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Showing posts with label dance music. Show all posts
Showing posts with label dance music. Show all posts

Saturday, April 30, 2016

Invisible System - Street Clan [2011] [eng]




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Invisible System - Street Clan




       Invisible System return with another highly original eclectic fusion album. Following their internationally acclaimed and Songlines World Music Awards Best Newcomer Nominated CD Punt (Made in Ethiopia), Street Clan is named after some graffiti Dan Harper found in Mali, West Africa. It is again not a pure world music album. It covers genres such as rock, dance, drum and bass, dub, reggae, Ethiopian, post-punk, kraut rock, pop, psychedelia and even this time r'n'b and dubstep.

      17 tracks take you through a real journey of shockingly original pulsating sounds that tie to Punt but sound more accomplished and distinctive in style. The album was again recorded between Ethiopia, Mali and the UK whilst Dan Harper was aid working, with the mixing finished in country. Many known guests again feature on this album including Portishead's Adrian Utley and Skip McDonald (African Head Charge, The Sugar Hill Gang, Tackhead and Little Axe.








          It’s impossible not to admire Dan Harper. Until five years ago, he was an aid worker in Ethiopia, where he not only became fascinated by the country’s remarkable music scene but built his own studio in Addis Ababa and managed to persuade leading local artists to record with him. He also invited producer and bassist Nick Page, also known as Count Dubulah, out to Ethiopia and introduced him to his musical friends; as a result, Page formed his highly successful Ethiopian fusion band Dub Colossus.

     Once he returned to England, where he now works as an unconventional music teacher in the West Country, Harper continued work on a fusion project of his own. He persuaded an impressive selection of British musicians to add their contributions to his Ethiopian recordings, and the result was the album Punt, credited to a band Harper called Invisible System. It included a remarkable cast, from the legendary Ethiopian singer Mahmoud Ahmed through to punk hero Captain Sensible, guitarist Justin Adams and Count Dubulah; the results veered from African styles to psychedelic rock, trip-hop and dub. Although this was originally something of an obscure DIY release, Harper managed to bring his work to national attention, and won impressive reviews.

        Since then, the two Ethiopian fusion experiments have continued. Dub Colossus, now a rousing live band rather than merely a studio project, have a new album of Ethio-jazz and reggae fusions, Addis Through the Looking Glass, while Invisible System have a very different second set, Street Clan.

         Once again, the album is based around recordings that Harper made in Africa – this time in Mali as well as Ethiopia – to which he adds his own guitar, bass, synth programming, percussion and production work. Then there are contributions from a new set of Western musicians, including the great American guitarist Skip McDonald, Adrian Utley (Portishead), Stuart Fisher (who has worked with Courtney Love), and members of psychedelic hippie heroes Ozric Tentacles. Then there’s Jamaican singer Dennis Wint, who Harper met in the Somerset town of Frome, where he lives and works.

        Street Clan is even more wild, frantic and unexpected than Punt, with sections that work brilliantly and tracks where Ethiopian vocals are surrounded by a blitz of thrash guitar and percussion, results ranging from exhilarating to messy. The best tracks come towards the end, where the emphasis shifts from the clash of African vocals with full-tilt Western guitars, through to more conventional dub reggae. There’s still an African edge to Teenage Lion and Broken Heart, thanks to the vocal work from Zewditu Tadesse; but Wint dominates the songs with an energy and style that makes him sound like an unlikely male answer to early Patti Smith.

      There's a huge sea change between Invisible System's debut and this sophomore outing. Where the first was definitely based around Ethiopian music, this is a much more amorphous and adventurous beast. If it needs to be defined, it's a rock -- maybe even post-rock -- album. Ethiopia is still there, and some of the music was recorded in Addis Ababa. But many of the sounds were made in England using a truly staggering range of musicians, and there's a powerful Jamaican influence at work here, too. If you need an analogy, think of the work of Adrian Sherwood, or even some PiL (in fact, "Mutant Miners" sounds like it could be have been smuggled off some fantastical PiL album). This is world music in the sense that it was made by people from different parts of the globe coming together, but its roots are in the here and now rather than in any tradition. It's challenging, adventurous, and heavily textured; the tracks were recorded live and later chopped up and mixed, although you'd never notice the joints. It might prove to be one of the finds of 2011, a real sonic adventure that speaks highly of Dan Harper, the man behind it all.

