Very nice Album, containing Ethio-Jazz (Ethio-Futurism), Nu Jazz, Spiritual Jazz and wonderful deep Ambient Drone.

Dragonchild

Meditation (Reprise)

Above All From Dragonchild - Dragonchild (FPE, 2023)

Dur-Dur Band Int.— The Berlin Session (Out Here)

The Berlin Session by Dur-Dur Band Int.

Dur-Dur Band International was just hitting its stride in the late 1980s when Somalia’s civil war erupted, kicking off three decades of unrest and disruption and suppression of all the arts. Somalis were forbidden to sing, to dance, even to gather in groups during this bleak period. Xabiib Sharaabi, the “Somali King of Pop,” decamped to Sweden and the rest of the band—eight musicians including three singers—scattered. And then, in 2019, Dur-Dur Band’s inimitable concoction of jazz, disco and Somali pentatonic-scales groove rang out again in Berlin. This recording captures that joyous reunion.  

This album’s slinking, strutting jazz-inflected tones will remind of Ethio-jazz, except instead of horns, they are carried by wheedling electric keyboards, stinging multi-guitar syncopations and the keening, heartbroken crooning of three displaced singers. There’s more dance in these cuts, too, and less cerebral improvisation. They’re meant to move hips and butts as much as minds, though there’s plenty for the brain and spirit in these cuts as well. The back-slanting, caravan-style rhythms of bass-heavy “Heeyaa” might even remind you of reggae though Dur-Dur Band’s principals will tell you that they executed these beats first, long before they washed up on Jamaica’s white sanded shores.

Consider, for instance, the synth-pulsing, sci-fi intro of “Hasha Geel,” leading into desert echoing, keening vocals. It’s a potent mix of the future and the primal past, of the spiritual yearning and the body moving hedonism that music can carry (but seldom at the same time). Or turn, perhaps, to “Love My Love,” with its eerie drifts of saxophone, its heady chug of rhythmic complication, its slippery non-western melody, sung high, by a woman who urges love, in spite of everything. Dip into the strident funk of “Jija Love,” where trebly guitar lines ping off the viscous foundation of bass, and everything jitters except the singer, whose long vibrato-laced tones waft out over the agitation.

What gives this performance especial poignance is that it was kept silent for so long, and could have entirely slipped into obscurity. Things are still not very good in Somalia, but here, at least the music, continues in joy.  

Jennifer Kelly

Black Flower - Future Flora - new LP from Belgian Ethio-jazz/Afrobeat combo

With a hybrid jazz based on African grooves, Ethio-oriental melodies and psychedelic dub this Belgian five-piece creates an atmosphere where ancient and modern sounds fuse into a powerful, hypnotic and groovy sensation. Receiving critical acclaim for their second album ‘Artifacts’ (2017), the Belgian quintet are pleased to announce the release of their much-anticipated third album entitled ‘Future Flora’, released 12th April via Sdban Ultra. 

Piloted by saxophonist/flutist/composer Nathan Daems (Ragini Trio, Dijf Sanders, Echoes of Zoo), the input of notorious musicians, drummer Simon Segers (MDC III, De Beren Gieren, Stadt), cornet player Jon Birdsong (dEUS, Beck, Calexico), keyboardist Wouter Haest (Voodoo Boogie) and bassist Filip Vandebril (Lady Linn, The Valerie Solanas) leads to the specific universe that only Black Flower is able to create.

The Journey Continues… . . . #blackliongamers #blackgamers #ethio #blg #trav #supermarioworld #parody #gamersofinstagram #cosplayofinstagram #redoctober #solarred #yeezy #ps5 #mario #yoshi #nintendo #supernintendo #snes #oldschool #gamers #gamerlife #gamermemes #gamersriseup #gamer4life #gaming #gamingcommunity #esports #esportsteam #esportslogo @blackliongamers (at The Future) https://www.instagram.com/p/CRFTvYrMiQ1/?utm_medium=tumblr

New Post has been published on https://freenews.today/2021/01/01/ethio-jazz-is-a-product-of-migration-and-heroic-ingenuity/

Ethio-jazz is a product of migration and heroic ingenuity

Jan 2nd 2021

TO WESTERN EARS, the music seems both foreign and familiar. Its mood stretches from sultry and haunting to upbeat and vibrant. Soulful Western undertones are audible, yet the overall impression is distinctly and inimitably Ethiopian. Now a rich musical export, the evolution of “Ethio-jazz”, as this hybrid genre is known, and its growing global renown are a tale of back-and-forth migration and the alchemical fusion of ideas. The dramatic saga involves political upheaval, accidental epiphanies, a series of dogged and inspired individuals—and Hollywood.

