{"title":"Höröyá","description":"","products":[{"product_id":"gri-gri-ba-by-horoya","title":"GRI GRI BÁ (The Great Spell, The Great Sorcerer) by HÖRÖYÁ","description":"\u003ch1 style=\"text-align: center;\"\u003e\u003cstrong data-redactor-tag=\"strong\"\u003eGRI GRI BÁ\u003c\/strong\u003e\u003c\/h1\u003e\n\u003ch2 style=\"text-align: center;\"\u003e\u003cstrong data-redactor-tag=\"strong\"\u003e(The Great Spell, The Great Sorcerer)\u003c\/strong\u003e\u003c\/h2\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" style=\"text-align: justify;\"\u003e\n\u003cbr\u003eAfrobeat was in vogue some years ago. Everyone was looking at Africa for inspiration especially in the music and words of Fela Kuti, the great Nigerian musician who fathered Afrobeat from West Africa’s Highlife and the Afro-American funk that he encountered after being in contact with the Black Panthers in the US. In the West, the independent music scene was in crisis, and Afrobeat seemed to offer a good opportunity to redeem Western musicians who, before an empty and depoliticized present, thought that ‘becoming Africans’ could gave them a surplus much needed in the industry. The great drummer and composer of Africa ’70, Tony Allen began touring around, appearing in every festival in the West, and collaborating in every new record made. Some bands began to include musicians from the African diaspora who were used to legitimize the bands as a colorful extra and helped to authenticate rhythms and lyrics. Afrobeat was everywhere. It came from the West and reclaimed some glorious past lost in the ‘darkness’ of African history. In countries like Brazil, but also in the US, Afrobeat served for the (white) elites to discovered the African heritage without having to feel uncomfortable about it. It is a very strange thing if we consider that Brazil has the second largest black population in the world. Somehow, in a twisted rework of the Hegelian Master-Slave dialectic addressed by Frantz Fanon, the West acknowledged so its dependence on the African musical tradition without acknowledging Africa’s independence from its world view.\u003cbr\u003e\u003cbr\u003eIt isn’t right to pick the heritage and creativity of oppressed cultures without thinking about the repercussions. This is appropriation. But Höröya has taken a different path. The band from São Paulo does not imitate Afrobeat or Afrojazz. It makes a conscious use of these. In the context of race and class segregation that shapes Brazilian social life, it becomes a political stance. Its front man, André Piruka knows very well what means to be Afro-Brazilian today. His musical compositions, his use of the African instruments and rhythms, show a deep respect and understanding of a cultural tradition that differs from certain stereotypes that still shape the way how Brazil understands its relation to Africa, despite that Africa has dramatically shaped the Brazilian musical culture for centuries. The music created by the African diaspora in Brazil, and everywhere too, has been the result of a collective struggle carried out in the most inhumane conditions. Its survival talks about the resilience of thousands of women and men at the moment of their extermination. Any use, performance, rework or reinterpretation of this musical heritage need to have it in mind. So, it is with Höröya, and many other bands in Brazil, that make use of Afrobeat departing from the slums of their own reality.\u003cbr\u003e\u003cbr\u003eIt is exceptional, and one of its greatest achievements, that Höröya does not resort to those stereotyped and fossilized forms of Afrobeat that were current some years ago. Höröya takes the conscious choice of going back to Africa, of working with the masters, and of bringing Africa back to Brazil. It creates a mixture that addresses today’s Diaspora, the reality of economic and social displacement of contemporary Africans in Brazil. The name of the album, GRI GRI BA, means in Malinke the great spell, the great sorcerer… and so it works the music that conspires to bring back to Brazil its own heritage and revive its own past, the very foundations of its culture. This is a dialectical trick. Because, the very strangeness of the music in today’s Brazilian cultural hype makes plain the cultural alienation of Brazilian society. Being African in today’s Brazil still means resistance and resilience, and Höröya has been able to create the soundtrack of this reality.