Myele Manzanza: New Zealand Music Aesthetics

Except for the reformation of Trinity Roots and what a handful of other New Zealand music artists like Myele Manzanza, Fat Freddys Drop, Electric Wire Hustle and Ladi 6 are up to, these days I’m more out of touch with New Zealand’s music scene than I used to be.

Trinity Roots live concert Australia 2015

Trinity Roots: Citizen Tour 2015

The Sound

When I was on the pulse during the past decade and more, I always thought Aotearoa (New Zealand) was a musical gem undiscovered (to their loss) by most of the world beyond Australia.

For small South Pacific islands distant from so much of the world, there seemed to be a disproportionately high number of New Zealand music artists blending flavours of soul, jazz, reggae and beats to create chilled, spacious, smooth, feel-right music with an inexplicably distinctive (and unique) New Zealand sound. I couldn’t work it out except to guess that its stunningly dominant natural environment played some part.

Myele Manzanza on The Sounds

During my recent interview with “afro-elastic soul” artist Myele Manzanza, I asked him about that sound; and to share any home-grown insights into the evolution of New Zealand music throughout his lifetime – which included years of drumming and composing with Electric Wire Hustle and working on numerous solo and collaborative projects with fellow New Zealand (and international) artists.  

Check out Myele’s response with sample sounds from some of the players in that musical evolution…

Myele Manzanza & The Eclectic live at WOMADelaide 2015

Myele Manzanza: .

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“New Zealand music out to a wider world audience”

“I think as far as the era of New Zealand music you’re referring to, in order for that to happen, I guess the thing that really broke down the door was Fat Freddys Drop – as far as getting New Zealand music out to a wider world audience. I have to take my hat off to them because of what they did and the level they did it at. I don’t think anyone of that era has gotten to the level of where Fat Freddys Drop got to.

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“a new vanguard”

You could maybe throw in Lorde, who’s stupendously big. She’s of a new vanguard/league/generation. Her success is incredible. There must be some element of influence of what’s happened in New Zealand music over the past 10 years on what Lorde does, but I don’t really bring her into this era of New Zealand music that you’re referring to. Even though it’s beats and soul, its a different thing.

“that sound”

As far as to how Ladi 6, Electric Wire Hustle or Fat Freddys Drop got here and got to that sound…when I was 14 or 15, Trinity Roots and The Black Seeds were coming to prominence (Trinity Roots reached their peak and then disbanded for some time). The Black Seeds and Fat Freddys Drop were still on their scent, but were in the community so I kind of grew up around that sound.

It might also trace back to Che Fu – he had a very big impact.

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Trinity Roots- ‘Egos’ – Home, Land and Sea (2004)

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Fat Freddys Drop- ‘Roady (feat. Ladi 6 & P Digsss)’ – Based On A True Story (2005)

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Ladi 6- ‘Walk Right Up’ – Time Is Not Much (2008)

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Che Fu- ‘Fade-Away’ – Navigator (2002)

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“Once Bob Marley hit…”

There’s obviously a very big reggae thing in New Zealand.

Once Bob Marley hit, and I think he performed in New Zealand in the early 80‘s [1979], that was a big cultural turning point; a. because his influence was so big anyway, but; b. when he came and performed he really got to know the local culture. I think there was a connection for him too because Waitangi Day (the day a treaty of agreement was signed between Maoris and the colonial population) is on 6 February which also happened to be Bob Marley’s birthday.

For whatever reason, and particular Maori and Pacific Island culture in New Zealand, people were very much drawn to Bob Marley, his message and his sound.

Bob Marley & The Wailers - Natural Mystic Vinyl - Tuff Gong Studios, Jamaica

Maybe there’s an ‘island thing’ too where the geography relates to the style. There’s something that can be related there and got taken up. There’s a reggae thing that’s been happening in New Zealand music for decades now. Trinity Roots and Fat Freddys Drop came out of that but they also had their jazz, soul, electro, dub and techno influences.

