Buy anything from the World Music store and you can get the official CD from the Songlines Music Awards 2013 for just £1.99. Offer ends at 23:59 on Sunday, June 30. Learn more.
Buy anything from the World Music store and you can get the official CD from the Songlines Music Awards 2013 for just £1.99. Offer ends at 23:59 on Sunday, June 30. Learn more. |
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4 of 4 people found the following review helpful
By A Customer
Format:Audio CD
Recorded in 1991, Kabu ("Sacred Rock") introduces you to one of the worlds outstanding voices, Aster Aweke. Modern Ethiopian music, with its lolapping gait,drive, and wholly modern studio production - recorded in South London and the US. But that voice, that voice ,in the world class of Oumou Sangare,it has the power and spine tingling emotion,even if you don't happen to be fluent in Ethiopian. Other albums from Aster- "Ebo" (1993) and "Hagere" (1999) are available once you get the taste. If you are open to crossing language and musical boundaries, there are rewards here a-plenty!
Format:Audio CD
The statuesque Aster Aweke, who physically if not musically resembles Grace Jones, really shines on this, her second album the title of which means Sacred Stones. She's backed by a sensitive ensemble of London jazzmen that does full justice to her unusual voice and spectacular delivery.
While the rhythms range from complex Ethiopian styles to smooth jazz-funk, Aster's voice displays a remarkable variety of modalities, from yearning to rapturous and from coaxing to celebratory.
The album opens with Yedi Gosh (My Guy), a sensual uptempo number where Aweke's voice quivers and swoops to be interrupted at times by interludes of whistling and melodic purring.
The second track Yaz-oh (Get It On) is a steadily pounding dance ditty calling for a remix, whilst the title track is a brooding ballad where her voice soars and plummets from on high to below sea level, yet remains understated with a sort of quiet intensity.
The bouncy Kezira includes yodeling as her voice runs up and down the scales in an impressively swirling intonation. Bati is again a slow number, and Chewata (Romance) is almost reminiscent of Laurie Anderson in its devotional dirge-like power over an entrancing drum pattern and with a particularly impressive acoustic base and dramatic finger-clicks.
The songs - a mix of traditional Amharic tunes and Aweke's own compositions - are highly distinctive and in a class of African music quite unlike anything else.
While the rhythms range from complex Ethiopian styles to smooth jazz-funk, Aster's voice displays a remarkable variety of modalities, from yearning to rapturous and from coaxing to celebratory.
The album opens with Yedi Gosh (My Guy), a sensual uptempo number where Aweke's voice quivers and swoops to be interrupted at times by interludes of whistling and melodic purring.
The second track Yaz-oh (Get It On) is a steadily pounding dance ditty calling for a remix, whilst the title track is a brooding ballad where her voice soars and plummets from on high to below sea level, yet remains understated with a sort of quiet intensity.
The bouncy Kezira includes yodeling as her voice runs up and down the scales in an impressively swirling intonation. Bati is again a slow number, and Chewata (Romance) is almost reminiscent of Laurie Anderson in its devotional dirge-like power over an entrancing drum pattern and with a particularly impressive acoustic base and dramatic finger-clicks.
The songs - a mix of traditional Amharic tunes and Aweke's own compositions - are highly distinctive and in a class of African music quite unlike anything else.
Format:Audio CD
The statuesque Aster Aweke, who physically if not musically resembles Grace Jones, really shines on this, her second album the title of which means Sacred Stones. She's backed by a sensitive ensemble of London jazzmen that does full justice to her unusual voice and spectacular delivery.
While the rhythms range from complex Ethiopian styles to smooth jazz-funk, Aster's voice displays a remarkable variety of modalities, from yearning to rapturous and from coaxing to celebratory.
The album opens with Yedi Gosh (My Guy), a sensual uptempo number where Aweke's voice quivers and swoops to be interrupted at times by interludes of whistling and melodic purring.
The second track Yaz-oh (Get It On) is a steadily pounding dance ditty calling for a remix, whilst the title track is a brooding ballad where her voice soars and plummets from on high to below sea level, yet remains understated with a sort of quiet intensity.
The bouncy Kezira includes yodeling as her voice runs up and down the scales in an impressively swirling intonation. Bati is again a slow number, and Chewata (Romance) is almost reminiscent of Laurie Anderson in its devotional dirge-like power over an entrancing drum pattern and with a particularly impressive acoustic base and dramatic finger-clicks.
The songs - a mix of traditional Amharic tunes and Aweke's own compositions - are highly distinctive and in a class of African music quite unlike anything else.
While the rhythms range from complex Ethiopian styles to smooth jazz-funk, Aster's voice displays a remarkable variety of modalities, from yearning to rapturous and from coaxing to celebratory.
The album opens with Yedi Gosh (My Guy), a sensual uptempo number where Aweke's voice quivers and swoops to be interrupted at times by interludes of whistling and melodic purring.
The second track Yaz-oh (Get It On) is a steadily pounding dance ditty calling for a remix, whilst the title track is a brooding ballad where her voice soars and plummets from on high to below sea level, yet remains understated with a sort of quiet intensity.
The bouncy Kezira includes yodeling as her voice runs up and down the scales in an impressively swirling intonation. Bati is again a slow number, and Chewata (Romance) is almost reminiscent of Laurie Anderson in its devotional dirge-like power over an entrancing drum pattern and with a particularly impressive acoustic base and dramatic finger-clicks.
The songs - a mix of traditional Amharic tunes and Aweke's own compositions - are highly distinctive and in a class of African music quite unlike anything else.
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