\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" style=\"text-align: justify;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" style=\"text-align: justify;\"\u003eEdited by Dr.Sócrates.\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" style=\"text-align: justify;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\" class=\"tralbumData tralbum-about\"\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/6aCyfUlT0A0?si=LcB_RbhYA7WSWxZd\" height=\"315\" width=\"560\"\u003e\u003c\/iframe\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" style=\"text-align: justify;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" style=\"text-align: justify;\"\u003e\n\u003ch5\u003eDisclaimer: The images shown are for illustration and mock-up purposes only and may not be an exact representation of the product.\u003c\/h5\u003e\n\u003c\/div\u003e","brand":"Tropical Diaspora Records®","offers":[{"title":"Default Title","offer_id":43749047075084,"sku":"TDR012","price":30.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0536\/8063\/6098\/files\/Cover_TDR012_Front_Sticker_Mockup_2000x_v1.png?v=1755744236"},{"product_id":"cities-of-diaspora-volume-1","title":"Cities Of Diaspora Vol.1 (São Paulo)","description":"\u003cp class=\"ds-markdown-paragraph\"\u003e\u003cstrong\u003eTropical Diaspora Records® Unveils Vital New Chapter in \"7 inch DJ Edition Series\" with São Paulo's Sonic Revolutionaries: Grupo Höröyá ft. Chico César \u0026amp; Clarianas and a Tribute to Samba-Rock Legend Regis Moreno\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"ds-markdown-paragraph\"\u003e\u003cstrong\u003eBerlin, São Paulo, BRAZIL \u003c\/strong\u003e – Tropical Diaspora Records® proudly announces its latest and most politically resonant vinyl offering: a powerful 7” Big Hole DJ Edition (45 RPM) featuring a groundbreaking Pan-African collaboration on Side A and a timeless, remastered samba-rock anthem on Side B. This release is a direct reflection of the label's core principle: to celebrate the music of the tropical diaspora with deep respect, historical consciousness, and a commitment to its revolutionary roots.\u003c\/p\u003e\n\u003cp class=\"ds-markdown-paragraph\"\u003e\u003cstrong\u003eSide A: Grupo Höröyá ft. Chico César \u0026amp; Clarianas – “Todo Lugar É Sertão” (Every Place is Sertão)\u003c\/strong\u003e\u003cbr\u003eThis is not mere imitation; this is conscious reclamation. Recorded across São Paulo, Brazil and Bamako, Mali, “Todo Lugar É Sertão” is a monumental track born from the Pan Bras'Afree'ke project. São Paulo’s Grupo Höröyá joins forces with iconic Brazilian artist Chico César, the powerful female vocals of Clarianas, and Malian masters Adama Koeta and Barou Kouyate.\u003c\/p\u003e\n\u003cp class=\"ds-markdown-paragraph\"\u003eFrontman André Piruka, deeply aware of what it means to be Afro-Brazilian today, leads a project that transcends musical genre to become a political stance. In a nation shaped by race and class segregation, Höröyá consciously utilizes Afrobeats and Afrojazz not as exotic trends, but as a birthright—a connection to a heritage that has dramatically shaped Brazilian culture for centuries. The track is a thunderous, respectful, and masterful homage to the resilience born from the collective struggle of the African diaspora, crafted directly from the heart of Brazil's urban reality.\u003c\/p\u003e\n\u003cp class=\"ds-markdown-paragraph\"\u003e\u003cstrong\u003eSide B: Regis Moreno – “Grilos Da Vida (Nego Vem Sambá)” (Remastered)\u003c\/strong\u003e\u003cbr\u003eThis release also serves as a heartfelt tribute and a final homage to a lost giant. Side B features a meticulously remastered version of the samba-rock masterpiece “Grilos Da Vida” by the late, great Regis Moreno.\u003c\/p\u003e\n\u003cp class=\"ds-markdown-paragraph\"\u003eA foundational architect of samba-rock—the electrifying blend of samba, funk, and rock that erupted from São Paulo's poor Black peripheries—Moreno and his band Banda Jardes filled concert halls throughout the 1980s. “Grilos Da Vida,” with its iconic and distinctive guitar work, encapsulates the genre's true spirit like no other track. Tropical Diaspora Records had the immense privilege of working with Regis to reintroduce his music to the world before his recent passing after a long illness. This pressing ensures his generous soul and monumental soundtrack continue to inspire, a final gift from a beautiful artist gone too soon.