“the J Dilla-thing in New Zealand music”

It might be fair to say that whilst Electric Wire Hustle had those same influences, [we] were maybe the first to champion the J Dilla-thing in New Zealand music; that rhythmic aesthetic; that sound and style of contemporary left-field hip-hop/soul instrumentals. We latched onto that, and it might have given us a point of difference. Ladi 6 was in there as well. So were a number of other artists. Isaac Aesili –  part of a group now called Sorceress (previously called Funkommunity) was very much in that scene.

It’s interesting thinking about that timeline and the history of that – and will be interesting to see what happens next.

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Electric Wire Hustle- ‘This World (Feat. Georgia Anne Muldrow)’ – Electric Wire Hustle (2009)

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“what happens next”

Obviously Lorde is the now. It’s undeniable that whatever will come after Lorde in mainstream New Zealand music will be largely influenced by her.

But for me I think my next step is maybe taking those influences but maybe going further into the jazz thing. By “jazz” I mean improvised music that’s fluid and can move and shift as performed in the moment in real time, as opposed to pre-programmed drum machine stuff.

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Myele Manzanza- ‘Elvin’s Brew’ – One (2013)

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Even though that’s very much a big part of what I do, what I think I’ll be working on over the next few years of my life will be a synthesis of that – finding my line between the programmed electronic-thing and the improvised jazz/soul, real person, real time-thing and trying to make that my sound.

As far as where the rest of New Zealand music is headed, only time will tell.”

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More of The Sound

Start here if you want to check out more sounds and images of Myele Manzanza, The Eclectic and other Aotearoa New Zealand artists:

Myele Manzanza & The Eclectic (including father Sam Manzanza and Aotearoan soul divas Rachel Fraser & Lisa Tomlins) performing live at WOMADelaide 2015 last month…

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…or click the artist’s name for more live videos, photos and sample tracks by Myele Manzanza, Trinity Roots, Fat Freddys Drop and Electric Wire Hustle.

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…and stay tuned, because there’ll always be more New Zealand music artists added to Beaver’s world.

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The Musical Evolution of Myele Manzanza

Myele ManzanzaDelve into the life of New Zealand artist Myele Manzanza and you’ll find that the blend of electro, soul, hip hop, jazz and Afrobeat music on his debut solo album One, makes perfect sense as a balanced reflection of his individual life lived and the various musical influences and experiences within it.

The Life of Myele

The son of Sam Manzanza, a Congolese musician and pioneering force in bringing African music to (and keeping it alive in) Aoetearoa/New Zealand, Myele Manzanza was born into a life surrounded by music and skilled musicians. Later in his life came the drum kit. Later again formal studies in Jazz Performance. All of it in Wellington – a place where many more artists than the wider-world knows about have been creating innovative musical blends of soul, jazz, reggae and electronica for a long time.

After six years drumming and touring the world with New Zealand’s successful electro-soul outfit Electric Wire Hustle, as well as going through the Red Bull Music Academy program, Myele left the trio in 2013 to embark on his solo music career and release his debut album One through BBE.

Myele Manzanza - One (2012)

One (2013)

Get a feel here (as best you can with a compressed mp3 version) for the life and sound of Myele Manzanza with One’s introductory track…

‘Neighbours Intro’ – One (2013) – Myele Manzanza

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Post-One, Pre-WOMADelaide

Consider then all of his musical experiences since the release of One and all-in-all, Myele Manzanza & The Eclectic are a perfect fit in the line-up of WOMADelaide 2015 where a diverse range of phenomenal worldwide artists will be performing.

Amongst those experiences is drumming on tour last year with a super-talented group of musicians and dancers put together by Detroit-based producer/DJ Theo Parrish – including funk legend Amp Fiddler on keys, and ex-Public Enemy guitarist Dumminie Deporres. Then there’s also that long list of prestigious gigs performed in New Zealand and abroad with the Myele Manzanza Trio, Myele Manzanza & The Eclectic, Miguel Atwood Ferguson and a host of other artists.

With less than one month to go until WOMADelaide kicks off in Adelaide, I caught up with Myele Manzanza to chat about his musical evolution up to and post WOMADelaide.

WOMADelaide 2015

Chatting with Myele Manzanza…

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Beaver:  You’ve played before at WOMADelaide – with Electric Wire Hustle right?

