Namibia's foremost a cappella group, VM6, will present a live show in the NTN tomorrow evening promising to be one of the highlights on the country's musical calendar this year.

South African jazz is poised to take a Giant Step forward when internationally-renowned pianist, composer and band leader, Abdullah Ibrahim, performs with the newly created

DJs Fresh and Euphonik have embraced the Internet to create an online radio station that is accessible in your home and on..

The EKS-9 is a special-purpose VST / AU software synthesizer, designed to recreate the sound of analog electronic kickdrum sounds

Ringo Madlingozi will steal the hearts of the expectant crowd at the Oude Meester Ekurhuleni Comes Alive Jazz Evening on Friday

The annual Grahamstown National Arts Festival is on track this year and the organisers have announced that all the projects will go ahead

Alicia Keys does not disappoint with the highly-anticipated release of 'Elements of Freedom'.

Life design’, the second single from the platinum selling ‘Stardust Galaxies’ has been added to MTV Europe’s rotation playlist

Manro Villanueva and Victoria Jaiani dance the Joffrey Ballet's production of Sir Frederick Ashton's "Cinderella." Courtesy of Herbert Migdoll Megan Quiroz alternates in the role of "Cinderella," presented by the Joffrey Ballet at the Auditorium Theatre of Roosevelt University in Chicago.

"Music was not meant to be boxed; it's one amazing melting pot of emotion and creativity." These are the words of the talented female vocalist, Black Porcelain.

DJs Fresh and Euphonik have joined forces to take the South African music industry to the next level.

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Ashland Community and Technical College will present the Children's Theatre musical, Willy Wonka Jr., Feb.

MORE than 30 years after receiving its first full public performance at the Three Choirs Festival in Worcester, the internationally renowned a African Sanctusa concert is returning to the county for a performance at Malvern St James school.

A South African Afrikaans rap group has taken the Internet by storm with explicit in-your-face lyrics, provocative performances and using cyberspace to promote their music

Knowing that I might feel a bit down when I exited, a friend and I checked out a panel last week hosted by The Nation magazine on Manhattan’s Upper West Side. A few great reporters and writers discussed and argued a bit about the distressing condition that we now find America’s newsrooms to be in (see “The Death & Life of Great American Newspapers,” March 18, 2009). I left thinking about the confusing digital landscape, the towns that will someday soon be without a daily newspaper, and the idea that a lot more work and dialogue is going to have to be put into an area that is wrought with problems, that is not just in shambles because of the Web. This was ironically enough to steer me away from my weekly magazine indulgence and to update this bloody thing. Subscribe via email on your right, and check out what’s been scoring my commutes of late — downloads and details below.

Before I’d heard the sixth volume of Asthmatic Kitty’s Library Catalog Music Series, I imagined it difficult to think of an actual occasion where I’d pull any of the other installments off the shelf to listen to. Don’t get me wrong; in whole, there’s a distinctive effort on the part of the musicians here to recreate library music, which is defined as production music created specifically for a film, for TV or radio, where the composer’s permission isn’t required for the music library to license out the pieces for a producer to use. In a typically well-researched piece for Wax Poetics (buy here), music supervisor/avid library collector David Hollander notes that “most library music is virtually unlistenable, and the gems are few and far between.” Were he discussing the new library music school, Seattle’s Yuuki Matthews’(Crystal Skulls) contribution might qualify as the latter. His Music For Savage Tropical Imagery is dizzying, with warbling synths and muted programmed beats. Even the guitars do nothing to disrupt the haze here; “Em’s Dream” and “Conquerors” are a lot like Boards of Canada, or like a lo-fi Ricardo Tobar. Matthews’ experiments are short and sweet — most of the pieces here represent an inspired instrumental meeting ground for non-linear techno and subdued guitar work. Some of it is fit for car chases, but mostly it’s just good listenin’ music. My Secret Playlist has a peek into what Matthews is digging these days, and get “Conquerors” here.

On new label Surefire Sounds’ first release (2/15/10), San Francisco producer Eprom deals some gritty beats that land on the techno side of dubstep — his “Never” fires up with slow-cooking synths, weighty bass grumbles, and vocal clips that swirl in from all directions. With all of the auxiliary percussion and fluctuating melodies, “Never” takes off much like Falty DL’s recent works have, and it just so happens that Eprom snagged him for a haunting albeit short remix on the B-side, GZA samples and all. Get Eprom’s 2009 promo mix here.

The first volume of the forthcoming Next Stop…Soweto series from Strut digs into late 60s and 70s “township jive sounds” of the South African region for an absolutely beautiful collection of music. These Township Sounds from the Golden Age of Mbaqanga stirred the locals a mere few years ahead of the bloody uprising that pinned schoolchildren against the white South African government’s racist apartheid policy as well as their trigger happy police force (“Soweto 1976,” July 14, 2006). The comp represents a blend of funk, pop, and a number of other styles, both vocal and instrumental, that seem to have but a few things in common aesthetically, although they’re all jubilant, with densely woven choral accompaniment, brass, and guitars that emit mostly really tinny tones. For a series of tracks that appeared on scarce 45s, they sound lovely. Get “Kuya Hanjwa” from S. Piliso & His Super Seven here — mind the pop-up ads and such.

Dear Editor: Bela Fleck is to be congratulated for bringing into the mainstream more great African music.

Nigerians have always been lovers of music and entertainment in general. Years ago when the late Osita Osadebe, late Oliver D'Coque, Oriental Brothers, Victor Uwaifo and Fatai Rolling Dollars to mention a few, hit the music scene with tunes then called highlife it was readily accepted by music lovers across the country and even beyond.

A popular juju musician at Odo-Ona in the Apata area of Ibadan, Wole Ayoola (a.k.a Wireless), was on Thursday night, electrocuted in the process of switching over power supply from his generating set to that of the Power Holding Company of Nigeria (PHCN), thus throwing the entire neighbourhood into mourning.

It was a mixture of tension and jubilation at the Federal High Court, Ikoyi Lagos on Monday, February 1, as gaily dressed Nigerian artistes and other music industry stakeholders stormed the court with colourful placards and a firm resolve. They had come to court to witness the historic arraignment of a suspect alleged to be one of the kingpins of music and video piracy in the nation.