Kassav'
Lagué Moin

Deviation Records is pleased to present you their latest and exiting collaboration with the Mieruba LabelTeam.The Super Biton has existed since the 60s, like Ségou, its orchestra, the Super Biton has always remainedbehind what was done in Bamako and in the big cities of Africa. The Ségou orchestra developed andincorporated amplified instruments that mingle with brass, in particular electric guitars, symbols of modernityat the time. It opens up to Cuban music, and congas and bongos complement the sound of the orchestra. Thegroup drew a unique sound from it, a perfect balance between tradition and the modern. There are aboutfifteen artits on stage, singers, guitarists drummer and percussionists. The Super Biton has for years been thebest known and most sought-after orchestra of Mali outsid the country's borders, the Super Biton transcendsthe only Bambara heritage with its repertoire. Ségou is crossroads between Bambara, Fulani, Mandingo andSomono cultures and Biton has drawn on all these traditions to creat a repertoire extremely rich in rhythmsand words. Some musicians completed their training in Cuba. They play "bambara jazz", incorporating a lot ofbrass instruments such as saxophone, trumpet, clarinet. The compositions are modern and sophisticated.Mieruba Art Center is a place dedicated to the transmission and safeguarding of Malian musical heritagethrough musical exchange between the older and newer generation - Artist residences, music lessons,rehearsals, Workshops, Masterclasses - and so on. Just as happy former musicians of Mali, the members ofSuper Biton give lessons on site. It is also the office of the Mieruba-ML label in the same place where DeviationRecords is collaboration for the second time on the album - After the « Lost Maestros Collection » - with thesupport of La Manufacture de Vinyles. Phil of Deviation Records tells: "I am very enthusiastic at the idea ofoffering you these two volumes of the History of the Super Biton of Ségou, Clique of Super Heroes of sound,a source of inspiration for generations of musicians, DJs and also griots and storytellers of great renown! Thisdouble LP compiles the first Chapter of the rich Afro-Jazz-Folk Collection whose tapes have been remasteredby Monsieur Jonin and cut at the MB Mastering Studio in Aubervilliers .The gatefold artwork is conceived byEwwanuelle Collage and formatted by Bertrand Tondeur, Graphic designer of Les Mouches. All that’sleft tosay is that i hope that you enjoy listening to the final result !"

It comes in 2013 in Brazil, and is fastly become an important record for Folk lovers ! Providing a deep and meditative production ! Indispensable ! This is my first solo record. It was made during an unexpected but very welcome exile, in a land I wouldn't have predicted I'd linger for too long; the west of the west. From there on it's turning around, so I thought. My arrogance was to think that I'd be immune to the promised land effect, the invitation wasn't for me, I was passing through, and not particularly impressed. But the sense of distance and my newly acquired refreshing anonymity kept me staying, they felt useful. I found myself leaning on that distance, projecting onto it, the space echoing back to me with a new voice. There was my double, in the distance, a company, the only viable witness to that distance, a critic of what I was craving, a bully, a brother. This realization produced a dialog, an attempt to reconcile with this onlooker, a plan to think less and feel the way though, as the jockey craves to merge in spirit with his vehicle, to be guided by it. Cavalo means horse in portuguese, a word we also use for people who channel spirits in service, something normal to us in Brazil. Another instance of an amalgam between vehicle and vehiculated, and writing these songs felt like that, an attempt to merge these often conflicting voices, the mind and the gut.I was as a foreigner, enamoured by the new and yet still attached to the luggage I thought I had left behind, dragging things I thought I had abandoned. They say we travel just so we can come back, I say we do it to look back, even if we never return. Distance was a gift to me measured by a certain discomfort, a type of pain that floods without drowning, that washes. Maybe that's what saudade means. I don't feel I am ever possessed when I write but I do feel I am a vehicle to a voice I hear and sing back to in an ever so slightly failed attempt to portray it.I have repeatedly found myself a foreigner, so I grew up imagining I was brave for it, an explorer, moving from city to city every three years as a kid, pretending to have the forbearance and courage I ended up forging while secretly carrying the resentment of the imposed detours, of the wait to return. When I finally arrived back in Rio no longer a child and with an accent three times tampered I realized that my home town wasn't mine, that I had invented it in light of what I saw elsewhere, its memory a dream of scents and light that didn't seem to exist in space, maybe in time. I discovered myself a stranger, what I had been since I first left and knew to be temporary, what I realized was definitive. And it was a bitterness at first but it slowly turned into something sweet, warm, I felt free and grateful, I suppose I had to invent that too, cut the bushes to a new path. I departed again.I ended up finding myself in a type of desert, dry with foreign trees, a fake oasis, so I thought. I was happy to feel alone, overwhelmed with the void clear of familiar reflections, with immense silence, a mirage at last, the place where I wrote these songs from. I believe that everybody can feel foreign in one way or another; in the way that they feel they're perceived by others, in their bodies, their streets, in their fate perhaps, so I dream that this feeling turned into songs, a vehicle to me, a tool that served me and moved me, can also move you, serve yet others, with luck.To give room to the voice of this echo, amplify it, I opened up as much space in the music as I knew how, subtracted all undue, undressed arrangements, threw adjectives away. I used different languages to forge a new voice, one empowered by lack of vocabulary, without subterfuges, one that had to know what it wanted to sing. I also threw away the cover of the album. Everything that was inside protected by the cover came out, naked, clean of directions, added flavours, serving suggestions. Words, simply. And the simple beauty of the page revealed itself, black and white that we like to use as a synonym of things clear and exact, but that is where the infinite delight of interpretation resides, where the fertile gap is. A page is beautiful because it's only a possibility, it has to be entered to signify. Inside the sleeve only the music. And there was yet another distance: inside and outside, words and music. the thing and the name of the thing, me and my name in print. Between one and the other is the open hand, the train at the station, an opening in the veil, a familiar scent: the unpredictable mirror, echoing.Thank you for the chance.Rodrigo Amarante crédits

Hassan Wargui is a songwriter and banjo player who originally hailed from the Issafen region of Southern Morocco. This album is performed by Tiddukla, one of the any collectives he formed, and is filled with innovative rhythms and indigenous percussive sounds all put together with modern technology. The likes of Fruity Loops allow the artist to serve up his own uniquely modern take on Moroccan pop/folk with influences from 70s and 80s Berber styles such as Izanzaren, Archach or Izmaz. Each track is intoxicating in its layering of vocal chants and rugged rhythms and after long Covid delays, they make a welcome arrival on vinyl.

With its killer drum break and sweet piano arrangement courtesy of Zelpha Wells, "Price Of Love" stands as a manifesto of Harvey Gates' musical vision, which was clearly ahead of its time; the song, written in 1978, give us a glimpse of what was to come in the following decades. This record retains a large crossover appeal, and will fit well into the most diverse music lovers' collections.Salvation Rock is proud to announce the first and only official repress on original format, beautifully presented in a thick cardboard company sleeve and full label original artwork.

First Lahcen Akil LP, with spécial guest call Chaabi Brothers !Black Inner Sleeve. Pochette intérieure noire.Black Vinyl.