In her native Mauritania, Dimi Mint Abba is a superstar, and one of the few artists from that country to have an album released internationally. Dimi is widely regarded as Mauritanias best-loved female griot. The griot occupies a special place in society; much more than a singer or musician, they could be described as a walking library. Through their songs they act as historian, biographer, social commentator, poet, soothsayer, and storyteller, but are equally adept at singing love-songs and entertaining at social gatherings. In Mauritania griots are known as iggawin, and Dimi was born into an iggawin family in 1958.
Dimi comes from a prominent musical family, her father Sidaty Ould Abba is a singer and composer, who wrote the Mauritanian national anthem; her mother, the late Feu Mounina Mint Eida was an experienced ardin (similar to the West African kora) player, who began teaching Dimi when she was 10 years old. Through her teenage years Dimi began to excel at the instrument, as well as the tidnit (type of lute), and when she was 18 won a national radio competition for her playing. Her big breakthrough came, as a singer, when she won a prize at the Festival dOum Kelthoum in Tunisia in 1976; she went on to represent Mauritania at various other festivals including The Festival of Arabic Youth in Iraq (1977), Festival of Timgad in Algeria (1978), and the Festival of Agadir in Morocco in 1986.
In 1989 Dimi embarked on her first European tour, which gave much of the audience their first taste of music from Mauritania. The following year saw the release of the World Circuit album Moorish Music from Mauritania. The recording features Abba and the gifted singer Khalifa Ould Eide plus ardin, tidinit and tabal, with female chorus and electric guitar. The album was the first studio quality recording of Moorish music by any artist from that country.
Although the music of neighbouring countries (Mali, Senegal, Algeria and Morocco) are better known outside of Africa, the modern and traditional music of Mauritania are very unfamiliar. The desert republic is at the crossroads of Africa, and its musical repertoire has been formed over centuries of contact with a wide variety of African and Arabic cultures to produce a passionate, expressive singing style over complex rhythms. In turn it has been a strong influence on the music of other countries: the impassioned singing and hand clapping has been a powerful influence on flamenco. We dont just use the khomasi scales which dominate the North African style, we use all the Arab scales, says Khalifa. Our music depends a lot on improvisation in singing and you can hear the relationship between the smooth, haunting Arabic melodies and singing accompanied by the kora sound of West Africa. The critical acclaim that the album received saw Dimi return to Europe and also tour the USA in 1993.
Dimi has since become an institution in her homeland and a valued performer throughout Europe and Africa; her status as one of the great female singers has grown as respected musicians such as Ali Farka Toure, Baaba Maal and Youssou NDour have openly expressed their admiration for her talents. Dimi continued to tour in the nineties and won three gold medals for best voice at the 1996 African-Arab exhibition in Johannesburg, and again winning gold for best voice two years later in Dakar. Dimi also spent much of the nineties performing in Morocco where she appeared on television, played with the royal orchestra and was invited to play for King Hassan II. She played a mesmerising set at the Essouira festival in 2000 and again at the Festival of Sacred Music in Fez, Morocco in 2002. In February 2004 Dimi was one of the headline acts at the Festival International des Musiques in the Mauritanian capital Nouakchott. She also played a stunning set at the Festival in the Desert in Mali two years ago, delighting the crowd with her hauntingly hypnotic and spine-tingling voice.
This summer will be the first chance for English audiences to hear from the Diva of the Desert in nearly a decade. Dimi has begun working on recordings for a new album, expected out on World Circuit next year.
Esperamos tus comentarios y te enviamos un saludo desde Toledo, Pepa G. Lillo y Gabriel Navalón. We hope your comments and we will send you a greeting from Toledo, Pepa & Gabriel. = = = = = = = = = = = = = = = = = = = ETHNOS ATRAMO >> diferentes músicas del mundo a través de un prisma vanguardista fruto del hermanamiento entre diferentes lenguas, ancestrales timbres de instrumentos y experimentales secuencias electrónicas. Más música, videos e información en www.ethnosatramo.com ETHNOS ATRAMO >> different kinds of world music through a prism vanguardist result of twinning between different languages, ancient tones of instruments and experimental electronic sequences. More music, videos and information www.ethnosatramo.com
Adviruz is the artist psedonym of Istanbul’s Pinar Gurcan, whose growing passion for sound is translated through her music. Since an early age, she has been listening and mimicking opera singers, writing melodies, songs and poems in which she spoke her mind and reflected her soul. All of which are evident on "Nightly Sounds", an 8 track album which is the equivilent of having a glimpse into a diary, learning of love lost, gained, a snapshot of the human condition from which we can all draw experience... All of these things are developed musically into minimalistic glitch, noise, idm, experimental music and microsounds, its influences reminiscent of work by artists like Tujiko Noriko, Mira Calix, Plaid and Björk.
Adviruz and Section 27 present "Nightly Sounds", an intricately woven and rewarding musical tapestry. Available now for free download.
To celebrate our first 27 releases on Section 27 Netlabel, we proudly present to you "Sectioned", a compilation of 27 tracks, amounting to 2 hours across two discs of twisted electronic beats, discordant melodies, haunting passages, broken ambience, bending senses of time and space, microscopic glitches, pounding bass frequencies, sounds between sounds, the human voice and the audible sensation of music dissolving in acid. This is the sound of your mind's eye. This is the sound of the Sectioned... Strap yourself in and enjoy the experience.
Also features a 75 minute bonus disc "Sectioned : Nonimxs", including 9 remixes of selected Section 27 artists by Nonima and 2 original tracks created by Silent Snow and Nina Kardec using existing Nonima tracks.
Great profile. Peace and progress. Many thanks for adding me and your comment.. Any suggestions is welcome. Hope you enjoy and dance to my Music. All the best wishes. Farid
Almost Tomorrow is the third full length collaboration album from Section 27 Netlabel founders Tam Ferrans and Andrew Paterson, under their Nonima & theAudiologist guise. This time around the sound is more melodic, and has a definite feeling of a complete and more mature sound than heard on the previous LP's "Dystopian Battle Hymns" and "Ceremony After Amputation". If you are familiar with their individual projects you may even be in for a slight surprise, as the tracks are not as beat driven like before, but are more atmospheric and sound, well... "bigger". In its 75 minutes, Almost Tomorrow takes you on a trip from the digital rain-soaked cavernous scraping in "Thoughtograph", the ethereal beat jittering of "The Colour of Rain", intercepted transmissions from unknown places in "Com-Intercept", "Ganzfeld"s huge yet strangely insect-like beats until everything you knew comes crashing around you in "Almost Tomorrow". Burning pianos, glitched out soundscapes and intricately programmed beatplay, this may well be their best work to date. Consider it the soundtrack to a rainy overcast day, but with just that glimmer of sunshine peeking from the clouds. "Almost Tomorrow" wears its heart on its sleeve.
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