Myele Manzanza:  Yeah, we did WOMADelaide maybe 3 or 4 years ago. It was cool. I enjoyed my time there. It’s a beautiful venue and setting, and the programmers at WOMAD know exactly what they’re doing as far as the line-ups that they get. It’s a really interesting and exciting festival for me so I’m happy to be able to bring my own band over and be able to play my music at a festival that’s notoriously great.

Myele Manzanza Solo

Beaver:  Does your time with Electric Wire Hustle feel like a million years ago now, given everything that’s been happening in your life and solo music career since then?

Electric Wire Hustle

Myele Manzanza (L) with Electric Wire Hustle

Myele Manzanza:  It’s the first time I’ve really reflected on that so I’m glad you asked that question. It kind of does in the scheme of things. My last concert with them was about a year and a half ago, maybe a little bit more. In that sense, it hasn’t been that long.

But a lot’s happened and a lot is musically different to how it was 2 or 3 years ago in that era of my life.

Last year I did quite a lot of touring in the U.S. and Europe, Australia as well, which was fantastic. I’ve been steadily working on lots of different musical projects and producing albums for people, and also my own stuff which I’m sure will be gradually coming out over the next couple of years. I feel like I’m a lot different as a drummer, as a musician and an artist. I’ve grown a lot since then. So in that sense yes, it does feel like a long time ago.

I don’t think it will happen, but it would be interesting if I was to play with Electric Wire Hustle again. It would probably be kind of weird having gone in so many different directions since then.

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[B: If you don’t already know and love Electric Wire Hustle’s music, check out this sample Electric Wire Hustle track from their self-titled debut album…]

Electric Wire Hustle (2010)

Electric Wire Hustle (2010)

‘Experience’ – Electric Wire Hustle (2010)

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Musical Independence

Beaver:  How’s it been going for you in becoming the independent master of your own creative path and destiny?

Myele Manzanza:  In one sense it’s been great…because you’re able to set your own terms and define what your sound is, what your music is and what it is that you want to be doing with it.

But on the other side of that coin comes a far greater sense of responsibility because ultimately the buck stops with you and if you want your career to progress then ultimately you’re the one who’s got to put in the work, do all the hustling, be responsible for the art and…for making music that you can only hope at the end of the day resonates with people.

People have gotta relate to the music and reference it from something else that they’ve heard, that’s just natural. But at the same time you gotta make art that’s distinctive and original, find your own sound. While I’ve always been kind of aware of it, in going solo I’ve felt that pressure/challenge in being your own artist.

So it comes with the pros of being able to set your own tone and all of that, but also the greater responsibility and effort in order to make things happen; and with the spotlight being on you, you’ve got to deliver, so it’s just a little bit higher pressure. But it’s cool, the payoff is great.

The Myele Manzanza Supergroup

Beaver:  So with the freedom to create or be a part of any music project, which of any living artists in the world would you choose to put in the line-up of The Myele Manzanza Supergroup?

Myele Manzanza:  Herbie Hancock on rhodes and synths (‘Head Hunters’ 70’s era synths, not that Korg Triton stuff); Pino Palladino on bass; Gretchen Parlato on vocals; Ambrose Akinmusire on trumpet; Zakir Hussain on tabla and Marcus Strickland on tenor saxophone.

Myele Manzanza

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Theo Parrish Tour

Beaver:  I’m a disciple of Amp Fiddler and Public Enemy  and an appreciator of Theo Parrish. I’m keen to hear about what the experience of playing music live on stage with those artists was like for you, and what you took away from it in terms of your own musicianship?

Myele Manzanza:  That was such a great tour. There were some really amazing shows and really great audiences. It was cool to be on a tour bus with a crew of musicians who were a few more levels above where I’m at now and have been in the game for a little bit longer; and to have been able to learn from them and their processes.

