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LES DISQUES BONGO JOE

Mauskovic Dance Band

Bukaroo Bank

    Amsterdam based Mausovic Dance Band make madcap music intent on expanding musical universes. Powered by elastic rhythms and some potent dub wizardry, the five-piece are synonymous with flipping global music traditions and creating new, sound-system stylised, synth powered, dance-floor experiments.

    Whilst their 2019 debut album on Soundway Records offered a frenetic mix, imbued by the Colombian champeta, Ghanaian highlife and spaced out disco, their new forthcoming album Buckaroo Bank, set for release on Swiss label Bongo Joe Records, feeds off the industrial sounds of New York City, post punk and early electronic explorers. At the very centre of the project is the dub, the Mauskovic echo chamber, guided by their universal hero Lee Scratch Perry and made possible by their studio friend Kasper Frenkel who provided the tools this new Mauscovic riddim philosophy.

    A proper family band (4 of them are related), and fronted by Nico Mauscovic who is also part of Zamrock touring band W.I.T.C.H., the group have released various singles since their debut album including on Berlin label Dekmantel and most recently, on experimental Swiss label Bongo Joe, their perfect home for brand new album Buckaroo Bank.


    TRACK LISTING

    1. Buckaroo Bank
    2. Face
    3. Wie Niet Weg Is Is Gezien
    4. Parata Est
    5. Zwaar
    6. Bebi
    7. People In The Hall
    8. Dr Rhythm Space
    9. Telefoon Dub
    10. Samen
    11. Buckaroo Bank - Slow Version
    12. Slow Crack

    Chouk Bwa & The Angströmers

    Ayiti Kongo Dub

      Preceding the release of a new album next year, we’re pleased to announce two ‘Ayiti Kongo Dub’ EPs by Chouk Bwa & The Ångströmers. Following on from 2020s acclaimed album Vodou Ale, Chouk Bwa turn up the heat for this exhilarating trip into their bush of ghosts by introducing a new stripped down line-up to fire up the dance floor, based exclusively on the drums and rhythms of the Haitian kongo rite and deep electronic dub expansions by their trusted Belgian counterparts The Ångströmers.

      Compared to the Vodou Alé album, 'Ayiti Kongo Dub' marks a change of direction. By developing the dimension of trance rather than elaborate structures, the music now aims itself at the dance floor. The kongo style with its Mambo, Anmin and Kongo Payèt rhythms, played with two drums and based on a pulse that is not subject to a measure, lends itself very well to linear developments, with the

      constant and heady cue of the fè (literally a piece of iron) hammered out by the solo singer. Developed on the basis of ceremonial pieces, not originally intended for any form of performance, the repertoire includes a significant amount of improvisation characteristic of Kongo drumming. In their production, The Ångströmers have taken to heart to respect this sense of freedom by performing a large part of their interventions in an improvised manner. The beat is almost subliminal at the beginning and gradually made more explicit by electronic intervention. Deep bass, reverbs and delays inspired by Dub: this is music for clubs and sound systems of endless nights.

      TRACK LISTING

      A1. Agwetaroyo
      B1. Similòm
      B2. Vini Wè M

      Orchestre Tout Puissant Marcel Duchamp

      We’re Okay. But We’re Lost Anyway

        Founded in 2006 by Vincent Bertholet (Hyperculte), the Orchestre Tout Puissant Marcel Duchamp is a large-scale project. Designed as a real orchestra, the size of the ensemble has varied over time. Now with 12 members, 14 in the past or 6 at the beginning, the ensemble has scoured the stages of Europe todemonstrate that the formula "the more the merrier" has never been more true than on stage.

        Whether in prestigious festivals (Paléo Festival de Nyon, Fusion Festival, Incubate, Womad, Bad Bonn Kilbi, Jazz à la Vilette) or on the four albums released since its launch, the group shows an incredible fluidity. The Orchestre Tout Puissant Marcel Duchamp (a mischievous title in homage to traditional African groups -Orchestre Tout Puissant Konono n°1, Orchestre Tout Puissant Polyrytmo etc... -and to one of the greatest dynamizers of 20th century art) embraces the forms of its musicians while pushing them to their limits. The result is a powerful, experimental, unstable and terribly alive, organic sound.

        These characteristics can be found on We're OK. But We're Lost Anyway, fifth opus of the band. Built around twelve musicians, extirpated from their respective biotope, it develops a repetitive musicality which, deployed in successive waves, creates a feeling of trance. Mixing free jazz, post punk, high life, brass band, symphonic mixtures and kraut rock, their sound only goes beyond the limits of genre. Transcendental, almost ritualistic, the music is coupled with powerful lyrics, declaimed in rage against a world that is falling apart.Adorcist, hypnotic and postsyncratic, the Orchestre Tout Puissant Marcel Duchamp, far from Tzara's manifesto, is somewhere between Hugo Ball's phonetic psalms, a Sufi procession that turns into a brawl and a voodoo ritual, but always with a precision proper to the monomania of an asperger.

        TRACK LISTING

        01. Be Patient
        02. Empty Skies
        03. So Many Things (To Feel Guilty About)
        04. Blabber
        05. We Can Can We
        06. Flux
        07. Connected
        08. Beginning
        09. Silent


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