Wednesday, January 24, 2007

Powerspot Playlist 24 Jan 07

Here's what's spinning on the CD player in Studio 1 tonight. Hope some of you can tune in and have a listen..


The Wailers- Dub Marley
Think of this as a little bit of reggae history. During breaks in the sessions for Rastaman Vibration, the Wailers (without Bob Marley) recorded ten of Marley's songs. The instrumental cuts and their dub versions saw very limited release in Jamaica in 1976. Why they were recorded is a mystery, but here they're reprised together.




Telek- Boystown
**Telek- Bunaik- CD Serious TAM (Real World)

"...A visionary reggae artist with a deeply spiritual side....his thin, reedy voice and potent lyrics cry out against injustice, while pointing the way to a better life." Dirty Linen (8-9/01, p.80) - "...Telek draws from his ancient culture...but combines it with a modern pop ingratiating sound and one that allows him to embrace global pop in a way that has never been done quite this way until now..."

Legend has it that, as a child, George Mamua Telek chewed a sacred betel nut, opening his dreams to his ancestors - and inspiring his amazing songs. Whatever its true source, this powerful and stirring music bespeaks the spirit and proud heritage of his tribal people, the Tolai of Papua New Guinea, yet dramatically transcends cultural borders with a lush, accessible sound that won a coveted Australian ARIA Award for Best World Music Album.

With the spacious production of David Bridie (of the Australian band Not Drowning Waving) and the collaboration of Australian Aboriginal artists Archie Roach and Kev Carmody, Telek forges a brilliant hybrid of world and pop music. Weaving ancestral drums (the hourglass-shaped kundu and the massive slit-log garamut) with lulling, tropical guitar and his island's unique "snaking" vocal harmonies - sung in the Tolai's Kuanuan language and a Creole called Tok Pigin - Telek's evocative songs combine such ancient elements of Tolai culture as midal (magic charms) and malira (love magic) with a pop sensibility influenced by the Beatles.

In England to record at Real World Studios, Telek's first stop after landing at Heathrow was to have his picture taken crossing Abbey Road. But despite his western influences and his national success throughout PNG and Australia, Telek remains deeply rooted in his native volcanic village of Raluana, on the Papua New Guinean island of New Britain.

Te Vaka- Nukutehe / Se Ma La Losa- CD Nukutehe
Te Vaka- Nukutehe

The Tokelau Islands of Polynesia are one of the tiniest nations on the planet. With just 1700 sprawled across ten square kilometres and no harbour or airport to speak of, the Island’s indigenous drum-driven rhythms and musical Tokelau language might have remained one of world music’s best kept secrets if it weren’t for the talent and savvy of ten-member group Te Vaka (the canoe). Founded by singer-songwriter Opetaia Foa’i in 1995 and based, along with 5,000 other Tokelauans, in Auckland, New Zealand, Te Vaka have won plaudits for their unique fusion of socially aware lyrics, modern instrumentation - guitars,
keyboards, flutes, even body percussion - and traditional Maori, Samoan and Tokelauan sounds. Their hi-energy live show - all grass skirts and giant log drums - has thrilled audiences everywhere from WOMAD Singapore to Ronnie Nukekehe the latest Album for Polynesian World Music group Te VakaScotts in London.

Nukukehe (Different land), their third album, is both a plea for environmental and social awareness and a celebration of Polynesian culture, featuring a series of rollicking, mellifluously voiced tracks, backed by soaring harmonies and featuring male and female chants. Standouts include ‘Alamagoto’ a joyous, timbale-fuelled paean to the Pacific; Sei ma le Losa’, a tribute to the late Greenpeace founder David McTaggert; and the sweetly swaying dance number Te Hiva’. Te Vaka say they aim do for Polynesian song and dance what Riverdance did for Irish music, which may or may not be a good thing. Either way, Nukukehe will certainly make people sit up and take notice.

