Officehome Vinyl, CD & Tape 5 Items

The unbreathable air saturated with moisture, the soggy soil that swallows every step like a starving death, the hostile nature and, finally, the remote swamp. The one they invested in composing Fire Eater. The one they left a few traces in. Tracks that can talk. Six men heavily armed with instruments, a seventh fastest, only weighted by a microphone. They left the inhospitable vegetation, leaving behind a succession of footprints. As we try to follow them, the afrobeat that made it easy to spot them now dissipates into a floating mist. So, we have to connect the radars and try to capture the vintage waves of equipment that emit more than one point but several. Be attentive to jazz solos and funk scarifications, as much as to what could chant and tap on the times of these tight rhythms. Because their blending has become a personal style as much as hybrid, and it is to avoid being watched by asphyxiation that they left the stagnant waters. Escaped from the car sound systems or plastered on the walls announcing their many concerts, it is in the city that they are now detected. Infiltrating them is a daunting task. A track where you have to avoid the vigilance of the electric and venomous keyboards, escape the copper flames and the guitar shears. Enter the choking groove to finally enjoy a purely instrumental passage, sneak in and dance. Progress outside the Afro mangrove, Running The Way nevertheless retains many cables still connected. The bottom of the jeans still ‘Roforofo’. ‘Muddy’ in Yoruba. Just 2 years after the first EP Fire Eater released in 2021, Radio Nova’s crush (title Helelyos enthroned 3 months in playlist), the Roforofo Jazz returns with the LP Running The Way, 8 tracks even more ambitious, with careful production, marking a clear progression in its quest for an increasingly more personal sound and writing. Putting the listener immediately in the tone of his atypical afro jazz rap fury, Love In Time and its sharp rhythmic appeal to the power of the music, in an ultra-energetic piece yet smelling with jazz via well-felt keyboard surges. Side To Side is a rearrangement of a piece by Togolese artist Bella Bello and Manu Dibango, yet glancing towards Motown and resonating like a anthem to life and directions to take to counter the negativity of our modern societies. Then on Stand Up in a more deepfunk US style like Breakestra or The Greyboy Allstars, MC Days (aka RacecaR) switches between fast flows and downtempo in an injunction to all fight for what we believe in. An epic piece concluded with a nod to Master Hendrix… Gas punctuates the A side with a light but saving rhythmic lull, coming closer to a nu-soul atmosphere and punctuated with an explosive refrain in which rap, rock and jazz clash, tending to prove as Days chants that by being more realistic our differences can only fade…Title Shawarma has nothing to do with a Kebab sandwich, although…! Life unfolds like a menu, in which everything is not always to our liking but which teaches us to accept judicious and juicy mixes, and combinations. The result is a joint with an oriental touch, almost ethio, a rhythm that perfectly matches the hip-hop flow and the Roforofo Jazz style.The Big Hustle is a UFO. Articulated around a 20 bars loop that gives it a communicative energy, punctuated by a bass line reminiscent of Fela Kuti’s Colonial Mentality, this title sounds like a highway for frantic breakbeat dancers; epic! From Here To Benin brings us back to the group’s Afro-inspired origins, while injecting a slight dose of well-felt pop music. A piece that encourages travel to learn to share, universally. And finally, Mode For DD, a cover of the instrumental title of the obscure jazz funk of The Awakening, with added voice of Days telling the meaning of life and its mysteries, our beliefs and certainties, as human beings as well as artists.