review by Chris Nickson





01 Tizita (feat. Portishead Adrian Utley, Ethiopiques)                                                       4:01  
02 Ambassel (feat. Mimi + band (after signed as Dub Colossus also))                          5:25
03 Zedanmer (feat. Eat Static, Ethiopiques)                                                       4:38
04 Bone Flaps (feat. Merv Pepler and Los Mutartis + Ethiopiques)                                3:51
05 Backyard (feat. Skip McDonald (On U Sound, LIttle Axe, Sugar Hill Gang), Dennis… 4:47
06 Skunk Funk (feat. The Ullulators)                                                                                     4:30
07 Opidervtu (feat. Eat Static, Ethiopiques)                                                                       4:26
08 Womens Love (feat. Ozric Tentacles, Rythmites, Ethiopiques, Sydney Salmon)   6:15
09 Mutant Miners (feat. Merv Pepler, Los Mutartis, Ethiopiques)               6:08
10 Live Up To Love (feat. Hilaire Chabby (Baba Maal), Dennis Wint, Ethiopiques)     3:15
11 Men Dont Cry (feat. Eat Static, Dennis Wint, Ethiopqiues)                                       2:46
12 Oumabetty (feat. Jonny / Akrilu (Mamoud Ahmed))                                                   3:13
13 Teenage Lion (feat. Ryhthmites Flash, Ethiopques,)                                               6:08
14 Broken Heart (feat. Dennis Wint, Leyikun Ethiopia)                                               3:33
15 Katabo (feat. Merv Pepler, Dennis Wint)                                                               3:45
16 Naturalisation (feat. Dennis Wint, Joie Hinton)                                                       7:57
17 Rapture (feat. Merv Pepler, Dennis Wint)                                                               3:20





Monday, December 7, 2015

Layne Tadesse - Everybody Get Up [EP] [2012] [eritrea+usa]











        Layne was born in Eritrea, located in East Africa just North of Ethiopia near the Red Sea to Neghesty Kiros and Tadesse Iassu, Layne Tadesse is no stranger to war and a desire for freedom. On his debut album a song titled “NEGESHAY” is a tribute to his mother who passed away. In Tigrinya, the African language that is LT’S native tongue, the meaning of his mothers name is Queen, and LT refers to Neghesty as the “Queen of all Queens”.

        With war between Eritrea and Ethiopia beginning shortly after Layne was born, his mother and father fled to Sudan and lived in a refugee camp for three and half years. During that time Layne was able to learn Arabic and the study of Quran religion. Shortly after that Layne, and all his siblings and parents were picked to go to America. Three days prior to flying to America Layne’s older brother Dawit decided to go back to Eritrea and joined the Armed struggle EPLF to fight the Ethiopian communist army. Without his brother Layne along with his siblings and parents landed in Philadelphia and lived there for four years before moving to Southern California. With a diploma from Colton High School and an associate degree from Chaffey Collage. Layne is a positive example turning adversity into opportunity and credits his family for his early musical interests. He grew up around many musicians and most of them family members.

         Throughout High school and collage Layne performed in plays and competed in talent shows and came across many genres of music. First group he was a member of was called Black Fugitives. Black Fugitives were a mixture of Hip-Hop and R&B. However, because he was introduced to Reggae by his family at an early age Layne soon recognized his true calling in music . By taking a piece of his experience with other genres, Layne has created a unique sound that touches the masses. Traditionally it has been a type of music suited for adults only. Many of his loyal fans believed Layne has reinvented Reggae by helping this genre of music cross the barriers that separates our youth and adults.





Layne Tadesse - Ghetto Corner



      Versatile, multitalented, flexible, diverse, are just a few words to describe Layne as an artist and a person. If you have not yet seen one of his live performance then you have missed something great. As a live performer, Layne’s presence is electric, from his trademark Acappella Intros to the last note of the show, he keeps the eyes and ears of the audience glued to the stage. Now with a loyal and always growing fan base, Layne Tadesse plans to spread positive vibes and souls stirring music to the rest of the world.