**Rachid Taha- Agatha / Josephine- CD Diwan 2
**Bob Holroyd- Games without Frontiers / Re Awakening The Spirit- Cd Without Within (Six Degrees)

Bob Holroyd is a second-generation fourth-world musician. As if sitting in master control of the global village, he slides virtual tendrils across the world from his studio in England, transporting sounds into his computers and keyboards and deploying them across an electronic panorama that eschews big beats in favor of the polyrhythmic groove. On his fourth CD, Holroyd mixes and matches ethnic samples, including Koi San tribesman from the Kalahari desert on the exuberant "Looking Back" and a Chinese erhu in "The Spaces in Between." The album flows unpredictably as Holroyd enters deep space on "Dreams of Olduvai" and inserts highlife horn charts on "Rafiki." He is also a commercially savvy artist. He orchestrates a global groove cover of Peter Gabriel's "Games Without Frontiers," built around the criminally overlooked singer-songwriter Happy Rhodes, that could gain airplay--at least on a global radio of the imagination. --John Diliberto
Bob Holroyd's music explores the terrain where technological and primeval music intersect. Although realized in a London recording studio, Holroyd's fourth full-length collection, Without Within, features elements of Asian and African cultures flourishing within the rhythms and melodies. One of the tracks, titled "Dreams of Olduvai," evokes the African region holding the earliest evidence of human life. That reference could allude to the appeal of any given Bob Holroyd track, where the digital magic of his recording studio enables the musically articulate Englishman to summon visions of lost worlds. Remarkably, his primordial songs and soundscapes play equally well in dance clubs or in a place like the edge of the Olduvai Gorge echoing both man's earliest musical aspirations and his most recent inventions.

Without Within achieves a status all too rare among contemporary electronic-abetted music, in that it avoids categorization. While quick to praise the efforts of other forward-looking artists whose work encompasses both primordial and digital cultures, Holroyd has long ago left his influences behind and carved his own musical path. His musical signature - sinuous melodies unfolding atop polyrhythms that function as Morse Code for the Id - is best described by a track title from Without Within: "The Space Between."

1 Giant Leap- Money- Audio extract from the DVD 1 Giant Leap (

Wednesday, January 17, 2007

Powerspot Playlist 17 Jan 07

Jon Hassell- Map of Dusk / Myths 3 La Nouvelle Serenite Sub Rosa 005

a striking experimental piece entitled ‘Map of Dusk’, made up of what sounds like quickly struck marimba, organ and flute, all blended into a dense foggy soup of atmospheric sound. The piece was recorded in 1985 and was performed with J.A Deane, offering a good glimpse into the work of an intriguing artist who has worked with David Sylvian, Terry Riley, Bjork, David Toop and many others.

Hariprasad Chaurasia with Shib Sankar Ray- Shivranjani Dhun- CD Four Dhuns - Nimbus NI 5527

Dhuns originate in the songs and melodies of rural India. They are often performed as relaxation pieces at the end of a classical Indian music concert. Although located in a raga framework, the rules for melodic movement are not as strict as in the pure classical approach. They are sometimes described as 'light' or 'semi-classical', yet these imported western terms seem unable to do justice to the profound expression and sensuousness which a great musician such as Chaurasia, drawing on a seemingly inexhaustible well of musical experience, can bring to these tunes.

Shakti- Shringar-Remember Shakti- Saturday Night in Bombay- Verve Catalog #4400141642

Guitarist John McLaughlin is one of the true legends of modern jazz. On Saturday Night in Bombay, two distinct musical genres, traditional jazz and Indian classical music are fused together to form a powerfully energetic record. Saturday Night in Bombay features the current touring version of McLaughlin's Indian/Western improvisational quartet, which includes Zakir Hussain, U. Shrinivas, and V. Selvaganesh-Remember Shakti.

A simple look at the map shows that the capital of Maharashtra is where north meets south, a rendezvous that John McLaughlin and Zakir Hussain couldn't fail to keep. So it was there, in front of a crowd of initiates or newly-converted, that the friends of more than thirty years closed this new chapter of their awesome reunion after a tour of the music planet that had seen them drift deliriously from continent to continent making this a truly monumental recording.

