This is the second pack of our Cumbias from 2020 titled Cumbia Nation, because we don't only focus on Cumbia Sonideras we also are influenced By other countries who make Cumbia with their unique sound like Argentina, Colombia, Peru, Paraguay and more! Hope yall enjoy our diversity in Cumbias With This Pack! [This is a Digital Download Item]
The Original Sound Of Cumbia Rar
Download File: https://7conssinyperfbe.blogspot.com/?file=2vzwJ6
The Mauskovic Dance Band was assembled by Amsterdam-based producer and multi-instrumentalist, Nicola Mauskovic, who recruited long time friends and collaborators. Like any self-respecting band of musical brothers they took the name, Mauskovic, as their group cognomen: Marnix Mauskovic (guitar, synth, percussion) and Mano Mauskovic (bass), along with Chocolate Space Donnie (vocals, keys, effects). Their unique sound caught the ear of underground Cumbia producer Juan Hundred, who later joined the band on drums.
Entirely self-produced, the band has reiterated their favourite elements of the 70s and 80s legacy of the Afro-Latin psychedelic music of Colombia and Peru, interpreting it through the context of modern day Amsterdam. The output is a lo-fi No Wave groove all its own - rooted in a deep love of champeta, Palenque, psychedelic cumbia, chichi, classic afrobeat and picó soundsystem culture.
Mejía says the album emerged in a "spiritual ceremony" high up in Colombia's Sierra Nevada mountain range, above Liliana Saumet's hometown of Santa Marta. The area, renowned for its sumptuous views and astonishing biodiversity, inspired songs that address stewardship of the earth's resources. Ayo's cover reflects these interests, showing papaya seeds spilling out of a spiral conch shell, alluding both to sound as well as the conch-shell trumpets used by First Nation Warriors.
Ayo brings a more marked presence of other ancestral influences, too, such as the gaita and the flauta de millo, traditional flutes which were the primary indigenous contribution to Colombian cumbia. For Ayo, as in previous Bomba Estéreo recordings, live musicians played these flutes, with the recordings incorporated and manipulated into the pieces composed by the band. For example, "Soy Yo" incorporates the gaita, while recently-released "Duele" from Ayo incorporates the flauta de millo.
The roots of chicha go back to mid-1950s Peru. Mambo was gradually replaced by preferences for other rhythms like merengue, guaguancó, cha cha cha, joropo, guaracha, rumba and cumbia, which timidly started to sound during these years. In Lima, it was the golden age of great orchestras and music ensembles which were capable of playing swing and jazz, but especially the diverse tropical variants flooding the market. The most successful of all, La Sonora de Lucho Macedo, released in 1965 an LP consisting exclusively of cumbia.
In this context, cumbia reached the top of the charts in popularity. Cumbia replaced rock as the urban sound. The groups would slowly develop an ethnic sensibility inspired by native Shipibo (indigenous Amazonian tribe) motifs and an astonishing and bewitching sound that seemed to drink from all the mysteries, secrets and myths of the jungle.
Groups such as Los Hijos del Sol, Los Shapis, Los Mirlos and Los Destellos popularized chicha during the 1970s and 1980s. Although Colombian cumbia had a revival during the 1990s, chicha faded away until recently, when record collectors found Peruvian LPs that featured the familiar chicha formula, a mix of surf, psychedelia, Andean music and Afro-Caribbean beats.
In 2010, The Roots of Chicha 2 was released, highlighting 11 bands and 16 tracks recorded from 1968 to 1981. It focuses on some lesser-known bands, and broadened its view to include some of the early Cuban-influenced groups that would play such a crucial role in the elaboration of the chicha sound. It introduced some of the later bands, such as Los Shapis, who played in the more Andean style that would eventually define chicha.