\u003c\/p\u003e\n\u003cp class=\"ds-markdown-paragraph\"\u003eThis DJ-edition 7” is more than a record; it’s a statement. It bridges continents and generations, connecting the conscious Afro-futurism of contemporary São Paulo with the foundational rhythms of its recent past. It is essential for DJs seeking depth and authenticity and for collectors who understand music as a living, breathing document of culture and resistance.\u003c\/p\u003e\n\u003cp class=\"ds-markdown-paragraph\"\u003e\u003cstrong\u003eKey Features:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp class=\"ds-markdown-paragraph\"\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e 7-inch Vinyl, 45 RPM, Big Hole (DJ Edition)\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"ds-markdown-paragraph\"\u003e\u003cstrong\u003eSide A:\u003c\/strong\u003e Grupo Höröyá ft. Chico César, Clarianas, Adama Koeta \u0026amp; Barou Kouyate – “Todo Lugar É Sertão”\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"ds-markdown-paragraph\"\u003e\u003cstrong\u003eSide B:\u003c\/strong\u003e Regis Moreno – “Grilos Da Vida (Nego Vem Sambá)” (Tropical Diaspora Records Remaster)\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp class=\"ds-markdown-paragraph\"\u003e\u003cstrong\u003eAbout Tropical Diaspora Records®:\u003c\/strong\u003e\u003cbr\u003eTropical Diaspora Records® is a label dedicated to curating and releasing music that embodies the rich, complex, and often unheard stories of the tropical diaspora. We focus on historical reissues that deserve a new audience and contemporary works that consciously engage with this profound cultural legacy. Our mission is to foster connection and understanding through the powerful, resilient, and joyful medium of sound.\u003c\/p\u003e","brand":"Tropical Diaspora Records®","offers":[{"title":"Default Title","offer_id":43750294225164,"sku":"TDR015","price":15.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0536\/8063\/6098\/files\/Cover_TDR015_Front_ShrinkWrapping_Mockup_2000x_v1.png?v=1756169704"},{"product_id":"horoya-red","title":"Höröyá [red] by Höröyá","description":"\u003ch1 style=\"text-align: center;\"\u003e\u003cstrong data-redactor-tag=\"strong\"\u003eHÖRÖYÁ´s First Record  \u003cbr\u003e\u003c\/strong\u003e\u003c\/h1\u003e\n\u003cdiv style=\"text-align: left;\" data-offset-key=\"1e6m3-0-0\" data-editor=\"cibfg\" data-block=\"true\" class=\"\"\u003e\n\u003ch3 style=\"text-align: center;\"\u003e\n\u003cstrong data-redactor-tag=\"strong\"\u003e☆ \u003c\/strong\u003e\u003cstrong\u003eFirst press with only 100 records \u003c\/strong\u003e\u003cstrong data-redactor-tag=\"strong\"\u003e☆\u003c\/strong\u003e\n\u003c\/h3\u003e\n\u003cdiv data-offset-key=\"1e6m3-0-0\" style=\"text-align: center;\"\u003e\u003cspan data-offset-key=\"a1oe0-0-0\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv data-offset-key=\"1e6m3-0-0\" style=\"text-align: center;\"\u003e\n\u003cimg alt=\"Collection Series\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0536\/8063\/6098\/files\/Label-Collection-Series-PanAfrica_13_492x_v1_d78f625b-37ac-4459-967d-b7570affbc1b_160x160.jpg?v=1706094551\"\u003e\u003cstrong data-redactor-tag=\"strong\"\u003e\u003c\/strong\u003e\n\u003c\/div\u003e\n\u003cdiv data-offset-key=\"1e6m3-0-0\" style=\"text-align: center;\"\u003eTropical Diaspora® Records\u003c\/div\u003e\n\u003cdiv data-offset-key=\"1e6m3-0-0\" style=\"text-align: center;\"\u003ePan-Africanism Collection Series\u003cstrong data-redactor-tag=\"strong\"\u003e - Höröyá on Vinyl\u003c\/strong\u003e\u003cspan data-offset-key=\"a1oe0-0-0\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv data-offset-key=\"1e6m3-0-0\" style=\"text-align: center;\"\u003e\n\u003cstrong data-redactor-tag=\"strong\"\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"text-align: justify;\" class=\"tralbumData tralbum-about\"\u003e\n\u003cbr\u003e\n\u003cdiv class=\"fusion-text fusion-text-1\" style=\"--awb-font-size: 30px; --awb-text-color: var(--awb-custom14); --awb-text-font-family: 'Alpaca'; --awb-text-font-style: normal; --awb-text-font-weight: 400;\"\u003e\n\u003cp style=\"text-align: justify;\"\u003eThe band based in São Paulo, Brazil is formed by Brazilian and West African musicians, connecting different cultures and establishing a dialogue between Brazil and the African continent. André Ricardo, multi instrumentalist, is