Leigh Cline & Nikolas Michailidis- Tsambasim / Enan Astren Ekseven - AL ASHA BI DAHA TRADITIONAL SONGS OF THE EASTERN BLACK SEAS (

The title is a traditional Black Sea call for flagging dancers to rejoin the circle: one more
time! Canadian multi-instrumentalist Leigh Cline is rightly respected for his work in
Greek and Turkish traditions, and here he teams up with Greek vocalist Nikolas
Michailidis for a set of 16 pieces from the Turkey/Georgia border.

Available via the Scimitar website at or also from

Ojos de Brujo- Nana- Techari
various tracks

Based around the rousing flamenco guitar work of Ramon Gimenez and the thoughtful vocals of Marina "la Canillas" Abad, Ojos De Brujo are one of the leading exponents of the new, globally influenced Spanish pop movement.
Special guests include Faada Freddy from Senegalese hip hop collective Daara J, Asian Dub Foundation's Prithpal Rajput, and Nitin Sawhney, South Indian fusion artist and British TV star (who returned the favor after ODB collaborated on two tracks for his album Philtre).
Cuban pianist Roberto Carcassés also makes an appearance alongside respected flamenco guitarist Pepe Habichuela, and Cuban tres/flamenco guitar player Raúl Rodríguez from Son de la Frontera.

Ryuichi Sakamoto / Richard Horowitz ao
Soundtrack to Sheltering Sky
Loneliness / The Sheltering Sky Theme / Marnia's Tent / Croulov Limma / Sheltering Sky Soundtrack- Virgin Records 2-91597

Wednesday, January 10, 2007

Powerspot Playlist 10 Jan 07

Dear All,

On the show tonight musical selections from the following CD's. The show broadcasts from 6.30pm till 8.30pm Sydney time. Hope some of you can tune in and have a listen.

Artists / CD / Track / Label

Rachel Cogan & Tony Lewis- Transience-For Fardin / Panjaneh- Orpheus Music OM 602 (

Pepe Habichuela- A Mandeli-Tracks Guadiana / Boabdil / Resuene- Hannibal Records HNCD 1315

Gerardo Nunez- Calima -Tracks Sancti Petri / Tabaco Y Oro- Alula ALU 1007

Ali Farka Toure- Savane-Tracks Yer Bounda Fara / Savane- World Circuit CD 075 (

Various Artists- Electric Gypsyland 2

Balkan Beat Box- remix of Mahala Rai Banda's Red Bula
DJ Click- remix of Mahala Rai Banda's Romano
DanceSmadj- remix of Kocani Orkestar Mi Bori San Korani Crammed Disc CRAW 37-P (

Duoud with Abdulatif Yagoub- SAKAT
Mal Agfani / Wa Raeiah Label Bleu LBLC 2598 (

DJ Cheb I Sabbah- Krishna Lila
Marajanima / Govinda- Six Degrees Records (

Ravikiran & Jayanthi- The Lotus Garden- South Indian Classical Music
Kanjadalayatakshi / Parihachakama- Latisphere LAT1015

Ghazal- As Night Falls On The Silk RoadMy Eyes My Heart- Shanachie Label 66011

Necks News

Just a reminder that The Necks commence their 2007 tour with dates in Melbourne and Sydney next week. Seats are selling fast, so don't delay

JANUARY Monday 8th to Wednesday 10th:


Corner Hotel Tix $25 (+$2 booking fee), door price: $28 (if available), doors open 8.30 Corner Box Office (57 Swan St Richmond 12-8 Mon-Sat), phone bookings 9427 9198, online bookings

Saturday 13th to Tuesday 16th:


Sydney Festival, The Famous Spiegeltent, Hyde Park North Tix $35 (+ $3.20 booking fee), doors open 7:00 bookings 1300 888 412 or Moshtix tel 02 9209 4614

You can buy all The Necks' albums online at

Wednesday, January 03, 2007


1-4 intros

5 Azam Ali- Spring Arrives- CD Elysium for the Brave **

In a career which spans over a decade and includes eight collaborative and solo albums, Azam Ali has confirmed her place as one of the most prolific, versatile, and gifted singers on the world music stage today.

