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London indie outfit This Is The Deep make wonderfully eccentric but catchy music.
The Best is Yet to Come (Part 1) is a mini-album that plays at 45 RPM, whose eight songs mingle quirky post-punk dub-funk with something altogether poppier and frothier. They are unafraid of utilising quirky sound effects and stylings that, in others hands, might lead to a kitsch novelty factor, but in theirs the results range from outright pop to the skronk-punk-jazz abstraction of “Eyes on You” to a weird slowie to vaguely Talking Head-ish moments to the cinematic exotica of the title cut. Uncategorizable and brilliant, keep your eyes and ears attuned for more from on this lot.
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Simon Kihara Macharia aka Musaimo at his studio on River Road, Nairobi. [Jenipher Wachie, Standard]
As the General Election fever hit fever pitch in 1979, a titanic battle was brewing in Murang’a’s Kangema Constituency between Joseph Kamotho and John Michuki.
It was the first elections in the Moi era and having left his civil servant job to join the murky world of politics, Michuki was ready to take on Kamotho, the incumbent then.
“I was home since I was struggling with school fees. At this young age, I had developed love for music and I had a guitar. In-between my casual gigs at construction sites, I would play the guitar as my peers discussed politics,” says Simon Kihara aka Musaimo wa Njeri, the benga musician whose fortunes changed thanks to the heated Kangema politics at the time.
DandoraNairobi-areaKenyaNairobiKangemaCentralMatundaRift-valleyCargenDumfries-and-gallowayUnited-kingdomLondonEditor’s Note: The following announcement was issued by #MusiciansForPalestine on May 27, 2021.
Mondoweiss occasionally publishes press releases and statements from organizations in an effort to draw attention to overlooked issues.
May 27th at 9:00am EST marks the launch of #MusiciansForPalestine, a letter from more than 600 musicians that says, “we speak together and demand justice, dignity and the right to self-determination for the Palestinian people and all who are fighting colonial dispossession and violence across the planet.”
Support comes from artists from the Palestinian diaspora including Belly and Anwar Hadid. A-Trak, Black Thought and Questlove from The Roots, Cypress Hill, DJ Snake, Julian Casablancas, Juliana Huxtable, Majid Al-Maskati, Mustafa the Poet, NARCY, NoName, Patti Smith, Run the Jewels, Serj Tankian of System of a Down and Thurston Moore are also among the signatories to the call, which adds:
IsraelGazaIsrael-generalJerusalemIraqSheikh-jarrahYerushalayimCanadaJordanPalestineIsraeliIsraelis May 23rd 2021 at 12:00:00 GMT +0300
A legendary Gikuyu musician is living in abject poverty in Murang’a even as some of his songs enjoy extensive airplay on leading vernacular television and radio stations.
Moses Wanyoike, 65, was once a household name in Mugithi music and his Muthithi Komesha Band was among the most sought after in the entertainment industry in major towns until his star dimmed decades ago.
Some of his popular hits that still play on native FM stations include ‘Ndacoka Muthithi (Return to Muthithi), Macindano ma Ago (Competition in witchcraft), Coka Mucii No Nguka (I’m coming back strong) and Nyumba yakwa Mathare (My House in Mathare).
KigumoEasternKenyaNairobiNairobi-areaMuthithiCentralMurangaGikuyuMoses-wanyoikeWachira-kiagoNyumba-yakwa-mathareThere’s an almost intimating depth to the sprawling, intricate music of KMRU. On the surface, it nods towards giants of ambient and drone like William Basinski and Tim Hecker, all seismic pads and glacial pacing. On further inspection, though, there’s something else going on here, woven between the processed field recordings that evoke the likes of Manchester’s Space Afrika or Stuart Hyatt’s Field Works project; something a little more dynamic and tactile than the occasionally monolithic impenetrability of many established ambient artists.
KMRU’s background may be instructive. He’s originally from Nairobi, though he’s lived in Berlin, and his grandfather was the musician and activist Joseph Kamaru, whose blend of jazz, gospel, Benga and Kikuyu folk brought him considerable fame across East Africa in the 1960s and ’70s. Kamaru’s highly political music placed him in a turbulent, sometimes dangerous position in the Kenya of that period, as the struggles and tensions of the newly postcolonial country led to conflict.
NairobiNairobi-areaKenyaBerlinGermanyStuart-hyattWilliam-basinskiJoseph-kamaruTim-heckerSpace-afrikaField-worksMeet KMRU, the Ambient Musician With His Ear to the World Pitchfork 1 hr ago © Pitchfork
Berlin is a quiet city, especially in the depths of winter, and the residential neighborhood of Moabit, ringed by waterways, is especially tranquil. Yet when I call up Joseph Kamaru in his apartment there on a recent Saturday morning, he has been awake since 5 a.m., thanks to a singer practicing in a nearby flat. Germans are notoriously testy about noise—it’s illegal to toss glass bottles into the recycling container on Sunday, lest the shattering glass disturb someone’s day of rest—and the vocal exercises had elicited a chorus of outrage throughout the apartment block, the neighbors’ stern barks blending with the singer’s scales and bouncing off the courtyard’s brick walls.
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