Theo Parrish Tour with Myele Manzanza

“those fundamentals of drumming”

I guess that the Myele Manzanza music that I’m doing and to some extent Electric Wire Hustle before that, drumming wise I was not exactly a jazz drummer, but more fluid. While obviously you’ve still got to hold the beat down and give people that solid thing to dance to, my mind’s eye was orientated more towards colours and textures; different rhythms and interplay; interacting and improvising; stretching, pushing and pulling with what I was doing – as opposed to being strictly the foundational rhythmic pulse that doesn’t move while everything else is built up on top of it.

In playing with Theo I had to go back to those fundamentals of drumming – being the engine room and holding it down for the band, keeping that steady pulse. So I had to go back to that and really push and develop that, figure out my place within it.

We rehearsed for 10-12 hours a day for a week prior to the tour, so it took a little while for everyone to figure out their place in the band and the band’s sound.

“the language of the dance”

There were four dancers that were part of the performance as well, and when we were rehearsing with them that’s when it kind of clicked for me: as opposed to getting too busy and trying to add all these different kinds of spices into it, needing to just be the onions and garlic, hold down the base, be the solid meat and potatoes that kept everything together – particularly for the dancers.

Because when I was watching the dancers I was recognising how they were literally dancing to what I was doing. So by keeping that repetitive thing going and giving them something consistent to work with, it gave them space to be somewhat spontaneous within that; and be able to hear my accents and to form their dances in a way which hit those accents.

For me that was a great learning lesson as well – performing with dancers and recognising how the drums relate to them specifically.

Myele Manzanza - One (2012)

Especially with Theo’s music because he’s a dance music producer and very idiosyncratic, but the way that he puts his rhythm together and his drum production is very specific. In working with the dancers I recognised the greater purpose for that specificity. As opposed to “Okay, that’s just a beat there with some flourishes there, and that’s kind of cool”, recognising that its actually a specific part of the composition and is important and integral to the meaning to that.

So in learning from that process and going into my music-making now, I guess I have a greater understanding of the language of the dance and the way that music (and rhythm in particular) relates to that. I kind of already knew it. It’s one of those truths that’s just there and obvious, but on that tour it kind of hit home for me that this weird, relatively esoteric thing called music has a solid, very real, very pertinent affect on other human beings.

“music…connects with people in some real way”

It’s interesting because music is a thing that you kind of can’t really see or feel or touch, but it connects with people in some real way. That was a first hand experience for me on the Tour and I’ll never let go of that in whatever it is that I’m doing – even if I’m not doing ‘dancing music’.

I’ll be more aware that whatever sound I’m generating or whatever sound a band is generating, relates to people on a human level; as opposed to like a music theory level or relating to musicians; as opposed to the general public and the different things in different ways that work and how different people think. Because a lot of the time musicians can get caught up in ‘musiciany things’, things that only musicians would really notice. It’s important to be able to step back from yourself and kind of try and figure out the greater affect that your music has on people, and try and think in a broader way.

Post-One Evolution

Beaver:  If One was a reflection of the life of Myele Manzanza lived up until its making, and given everything you’ve done since the release of that album, do you feel that your musical evolution has progressed further still?

Myele Manzanza:  There’s a lot of different tangents to it. I go through phases where I’m into some style of music, or really into drumming and practising a lot and working on being really proficient on the instrument: getting my speed up, or my chops up and articulation; the dynamics; the pure physicality of drumming. I’ll have phases of that. And sometimes I’ll have phases of doing a lot of beat-making and producing and composing.

Myele Manzanza

With the actual music I’m making, it’s still within those same influences, the various styles you were talking about (jazz, Afrobeat etc). I guess what I’m trying to do more and more (and it was something I was doing with One as well but think I’m getting further along the path) is finding a way to unify all of those different influences into one sound which is me –  rather than “now I’m playing Afrobeat”, “now I’m playing jazz”, “now I’m playing electronica” or “now I’m playing hip hop” etc.

As opposed to being able to play in all of the different styles authentically, I’m trying to meld all of them into a single style, which is easier said than done…At the one time I have to be highly aware of wanting and needing to do that, but at the same time I don’t know exactly what the end result would be. You can’t. No one can know. No artist could entirely know beforehand what their actual distinctive sound is. It’s a continual process of taking what’s come before, digesting it and putting it out as a new thing.