Her dedication to defying cultural specificity in music, and her unwillingness to settle into one form of musical expression have earned her the respect of both her peers and critics worldwide. When one looks at her entire body of work, it is hard to deny Azam her rightful place among the best singers and composers in music

Helping to seamlessly bring all of these diverse sounds together are a talented cast of musicians which includes King Crimson’s rhythm section of Trey Gunn and Pat Mastellotto, Persian classical violinist Kiavash Nourai, and noted film composers Tyler Bates and Jeff Rona, the latter of whom is known for his collaborations with Dead Can Dance. Loga Ramin Torkian and Carmen Rizzo, Azam’s collaborators in her latest musical venture, Niyaz, have also lent their talents to this project. Released on Six Degrees Records, Niyaz’ debut blends ancient Persian and Urdu Sufi poetry, rich acoustic instrumentation, and modern electronics.

Their CD has been hailed by critics worldwide as one of the most groundbreaking of its time. The album charted on Billboard's world music chart for four consecutive weeks, peaking at #12. Niyaz also entered WMCE, the World Music Charts of Europe, at #76 and was the only Iranian group whose CD made it into the top 150 of the best albums of 2005 .

Azam is internationally recognized for her work with Vas, the critically acclaimed, best selling, world music duo she co-founded in 1996 with percussionist Greg Ellis. From 1997- 2004 Vas released four albums on the Narada label. Their music, which they described as "alternative world," focused mainly on the ancient
relationship between the drum and voice. Their distinct cinematic sound blended influences of Indian, Persian, Western and other musical styles into a unique configuration that transcended categorization and cultural specificity. Though in their early days Vas drew many comparisons to Dead Can Dance, they patiently surpassed that comparison with each album they released, earning them their place in the musical hierarchy of bands whose innovation set a standard for others to aspire to.

In 2002 Azam released her first self produced highly successful solo album, Portals of Grace, which featured her singing renditions of ancient Western European medieval songs. Billboard described this album by saying, “It's unlikely that this year will bring a more spellbinding vocal album than Portals of Grace.” Azam’s exceptional voice and emotive performances on this album earned her much critical acclaim and once and for all solidified her place as a highly respected singer in the World music scene.

Azam Ali, who currently resides in Los Angeles, was born in Tehran, Iran and grew up in India from the age of four in the small town of Panchgani, a beautiful hill station in the state of Maharashtra. There she attended an international co-educational boarding school for eleven years, all the while absorbing India's rich music and culture throughout her formative years. The course Azam would eventually choose in her life would be very much influenced by her fortuitous upbringing in a school which emphasized the importance of the arts and spirituality, and aimed through moral and academic excellence, to produce promoters of social transformation imbued with the spirit of service to mankind. It is this objective that would take shape in Azam's music in the coming years. The Iranian revolution of 1979 changed the course of Azam's life as it did for many other Iranians. Unwilling to bring her daughter back to a country filled with uncertainty, her mother decided to give up her home, and together they moved to America in 1985 when Azam was just a teenager.

Shortly after moving to the United States, Azam fell in love with the Persian santour (hammered dulcimer) and it became clear to Azam that she wanted to pursue a career in music. Though she had an innate gift for singing since she was a child and sang often at home and school functions, Azam had no particular interest in becoming a vocalist. She had her heart set on becoming an instrumentalist and so began studying the santour under the guidance of Persian master Manoocher Sadeghi, During the eight years of her extensive studies with Ustad Sadeghi in which she became an accomplished hammered dulcimer player, Azam began to realize that she was unable to express the full range of emotions she experienced through her instrument. It was during one of these lessons that her teacher heard her sing for the first time.

Completely taken, he told her that her voice had a rare emotional quality about it which should be cultivated and nurtured. It was through his encouragement that Azam began to explore her voice as the vehicle through which she would
finally be able to fully express herself, a voice which Billboard magazine would later describe as, "a glorious unforgettable instrument."

