, Galician, and English. A mix of different cultural influences but spiritually united in music, since the essence of music transcends temporality and borders. An effort recorded and produced by Collin Preston and Javi de la Rosa at Chiclana de la Frontera (Cadiz). “This is the result of different trips we made thanks to music. It emerges from the need to create the moment we are encircled by. Our instruments, (Sitar, Darbuka, Didgeridoo, Bass, Tibetan Singing Bowls, sequencers etc.) native to different places of the planet, join in one voice as if the never had been separated or as if their ancestral differences are uniting them spiritually”. Nomhadas already has featured on the cover of World Music magazine. Karma and Chango, the flagships of Nomhadas, participated in the last record of Professor Angel Dust, “Pachuco Watusi”. They also work and have been involved in the last record of the flamenco-punk group, Desmaskaradas. (by womex)

Label: Ziriguiboom
Country: Brazil
Release Date: 2008.03.03

Brazilian DJ Dolores third album demonstrates the futility of a word like fusion, possibly even categorisation drawing upon elements of Brazilian music, electronic music, dub, jazz, funk, even rock with a few vocalists singing mostly in Portuguese, yet also strangely enough broken Japanese. On the cover he seems kind’ve intense and he has aligned himself with The Danger Global Warming Project, though his tunes also incorporate concepts of violence in Brazil, globalisation, fundamentalisim, yet also a soundtrack for X-Men in Brazil and the effect hot beach babes have on him. Right. Thematically he’s all over the place, though musically he’s very much about chilled funky beats, yet isn’t afraid to release stabbing horns or some scratchy violin occasionally. It’s the kind of music you’d love to find on the streets. In fact 1 Real is probably the price you’d pay for a cheap bootlegged cdr on the streets of Recife, Delores home town. He has composed for cinema and theatre, though 1 Real is very much about the groove and highlights include Wakaru which typifies his contradictory approach with Caboclinho folk flutes, violin, and trance basslines. It shouldn’t work yet comes across like an electronic Can, whilst other piece seem intimately linked to more traditional Brazilian with piano accordion and Brazilian vocals yet with a dub feel with electronic percussion. This is a man who can’t sit still. (by Bob Baker Fish)