the creator of the group and the conception of the musicality. Behind Höröya’s musical force is a powerful mix of percussion instruments from different cultures, such as sabar, atabaque, \u003cspan id=\"package_description_0\" class=\"peekaboo-text\"\u003edjembe, cuica and dunduns. \u003c\/span\u003eThey share space with instruments of African Griots, including balafon and ngoni, along with guitars, bass, trumpet and\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan id=\"package_description_0\" class=\"peekaboo-text\"\u003e saxophones. \u003c\/span\u003e\u003c\/span\u003eHöröyá’s music creates a permanent contact between different traditions, while keeping their essence. Through music, Höröyá reinterprets in a new format the origins and influences of the African and Afro-Brazilian cultures.\u003c\/p\u003e\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eAfrobeat was in vogue some years ago. Everyone was looking at Africa for inspiration especially in the music and words of Fela Kuti, the great Nigerian musician who fathered Afrobeat from West Africa’s Highlife and the Afro-American funk that he encountered after being in contact with the Black Panthers in the US. In the West, the independent music scene was in crisis, and Afrobeat seemed to offer a good opportunity to redeem Western musicians who, before an empty and depoliticized present, thought that ‘becoming Africans’ could gave them a surplus much needed in the industry. The great drummer and composer of Africa ’70, Tony Allen began touring around, appearing in every festival in the West, and collaborating in every new record made. Some bands began to include musicians from the African diaspora who were used to legitimize the bands as a colorful extra and helped to authenticate rhythms and lyrics. Afrobeat was everywhere. It came from the West and reclaimed some glorious past lost in the ‘darkness’ of African history. In countries like Brazil, but also in the US, Afrobeat served for the (white) elites to discovered the African heritage without having to feel uncomfortable about it. It is a very strange thing if we consider that Brazil has the second largest black population in the world. Somehow, in a twisted rework of the Hegelian Master-Slave dialectic addressed by Frantz Fanon, the West acknowledged so its dependence on the African musical tradition without acknowledging Africa’s independence from its world view.\u003c\/em\u003e\u003c\/p\u003e\n\u003cbr\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"text-align: justify;\" class=\"tralbumData tralbum-about\"\u003eExcerpt from Gri Gri Bá Edited by Dr.Sócrates.\u003c\/div\u003e\n\u003cdiv style=\"text-align: justify;\" class=\"tralbumData tralbum-about\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"text-align: justify;\" class=\"tralbumData tralbum-about\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\" class=\"tralbumData tralbum-about\"\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/LAzRN5YBfAM?si=mfFnH5WJXUSTDuZg\" height=\"315\" width=\"560\"\u003e\u003c\/iframe\u003e\u003c\/div\u003e\n\u003cdiv style=\"text-align: justify;\" class=\"tralbumData tralbum-about\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"text-align: justify;\" class=\"tralbumData tralbum-about\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"text-align: justify;\" class=\"tralbumData tralbum-about\"\u003e\n\u003ch5\u003eDisclaimer: The images shown are for illustration and mock-up purposes only and may not be an exact representation of the product.\u003c\/h5\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"text-align: left;\" class=\"tralbumData tralbum-about\"\u003e\u003cbr\u003e\u003c\/div\u003e","brand":"Tropical Diaspora Records®","offers":[{"title":"Default Title","offer_id":45029758271756,"sku":"TDR043","price":45.