Miss Misty
Dance Dance

Duca Bianco keep surprising. Apart from the excellent Alex From Utopia sleeping Balearic monster, the label had been dormant for a year and then they drop a bomb by teaming up with one of the most watched edit crew of the last decade with the upcoming Black Bones EP and then they knock it out the park by teaming up with must watch Talking Drums crew.Having built a cult following across a dozen or so releases, Mancs based Talking Drums and affiliates have been dropping one killer 12” after another, so it’s pleasure to see them jump from their own label to teaming up with these crazy Rimini diamonds. As ever, best left to Duca to describe in their ‘super styling”.Bongo, drums, some flange guitar, wonky, wobbly key, Santana eat your hash cake, hello.Zep kick, gentle noodle, groovin’ folky funk sway, what is a girl like her doing here?Running, alley, red light, scatter, shatter, basement stairs, stop the clock and watch the people rush past.Trippy, spaced out, jangly, sailor sailor, what you sayin’?Drums Drums Drums are Talkin’ !!

Peter Solo is a singer and composer born in Aného-Glidji, Togo, the birthplace of the Guin tribe and a major site of the Voodoo culture. He was raised with this tradition’s values of respect for all forms of life and the environment. With his new band, Vaudou Game, Peter Solo claims, and spreads this spiritual and musical heritage.Chants are at the heart of the Voodoo practice, but for times immemorial, harmonic instruments have never accompanied them. No balafon, no kora - only the “skins” support the singers. However, in 2012, Peter, along with his band based in Lyon, France, decided to explore and codify the musical scales that are found in sacred or profane songs of Beninese and Togolese Voodoo so they can be played easily on modern instruments. Peter composed the album Apiafo, using the two main musical scales of this tradition.The first musical scale on Apiafo leans towards raw Funk with a sound similar to the famous 70’s bands, L’Orchestre Poly Rythmo De Cotonou and El Rego. Funk, is the skeletal structure of this record, and provided the opportunity for Peter to invite his uncle, Roger Damawuzan - the famous pioneer of the 70s Soul scene - on two tracks. Their collaboration on “Pas Contente” is a highlight on this 100% analog album. Apiafo was entirely recorded, mixed and mastered with old tapes and vintage instruments.The second scale, which had never before been transposed for instruments, evokes deeper feelings and a sacred ambiance. The moving song Ata, an invocation to a supreme divinity is another highlight of this record. Even if some can recognize similarities between this scale and Ethiopian scales, they are in fact different.Peter, the only African band member, introduced the other musicians to the universal values of Voodoo and he taught them his native language. On the recording of Apiafo and during their live performances, the musicians all sing and answer Peter in the Mina language.The strive for authenticity, the analog sound and vintage looks don’t mean that Vaudou Game is looking backwards. This is Togolese funk, born in the post-colonial era but that never before explored its ancient roots so deeply and proudly.

Mulatu was written by Mulatu, as he says, for himself. This arrangement features Mulatu on his signature instrument the vibraphone and flugelhornist Ian Dixon. Inspired lyrics from Elf Transporter pay respect to the traditional owners of Black Jesus Experience’s hometown.Ambassa Lemdi is an arrangement combining an original song taught to Enushu by her Grandmother with a traditional Ethiopian song. It tells of a mother singing for her daughter’s wedding, welcoming the groom and the joy of uniting their families.Kulun Mankwaleshi is our arrangement of a traditional Ethiopian wedding song in the uniquely Ethiopian anchi-hoye scale. Both polyrhythmic and polymetric sophistication provide the hypnotic foundation for this beautiful melody. Friends and family join the party on backing vocals climaxing with Peter Harper’s mesmeric saxophone solo.Living On Stolen Land is dedicated to the First Nations people of Australia and acknowledges the pain and injustice of their not being recognized as the traditional owners of Australia. This track features guitarist Zac Lister and very special guest Vida Sunshyne. Its moody 6/8 vamp in D is a gateway to channeling the spirits of the land.To Know Without Knowing is a suite in two contrasting movements, both using the same Ethiopian tezita minor scale over an unrelated pedal tone in the bass. It is conceived from, and is a vehicle to, a place beyond thought.Lijay originated from a simple reggae inspired jam. Lij means child in Amharic. Enushu sings of her child being the realization of her dream, and her future. Monk replies with a child’s ode to his mother.Blue Light was written for our dear friend Jeannie, for her journey from this life to the next. Originally written in traditional ballad form, this arrangement morphs to speak of the past, present and future.Mascaram Setaba is an Ethio classic that showcases Mulatu’s study of the familial links between Ethiopian and Latin music. Mascaram Setaba means ‘when September comes’. September being the New Year in Ethiopia this is a celebration of rebirth and new growth. This new arrangement puts the spotlight on legendary jazz pianist Bob Sedergreen.A Chance To Give is a 16 bar blues inspired by the joy of giving, originally conceived while street performing. It features Mulatu on vibes, Peter Harper on sax, MC Elf Transporter, and Robbie Belchamber on guitar.