While pursuing formal training in various vocal traditions like Western classical, Indian, Persian, and Eastern European, Azam's true passion has been to explore the immense potential of the human voice, specifically its capability to transcend language, cultural, and spiritual barriers when expressing pure emotion. When asked about her approach to singing Azam explains, "What intrigues me most about the human voice, is its ability to make all things transparent through its power of transformation. The voice is not just a conduit for words. For me it is like an abstract dream in which everything makes perfect sense."

"I am pertinacious in my need to expand. By nature, I am not one who can physically remain in one place for too long. I imagine that is the case because I have been transplanted enough times in my life that I am well aware of the influence the external environment has on the inner one, and how that can affect perception. So naturally, my music is going to reflect this inability to remain static, and this inability to identify myself with just one specific culture. I think of all the different music that I have done and will continue to do almost as photographs of my evolution, and just like photographs, in some I may look great and in some I may not.

What matters to me is that I risk, I, trust, I strive, and let things unfold as they may." Azam's immense talent and ability to adapt her voice to any musical style have drawn the attention of many diverse artists and film composers. Azam has collaborated in the studio and on stage with numerous artists like Serj Tankian of System of a Down, The Crystal Method, Pat Mastellato and Trey Gunn of King Crimson, Dredg, Chris Vrenna formerly of Nine Inch Nails, Ben Watkins of Juno Reactor, Buckethead, Steve Stevens, film composer Tyler Bates, Mercan Dede, the world renowned Japanese group Kodo, Zakir Hussain, Omar Faruk
Tekbilek, and Mickey Hart with whom she also toured for two years as a lead singer in his group Bembe Orisha.

Azam's distinctive voice can also be heard on myriad film and television scores among which include “Matrix Revolutions,” “Godsend,” “Papparazi,” the upcoming major motion picture 300, Children of Dune, Earthsea, Dawn of the Dead, Alias, and The Agency.

Elysium for the Brave, Azam's second solo album, signals a new turn in her musical evolution. The album, her most ambitious work to date, brings together musicians from varied musical backgrounds performing in diverse permutations. Singing predominantly in English for the first time, the songs are based on lyrics written by Azam herself and reveal a poetic lyricism heard only in glimpses of her previous works.

From the new CD’s opening track, “Endless Reverie,” it becomes immediately apparent that Ali has moved into new and exciting sonic territory. The frame drum pulse is familiar but the percolating synthesizer textures and haunting vocals sung in English take the song into a darkly beautiful place that exists between the worlds of electronic rock and global fusion. This fascinating terrain is also occupied by the tracks, “In Other Worlds,” and ”Forty One Ways.” While impeccable electronics and programming abound on Elysium for the Brave, they are balanced throughout the CD with traditional instrumentation. The gorgeous oud and hand drums which propel “Spring Arrives” and the insistent ney flute which lends a haunting quality to “In this Divide” are brilliant examples of how organic and electronic instrumentation can beautifully co-exist. In fact, despite the mix of ancient and modern instrumentation, Elysium for the Brave is a highly coherent body of work that weaves together all of Azam's cultural and musical influences into a tapestry of atmospheric rock, electronic, and global sounds.

6 Azam Ali- I Am A Stranger In This World
7 Azam Ali- Abpde **

Eden is a new compilation from Six Degrees Records that focuses on the "deeper" end of music from around the world. Featuring Cheb i Sabbah, Niyaz, the MIDIval PunditZ (featuring Anoushka Shankar), Karsh Kale, Bombay Dub Orchestra and others.

8 In The Shadow of Life w/ Niyaz
9 Rebirth w/ Midival Punditz
10 Beautiful w/ Karsh Kale
11 Desert Drive w/ Euphoria **

National Geographic GeoReMixes
Close Window

National Geographic GeoReMixes Recently, National Geographic World Music approached some of our favorite world music artists and asked if they had any new music or unheard remixes they wanted to share with our audience.

The response was overwhelming, and included contributions from some of the most cutting-edge artists working in world music today. From New York's Antibalas and Barcelona's Ojos de Brujo to Tijuana's Nortec Collective and London's Bombay Dub Orchestra, this project pulls together the most progressive and forward thinking artists of the new century.