Layne Tadesse - 01 - Fly Away (3:48)
Layne Tadesse - 02 - Dance (3:49)
Layne Tadesse - 03 - The Best of Me (4:05)
Layne Tadesse - 04 - Dance Floor (4:21)
Layne Tadesse - 05 - Fly Away (DJ Spair Remix) (3:42)
Layne Tadesse - 06 - Dance Floor (DJ Mutt Aka Dr Klaw Remix) (3:08)




Friday, November 6, 2015

v.a. - Eskesta [2003] [ethiopia]



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        The Ethiopian term “Eskesta” means “Dancing shoulders.”  It is often practiced in the Northern parts of Ethiopia (Amhara group) where the indigenous tribes of Amhara, Wollo, Gondar etc. are still performing the dance of Eskesta. The motives and characteristics of the dance are often interchanged during the dance by the performers of the variety of war songs, hunting songs, Shepherd songs, love songs and work songs. The best dancer is appointed to the leader of the group and respectively the best singer.

      The eskesta dance transmits ideas, religious beliefs, historical events, ancient stories, emotions, thoughts, through a ritual of shoulder dancing and body movements performed on a certain musical background. One of the main dance motives and movements that are implemented in the ritual of performing of Eskesta are as follows: the Shepherd and his herd, religious commitment and praying (Coptic dance, Jewish roots) and as a matter of meditation.






Ethiopia Eskesta - Jaivah African Dance




       The extraordinary diversity of dances is a result of different cultures and people, often organized horizontally (grouped in space) in comparison to the European people who are vertically stratified. According to some analysis, the Ethiopian dances are not divided according to their function, but according to their uniqueness and individuality. Therefore, there are over 150 unique dance movements across Ethiopia and its regions.







       The theme of Eskesta can be described as follows – expressing certain emotions and impressions from the life through a typical body movement dating back to an Ethiopian tribe (Amhara region), performing these mainly with their heads and shoulders. These significant movements are having a great impact on the Ethiopian indigenous society as a whole. Some of the ideas and themes in this dance are actually inspired from the relations between the genders, work life and religion.

        It also is said that this dance was invented because of the snakes. Ethiopian people were often observing the “dance”/movements of the snake, shaking in the same way their neck. On the other hand, in the sphere of indigenous Ethiopian music the influence of the rattlesnake while shaking its tail (the sound it produces) has created a certain way of singing as well.

       Furthermore, other symbols and rituals that can be described are these connected with the costumes which each dancer wears. They are often made of woven cotton called “gabbi” or “netella” and painted with different colors depending on the gender of the dancer.

        Eskesta is a dance performed both from men and women with their head, neck, chest and shoulders, shaking in specific ways; the music played during the dance is often produced with the traditional Ethiopian instruments like krar, flute, drums and mesenko. The dancers sometimes sing or in some places of the dance utilize the silence in order to stress out some prevailing moments of the dance. There are however some variations depending on the areas in which this dance is performed – Wollo, Gondar or Gojjam.

           Historical context – Ethiopia is a widely diverse country with over 80 unique rich ethnic, cultural, custom and linguistic groups. One of the most significant areas in Ethiopian culture from which actually the other spheres developed further is the literature, representing Hebrew and Greek religious texts into the ancient Ge’ez, modern Amharic and Tigringa languages. This cultural heritage shaped some of the Ethiopian dance motives. However, the unique step and rhythm creates a certain motive of “mosaic culture”.

           Similar dances can be found in Western Africa, where indigenous dances are performed with head (with sort of tie on it) and arms, especially in the tribe of Conakry, Guinea.

          The dance Eskesta brings the dancer into a certain role of history and story-teller, who actually expresses and draws with his/her body the cultural traditions and life. The dance, as well the music and singing are serving as symbolical messages and influences on the Ethiopian society.

    Interpretation ethics – while enjoying the Eskesta dance accompanied by the music one can truly start travelling back in the time. These music and dances are dating 3000 years back in the African history – so unique and undiscovered from us, the Europeans. In this context, one can think of the religious variety implemented in the dances and music in Ethiopia as a whole – Orthodox Christian and Muslim motives playing the role of shaping the culture and traditions of this nation.

        Eskesta is very interesting to be observed – dancing in the beautiful Ethiopian nature, within the herds of animals making Eskesta an very expressive type of dance. Eskesta itself is providing positive emotions to the public and in the same time creating deeply spiritual atmosphere in which the observer cannot find his/herself easily. Namely this cultural confusion serves as the one that hinders us exploring the dance fully. Ethiopian dance is not something we, the Europeans can understand. Behind the apparent body shaking there are situated deeply cultural and hereditary connotations.




