Khalab’s world of Afro-futurism, modern tribal bass, and dub electronics, combined with the percussion—including the djembe, dundun, talking drum, and kalimba—and vocals of Baba Sissoko, a griot from Mali, and the string instrument, the ngoni—all while conveying the history of the traditional West African Griot culture. These elements are tightly i ...Read more (Original Japanese text by COMPUMA)nterwoven with tribal, spiritual, bass-driven, shamanic New Age jazz and dub-inspired sounds, creating avant-garde, left-field electronic dance music and meditative grooves set against a pitch-black cosmic backdrop. A masterpiece. Each of the five tracks is perfect for both DJ sets and listening on its own. (Original Japanese text by COMPUMA)

Introspective yet powerful, the album explores motherhood, faith, memory, and fortitude, elevating personal reflection into a universal narrative. On the musical front, in "MASSA," Fatoumata Diawara never forgets her roots in the Wasl region of southwestern Mali, blending Malian musical traditions with pop elements to further expand her own sound w ...Read moreorld, exploring a fundamental yet future-oriented, folky neo-soulful modern African R& He is trying to create a new sound world while exploring the folky neo-soulful modern African R&B new sounds, which is both fundamental and future oriented.

Neba Solo, who has released albums on prestigious labels such as NONSUCH both as a pioneer in reimagining traditional Senufo balafon ensembles as dance music and as a traditional balafon player.
With the balafon’s minimalist/ organic tones, his soaring vocals embody the very essence of Manding music! While evoking the exhilaration of 80s world ...Read more (Original Japanese text by Shhhhh) music, his productions also possess a solid sense of future-oriented universality. The drum machine avoids any awkward nods to current techno trends, instead focusing entirely on accessible grooves—an exquisite touch of restraint. Plus, these tracks are incredibly versatile, with BPMs ranging from 117 to 130 and a 4/4 rhythm that’s easy to follow.
A world dance phenomenon you’ll want to immerse yourself in at full volume—even if you’re not playing it in a club—to feel your ancestral blood stir. It’s a truly versatile album, perfect for both outdoor events and intimate listening sessions. We’ve stocked this because we’ve received so many inquiries from individuals who’ve played it.
It pairs seamlessly with Afro-house, amapiano, and organic downtempo, but it’s also perfect for your living room as an introduction to African music. (Original Japanese text by Shhhhh)

Um Sangare is a well-known authority in the world music world, and is a big name in West African Malian wassur music, which is characterized by earthy vocal call-and-response music played by women. This latest release is not overproduced, and is a gem that can be safely recommended to dance music lovers, who can simply be left to the organic groove ...Read more (Original Japanese text by Shhhhh), chill/ambient sound space, and eternal music. The title "Acoustic" refers to the fact that no studio work such as overdubs was used, and not even headphones were used. The title "acoustic" means that. However, this is not traditional music in the first place, and NO FORMAT, a good ethno label in Paris, has done a great job in packaging the excellence of genuine African music. Even if you don't usually check out world music, this is a beautiful work of universal female vocals. You can listen to it for the rest of your life. (Original Japanese text by Shhhhh)

From Salif Keita and Ali Farka Touré to Tinariwen and the roots of desert blues, Mali is one of the great highlights of African music — and Nahawa Doumbia is one of its most beloved singers, cherished by world music fans through reissues on Awesome Tapes From Africa and her collaboration with Frédéric Galliano, who traveled to the region. This is h ...Read more (Original Japanese text by Saito)er second album, from 1982. Awesome Tapes From Africa began with her third album; the master tapes for this second one were lost, making a reissue difficult, but through ATFA's dedicated efforts it now sees its first release outside of Mali. Recorded with her longtime collaborator, guitarist N'gou Bagayoko. (Original Japanese text by Saito)

創業46年アフリカンアートのパイオニア的存在である、株式会社東京かんかんの代表・小川弘が長きに渡り収集した西アフリカに分布する少数民族の様々な民具。それを西アフリカの国ごと部族ごとに仕分けし、それぞれが持つ祭具や民具の用途や小話などを旅の道中に撮影した写真と合わせて説明した目にも楽しいビジュアルブックです。
第１弾はマリ共和国。ドゴン族の仮面舞踏やバンバラ族の儀礼についてなど現地のリアルな写真と共に分かりやすくまとめています。

口頭伝承で内密に受け継がれてきた祭礼のしきたりに沿って作られる、舞踏用の仮面の造形美や、まじないの意味が込められた彫刻付きの生活品などをまとめています。巻末にあるQRコードからストリーミング出来るDJ Shhhhh監修のマリ音源のみを集めたミクスチャーミュージックを聴きながら、現地の様相に思いふけってお楽しみください。

タイトル曲に歌われたのは貧困による国外への亡命によって命を落とした若物たちへのレクイエムと政府への提案、ながら言語を解さない我々はこのアーシーとか安易に形容したくないただ圧倒的なボーカルにまずは浸るしかない。即売れだった（乞再入荷）Oumou SangareのNO FORMAT盤と並べてマリ音楽の美しさは太古から未来の受け継がれて行く、アフリカはマリ音楽の美しさに触れてみてください。太古の女性ボーカルとも。裸足で爆音で野外で聴きたいですね。南アフリカ先端ダンスミュージックであるAMAPIANOを紹介しながら、きちんとここを押さえるAWESOMETAPESの今の動きは南米エレクトリック・フォルクローレの動きとシンクロしますね。NYEGE NYEGE好きにもぜひ。 (Shhhhh)

西アフリア、マリならではの伝承音楽と、ラテンジャズや、サイケデリック・ムーヴメントを経たR&Bジャイヴ、ソウル＆ファンクな感覚が独自のバランスで融合した唯一無二の郷愁の魅惑の音楽世界。素晴らしい。レコメンド。 (コンピューマ)