The result was a baker's dozen of 13 exclusive new tracks from 12 amazing artists that just may change the way you think about world music.

Recently, NGWM approached some of our favorite world music artists and asked if they had any new music or unheard remixes they wanted to share with our audience.

The response was overwhelming, and included contributions from some of the most cutting-edge artists working in world music today. From New York's Antibalas and Barcelona's Ojos de Brujo to Tijuana's Nortec Collective and London's Bombay Dub Orchestra, this project pulls together the most progressive and forward thinking artists of the new century.

The result was a baker's dozen of 13 exclusive new tracks from 12 amazing artists that just may change the way you think about world music.

Ska Cubano: "No Me Desperes (The Sea Remix)"

Remixed by: The Sea The original Colombian cumbia bands went out of business because they had too many musicians and were hugely expensive. Anglo-Cuban outfit Ska Cubano (pictured) reimagines these big bands with a ska twist on the huge, melodramatic "No Me Desperes," where a massive rhythm section meets squawking, honking, screaming brass, and wild clarinets.

Antibalas: "Ja Joosh/ My Country" (AfroStreet Remix)

Remixed by: AfroStreet New York artists Antibalas and Rich Medina team up to create a cool but defiant commentary on the current political situation. This is a departure from classic Nigerian Afrobeat. Here Antibalas draws inspiration from the golden age of Ethiopian pop of the late '60s and early '70s popularized by musicians such as Mahmoud Ahmed, Mulatu Astatqe, Alemayehu Eshete, and others. The track revisits the times when socially conscious music was on the airwaves, stages and tongues of party people around the world.

Karsh Kale: "Manifest" (Kaushik Ambient Remix)

Remixed by: Kaushik On has latest album Broken English, London-born and New York-raised Karsh Kale balances his Indian heritage with rock 'n' roll, hip hop and atmospheric pop for his most diverse release to date. The original opening track on Broken English, "Manifest," immediately claims the album's musical territories, MC Napoleon raps while Vishal Vaid sings, and their bilingual interplay is echoed by the programmed sounds of Western drums and the dhol drum. Kaushik's Ambient remix echoes a more spaced out ethereal vibe, while maintaining all of the original sensibilities.

Nortec Collective: "Tengo La Voz" (Karsh Kale Remix)

Remixed by: Karsh Kale South Asian DJ Karsh Kale remixes Tijuana electronica leaders Nortec Collective on this unique interpretion of "Tengo La Voz" ("I Have the Voice"). Nortec made a splash in 2000 with a critically-acclaimed debut that turned traditional notions of Mexican music upside down.

Los Amigos Invisibles: "Yo No Se" (DJ Afro's Edit)

Remixed by: DJ Afro Originally a techno merengue by Diviana, "Yo No Se" has now been transformed into a super smooth house track with Los Amigos Invisibles and DJ Afro's remix. The album version of this song appears on Los Amigos Invisibles' latest album, SuperPop Venezuela, and is an homage to the Venezuelan artists and songs that have most influenced the double Latin Grammy nominees. Produced by famed DJ Dimitri From Paris, the fifth Los Amigos Invisibles album sees the band bring their distinctive sound to reverential and decidedly fun interpretations of Venezuelan songs that "provided the soundtrack to our adolescence and early adult life," explains guitarist José Luis Pardo.

Yerba Buena: "Fever" (Blaze Remix)

Remixed by: Blaze Helmed by producer/bandleader Andres Levin, Yerba Buena's Grammy-nominated debut album was widely hailed with both serious critical acclaim and breathless praise from the dance floor. Now, Levin and the members of the Yerba Buena caravan are set to delve even further into the evolving multicultural musical fusion of bilingual New York.

Ex-Centric Sound System: "Mara" (Remater 0.1)

Remixed by: Yossi Fine Living in Israel at the time, Yossi Fine's experimentation with dubbing Ethiopian music into a hip hop beat in the mid '90s made a big mark on his musical direction, but never made it out on a record. Until now. "Mara", which is a greeting chant similar to a village welcome, is combined with a masengo (one-stringed violin) solo in this hip new remix from Ex-Centric Sound System's founding member.