I’m more conscious of that process, even though as far as totally defining it, its perhaps impossible; and perhaps not even the point. Perhaps if I’m too concerned about whatever it is I’m doing next musically, it means I’m not concentrating on what it is that I can do musically now, in the present.

Post-WOMADelaide Evolution

Beaver:   Any insights into what’s next on your evolutionary path beyond WOMAD and WOMADelaide? Any new music projects brewing that you want to talk about?

Myele Manzanza:  I’ve got at least two albums backed up which are musically more or less finished. Definitely keep your ear out for some interesting stuff happening in 2015. As far as specifically what that will be, I’ll keep that close to my chest for now.

Myele Manzanza & The Eclectic Live at WOMADelaide 2015

Beaver:  You’re bringing your Dad [Sam Manzanza] and vocalist Rachel Fraser to perform with Myele Manzanza & The Eclectic at WOMADelaide. Which other artists will be joining you?

Sam Manzanza

Sam Manzanza

Myele Manzanza:  Another great singer called Lisa Tomlins. In New Zealand she’s one of the go-to vocalists. She’s performed with everyone like Fat Freddys Drop, Trinity Roots, Shapeshifter and loads of other bands. Lisa’s one of the ‘great’ Greats. She should put out an autobiography with all her stories cause I know she’d have billions of them.

On bass we have Marika Hodgson who plays with Rachel Fraser in a band called Sorceress. She’s a really talented musician from Auckland with a really bright future ahead of her. Daniel Hayles on keys. He’s great; very professional and very, very talented. We went to music school together. Also Daniel Ryland who was one of my teachers at music school. He’s my guitarist now and has a great sound, tone and aesthetic to what he does – very unique. Regardless of the style that he’s playing, he’s able to bring his own thing into it.

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[B: Check out 2 more sample tracks from One which feature Sam Manzanza and Rachel Fraser on vocals. You can buy the hard-copy album through BBE or better yet, get yourself to WOMADelaide 2015 and buy it from the Wo-Shop.]

Myele Manzanza - One (2012)

Myele Manzanza – One (2013)

‘On the Move’ – Myele Manzanza feat. Rachel Fraser

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‘Me I Know Him’ – Myele Manzanza feat. Sam Manzanza

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Live Elasticity

Beaver:  How much ‘elasticity’ can we expect to hear in Myele Manzanza & The Eclectic’s live show at WOMADelaide?

Myele Manzanza:  When I say ‘elastic’ [‘Afro-Elastic Soul Music from the Tradition of the Philosopher Kings’] that’s kind of referring to the improvisational element – which is like you’re in the moment and fluid – and whilst I’ve set the parameters of what the composition is, within those parameters you can take those raw materials of the composition and stretch, push, pull and play off of it – so its ‘elastic’ in that sense.

Then it’s also referring to some of the rhythmic things – that sort of J-Dilla-ish kind of feeling that’s steady but off kilter at the same time, and the rhythm is stretched in some interesting way.

That elasticity definitely comes into play a lot with Myele Manzanza & The Eclectic – even though it’s a bigger band and more of a steady sort of RnB dance thing as opposed to an abstract jazz thing. For me I find it’s a good combination of all of the aspects of music and all of the ways of playing that I’m into.

As we continue to play together we keep on getting better and better…I think the next round of WOMAD and WOMADelaide is going to be a really special time.

Beaver:  Well, different people I’ve spoken to about your live performances have all used the word ‘phenomenal’ to describe them, so I look forward to experiencing it myself.

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Catch Myele Manzanza & The Eclectic live at WOMADelaide 2015 along with the Buena Vista Social Club, Neneh Cherry, Sinead O’ConnorTheo Parrish, Jake Savona with Prince Alla and Randy Valentine – plus about 50 more diverse worldwide artists.

WOMADelaide 2015

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Myele Manzanza also shared some insights into New Zealand’s music aesthetic over recent decades – and the story of one of his life’s many euphoric musical moments…get the details here another day soon.