Today, says Samuel Yirga, a pianist and composer, Ethio-jazz is a calling and way of life for many Ethiopian musicians. In 2020 there were new releases from stars of the genre including Mulatu Astatke (pictured), a visionary percussionist and keyboardist, and Hailu Mergia, an accordionist and band leader. “Sons of Ethiopia”, a cult classic of 1984 by the band Admas that mixes pop, funk and jazz, has just been re-released. Yet the story of the mesmeric sound began almost a century ago, in Jerusalem.

Visiting that city in 1924, the leader who would later become Emperor Haile Selassie was greeted by a brass band, which was made up of orphaned survivors of the Armenian genocide. He was impressed, and promptly invited the musicians to live in Ethiopia, along with their band leader, Kevork Nalbandian. There the group was known as “Arba Lijoch”, Amharic for “The Forty Children”.

The arrival of Arba Lijoch in Addis Ababa was a revolutionary moment in the country’s cultural history. An indigenous musical tradition based on stringed instruments began to morph into one revolving around large brass bands. Nalbandian went on to compose the Ethiopian national anthem and to teach musicians from around the country. Later his nephew, Nerses Nalbandian, took on his mission, training performers including future giants of modern Ethiopian music such as Alemayehu Eshete and Tilahun Gessesse, both renowned singers. In Addis Ababa, says Aramazt Kalayjian, a film-maker, the younger Nalbandian is known as “the godfather” of modern Ethiopian music.

World music

This formative period was the overture to the pivotal career of Mulatu, the next key figure in the story. Unusually for the era, in the late 1950s Mulatu was educated not in Africa but in Wales, afterwards studying music in London and Boston. But it was in the mid-1960s in New York, where he encountered John Coltrane and other musicians, that he honed a new sound that he called Ethio-jazz—a marriage between the distinct pentatonic scales that define most traditional Ethiopian music and the kind that are the basis of most Western music. The result, as summarised by Ermanno Becchis, a producer, “is sinuously scientific, but truly magical”.

Mulatu returned home to Ethiopia—and in the late 1960s and 1970s its capital earned the nickname “Swinging Addis”. Nightlife flourished in a musical golden age, as did pioneering record labels such as Amha Records. “People were having the time of their lives,” Amha Eshete, the label’s founder, recalls in a documentary about the period. Then, in 1974, Ethiopia’s monarchy was overthrown by a Marxist junta known as the Derg, which imposed new rules and curfews.

“The Derg’s policies shut down most musical performances in Ethiopia between 1974 and 1991 and cut off contact with European and American popular-musical styles,” explains Kay Kaufman Shelemay of Harvard University. Many artists went into exile; the emerging scene was quashed. Or so it seemed.

Like its birth, the revival of Ethio-jazz came about through travel and serendipity. At a party in Poitiers in the mid-1980s Francis Falceto, a French producer and musicologist, happened to hear the recorded voice of Mahmoud Ahmed, an Ethiopian singer. The Derg regime was “a musical nightmare”, laments Mr Falceto, the tale’s next hero. But in 1991 the junta was overthrown—and Mr Falceto could embark on his self-appointed mission to share modern Ethiopian music with the world. In 1997 he released the first volume of an anthology called “Éthiopiques”.

Thirty more volumes have followed; the next, number 32, will be called “Nalbandian the Ethiopian” and commemorate Nerses Nalbandian, Mr Falceto says. Although, by his own account, he is “getting old and a bit tired”, he hopes to put out four or five more volumes. But his series has already transformed the fortunes of Ethiopian artists. The fourth volume, featuring Mulatu, definitively put Ethio-jazz on the world map. After its release, Jim Jarmusch, a film director, used Mulatu’s music on the soundtrack for “Broken Flowers”, an award-winning film of 2005. The movie, says Ms Kaufman Shelemay of Harvard, brought Ethio-jazz to the ears of an even wider international audience.