Bombay Dub Orchestra: "Compassion" (Earth Mix)

Remixed by: Adam Lamprell The Bombay Dub Orchestra is the brainchild of two English musicians, Andrew T. Mackay and Garry Hughes, who wanted to combine electronic sessions recorded in the UK with orchestral sessions recorded in Bombay India. On their self-titled debut, the duo recorded with the cream of Bombay's Indian classical music scene. Here, their lush brand of South Asian orchestral electronica gets the remix treatment from Adam Lamprell. Mid-tempo trip-hop propels a rich tapestry of orchestral strings in "Compassion," with occasional wisps of Indian and Western instruments and subtle hints of '60s cinema.

Charanga Cakewalk: "El Ballad de Jose Campos" (2 Vatos Remix)

Remixed by: Michael Ramos Recorded at The Cumbia Lounge in West Austin, this previously all-instrumental piece is a look back at a 1976 incident in Houston where a Mexican youth was picked up by the police, beaten, handcuffed, and thrown off of a bridge into a bayou, where he drowned. The officers were charged, fined one dollar and put on probation. This track is a reflection on what might have become of Jose Campos Torres had he not been killed so recklessly.

Smadj: "Rouge-Violet" (Smadj Remix)

Remixed live by: Smadj "Rouge-Violet" was a part of Smadj's third album, Take It and Drive. Performing with different teams of musicians including Laurent de Wilde, Cheick Tidjane Seck, Malik Mezzadri, Dierdre Dubois, Peirre Fruchard, Artkonik, Dom Farkas, and Rokia Traoré, Smadj would play the same repertoire but in a different way each time depending on the team he worked with. Improvisation with electronica was the goal of these meetings, playing the computer like an instrument, pushing them in one direction or another to create a new universe around them.

Eccodek: "Juju in This Dub"

Remixed by: Eccodeck "Juju in This Dub" features the vocals of Nigerian Bamidele Bajowa and the gorgeous kora playing of Malian griot Mansa Sissoko. The whole performance is sewn together by the multi-instrumentalist and producer Andrew McPherson. His textured keyboard parts and thick, reggae-influenced bass grooves set up a foundation on which both Mansa and Bamidele confidently work their magic. Together the three join hands to create a dub-inflected cross cultural postcard.

Nortec Collective: "Olvidela Compa"

Remixed by: Rosco The already chilled-out Nortec Collective track "Olvidela Compa" ("Forget About It, Brother") takes an even more laid-back turn on this bass-heavy remix by Mexico City electronic act Rosco.

Ojos de Brujo: "Feedback" (Nitin Sawhney Remix)

Remixed by: Nitin Sawhney Among the 14 tracks on Barcelona-based band Ojos de Brujo's latest release, Techarí, is "Feedback," a composition built around one of the most exciting rhythms particular to Flamenco music: the bulería. The remix track is a unique collaboration with the innovative London-based Asian artist Nitin Sawhney, and features various musical influences and instruments from India, the Middle East, and Spain. All are woven around Marina Abad's flamboyant style of flamenco singing.

12 Smudge- Rouge Violet
13 Bombay Dub Orchestra - Adam Lamprell's Earth Mix of Compassion
14 Ojos de Brujo- Feedback remixed by Nitin Sawhney

15 daniel lanois id
16 Ska Cubano- No Me Desesperes (The Sea Remix)
17 Los Amigos Invisibles- Yo No Se (DJ Afro's Edit)
18 Yerba Buena- Fever Remix
19 Nitin Sawhney id
20 Antibalas - Ja Joosh (My Country) w/Rich Medina & Afrostreet
21 Charanga Cakewalk- El Ballad De Jose Campos Torres 2 Vatos Remix
22 ecodek- Juju In Those Strings (Shivaboom Mix)
23 Karsh Kale- Manifest (Kaushik Ambient Remix)
24 Ex Centric Sound System- Marra (Yossi Fine Primal Remix
25 Niyaz- Dilruba- Traveller 06 compilation