Banzé is a Brazilian term which is used with protest, they say Banzé to cause a riot, to cause a scene, to be fierce, an uprising from what is going on right now in the country.
Leopold Nunan aka Leo From Rio is a creative artist who has devoted his life to his passion for the arts, and now is his time to shine. This summer Leopold will bring the dance to you with his debut official release ‘Banzé’ via Wile Out with support of subversive digilabel Latino Resiste
‘Banzé’ is a homage to Brazil and all it’s beauty and grandiosity, which will be officially premiered at the legendary ‘Long Beach Pride’ festival Saturday May the 18th, that Leopold will be headlining the Dance stage.
From Rio with love, Leopold Nunan brings us his debut single release which features Samba legend ‘Beto Brown’ called ‘Banzé’ off his soon to be releases EP via Global Club Music label ‘Wile Out’ on May the 18th.
The single is a global dance track which brings all the elements of Brazilian culture from all over the country, sampling a native Brazilian flute, favela funk Tamborzão, lots of Beat-box vocals, Miami Bass breakbeat and some Samba percussion to bring together a song of strength and unity for all to enjoy on the dance floor.
Banzé is a homage to the beauty and charm of the Brazilian people and its culture as well as the mesmerizing Copacabana beach. Leopold wants to unite us all and say that we are all in this together no matter what we say or do, this is our right to live the way we are, you cannot change who we are.
This is LR’s FREE DOWNLOAD
About the video
Banzé is the vision of Leopold Nunan, together with Emmy Nominee Billy Clift they developed a visual masterpiece that touches on the subject of what’s going on right now in Brazil, with the current right wing political takeover. It is inspired on a real Los Angeles character ‘Morena Santos’ a political activist who uses her talent as a samba dancer to empower women from all over the world.
The music video takes place in two countries USA and Brazil. We chose to use Copacabana beach and the famous sinuous black and white stoned boardwalk as the setting in Brazil, and in the United States we chose to use “East Jesus” located in Slab City or “The Slabs” which is known as the lay free place in the US as the backdrop to give the feeling that we are lost in this lawless land filled with sculptures, abandoned cars, old military plane, all in an open yard gallery.
In this music video Leo pays homage to the native americans of Brazil, also honored to announce the presence of Inuia Kamaiura Amaru from Xingu, a Brazilian native tribe member from Mato Grosso. He is the focus of the video with the flute sounds symbolising unity!
We want to raise awareness about the oppression going on with this minority group of natives, so that their voice can be heard, the Brazilian native people are suffering a lot under the current right wing Brazilian president.
Art for Leopold is a platform where he can express himself, it is an escape for him, it is his way to scream, it is his outlet to bring joy to all.
Sociedade Recreativa- Sociativa
Fusion of Brazilian ancestral rhythms and Afro-futuristic beats
Sociedade Recreativa is the unexpected encounter between the troubadours of Forro de Rebeca and the ambassador of Global Beats Maga Bo. After conquering the charts and receiving international commend from the critics for their debut album (Télérama, Songlines, Les Inrocks,…), this outstanding transatlantic project emerged as a strong live act performance touring widely in Brazil and Europe.
The experience of live music brings to life a second album, more calibrated for the dancefloor. Those 10 tracks reveals an unsuspected sonic territory where the sophistication of traditional music combines with the might of urban cultures like hip-hop, dub or Bass Music. Afro-Brazilian incantations supported by futuristic beats, samba tunes diverted with overpowering bass, amplified Native American rituals based on digital effects, “Sociativa” demonstrates once again the ability of the group to magnify the tradition by the electronic.
In a mixed and politically threatened Brazil, Sociedade Recreativa’s artistic approach is an act of resistance. The group appears as a sort of Quilombo that preserves Brazilian traditions by transposing them in the near future. A snub to the racist and belligerent speech of the current president, who displays an undisguised contempt for Afro-descendant and Native American cultures.
PCNVZ_ Back to the Jungle
New Jungle Terror track to goes to the roots of the style
Even though it began like in 2012 jungle terror as a genre conceived by WiWek. We must admit that back in time, it was a miracle, being such a particular and unusual kind of EDM.
Junior Ponce aka PNCVZ, a super prolific Venezuelan producer who would make himself a name in the electro-house/jungle terror community later on.
Like many others he moved into newer territories; However , PNCVZ has decided to go back to the jungle with this flames.
Coming to the instrumental, the opulent amount of offbeat and experimental groove enhances the rhythm without losing energy. Taking hints from the Dutch and Dark House music style, PNCVZ loves swirling elements which together form a dynamic backdrop. Furthermore, synths licks get added in the equation for even more catchiness, working along the other components harmoniously. The breakdown sweeps in with predator-like heaviness, which fits aptly with the groove.
Can’t skip the fact swanky male vocal joins the league, embedding liveliness to the pattern. Without further delay, the drop takes over with snazzy-ness.
Available on SOUNDCLOUD
GRAB IT on BANDCAMP
La Bruja de Texcoco- De Brujas Peteneras Y Chachalacas
One of the hidden jewels in Mexican music goes by the name BRUJA
Dressed in Make up, sweat and popular Mexican symbols extracted from Catholicism comes before us La Bruja de Texcoco, sweat and popular Mexican symbols extracted from Catholicism comes before us La Bruja de Texcoco. BRUJA, as she likes to be called, was born, so to speak, twice: The first one more than 30 years ago when she was born by her mother and the second one seven years ago in the middle of a party in Texcoco where she was hired to play music.
Upon arriving at the party a shaman approached her and said: “I was waiting for you, you are one of my witches”.
The statement of the healer disconcerted her but she took the event as a hazardous event and continued with her work.
However, the course of things changed when one of the people attending the party began to suffer what seemed like a seizure.”A girl began to convulse, then the chaman asked for holy water and a joint. Then the chaman/healer told me: ‘You have to do something, for that you came’.
And I like that: Do not mom, I do not know anything about this! I did not know what to do, and what occurred to me was to play; as I also work singing in masses, because I started to play a catholic song with the violin and my compas musicians started to accompany me and started to sing. According to the shaman, that healed the girl.
“Yo soy la bruja de Texcoco y no eres bienvenido aquí”, I am Texcoco Witch and you ain’t welcome here she shouted while singing ..and just like that the legend/artist was born.
Months later her AMAZING debut EP is right here.. .
Opening huapango “Té de Malvón” features cheerful, recuperative violins accompanying a poem written by Nahuatl poet Mardonio Carballo, and an ode to a geranium tea that saved La Bruja’s voice from a post-breakup muteness. On “Laabe Muxhe,” every instrument—viola, violin, violoncello, and harp—is played by La Bruja. The song is based on a son istmeño, a music genre originating from the Isthmus of Tehuantepec region, by the composer Santiago Bernal, and sung in the indigenous Zapotec language. It’s sung from the perspective of a beautiful muxhe who shares secrets and dances on forgotten nights—it seems to be a song made for La Bruja.
“Suite Aquelarre” is built on chamber music, flutes, and a rather baroque décima, a 10-verse form popular in traditional Mexican music, here used to tell of growing certainties; “And if I die, bury me in a women’s dress.” De Brujas Peteneras y Chachalacas closes on the sad, freeform jazz horn of “Nahual Papalotl” and its Babylon outerlude of dialogue, which La Bruja refers to as her manifesto. Its snippets are meant to be felt: “The end of the party”; “I was able to change the wind”; “This is why you’re here”; “Everything that happened before, during, and after.”
Available on Bandcamp
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