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E is for Electronic Music Infiltration

‘E’ in Beaver’s A to Z of Fusion goes to the sounds of electronic music for their like-it-or-not, rapid infiltration of almost every type of music in just about every part of the world since their beginnings at the end of the 19th century.

electronic music

A Shallow History of Infiltration

The history of electronic music is long and involved.  It’s not a story I’m qualified to properly tell, nor do I want to try. The over-simplified, short, sketchy version is this…

The Beatles - Moog SynthesizerFirst came the creation of electronic musical instruments like synthesizers. The Beatles weaved them into their music in the late 1960’s, as did artists before them. Pink Floyd did too, even Herbie Hancock, and countless artists since them.

The development of electronic music technologies continued, including digital audio to rapidly thereafter replace analog.

The creation of music using only electronic means became increasingly common.

Computer software advanced. Access to computers and other technologies became easier for most of the world.

electronic music

Certainly electronic music got its grips on ‘less-developed’ (ie. poorer) parts of the world sooner than the richer ones, but it eventually infiltrated just about everywhere. Seven years ago in Havana you can imagine my dismay when a young man in the technologically un-advanced, insulated Cuban bubble, proudly played me the reggaeton (an electronic-music-Evil) track he’d just finished making on his archaic equipment.

Some consequences of the world’s electronic music infiltration I’m into, some I am most definitely not.

Post-Infiltration

Nowadays it’s rare to find music made in the warm, living analog world. That’s a tragedy of epic proportions. Thankfully some artists still deliver it – most recently D’Angelo with Black Messiah, and regularly by Will Holland (aka Quantic).

Digital music consumption now dominates – another tragedy of epic proportions.

Nowadays and for a long time it’s been open to any man, woman or their dog with a computer to make music on it. It’s great that so much creativity is flowing from people around the world, but the truth is that I have little tolerance for listening to music produced wholly and solely in the electronic domain.

It’s not all doom and gloom though – the infiltration of electronic music has had its benefits too. Today some of my favorite music from around the world is by artists/groups who innovatively utilise and blend the sounds of electronic instruments into their musical mix whilst valuing and maintaining the living, human, conventional sounds.

It is the sounds of those instruments, and the people playing them, that is the living chi of music. They make the music sound and feel alive to me. They physically and emotionally connect me to the music. Without that living element, with purely electronic sounds, the music is a lost cause for my ears.

Infiltration Samples

Check out these sample tracks by a handful of contemporary artists from different countries who mix up the sounds of electronica and the living to produce killer musical results. Remember these are just super-compressed mp3 versions of the songs. Buy the music on vinyl where you can, or at least cd, to hear it in its full, living sound glory.

1. NGAIIRE (Papua New Guinea/Australia)

Lamentations (2013) - Ngaiire

NGAIIRE – Lamentations (2013)

‘Fireflies’ – NGAIIRE – Lamentations

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Check out more NGAIIRE music + footage from live shows here.

2. Flying Lotus (USA)

Flying Lotus - You're Dead! (2014)

Flying Lotus – You’re Dead! (2014)

‘Never Catch Me’ – Flying Lotus feat. Kendrick Lamar – You’re Dead! 

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Flying Lotus - Until The Quiet Comes (2012)

Flying Lotus – Until The Quiet Comes (2012)

‘See Thru To U’ – Flying Lotus  feat. Erykah Badu – Until The Quiet Comes

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Flying Lotus - Cosmogramma (2010)

Flying Lotus – Cosmogramma (2010)

‘German Haircut’ – Flying Lotus – Cosmogramma

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Check out more Flying Lotus music here and stay tuned for a rundown of his upcoming live performances in Australia.

3. Will Holland – aka Quantic (UK)

Tropidelico - The Quantic Soul Orchestra - Tropidelico

The Quantic Soul Orchestra – Tropidélico (2007)

‘I Just Fell In Love Again’ – The Quantic Soul Orchestra – Tropidélico

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Check out more Quantic tracks + footage of his DJ set at WOMADelaide 2014  here.

