Since the release of their last work, Huellas, the members of Zulú 9.30 have been ruminating over diverse concerns, concerns about certain musical classifications and labels, and the influence of these on their audiences and the media… Concerns about their interpretations, their creations and the possibility of playing with these and letting others play with them as well.

Remixes is the result, not of the concerns ruminating in their heads, but of getting down to work, playfully improvising and allowing their music to be played with…

In this way, Reggae, Latin music and Rumba, interpreted by Zulú 9.30, meets Funk, drum’ n’ bass, House and Dub that rises from the hands and heads of some dozen European DJs that are admired by Zulú 9.30, yielding new interpretations of some of the songs they cut on their first two albums that can be heard in new spaces, opening new ground for investigation and leaving doors open for a promising future.

Zulú 9.30 has become an international name and these remixes are surely a step forward in this direction. DJ Tillo, Mad Professor, DJ Click, Dj Floro & Ale Costa, Dj Panko, Russ Jones and Gaetano Fabri, are some of the artists that have decided to accompany the group along this road, creating in the mix a quality album that leaves us anxiously waiting for the third original work from Zulú 9.30.

S Curro definitely has a malevolent plan, the fruit of a pact with the devil that allows him to sustain his high level of creativity despite the fact that 4 out of 7 days he is losing large quantities of neurons. We say he has an evil plan, because we get the impression he is planning to elevate the number of suicides in our country to the level of those in Scandinavia.

If not, then we don’t understand why he would release something like Distorsión.

A disc that combines dark, suffocating moods like a pile of dead bodies with exultant moments like a sunny morning in Bilbao. In Distorsión the euphoria, the vice and the melancholy is the platform for jumping together onto the tracks in front of a speeding Metro.

Perhaps he is trying to infect us with this growing air of decadence? Then what a son of a bitch. Because he is successful and we revel in it. S Curro has made a dangerous, dense, acrid, unpalatable disc that resembles reinforced cement soup, but he accompanies it with a type of hallucinogen that makes it seem refreshing to our palate.

To protect your health we recommend that you do not try it, however our warning will most likely be ignored and what is worse…you will want to repeat it.

But to hell with it! Since when have they been concerned for your health in Mogra? Another thing is Kasba Music, but most likely they have been tricked. Or allowed them selves to be fooled?

The new work from La Familia Rustika goes by the name Sin Rumba Fija, by now a departure from their way of deftly navigating the harbour in a small boat with harmonies and lyrics, and moving on to higher seas churned up by salsa, bossa, tango and funk, until they have reached the ears of those listening and provoked just what their songs intend… to make us feel. And dance.

Created in 2002 and with two discs and an EP to their name, which they self produced (“Ya llegó…!”—2005, “Ya se fue…”—2006 and “Ep!” —2007), this, their first official album is without a doubt a disc bathed in the Mediterranean. Its mature lyrics are the namesake of the style adopted by the group, Rumba Adúltera (Adulterous Rumba), a play on words reflecting their tendency, on the one hand, to be intimately united to this rhythm, but also in step with others and other diverse styles, and on the other, the weight of lyrics that depart from the canon in order to explore experiences and feelings that are common, but uniquely manifested by the coarse, nocturnal style of Dani Txarnegö, the composer.

Many friends of the band have left their mark on the 14 themes on this disc: Wagner Pâ, from Brazuca Matraca (on “Tu ranita encantada”), the accordion and voice of Joan Garriga, from La Troba Kung Fú (on “Porteño de Barcelona”), the Flamenco singing and beat of Kike Jaleito, from Jaleo Real (on “Si me lo pidieras”), the characteristic voices of Josele Sangüesa and Carlos “Payo Yeyé”, respectively from Caníbala and El Tío Carlos, (on “Memorias”), the feminine voices of Mamen Cases, from Tenguerengue (on “El Ego Azul”), and of Rita el Jebari (on “Madrugada”), the Cuban tres of Orbe Ortiz, from Radio Malanga and Dusminguet (on “Haciendo Glüh”), the percussionist Flor Inza, from La Troba Kung Fú (on “Madrugada” and “Tu ranita encantada”), along with the trombone of Albert Costa and the sax of Victor Bauzá (Always Drinking Marxing Band), and the razor sharp trumpet of  Marçal Muñoz (Arangu), not to forget the palms and priceless jaleo of Vicente and Fabio.

Microguagua es la nueva apuesta de Kasba Music, que de nuevo da formato a la música que se crea e interpreta en las calles del centro urbano barcelonés.

"Barrio Santo" es un disco de reggae, sin lugar a dudas uno de los estilos más internacionales de música urbana, y sale a la venta tras decenas de ensayos frente al público en Portal de l’Àngel, Plaça Catalunya o Les Rambles, ensayos durante los cuales el grupo se nutre de la energía del espontaneo público de la calle y durante los cuales aprovecha también para vender bastantes centenares de copias de su primer disco autoproducido “Rootside”.

Si “Rootside” era un disco acústico, fiel reflejo de lo que el grupo interpretaba en la calle, “Barrio Santo” es, por fín, el disco eléctrico de Microguagua, y es que Microguagua ha ido creciendo, en la medida que las restrictivas leyes barcelonesas para la música en la calle permiten, para ir electrificando sus actuaciones y ofrecer este reggae cálido, con guiños al dub, que encontramos en “Barrio Santo”, disco que de nuevo ha sido autoproducido por el propio grupo.

La grabación la realizaron en La Atlántida Estudio Mario Patiño y en Gomma Studio Francesco Casatta, siendo Yves Roussel, habitual de las producciones de Kasba Music, quien masterizó el trabajo en Hitmakers Mastering Studio. Entre las colaboraciones encontramos a Leo de Che Sudaka o a Cico de Congo de la banda italiana Aretuska, y, además de las nueve canciones originales que incluye el CD, se pueden escuchar dos remezclas realizadas por “Papa Andy” Morello y Rude Hi-fi y visionar el videoclip realizado por Barbara Echevarría sobre el tema “Il grande sogno”.

Microguagua son:
Francesco Casatta: guitarra y voz
Luis “Coti” Raffatella: bajo
Mariano “Gaucho” De Ritis: guitarra
Tomas Feres: bateria
Oscar Frutos: trombón
Sebastián González: trompeta

In October 2009, CHE SUDAKA are set to release their new album TUDO É POSSIBLE. A fitting title: after seven years of non-stop tours and more than 700 concerts in 17 countries, these five Argentinean and Columbian musicians have earned the appreciation and respect of audiences and the industry. And they all agree that theirs is one of the most energetic, most emphatic and craziest live shows on the national and international scene.

CHE SUDAKA started out as illegal immigrants who had to play on Barcelona’s streets in order to eat. Now they’ve carved out their niche on the European scene, with regular appearances at top international festivals, and with fans all over the world - TUDO É POSSIBLE!

Once again, CHE SUDAKA decided to record in their own studio, with the redoubtable participation of GAMBEAT (bass player with Radio Bemba) whose contribution as producer has definitely raised the bar on the sound quality and composition of this fourth album. And they are releasing it under their own, brand-new record label CAVERNICOLA-RECORDS in co-production with Kasba Music.