01 - Minale Dagnew - Hodye (5:14)
02 - Admasu Wube - Erikum (6:06)
03 - Tesfaye Workneh - Wubet (10:17)
04 - Taddesse Alemu - Gondar (9:05)
05 - Genet Masresha - Shebel (7:30)
06 - Taddesse Alemu - Minjar (5:20)
07 - Yeshimebet Dubale - Gojjam (8:03)
08 - Hayleyesus Girma - Gedame (7:18)




Friday, June 5, 2015

v.a. - Golagul - Chants d'amour et de resistance [eritrea] [1999]

      
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                       Eritrea, ancient province Ethiopia became independent at the beginning of the 90's and has lived a painful history. But nothing has ever prevented the people of Eritrea from singing, and not even the numerous famines. 

               The People of the plain of Zula (Afar, Tigré and Saho) give rhythm to their everyday life in simple, repetitive singings. The leader, man or woman, throws a comment on rhythms (handclaps and kebero percussion), the others start again, insisting on the same rhythmic, as an obsessive loop. History the concern of protecting the culture and politics, stimulates more than a singer. " On one hand, he killed you, whereas on the other one he fed you " tells a Saho about Haile Sélassié.

            A kebero is a double-headed, conical hand drum used in the traditional music of Eritrea and Ethiopia. A piece of animal hide is stretched over each end, thus forming a membranophone. A large version of the instrument is also used in Orthodox Christian liturgical music, while smaller versions are used in secular celebrations.




01. Ana meto agébé [Tigré Tribe] 2:57
02. Ayrègèdè [Afar Tribe] 2:05
03. O'h yéharshema [Saho Tribe] 2:34
04. Haleto lale lalô [Saho Tribe] 2:19
05. Sêda [Afar Tribe] 3:05
06. Toriyota [Afar Tribe] 1:38
07. Erab Ghedam [Tigré Tribe] 3:48
08. Adate [Tigré Tribe] 2:59
09. Aran heutoukta [Saho Tribe] 6:41
10. Innyo soklié [Saho Tribe] 3:39
11. Kéké [Afar Tribe] 2:31
12. Sänädirlê [Saho Tribe] 2:24
13. Farum Ghedan [Saho Tribe] 6:46
14. Selâm [Tigré Tribe] 3:49
15. Yewêlâlè [Tigré Tribe] 2:17
16. Erytrea nèdègé [Saho Tribe] 4:24
17. Worada [Saho Tribe] 4:13
18. Lâleh [Afar Tribe] 2:47


Thursday, April 30, 2015

v.a. - [2013] - The rough guide to the music of Ethiopia [cd 1] - Traveling Trough Ethiopia (Vinyl) [ethiopia]








               Whether it conjures up legendary marathon runners, the rock-hewn churches at Lalibela, richly brewed coffee, Rastafarian spirituality, tumbling waterfalls or steaming hot springs, Ethiopia is a country famed for diverse reasons. Home to 82 million residents, the landlocked country is also birthplace to a multiplex of brilliant musics.

           On this Rough Guide the ‘Golden Age’ of recorded Ethiopian music is paid homage to via tracks by seminal Ethio-jazz musicians Mahmoud Ahmed and Alemayehu Eshete. Other handpicked gems are selected from the Ethiopiques album series produced by Francis Falceto, an aficionado and scholar of rare Ethiopian records. The energetic music of saxophone prodigy Getatchew Mekuria references the long history of military brass bands in the country fused with a thoroughly modern rock ethos.

             Dynamic London-based ensemble Krar Collective also make an appearance and rock the track ‘Ende Eyerusalem’ with their signature forthright attitude and soaring female vocals. On the track, ‘Sek’let (Crucifixion)’ Zerfu Demissie can be heard playing the begena, a large Ethiopia harp that reverberates thick and loudly, sounding almost electronic, like a futuristic synthesizer.

             The Rough Guide to Ethiopia also considers some unique fusion projects that marry traditional Ethiopian grooves with dub, rock and punk sensibilities. Dub Colossus is the lovechild of UK musician and producer Nick Page and a host of established Ethiopian artists, including vocalists Tsedenia Gebremarkos and Sintayehu ‘Mimi’ Zenebe. Their sound is amped-up classic dub while Invisible System, a band headed up by UK based producer Dan Harper, explore a more experimental and darker sound and provide the excellent bonus album also.