For some outsiders, Ethiopia is predominantly associated with political strife—such as the bloody military action recently launched by the government in the Tigray region—and humanitarian crises. But another version of the country still thrums from the bars of Addis Ababa to the stages of Glastonbury. Hip-hop artists such as Kanye West have sampled Ethio-jazz on their tracks; the country’s music schools continue to produce innovative performers. And a new generation of expatriate musicians has helped popularise a genre rooted in Africa but nurtured around the world. “For people newly coming to it,” says Berhana, a singer based in America, “I love that it serves as an introduction to a music and culture that runs so deep.” ■

This article appeared in the Books & arts section of the print edition under the headline “The beat goes on”

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Dj Hamaradio’s guide to African Popular music Part 1

Afro-pop is not new, its a reflection of Africa's growing enthusiasm for its future. The first forms of Afro-pop often functioned to unite fractured nations that where birthed out of the greed and violence of colonialism. Afropop was an opportunity for young nations to define themselves, in a cold war world that insisted on perpetuating a narrative, in which Africa was often portrayed as the ugly uncivil step child of the world.

 According to bilingua.com, modern estimates put the number of languages spoken in Africa at 1500. This many languages also means an equally large number of musical styles, musical instruments and musical uses. In these traditional styles some styles are more rhythmic and centered on chanting, You also have styles that reflect more eastern influence with instruments that are more melodic with stranger time signatures and weird multi-rhythmic syncopation. You have instruments like the Kora in Mali, the Mbira in Zimbabwe or a Harp like instrument played in Ethiopia and Eritrea called the Begena.

Furthermore Afropop is very much shaped by the influence of colonialism which is a central driving force to how Afro-Pop is shaped. Afro-pop is very much the by-product of the explosion of African urban centers. As colonialism came, cities and towns began to grow,  young men and women, left rural areas to get jobs in cities like Kinshasa, Lusaka, Lagos, Accra and Ouagadougou.

These migrants brought with them their distinct traditional forms of music and this mixed with the rising popularity of state run radio stations, which exposed these young Africans to western music. In particular sounds like Jazz, Calypso and Mambo, where very popular in urban centers like Soweto, Kinshasa and Luanda. These foreign styles didn't seem foreign because Africans could recognize the African roots of Samba, Mambo, Salsa, R&B and Jazz.What begins to happen is African bands in hotels and clubs began by mimicking western styles, then as the musicians became more confident the artists began  experimenting with fusions of indigenous sounds with western sounds. Rapidly African artists began creating versions of Calypso, Samba, Salsa and the blues. High life music which came out of Ghana, to my limited knowledge is one of the earlier styles that I came across. In particular the work of band leader E.T Mensah and the tempos band. His music was heavily jazz influenced but you could hear a lot of Calypso and Mambo influence, but its a style that has a very unique approach to syncopation that makes it distinct from Jazz and Calypso. its a sounds whose influence on African pop can be heard in both Highlife and later Afrobeat. In Congo for example the pop music of choice was Cuban music, which was played relentlessly in crammed sweaty clubs in Kinshasa and Brazzaville. Congo in the 50′s was a  young and heavily populated country. The city folk where enthusiastic fans of Cuban music. In particular Son Cubano a syncretic style that fuses Spanish guitar flourishes with African syncopation.  Son Cubano is taken up by artists and bands like Grand Kalle, Tabu Ley and groups like Africa Fiesta, fused with indigenous sounds and evolves into Congolese Rumba. This sound pulsed and spread all over east Africa and central Africa.Similarly in 1950's Soweto hip boys and gals where in love with Jazz and married it to local vocal traditions and gave birth to Jive and kwela styles. You also hear new forms of modern pop music popping out of Mali and Senegal interesting hybrids of American blues and hundreds of years old traditional music, that was shaped by an instrument called a Kora. You also got styles like Ethio-Jazz coming out of Addis Ababa which fuses Jazz, funk and soul with Ethiopia's storied and multifaceted indigenous music. All these foundational styles and many more that I cant cover in this article but might in the future, form the bedrock of Afropop. One thing that combines all this music its all music thats obsessed with pushing joy and electrifying peoples lives. African  popular music has always had a frenzied and excitable feeling. Its music that is unapologetic about its aim which is to encourage bodies to move and excite audiences. With the cheapening of music programs and technology, Africans have taken their music into their own hands. Today Afropop encompasses as many if not more styles than it did in the past. Technology has accelerated the act of cross pollination and resulted in some wonderful hybrids. New Afropop artists have stopped emulating and began creating their own often radically different versions of Hip-Hop, Soca, Braille Funke and Dancehall. Very much like their predecessors, young Africans are creating music that bridges cultures and ideas. African pop has permitted a continent of over 1000 differing languages, tribes and ethnic groups to find unity on dance floors and to define a bold modern African through the uniting power of music.