After two hip-hop albums (Got To Get Down in 2016 and Impact in 2017), the unpredictable Afro Latin Vintage Orchestra comes back to its fundamentals with a new instrumental album: MORPHEUS which repositions the band in the spirit of their previous spatial, almost cosmic albums Last Odyssey (2012) and Pulsion (2015), both released on Ubiquity Records and acclaimed by spiritual and fusion jazz lovers, library music fans, as well as rare grooves diggers (ALVO’s first 4 vinyl albums now being out of stock).
Each new ALVO new release is a millesimal which evolved and learned from its predecessors. Masta Conga, who’s still leading the herd, has for main purpose to explore the musical space-time, gaining ground on never before revealed tracks, followed by his now faithful team of atypical and farseeing musicians.
Compared to Miles Davis and his On The Corner by Wax Poetics, the band dives again in this “realm of psychedelia and beyond”, in particular with the contribution of Indian musicians. Twirling around violins, superimposed patchy keyboards and effects, just as if their conductor wasn’t already sufficiently influenced by Pierre Boulez and others such as Hiroshi Murakami…
The result is however more uncluttered and loaded with multiple vibes than its predecessor Pulsion, which already carried the ceremonial characteristics of cult movie soundtracks. Tracks “Moksha”, “Air” and “Morpheus” are the perfect demonstration, and far beyond their names. Simple grooves, lunar, but terribly efficient, emphasized by a mix that puts focus on these fiddly contributions of ethnic instruments, on percussions and horns on a drip of delay, reverbs and other space-echoes.
On the other side, the very rhythmic “Descarga Uno”, “Descarga Dos” and “Super Dopamine” show that the Parisian crew hasn’t lost its good habit to look around latin, ternary, and syncopated rhythms, in the ALVO only style!
A new millésime, a Grand Cru maybe, but for sure to taste and appreciate in all weathers including space ones.

The unbreathable air saturated with moisture, the soggy soil that swallows every step like a starving death, the hostile nature and, finally, the remote swamp. The one they invested in composing Fire Eater. The one they left a few traces in. Tracks that can talk. Six men heavily armed with instruments, a seventh fastest, only weighted by a microphone. They left the inhospitable vegetation, leaving behind a succession of footprints. As we try to follow them, the afrobeat that made it easy to spot them now dissipates into a floating mist. So, we have to connect the radars and try to capture the vintage waves of equipment that emit more than one point but several. Be attentive to jazz solos and funk scarifications, as much as to what could chant and tap on the times of these tight rhythms. Because their blending has become a personal style as much as hybrid, and it is to avoid being watched by asphyxiation that they left the stagnant waters. Escaped from the car sound systems or plastered on the walls announcing their many concerts, it is in the city that they are now detected. Infiltrating them is a daunting task. A track where you have to avoid the vigilance of the electric and venomous keyboards, escape the copper flames and the guitar shears. Enter the choking groove to finally enjoy a purely instrumental passage, sneak in and dance. Progress outside the Afro mangrove, Running The Way nevertheless retains many cables still connected. The bottom of the jeans still ‘Roforofo’. ‘Muddy’ in Yoruba. Just 2 years after the first EP Fire Eater released in 2021, Radio Nova’s crush (title Helelyos enthroned 3 months in playlist), the Roforofo Jazz returns with the LP Running The Way, 8 tracks even more ambitious, with careful production, marking a clear progression in its quest for an increasingly more personal sound and writing. Putting the listener immediately in the tone of his atypical afro jazz rap fury, Love In Time and its sharp rhythmic appeal to the power of the music, in an ultra-energetic piece yet smelling with jazz via well-felt keyboard surges. Side To Side is a rearrangement of a piece by Togolese artist Bella Bello and Manu Dibango, yet glancing towards Motown and resonating like a anthem to life and directions to take to counter the negativity of our modern societies. Then on Stand Up in a more deepfunk US style like Breakestra or The Greyboy Allstars, MC Days (aka RacecaR) switches between fast flows and downtempo in an injunction to all fight for what we believe in. An epic piece concluded with a nod to Master Hendrix… Gas punctuates the A side with a light but saving rhythmic lull, coming closer to a nu-soul atmosphere and punctuated with an explosive refrain in which rap, rock and jazz clash, tending to prove as Days chants that by being more realistic our differences can only fade…Title Shawarma has nothing to do with a Kebab sandwich, although…! Life unfolds like a menu, in which everything is not always to our liking but which teaches us to accept judicious and juicy mixes, and combinations. The result is a joint with an oriental touch, almost ethio, a rhythm that perfectly matches the hip-hop flow and the Roforofo Jazz style.The Big Hustle is a UFO. Articulated around a 20 bars loop that gives it a communicative energy, punctuated by a bass line reminiscent of Fela Kuti’s Colonial Mentality, this title sounds like a highway for frantic breakbeat dancers; epic! From Here To Benin brings us back to the group’s Afro-inspired origins, while injecting a slight dose of well-felt pop music. A piece that encourages travel to learn to share, universally. And finally, Mode For DD, a cover of the instrumental title of the obscure jazz funk of The Awakening, with added voice of Days telling the meaning of life and its mysteries, our beliefs and certainties, as human beings as well as artists.