       This Rough Guide is soaked in the urban cool that pervades Ethiopian music, both traditional and modern. Traverse the grooves of the ancient mountain kingdom, from antique vibes to futuristic styles. 









01.Bole 2 Harlem - Ametballe (4:58)
02.Dub Colossus - Guragigna (5:13)
03.Mahmoud Ahmed - Ohoho Gedama (4:46)
04.Getatchew Mekuria & The Ex & Guests - Musicawi Silt (4:22)
05.Orchestra Ethiopia - Datchene Koba (Trio Of Emblitas) (2:26)
06.Krar Collective - Ende Eyerusalem (7:23)
07.Samuel Yirga - Abet Abet (Punt Mix) (5:11)
08.Zerfu Demissie - Sek'Let (Crucifiction) (3:22)
09.Invisible System - Ambassel (5:29)
10.Tirudel Zenebe - Gue (Wire Tapper Edit) (4:16)
11.Alemayehu Eshete - Ney-Ney Weleba (3:46)
12.Tirudel Zenebe - Gue (7:19)
13.Mohammed Jimmy Mohammed - Mela Mela (4:49)
14.Tsegue-Maryam Guebrou - Homesickness (3:51)


Tuesday, March 31, 2015

Arki Sound - Arki Sound [2015] [usa+eth]






Arki Sound




Arki Sound - 'Jazeta' (Tezeta)



Influenced by the classic recordings made in Ethiopia in the 1960s and 1970s, Arki Sound performs music for your dancing and listening pleasure.



























01 - Arki Sound - Bemen Sebeb Letlash (5:31)
02 - Arki Sound - Ere Mela Mela Dubby Spoil (2:51)
03 - Arki Sound - Ere Mela Mela (5:02)
04 - Arki Sound - Gaddis Addis (4:18)
05 - Arki Sound - Hedetch Alew (3:26)
06 - Arki Sound - Jazeta Love a Dub in Outer Space (5:29)
07 - Arki Sound - Jezeta (6:32)
08 - Arki Sound - Kulun Mankwalesh (5:22)



Formed in New York City in 2009, Arki Sound consists of:

Marcus Cummins - alto and soprano saxophones
Frank Marino - drum kit
Samson Kebede - bass
George Taylor - guitar
Andy JordanTexas - tenor (emeritus)









Tuesday, March 17, 2015

Yehunie Belay - Guzara [2007EC] [2014] [ethiopia]




      Yehunie Belay (Amharic: ይሁኔ በላይ, born December 9, 1961) is an Ethiopian singer, musical writer and entrepreneur. 

         At an early age, his exceptional musical talent got first exposure in the local kola Dega Damot regional talent group. It was in this group that Belay expanded his musical repertoire, learning among others, the unique styles of the Shankila ethnic group. In fact, Belay’s artistic talent was discovered at early age before he joined the Gojjam Gish Abay Cultural Group with whom he is famously known for.

       His first album, Yagere Lij Bal Game was a hit, but it was his second back-to-back hit album Ere Ney Gibe Gibe that earned him a spot among Ethiopia’s renowned folk singers. 

     Starting from his debut in 1987, Belay has risen to become a cultural ambassador of Ethiopia and Ethiopians performing to his fans throughout the world. In addition to his two single hit songs titled "Bahir Dar" released in 2013 and "Yegodelegne ale-Bezoro" that was released in 2011, Artist Yehunie has released six albums to his credit.




       Yehunie Belay was born to his Father Mr. Belay Melese, a farmer and a patriot of the people in the western part of the country known as Gojjam, and to his mother Mrs. Tadefalech Eneyew who was house wife raising taking care of three children including Yehunie. He started his early education in what is called Kes Temheret Bet attending from the age of four to seven. Then he joined Fenote Selame Kedamawe Haile Selassie Elementary School and further completed his secondary school in the year 1986 from Damote Comprehensive Secondary high school. Yehunie’s musical talent got its first exposure in the local kola Dega Damot regional talent group. In this group he expanded his musical repertoire, learning the unique signing & dancing styles of the Amhara, Benishangul gomez, Agaw and Oromo ethnicities. Artisit Yehunie’s musical richness at expressing the art of Ethiopia’s ethnicities is clearly displayed on his all- in-one unique song “Yangatom” that has a message of oneness and togetherness of all nations and nationalities. 






