Knowa KnowOne created Muti Music “Free Energy” that puts all the elements of the recent midtempo breakbeat revival on display, featuring edgy bass driven beats, complex drum programming, strong melodies and vocal stylings inspired by classic Underground and Hyphy Hip Hop. Knowa KnowOne takes deep strides into this bold new territory with a visionary fusion of the whompy, dubstep bass sound that is driving the new movement, and tight, Hip Hop and Reggae flavors.
A tasteful melange of fluid beats, luscious melodies, and fun funky sass. Curiously playful yet edgy and magnetic. Sustainable, organic, alive, and eclectic. Connect it with Bliss Electric.
Bombgoddess is a Sonic Shamaness and dance floor ritualist weaving a wicked blend of electro-tribal grooves, melodic dubhop, and chunky beats, with a penchant for the cosmic sprinkled with a heavy dose of goddess juju spark and sass.
Robert Mirabal and the Rare Tribal Mob bring the language, images, and melodies of indigenous peoples together with the fire of modern rock music. The results are varied, from a traditional, mellow rendering of a Native American tune, “An-Kah-Na,” to the drum- and guitar-heavy “Taos Fires,” an anthem for those seeking to blend tradition and modern life. It honors and energizes, speaking a musical language both timely and timeless. The rhythms lie all across the spectrum, from Flow to Beat and back!
“Torched” was a term the late Michael Hedges used to describe a state of unfettered creative passion to which he aspired, and this album gives a glimpse into that state. “Arrowhead” is alive with playful air energy; “Rough Wind in Oklahoma” displays the transitional nature of Earth, moving in easy spurts between Flow and Beat. Moreover, when the virtuoso composer/guitarist chooses to sing, he doesn’t mince words – he invites listeners to “break that chain! Throw that ball away! You won’t need it when you’re flying into the holy flame.”
Infusing traditional music with modern techno rhythms, this work calls the spirit out to express itself. The ancient works upon which the tracks are based have been a part of spiritual ceremonies for centuries, and the driving beat added to them complements their palpable appeal. It is moving in more senses than one; these songs have brought tears to many eyes, and called many feet to dance. The predominant energetic pattern is Beat, with some moments of Air and Space. This is excellent music for a modern shamanic journey!
Samite’s breathy tenor, tender guitar work, and collaborations with other gifted artists brings the child inside out in a heartbeat. For the restful and gently playful moments of passionate life and dance, Water and Flow energy pour from many tracks. The occasional metallic bounce of a thumb piano also brings a wonderful element of Air to the mix. The grace and power of “Only the Moon” is a fabulous Earth standout – a strong, gentle female vocalist takes the lead for a statement of empowerment that leads beautifully toward Beat.
Try though you may, you just can’t sit still. There is a powerful Beat throughout almost the whole album, leading occasionally into a passionately uncontrolled Rapture. Nevertheless, Bjork’s voice has a soft femininity—a seductive Flow…if the rhythm doesn’t get you at first, the vocals will. The lyrics are abstract like light through a prism, with all the same luminosity. There is also a dynamic quality displayed by many pieces that serve as excellent transitional elements from one energy pattern to another; the shifts are gradual and powerful!
The success of this album stems from its palpable expression of Beat and Rapture energy. Experiences of love and pleasure, from the worldly to divine, are layered exquisitely in each track. The combinations of sounds are no less than brilliant – rapture breath superimposed over medieval chants is perhaps the most well-known and clearest example. This is so effective because it is passion of the animal nature and the spirit together; the fountain from which life flows, and to which all life returns to be refreshed and restored. We all know it intimately, and Enigma takes us there once more.
The Afrocelt Sound System appears to aspire to a musical expression totally without cultural limitations. To what degree that goal has been realized is a difficult thing to gauge, but the power of this work is not! Without the contextual clues of any distinct regional origin, it is difficult to discern which instruments are being played; the result is a perceptual world of pure sound which transcends labels, just as our deepest inner world eludes the competent use of words. The listener and dancer can become joyfully lost in a world of rhythm and harmonies; the foreground on a canvas of audible energy.