4. Myele Manzana (Aotearoa/New Zealand)

Myele Manzanza - One (2012)

Myele Manzanza – One (2013)

‘Elvin’s Brew’ – Myele Manzanza  – One

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5. Hiatus Kaiyote (Australia)

Hiatus Kaiyote - Tawk Tomahawk

Hiatus Kaiyote – Tawk Tomahawk (2013)

‘Sphinx Gate’ – Hiatus Kaiyote – Tawk Tomahawk

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Hear more Hiatus Kaiyote tracks + videos of live shows here.

6. Sidestepper (UK + Colombia)

(pioneers in live/electro Colombian fusion)

Sidestepper live at WOMADelaide 2011

Sidestepper live at WOMADelaide 2011

Sidestepper - 3AM: In Beats We Trust (2003)

Sidestepper – 3AM: In Beats We Trust (2003)

‘In The Beats We Trust’ – Sidestepper – 3AM: In Beats We Trust

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7. Bajofondo (Argentina + Uruguay) 

(pioneers in Latin American live/electro fusion)

Bajofondo - Mar Dulce (2007)

Bajofondo – Mar Dulce (2007)

‘Pa’ Bailar’ – Bajofondo Tango Club – Mar Dulce

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Hear more Bajofondo tracks + videos from a live show in Bogota here.

8. Roberto Fonseca (Cuba)

Roberto Fonseca - Yo (2012)

Roberto Fonseca – Yo (2013)

‘Rachel’ – Roberto Fonseca – Yo

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Hear more Roberta Fonseca tracks + videos from his live performance at WOMADelaide 2014 here.

9. Electric Wire Hustle (Aotearoa/New Zealand)

Electric Wire Hustle (2010)

Electric Wire Hustle (2010)

‘Burn’ – Electric Wire Hustle

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10. Little Dragon (Sweden)

Little Dragon - Ritual Union

Little Dragon – Ritual Union (2012)

‘Please Turn’ – Little Dragon – Ritual Union 

 

Hear more Little Dragon songs + videos from live shows here.

Little Dragon live at Oxford Art Factory, Sydney

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So musical people, what say you about the infilitration of electronic music…like it, or not?

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Electric Wire Hustle – More Aotearoa Goodness

Smooth, spacious, soulful, sexy, sublime, liquid sounds. That’s the music of Electric Wire Hustle.

Aotearoa Goodness Again

Like their contemporaries in Aotearoa/New Zealand (including Trinity Roots and Fat Freddys Drop amongst many others), Electric Wire Hustle’s music has a distinctly and uniquely Aotearoa sound reflective of its lands and it’s peoples…spacious, gentle, innovative, original sounding,  beautifully mixed blends of soul, jazz, r&b, hip hop, electronica and more.

Electric Wire Hustle Are

Electric Wire Hustle is the combined and awesome musicianship of multi-instrumentalists and vocalists Mara TK, Myele Manzanza and David ‘Taay Ninh’ Wright.

Electric Wire Hustle

Listen and Love

Check out these (shitty mp3 only) sample tracks from Electric Wire Hustle’s self-titled album. Just a taste of the sublime musical goodness in each and every other song on the album…

Electric Wire Hustle

Electric Wire Hustle (2010)

Gimme That Kinda – Electric Wire Hustle 

They Don’t Want – Electric Wire Hustle

You hear and love the distinctly sweet flavours of Aotearoa yes?  

If not, get yourself on a plane to some Aotearoa music festivals and music stores, and you’ll understand.

Time, Time, Time, Keeps On Ticking

Electric Wire Hustle’s debut album was released in 2009 and again in 2010.  Time has ticked away while they’ve toured their music at home and internationally, including in Australia at AWME (Australasian Worldwide Music Expo) 2010.  All along the way the group has had positive, revering worldwide reviews.electric wire hustle

The awesome news for the world is that Electric Wire Hustle has been in the studio recording new tracks.  The highly anticipated wait to see what new sounds they’re bringing us, is nearly over.

The band played recently at what looked and sounded like yet another incredible open-air music festival in the magical lands of Aotearoa – Rippon Festival 2014. No doubt festival audiences were treated to some new music.

electric Wire Hustle

Photo by Tim Budgen

Hopefully the rest of will get hear Electric Wire Hustle’s new tunes on vinyl, cd and live wherever we are in the world, very soon.

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