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0536\/8063\/6098\/files\/Cover_TDR043_Front_Sticker_Mockup_2000x_v1.png?v=1776686669"},{"product_id":"pan-bras-afree-ke-vol-1-yellow","title":"Pan Bras’Afree’Ke Vol.1 [yellow] by Höröyá","description":"\u003ch1 style=\"text-align: center;\"\u003e\u003cstrong data-redactor-tag=\"strong\"\u003ePan Bras’Afree’Ke Vol.1 [yellow] \u003cbr\u003e\u003c\/strong\u003e\u003c\/h1\u003e\n\u003cdiv class=\"\" data-block=\"true\" data-editor=\"cibfg\" data-offset-key=\"1e6m3-0-0\" style=\"text-align: left;\"\u003e\n\u003ch3 style=\"text-align: center;\"\u003e\n\u003cstrong data-redactor-tag=\"strong\"\u003e☆ \u003c\/strong\u003e\u003cstrong\u003eFirst press with only 100 records \u003c\/strong\u003e\u003cstrong data-redactor-tag=\"strong\"\u003e☆\u003c\/strong\u003e\n\u003c\/h3\u003e\n\u003cdiv style=\"text-align: center;\" data-offset-key=\"1e6m3-0-0\"\u003e\u003cspan data-offset-key=\"a1oe0-0-0\"\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0536\/8063\/6098\/files\/Label-Collection-Series-PanAfrica_23_492x_v1_160x160.jpg?v=1706094559\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\" data-offset-key=\"1e6m3-0-0\"\u003e\n\u003cstrong data-redactor-tag=\"strong\"\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\" data-offset-key=\"1e6m3-0-0\"\u003eTropical Diaspora® Records\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\" data-offset-key=\"1e6m3-0-0\"\u003ePan-Africanism Collection Series\u003cstrong data-redactor-tag=\"strong\"\u003e - \u003c\/strong\u003eHöröyá on Vinyl\u003c\/div\u003e\n\u003cbr\u003e\n\u003cdiv style=\"text-align: center;\" data-offset-key=\"1e6m3-0-0\"\u003e\u003cspan data-offset-key=\"a1oe0-0-0\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\" data-offset-key=\"1e6m3-0-0\"\u003e\n\u003cspan data-offset-key=\"a1oe0-0-0\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" style=\"text-align: justify;\"\u003e\n\u003ch1 class=\"fusion-title title fusion-title-7 fusion-sep-none fusion-title-center fusion-title-text fusion-title-size-one\" style=\"--awb-text-color: var(--awb-custom14); --awb-margin-top: 1px; --awb-margin-right: 1px; --awb-margin-bottom: 1px; --awb-margin-left: 1px; --awb-font-size: 50px; text-align: center;\"\u003eHöröyá´s Second Album\u003c\/h1\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cdiv class=\"fusion-text fusion-text-1\" style=\"--awb-font-size: 30px; --awb-text-color: var(--awb-custom14); --awb-text-font-family: 'Alpaca'; --awb-text-font-style: normal; --awb-text-font-weight: 400;\"\u003e\n\u003cp style=\"text-align: justify;\"\u003eThe group Höröyá releases its second album, Pan Bras’Afree’Ke Vol.1, with tracks that were recorded and produced in São Paulo, Bamako (Mali) and Bobo-Dioulasso (Burkina Faso), in West Africa. The album’s concept is the Pan African movement, which, including Brazil, it also unites Guinea, Mali, Senegal and Burkina Faso. Under the command of André “Piruka” and co-produced by the great maestro Cheick Tidiane Seck, one of the great names in music from Mali and the African continent, the songs also feature the participation of other great local musicians, such as Petit Adama Diarra and Barou Kouyate, who add different timbres to the tracks, with balafon, tama, kamele ngoni, djeli ngoni and the maestro’s famous keyboards. Following Höröyá’s musical proposal, creating “possible and new traditions” that, with a basis, propose new rhythms and paths for musicalities of black, African and diaspora matrices. The new tracks bring together touches of Candomblé and griot melodies, with pungent rhythms that combine funk and jazz with the language already known by Cheick Tidiane Seck. The tracks also feature the participation of Senegalese musicians Moustapha Dieng, Maguette Mabye and Karbala Sene and the Guinean Bangaly Konate. The album also features the voices of the yalorixá Genilce de Ogum, and by Naruna Costa, actress and member of the group Clarianas, which performs also part of the co-production of the album.\u003c\/p\u003e\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eAfrobeat was in vogue some years ago. Everyone was looking at Africa for inspiration especially in the music and words of Fela Kuti, the great Nigerian musician who fathered Afrobeat from West Africa’s Highlife and the Afro-American funk that he encountered after being in contact with the Black Panthers in the US. In the West, the independent music scene was in crisis, and Afrobeat seemed to offer a good opportunity to redeem Western musicians who, before an empty and depoliticized present, thought that ‘becoming Africans’ could gave them a surplus much needed in the industry. The great drummer and composer of Africa ’70, Tony Allen began touring around, appearing in every festival in the West, and collaborating in every new record made. Some bands began to include musicians from the African diaspora who were used to legitimize the bands as a colorful extra and helped to authenticate rhythms and lyrics. Afrobeat was everywhere. It came from the West and reclaimed some glorious past lost in the ‘darkness’ of African history. In countries like Brazil, but also in the US, Afrobeat served for the (white) elites to discovered the African heritage without having to feel uncomfortable about it. It is a very strange thing if we consider that Brazil has the second largest black population in the world. Somehow, in a twisted rework of the Hegelian Master-Slave dialectic addressed by Frantz Fanon, the West acknowledged so its dependence on the African musical tradition without acknowledging Africa’s independence from its world view.