'Lecak' in Malay "can mean moist, wet, muddy or even naughty," which might give you a hint of where this selection is headed. Adding an audible penchant for 60s and 70s soul, funk, psych, disco, punk and even afrobeat to the singular mix, along with Thai luk thung and molam influences, Maggot and his entourage serve up a unique, groove-ridden "melting pot" of sounds common to this culturally so diverse part of the world. Featuring alongside him in order of appearance are the Sitar Funk Group, The Kribo Brothers, Rebana Funk Brothers, Golden Mile Band, Wah Wah Thai, Hail Atan, Anak Anak Abu, Geylang Electric Phin Band, Hong Chungao Street Band, The Ugly Voices, Budak Bawah Blok, Eri and Aaliya.
Love is revolution. Such is the borderline philosophical title to producer, percussionist, DJ and global bass pioneer Maga Bo's latest full-length "Amor (É Revolução)" released on his own label Kaxambu Records a few weeks backs and presenting the emphatic outcome of a long-standing and ongoing exploration into Afro-Brazilian music. Marking his first solo album in a decade, Maga Bo does not hold back, presenting ten original compositions along with eleven [...]
Just a quick newsflash that this new eight-track joyride of a release is out there and currently oozing through our stereo. Straight outta San Jose, California, the somewhat enigmatic producer, excavator and refurbisher of quality latin sounds Turbo Sonidero dropped his "Lowrider Kumbias" on limited cassette/vinyl via L.A.-based imprint Discos Rolas back in March and, thanks to a recent post on Instagram by Santa Ana's CUMBIAS, we too are now in the [...]
Talk about the Swinging Sixties...Olindo Records sister label Música Infinita is currently working our speaker system with its second release, more than a year after dropping its inaugural reissue of Venezuelan jazz staple Gerry Weil's "The Message". This time, the label has dug up another masterpiece, presenting "the raw and uncompromising Afro-Latin sound" of late '60s Venezuelan salsa group Los Kenya and bandleader/pianist Ray Perez. "Siempre [...]
Sailor's original line-up split up in 1978,[1] although Pickett and Marsh released more material as Sailor with Gavin and Virginia David in 1980, with an album of Pickett compositions called Dressed for Drowning, produced by James William Guercio at his Caribou studio in Colorado (Epic / Caribou).
I was going to choose the title tract as the second song, which is actually a cover tune from the Andean group Los Mirlos. But I decided on one of my favorite cuts from the album. Afrosound again is putting their own chicha stamp on the traditional cumbia La Magdalena. Here is a good example of how traditional cumbia instrumentation is being swapped for the electric guitar, farifisas (possibly), hoeners, ect. It is a good reflection on how malleable cumbia rhythms can be from past to present and from country to country.
Someone told me that Vampisoul records is supposed to be putting out an Afrosound compilation. Which will be awesome. So if you have a hard time tracking these songs down, those guys always seem to make it easier. Also, I spoke with Beto from Soundway records a couple years ago when they released The Golden Age Of Discos Fuentes. We actually had a discussion about Afrosound. I bet they will put them in the second time around.
Wow, I discovered your site today at work and hurried home just to sit all evening long and digging all the wonderful music you have so generously shared with us! Sooo many groovy tunes I probably never would have stumbled upon if it were not for this blog. I really enjoy your taste and that you pick such a variety of latin sounds.
To understand what this compilation refers to as the Afrosound of Colombia, you have to acknowledge the profound role of African cultures in Colombian life and music. The story of the Afrosound is a tale of transformation. It tells of the enslaved African peoples who were taken to Colombia, who mixed with Europeans and indigenous inhabitants (by force or choice), and were eventually set free, as well as the escaped cimarrones (maroons) that lived in palenques (fortified settlements) and continued their own traditions. The Afrosound sings of a double Diaspora, first the trek in chains during the infamous Middle Passage from the Motherland of Africa to the so-called New World, then much later, the migration from the plantations to the cities.
A bit of Afrobeat, House, Perreo and a SHIT TON OF LATIN BASS!!! Ready to set things on fire, as well as, trying to highlight the newer sounds coming from the Latino Underground movement. 2ff7e9595c
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