After years of unrest, Ethiopians are riding an unlikely wave of hope. Will it last?

By Paul Schemm, Washington Post, May 6, 2018

ADDIS ABABA, Ethiopia--When Ethiopia’s prime minister resigned in February after more than five years in office, there was little reason to think his successor would be an improvement.

The East African country was under a state of emergency that followed a years-long crackdown on opposition political activity. Thousands of activists and dissident journalists had been detained, and hundreds had died in demonstrations crushed by government forces.

Then came Abiy Ahmed, who at 42 is one of the youngest leaders on the continent. In his first month as Ethiopia’s premier, he has ushered in an unlikely wave of hope and even optimism in this close U.S. ally that serves as something of a linchpin to the stability of East Africa.

While ostensibly a democracy, Ethiopia is a highly centralized state with only the ruling party and its allies in Parliament. In recent years, however, unrest has grown, and on April 10, the U.S. House of Representatives passed a resolution urging the government to increase its respect for human rights and the rule of law.

In a riveting speech at his April 2 inauguration, Abiy acknowledged some of Ethiopia’s enduring problems. He apologized for the deaths of protesters at demonstrations, welcomed differences of opinion and promised to heal the wounds between Ethiopia’s ethnic groups.

The accession of Abiy, who hails from the Oromo community, brought a sharp drop in tension. Since he took office, Internet service has been restored to the countryside, charges against dozens of activists have been dropped, and he has embarked on meetings around the country, listening to grievances and promising reform, including term limits for his position.

“As someone who grew up in Addis Ababa, one thing that is very foreign was seeing a prime minister come and organize town hall meetings and just sit down with people and discuss things,” said Zecharias Zelalem, a journalist and frequent commentator on Ethiopian affairs. “That has never happened, and it’s been going on for the past three weeks.”

Activists, many of whom were released in the days following Abiy’s inauguration, pronounced themselves “cautiously optimistic” that, at long last, Ethiopia may be changing.

“Our release means something. It is a signal for change, that he wants change,” said Eskinder Nega, a journalist who spent part of his youth in Washington, D.C, and had just spent six years in an Ethio­pian prison for his writings.

He was released in February but detained again during the state of emergency a month later for meeting with friends--ironically in celebration of their release. Ten of his colleagues were also arrested.

It is difficult to overstate the importance of Ethiopia to the stability of East Africa. It has the largest army in the region and the continent’s fastest-growing economy, and it is surrounded by disintegrating states such as Somalia and South Sudan.

This regional rock of stability has looked shaky in recent years, with persistent anti-government protests by the country’s largest ethnic group, the Oromos, as well as unrest among the second-largest community, the Amharas. At the same time, clashes between Oromos and ethnic Somalis elsewhere in the country have left hundreds dead and displaced more than a million.

All that has been compounded by the return of devastating droughts that have put millions in need of food aid.

In the midst of the crisis, Prime Minister Hailemariam Desalegn resigned, and a state of emergency was declared as strikes erupted around the capital.

As soon as he took office last month, Abiy started visiting the centers of dissatisfaction. He went to the Oromo town of Ambo and complimented the young men at the forefront of the demonstrations for protecting democracy. He visited the Somali region to discuss the ongoing clashes that have displaced so many, and he journeyed north to the Tigray region, seen by many government critics as unfairly dominating the military and economy, to put the population at ease about having an Oromo in charge of the government.