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eExcerpt from Gri Gri Bá edited by Dj Dr.Sócrates\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" style=\"text-align: justify;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" style=\"text-align: center;\"\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/CAfGw0xXakU?si=HTGN413NPXxTVsFi\" title=\"YouTube video player\"\u003e\u003c\/iframe\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" style=\"text-align: justify;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" style=\"text-align: justify;\"\u003e\n\u003ch5\u003eDisclaimer: The images shown are for illustration and mock-up purposes only and may not be an exact representation of the product.\u003c\/h5\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" style=\"text-align: left;\"\u003e\u003cbr\u003e\u003c\/div\u003e","brand":"Tropical Diaspora Records®","offers":[{"title":"Default Title","offer_id":45029767545100,"sku":"TDR044","price":45.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0536\/8063\/6098\/files\/Cover_TDR044_Front_Sticker_Mockup_2000x_v1.png?v=1776685729"},{"product_id":"pan-bras-afree-ke-vol-2-green","title":"Pan Bras’Afree’Ke Vol.2 [green] by Höröyá","description":"\u003ch1 style=\"text-align: center;\"\u003e\u003cstrong data-redactor-tag=\"strong\"\u003ePan Bras’Afree’Ke Vol.2 [green] \u003cbr\u003e\u003c\/strong\u003e\u003c\/h1\u003e\n\u003cdiv class=\"\" data-block=\"true\" data-editor=\"cibfg\" data-offset-key=\"1e6m3-0-0\" style=\"text-align: left;\"\u003e\n\u003ch3 style=\"text-align: center;\"\u003e\n\u003cstrong data-redactor-tag=\"strong\"\u003e☆ \u003c\/strong\u003e\u003cstrong\u003eFirst press with only 100 records \u003c\/strong\u003e\u003cstrong data-redactor-tag=\"strong\"\u003e☆\u003c\/strong\u003e\n\u003c\/h3\u003e\n\u003cdiv data-offset-key=\"1e6m3-0-0\" style=\"text-align: center;\"\u003e\u003cspan data-offset-key=\"a1oe0-0-0\"\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0536\/8063\/6098\/files\/Label-Collection-Series-PanAfrica_33_492x_v1_160x160.jpg?v=1706094567\" alt=\"\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv data-offset-key=\"1e6m3-0-0\" style=\"text-align: center;\"\u003e\n\u003cstrong data-redactor-tag=\"strong\"\u003e\u003c\/strong\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv data-offset-key=\"1e6m3-0-0\" style=\"text-align: center;\"\u003eTropical Diaspora® Records\u003c\/div\u003e\n\u003cdiv data-offset-key=\"1e6m3-0-0\" style=\"text-align: center;\"\u003ePan-Africanism Collection Series\u003cstrong data-redactor-tag=\"strong\"\u003e - \u003c\/strong\u003eHöröyá on Vinyl\u003c\/div\u003e\n\u003cdiv data-offset-key=\"1e6m3-0-0\" style=\"text-align: center;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\" data-offset-key=\"1e6m3-0-0\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cspan data-offset-key=\"a1oe0-0-0\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" style=\"text-align: justify;\"\u003e\n\u003ch1 class=\"fusion-title title fusion-title-7 fusion-sep-none fusion-title-center fusion-title-text fusion-title-size-one\" style=\"--awb-text-color: var(--awb-custom14); --awb-margin-top: 1px; --awb-margin-right: 1px; --awb-margin-bottom: 1px; --awb-margin-left: 1px; --awb-font-size: 50px;\"\u003eHöröyá´s Third Album\u003c\/h1\u003e\n\u003cdiv class=\"fusion-separator fusion-full-width-sep\" style=\"align-self: center; width: 100%; margin: 10px auto 30px auto;\"\u003eOn their third album, Höröyá remains firm in their musical proposal, with in-depth thinking about Afro-Brazilian and West African rhythms and languages. Building a solid path in the creation of “possible and new traditions”, the new album, Pan Bras’Afree’Ke Vol.2, features the participation of big names such as Famoudou Konate, Cheick Tidiane Seck, Jaques Morelembaum, Gabi