Gaoule Mizik, Michel Laurent Excursions In Gwoka Volume 1

‘A Ka Titine’ has long been a staple at Beauty & the Beat parties, a dancers’ favourite and one of those truly special records which have become part of the party’s DNA. This is gwoka from Guadeloupe, a term which not only designates an authentic music genre from the Caribbean island, but also a specific dance and more spiritually the soul and identity of a people. Lyrics often express the uniqueness of Guadeloupean culture, through the codes and metaphors of the Creole language, acting effectively as transmission of a collective history. Gwoka is made up of seven distinct rhythms, each of them used for different social occasions, from baptisms to funerals. ‘A Ka Titine’ is based on the driving toumblak rhythm, one which expresses love and happiness, and the most often heard in party situations. Gaoulé Mizik were a seminal outfit which released two cult albums in the late 80s, alternating between gwoka traditionnel and fusion experiments which they described as gwoka évolutif. ‘A Ka Titine’ is straight-up gwoka traditionnel, with legendary singer Michel Laurent at the peak of his powers. The “Titine” of the song is the name of the beach hut’s owner where Michel goes to have some fish, ends up drinking rum and playing dominoes, before almost getting killed in a brawl (!). Laurent is in raconteur mode, akin to the role of a griot in Africa, acting like a chronicler of his time and singing about everyday chores and social issues. Batb alumnus and Time Capsule head honcho Kay Suzuki has built himself a reputation as the master of hypnotic Afro cosmic productions (check his classic remix of Blackbush Orchestra’s 'Cherchez Les Filles' on Batb 002, as well as his cult Afrobuddha project, and was the natural choice for the remix. Embracing the concepts of Tout-monde, Suzuki has created a unique fusion of genres, incorporating his London influences to the mix by adding strong dub and electronic flavours. The result is a fresh and unique take on gwoka music, perpetuating the tradition of openness in creole culture. Purists beware, this is hybrid music at its very best. 'Kan Sizè Sonné' (presented here in a slightly re-edited version for maximum dance floor pleasure by Batb's very own CW) is taken from a different album released around the same time under Michel Laurent’s name, but produced by the same team and featuring most of the members from Gaoulé Mizik.