Continuing his journey, the former member of Egypt 80 and last trumpeter of the Black President Fela Kuti releases his second album: APP (Accumulation of Profit & Power). Muyiwa Kunnuji and his band Osemako, which has been extensively recasted since Moju Ba O - which had already laid the foundations of his afroclassicbeat - have had quite an evolution, and are eager to share a recipe that has been patiently elaborated and stewed, both on stage and in the studio. A complex mix of deep musical and cultural heritages as well as a claimed and combative Pan-African culture, APP sets the bar still one step higher in the message, but also and especially in terms of composition and polyrhythms. Inspired by Western African highlife as well as the purest afrobeat of the Afrika 70 era, and even incorporating elements of South African marabi or Central African soukous, the whole does not sound less perfectly personal, tailored, with a natural and disconcerting ease. But this easiness is only an apparent as Muyiwa devoted himself body and soul to the composition and harmony during the gestation of these tunes so widely inspired and yet intensely personal. APP will thus delight fans of African music in the broad sense as well as connoisseurs, and just as much fans of funk grooves or jazzy solos; it is a deeply plural album. Multi-influenced, multicultural, multilingual, a slice of life as much as an initiatory journey, on which hovers the spectre of Covid, which has also largely inspired this second ‘effort’. Standing against absurd sanitary rules or the accumulation of profits by the powerful of this world and other pseudo-philanthropists, APP, again, reminds us of the great Fela, as much by the use of an acronym to entitle the album as by the themes addressed or the mixing of genres. A warrior album, filled and full of revendications, but also of calls for open-mindedness. An intensely human, sincere, combative album, and however radically enthusiastic and optimistic.

Continuing his journey, the former member of Egypt 80 and last trumpeter of the Black President Fela Kuti releases his second album: APP (Accumulation of Profit & Power). Muyiwa Kunnuji and his band Osemako, which has been extensively recasted since Moju Ba O - which had already laid the foundations of his afroclassicbeat - have had quite an evolution, and are eager to share a recipe that has been patiently elaborated and stewed, both on stage and in the studio. A complex mix of deep musical and cultural heritages as well as a claimed and combative Pan-African culture, APP sets the bar still one step higher in the message, but also and especially in terms of composition and polyrhythms. Inspired by Western African highlife as well as the purest afrobeat of the Afrika 70 era, and even incorporating elements of South African marabi or Central African soukous, the whole does not sound less perfectly personal, tailored, with a natural and disconcerting ease. But this easiness is only an apparent as Muyiwa devoted himself body and soul to the composition and harmony during the gestation of these tunes so widely inspired and yet intensely personal. APP will thus delight fans of African music in the broad sense as well as connoisseurs, and just as much fans of funk grooves or jazzy solos; it is a deeply plural album. Multi-influenced, multicultural, multilingual, a slice of life as much as an initiatory journey, on which hovers the spectre of Covid, which has also largely inspired this second ‘effort’. Standing against absurd sanitary rules or the accumulation of profits by the powerful of this world and other pseudo-philanthropists, APP, again, reminds us of the great Fela, as much by the use of an acronym to entitle the album as by the themes addressed or the mixing of genres. A warrior album, filled and full of revendications, but also of calls for open-mindedness. An intensely human, sincere, combative album, and however radically enthusiastic and optimistic.