Guedes and Davi Kopenawa Yanomami. The tracks, which were recorded between São Paulo, Bamako and Bobo-Dioulasso, make up an interesting panorama of the musicality of African origins and the black diaspora. The album features artists from five countries: Brazil, Mali, Guinea, Senegal and Burkina Faso and was produced in two volumes, Pan Bras’Afree’ke\u003cspan class=\"bcTruncateMore\"\u003e Volumes 1 \u003cspan id=\"package_description_0\" class=\"peekaboo-text\"\u003eand 2. Under the command of André “Piruka”, the new tracks advance in polyrhythms and composed measures, with percussion arrangements that mix conceptions of Sabar, Mandeng music and Candomblé Ketu and Nagô, and melodies that maintain proximity to funk, jazz and afro -beat. The name and concept of the album comes from the Pan African movement, an important socio-political-cultural movement. With a unique artistic proposal, working together with great masters from different countries, thinking traditional with modern, Höröyá’s music pleases a wide audience and the group consolidates itself as a recognized and necessary band in the Brazilian music scene. \u003c\/span\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"fusion-text fusion-text-1\" style=\"--awb-font-size: 30px; --awb-text-color: var(--awb-custom14); --awb-text-font-family: 'Alpaca'; --awb-text-font-style: normal; --awb-text-font-weight: 400;\"\u003e\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eAfrobeat was in vogue some years ago. Everyone was looking at Africa for inspiration especially in the music and words of Fela Kuti, the great Nigerian musician who fathered Afrobeat from West Africa’s Highlife and the Afro-American funk that he encountered after being in contact with the Black Panthers in the US. In the West, the independent music scene was in crisis, and Afrobeat seemed to offer a good opportunity to redeem Western musicians who, before an empty and depoliticized present, thought that ‘becoming Africans’ could gave them a surplus much needed in the industry. The great drummer and composer of Africa ’70, Tony Allen began touring around, appearing in every festival in the West, and collaborating in every new record made. Some bands began to include musicians from the African diaspora who were used to legitimize the bands as a colorful extra and helped to authenticate rhythms and lyrics. Afrobeat was everywhere. It came from the West and reclaimed some glorious past lost in the ‘darkness’ of African history. In countries like Brazil, but also in the US, Afrobeat served for the (white) elites to discovered the African heritage without having to feel uncomfortable about it. It is a very strange thing if we consider that Brazil has the second largest black population in the world. Somehow, in a twisted rework of the Hegelian Master-Slave dialectic addressed by Frantz Fanon, the West acknowledged so its dependence on the African musical tradition without acknowledging Africa’s independence from its world view.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003ca href=\"https:\/\/www.tdrgo.co\/tdr12\"\u003eExcerpt from Gri Gri Bá edited by Dj Dr.Sócrates\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\" class=\"tralbumData tralbum-about\"\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/yWt5sYCTC1A?si=-Ev0CUnNaeHYGAt9\" height=\"315\" width=\"560\"\u003e\u003c\/iframe\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" style=\"text-align: justify;\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" style=\"text-align: justify;\"\u003e\n\u003ch5\u003eDisclaimer: The images shown are for illustration and mock-up purposes only and may not be an exact representation of the product.\u003c\/h5\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" style=\"text-align: left;\"\u003e\u003cbr\u003e\u003c\/div\u003e","brand":"Tropical Diaspora Records®","offers":[{"title":"Default Title","offer_id":45029774983436,"sku":"TDR045","price":45.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0536\/8063\/6098\/files\/Cover_TDR045_Front_Sticker_Mockup_2000x_v1_cc099df7-2c0c-49b1-93cd-b5b0efffb4a1.png?v=1776685729"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0536\/8063\/6098\/collections\/feat_artist_HOROYA_001_3b6bf49c-8ec7-43ec-a93b-378f0ee8928f.jpg?v=1776781928","url":"https:\/\/www.tdrgo.co\/fr\/collections\/horoya.oembed","provider":"Tropical Diaspora Records®","version":"1.0","type":"link"}