He also met with opposition politicians and said that he welcomed their views and saw them as legitimate competition rather than as enemies of the state.

In a speech before 20,000 people in Addis Ababa on April 15, he acknowledged that the bureaucracy and justice system have not been serving the people and promised reforms, including in the security services.

In contrast to his predecessor, Abiy has strong popular support, which could give him leverage against elements of the establishment that might oppose changes.

A reorganization of the security services, which critics maintain are dominated by the Tigrayans--who formed the backbone of the military after they overthrew the communist regime in 1991--has yet to take place, however. They were left untouched in a recent cabinet reshuffle.

The international reaction to Abiy’s first few weeks has been remarkably positive. A statement from the U.S. Embassy struck a note of hope as the State Department announced its 2017 human rights report, which describes the occurrence in Ethiopia of conditions such as “arbitrary deprivation of life, disappearances, torture and other cruel, inhuman or degrading treatment by security forces; harsh and life-threatening prison conditions; arbitrary arrest and detention by security forces.”

“2018 has seen positive steps as well, including the release of thousands of prisoners. We are also encouraged by strong and clear statements by Prime Minister Abiy regarding the need for reforms,” the statement said.

Some are saying Abiy may have saved the country--not to mention the reputation of the ruling party.

In an editorial last year, the English language weekly Addis Standard issued a stark warning about the future of Ethiopia, saying that government infighting, ethnic tensions and popular anger had pushed the country toward collapse.

Editor Tsedale Lemma, who now lives in Germany, said the peaceful transition of power to Abiy may have halted that slide.

“They recognized that unless they do something, they were going down, and we came that close,” she said, lauding the outreach to the opposition and the release of prisoners. “What they are doing has given breathing space.”

Tofa Desalegn’s video piece ‘Memories of Adwa’ was an all-rounded campaign reminding the current and future generations the importance of the Artist’s interpretation of Ethiopian identity. Tofa choreographed a dance inspired by the Adwa war integrating ballet and contemporary dance movements with superimposed pictures of fighters in war regalia. February 22, 2018 | @allianceethiofrancaise #crossings #contemporarynights #contemporarydance #ballet #adwa #emperormenelik #videoart #history #curatorialpractice #curators #addisart #exhibitioncatalog #catalog #digitalart #artinvitality (at Alliance Ethio-française Addis Ababa) https://www.instagram.com/p/B3CmCX4nMhH/?igshid=170n9dsh5ouxk

HEAR HERE :: BLACK FLOWER NEW ALBUM :: FUTURE FLORA :: Yes. Ethiopian Phsycho-Dub-Rock straight out of ... Yes. Belgium.  :: The Nathan Daems and the BLACK FLOWER gang are hardly new to this... several strong releases in, Saxophonist, Composer and band-leader, Nathan Daems also contributes several more instruments and a hand to this band and many others. . Jon Birdsong rounds out the two-handed horn section herein, playing Cornet and Cornetto [he's also played with and for another favorite of THE NONSEMBLE, during his former stint with The Flat Earth Society]. Except here, he also plays sea shells.  . Wouter Haest kills the keys - Organ and Clavinet - while the heavy rhythms are cooked up, carried and crushed by Simon Segers at the snare behind the set and Bassist, Filip Vanderbil. . If you are as much a fan of the master, Mulatu Astatke and his descendents as we are here at THE NONSEMBLE [think Imperial Tiger, The Sorcerers and Ethio-Cali] then you will perhaps LOVE the songs, sounds and styles of this music which BLACK FLOWER describes as, "...Psyche-delicious and accessible 21st century Ethiodubjazz. As if John Zorn put on Fela Kuti’s shoes and imbibed..." . In Deed. Get Into It.  :: #Jazz #NotJazz #JazzNotJazz #JazzInBelgium #JazzInBrussels #JazzInGent #JazzInAntwerp #EthiopianJazz #EthioJazz #JazzFusion #PostModernJazz #TheNonsemble #AfroJazz #JazzAtLeftOfCenter #AfroBeat #dub #PsychedelicJazzFusion (at Brussels, Belgium) https://www.instagram.com/p/BwU3K-TjNpS/?utm_source=ig_tumblr_share&igshid=h8hyp2n2t96h