        Yehunie’s professional musical career started in the year 1986 when he was recruited into the Gojjam Gish Abay Cultural Group, a professional troupe that was touring Ethiopia throughout the 80's and 90's. It was after his very first televised performance of “Antuyewa” an authentic and original dramatic musical act that the name Yehunie Belay became a household trademark throughout the whole of Ethiopia. His success came as a result of hard work and strong dedication developed by mastering the art of music. To turn out and become as excellent exceptionally talented musician as he is now, Yehunie has to go through a refinement process through different stages beginning from Kebele (local) level, Woreda (district), Aweraja and finally to Kifle Hagre (state) level. 






       His first album “Yagere Lij Bale Game” a sensational hit, followed by his second back to back hit album “Ehe Na Na Hoy ena” and further release of “Ere Ney Gibe Gibe” on his third album release earned Artist Yehunie a spot among the few and the best Ethiopia’s renowned folk singers. His fame extended farther into the Ethiopian Community of the US, Europe and the Middle East. 


      After moving to the US in the early 90’s, Artist Yehunie yet released other hit albums like “alo lulo”, “Kuku Melekote”, “be-be Kefilaw”,“Yeman Nesh Wubetaw (Zegelila)”, Classic Collections and “Zengena”. Recently in the year of 2011, Artist Yehunie has released special Easter single song “Yegodelegne ale” for his fans all over the world. In this self-created and self-inspired sweet song, artist Yehunie sings about the love of his country- Ethiopia, its people, its great culture and way of life. Artist Yehunie Belay is not only a singer and performer but also an executive director of the Ethiopian Yellow pages Inc., a Washington DC based online & yellow pages publication and also Editor in chief of Bawza, an Amharic English newspaper publication. Yehunie seizes every opportunity to devote his time to promote the interests of the Ethiopian community in the US.



Yehunie Belay - Guzara 



01 - Yehunie Belay - Nafkeshigal (6:21)
02 - Yehunie Belay - Guzara (6:28)
03 - Yehunie Belay - Mesganaw Deg New (5:03)
04 - Yehunie Belay - Meshelem (6:19)
05 - Yehunie Belay - Betachin (5:44)
06 - Yehunie Belay - Endanchi Miyamer (6:13)
07 - Yehunie Belay - Siyamir Chewataw (7:00)
08 - Yehunie Belay - Hay Mulo (5:18)
09 - Yehunie Belay - Lisamish (6:23)
10 - Yehunie Belay - Dinye (4:51)



Wednesday, March 11, 2015

v.a. - The Ethiopian Millennium Collection - CD 1 - Dance [2007] [ethiopia]


                EXCELLENT RIP !                 





     When you’re in the mood to move, this energizing album is for you! The blistering rhythms and mesmerizing  melodies make this collection a must-have for any world music lover. Presenting the work of some of Ethiopia’s most talented performers, the Dance collection includes recordings by Mahmoud Ahmed, winner of the 2007 BBC Radio 3 Award for World Music; the James Brown-inspired Alemayehu Eshete; Theodros Tadesse; Kuku Sebsibe; Theodros “Afro” Kassahun and others. Enjoy!








01. Teshome Wolde - Ye-Shewa Alamena (5:14)
02. Mahmoud Ahmed - Alawekishilignim (5:20)
03. Abinet Agonafir - Setaleksh Des Alishign (5:05)
04. Dawit Mllesse - Wetatwan (5:39)
05. Alemayehu Eshete - Be-hilme New Be-ewne (5:29)
06. Theodros Tadesse - Malegna (5:08)
07. Kuku Sebsibe - Indet Neh (5:01)
08. Mahmoud Ahmed - Ashkaro (4:39)
09. Hirut Girma - Alchilim (5:29)
10. Henock Mehari - Hoya-hoye [Guadegnoche] (3:43)
11. Hana Shenkute - Sintun Ayichebih (4:19)
12. Theodros Kassahun - Tsigereda (5:41)
13. Marta Ashagari - Tew Enji (6:56)
14. Dawit Mellesse - Laltelash Kal Alegn (5:32)