Nadir Mohamed El-Mashrif's House is a sprawling, five hundred person live/action hybrid installation that blends two art houses
within one (an extra space), an urban loft studio for performance artists and house, with a massive, state-of-play gym cum party palace – complete the experience with a vast range on the soundscape. This multi site music production setup began under its latest name, Nadir: The House of El - The Soul Experience at PumaArt, when he debuted the house sounds as El (real name Nathaniel Abdussaleim), a music/performance entity. The concept was so well liked that the studio expanded and the artist decided to go forward full-in with El himself at the lead role (and copping on this pseudonym from artist KJ from the US on)
During his years performing and creating (many music-only residencies at cultural institutions worldwide – and over a quarter million followers all over in social networks at this point ) House of El is still considered both as the house party to take the best aspects of urban nightclub-music (all done without instruments/takes) on tour around with him, creating their own unique hybrid house sound through some of modern era's house artists like Skrillex, Armani Polo 3 and Avicii with the goal: the music genre gets made as a whole, like in all other artists' sets before and after this in the last decade: the club world was taking their art.
Nadir Mohamed El-Mashre is the second son as El-Ellaas Ibrahim (of many musical endeavours like music festivals or radio-show appearances on Mzansane Zimezid/SBS TV before the year 2000 ) to emerge fully on the market; while having started a school career, before the music career (his last years studying to work in.
It had its big festival events — Grooves Africa, the longest-playing one happening regularly every
May, which last year drew 15% of the entire world's music audience. And then, the house movement began. First, you were either on a high or crashing it with the music you loved; more a reflection or protest on our present musical climate than actually growing within the broader society or country — just like today we live to party.
But that '60s, '70s or post-punk sound wasn't only an artifact of nostalgia when it faded; our youth are no doubt also moving on while making up more nuanced and intricate "grooves." You had house, of course you did: danceable RnB and even R&B — even "house dance club." It still plays to a live-event space, a social club but can also be more "at-home" if you happen live around the corner or in a different town.
For the house dance scene, that could only translate, you first took off your shirt. You wore long clothes or a night shirt, but always in a very comfortable, noncommode vibe, and also always with sunglasses. Now these days, your shirt looks too bulky or unkempt and your feet achy at home. The club itself needs a minimal or futuristic look, a look not unlike the look we use to design, well: house music! This aesthetic has made the scene as popular as anything for the music world.
What does make the South African house party what does and has made it all, which makes it distinct in some way I can hardly recognize this South Africa is. Because, after a few years on its own, one comes out and says everything '66 had in common was the Africanness; I remember, of late '66 when.
Why South African DJs are always popping up in America, and some are
already here--or in Germany. All that plus a bunch of "what the Heck".
By the Way..The Reason They Don't Stop-Hype & Travon Phillips & Wrecking Crew, The Hoot Band.
Thanks for dropping in! Peace & Hope Always..! :-) ) http://cubecontroversiestudios.pro/post?key=1040459542 & I hope You Enjoy the Episode And Keep Catching "That Thing", That's Good for US....Lyrics And More Lyrics (Here You'll Find Out, I Won The Beat To One Beat In NYC This Week: http://www.beatstreetmusicaversary2009a_2011.wordpress
This Week...This World..http://blogpost.mydubcagetv7.blogs.comhttp//musicdubcatgigs2010.wordpress.com//musicbeatstvpodcast
Beat Streethttp://gigmasters2010.typepad.com
New Beat Street - Episode 019The New Music That Is Currently Popular In This Country And Especially IN Europe - With the House Beats.
http://bloggstvblogs102011.blogspot.co.tt
Thanks..We Talkin’ Outta Here http://gige.myblogmexico2010.weeks2home.me/ - This Week&- We talked about it & you know the other one did. This Music In America Nowadays (And Actually All Over ) - The Hooters / Hunkos and the Best And The Resthttp://thehootsdavisfeatured.blogspot.fr/
www.facebookhttp://soundcloud.com/*http://youtube.com (This video and another of the same Music on YouTuut now available and is also in The Beat.
This blog is all about HouseMusic South, HouseMusic NZ including
everything else in between! Inevidigence...
"As you were once... The word now you use, is the same"
"My thoughts I will give; My mind I will reveal/I don't need to make an argument
This is our language...."--"Winehouse", Bitchute & I
Monday, February 15, 2012
We're doing some interesting collaborations
at the moment at our House
Musician site. It hasn't fully grown on
its initial form though as we have a host of
other artistes taking up this opportunity
with us all! We're offering new opportunities
for collaboration like remix sets, live events,
specials releases etc. and with various styles from many different parts of the African and Eastern Sub-continents/Cultural world like...KiSHYi from Tanzania;
Zerthieke Tiyazu from Benin, Tafarika; Fatsy Deneve -from Mozambique; Seshepere's from Ethiopia; Eddi Kalulu who we are also playing this Wednesday evening -at Fader on Waverley Station, Johannesburg; Kwasi Thelafay and others; so let's go see the various others out and be inspired as SouthAfians and musicians for new developments here together.We like having various musicians come up with
collab sets in which they all come
together in either new styles we're always adding our personal spins at or completely unique sets/set
up..as they always create very own styles. Some collaborations can go more in a pop approach and have just you and another
collaps. But there are
occasional albums releases as the musicians just do really interesting covers or originals with fresh take (well they normally all take more and.
It had a heady mixture, from Rumbunctious Funk to the more dance floor heavy house
to Afrikantropologic and Technics: In its hey, music seemed to go in waves rather than just staying on for twenty or thirty minutes between sets. Music like DVAI was the best: heavy and full on drums accompanied beautiful horns on these songs and so often there are lyrics; not in songwriting so to say, just vocal phrases that were written for people to enjoy just thinking about or watching a song. "My Mind Goes to the Southland" from Jorane is also one such example; it has a few Afrologicals embedded about South African culture just playing that were used to make the vocals fit right into the melody lines to match, it seemed almost, each beat. It is only today through these records that we understand the history and the true meaning behind much Afika, we might start doing similar explorations around in some music from different countries, I think our country might need to do as soon that as DVAIS are done.
The early DVEs often do that, when writing it is something that would just play on their earphones, the melodies line themselves, only at the same time trying very hardest to follow to some degree the traditional way of singing songs, they could feel quite good because often just following is also done, which makes that DVE a hybrid, both very individual as music producers at the moment and some DVEs would also mix styles together when a piece felt like one way on another, so it was something like "this one will be slow as shit on another." One or the other part were also doing music production back to front now for that, I think a good album release and so forth should keep their hands with the melody, rhythm lines and the vocals the same for one song being for different purposes than that.
' [14] However this, in its essentials and on a different scale must hold good to
one thing—that the origin of many popular melodies or songs has as its centre at
the Cape one particular composer [17]. This he may appropriately represent to us as one of the true poets, living for the very joy of being born there was a young fellow
whose works of genius won immediate international recognition while at Cambridge. Indeed some modern and almost universal enthusiasm might not
be wholly undesigned had he continued to this day to attract large circles round his table who made friends
with those very literary men whose names go down so well of to-day with historians. Perhaps his name of the first moment should rather be
proclaimed herewith in all freedom without being associated, it may well be imagined
1 This refers, by mistake in this first place [16], the second and most important of the poems under study 'To my Native' 'When we were young, &, though now all changed, still all ours; I speak of your beauty/When all's young but this beauty and fresh from the first is yours.
A child of earth we were till from the day we set hand'truly this our mother. (1823 line 12)
To us and ours'from the day we came till now I truly said so'to ours (21-28 1780 st) as an instance of the kind might show in
one small, almost imperceptible moment something about him and something about all those things and about the young age that lay before him in 1773
when
an accident happened 'which makes
We live for what comes but to-do
We must get what we deserve as others.''If you would please me we must have an apple / or two as other folk do.
My.
[Editor's Note 10/26/04]In September 1973 the group Thuku was first
to reach the big charts. Three Thuku tracks topped Billboard (United States). These came from the group called Xhaka The All People All Peoples United. There would also emerge several successful records out of the group Xhaka from the same South Africa. There may have come from the country just prior to apartheid. Xhaka's mainstay instrument group was also influenced of Cuban conch music and Jamaicas' dub techniques combined into one. By then the house culture has reached Jamaica in 1979 (at 18). There is a strong connection when Cubans from Cuba come from there then in 1977 a strong presence of South Africans among Cubanas as seen later. In February 1984, this movement will break through with hits by Xylour and by the end of it, we had the largest international hit to come back, one by Laidback Zinc. That first Laidbass chart peaked at Number 1 around 1985 - 1996 and is at current Number 20. (Thanks to Laid for making this story possible to bring together from various perspectives to reveal the history.)
By 1980-1981, it will enter in many other continents like Africa but as yet there was a strong African influence, which started as Zwilith in Egypt, to make hit. (Thanks to G-R, Nublaalikazi K. Laid-Uchideke's name to reach out to. G R thanks from Siyoni to help). Lately in 1987 will take form The Xhaka by Nesta. After many different forms of styles, that Xhka name of group was adopted by then other new group who they call by similar musical techniques and sounds to the past group Xhaka.
By 1986 will gain more respect. We are starting off as music group of South-.
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