Black Flower - Magma - new album expands their stylistic palette, moving beyond (but not abandoning) Ethio-jazz and Afrobeat

Five-piece hybrid jazz outfit Black Flower are set to release new album ‘Magma’ on the 28th January via the groove-obsessed Belgian label, Sdban Ultra. Piloted by Brussels-based saxophonist/flutist/composer Nathan Daems (Echoes of Zoo, Dijf Sanders), the quintet is a vibrant, hypnotic mix of Ethio jazz, afrobeat, psychedelia and oriental influences, inspired by Mulatu Astatke, Fela Kuti and varied western musical traditions. Black Flower is a band at the peak of their creative powers. Having received glowing praise for the 2019 album ‘Future Flora’ from Mojo, Songlines, BBC Radio 6 Music’s Gilles Peterson, BBC Radio 3’s Music Planet, Worldwide FM and Jazz FM among others, forthcoming album ‘Magma’ sees Black Flower embrace new synth and organ sounds from the band’s most recent recruit, Karel Cuelenaere. His influence can be heard from the outset – his keys adding a swirling, mischievousness to album opener and title track ‘Magma’. Elsewhere, the shuffling drum patterns and flighty, flute-propelled ‘O Fogo’ are rich in texture and flow. Driving rhythms and Eastern influenced melodies serve as a rich source of pleasure that, like magma, become real and solid when finding its way to the surface. It’s the perfect metaphor for this album’s creational process. The pulsating, trance-inducing ‘Deep Dive Down’ continues the joyous process while singer-songwriter Meskerem Mees (winner of The Montreux Jazz Talent Award 2021) adds, her clear-as-spring-water vocals to the celestial ‘Morning in the Jungle’. With the much-trusted Frederik Segers on production and London-based visual virtuoso Raimund Wong (Total Refreshment Centre) on artwork duties, it all adds up to the psychedelic and exploratory identity of the band and are key elements that helped ‘Magma’ in its ascension from deep down up to the surface. A creative process solidified into vinyl, just as magma into rock.

I’ve come back from the future to warn you about… wait, it’s 2020. Never mind, I’m too late. Teespring: Future Ethio @blackliongamers
https://www.instagram.com/p/CBwT9muFRtr/?igshid=1fi035e43bt1e

I really like this. This young man is coming! Ethio Kid - "For My Block" Music Video!!! Ethio Kid says, "For My Block" talks about how I love my neighborhood and no matter where I go in the future, my hood stays in my heart.

UPDATE! In summer of 2014, Sarah and I started The Tiny Closet Project. We started it after an amazing and long time friend of mine did a placement at a hospital in Uganda, in the neonatal unit. She would send us e-mails about the conditions there, and our hearts sank. We wanted to help! With hard work and dedication, as well as the support from family, friends and even strangers, we were able to collect so many tiny baby items to help these babies and families. Items we often take for granted: hats, onesie and blankets. They were set to be delivered that fall, but due to the Ebola outbreak and Ijab becoming pregnant (yay!), her trip was postponed. Two huge luggages, filled with baby items in vacuum sealed bags, sat in storage for quite a while... but they were certainly never forgotten about. We were just waiting for the day when these items would go to fulfill their purpose. With prayer and patience, we are so happy to announce that they have reached their final destination! They didn't end up at the hospital in Uganda, but rather to two hospitals in Ethiopia! We were told there was an even greater need for them there. Rural hospitals where the temperature drops to 2 degrees Celsius. Can you just imagine?! It was worth the wait. Sarah and I would like to thank Ijab and the team of doctors who helped make this happen. To all the contributors, thank you for helping us make a difference in these tiny lives, keeping them warm and allowing them to thrive. There is a possibility we might continue this mission, if you are interested to help out in the future, please feel free to leave me us e-mail address or send us a message. God bless ❤️ (Due to patient privacy reasons, we were not able to get pictures of the the babies in the donated clothing) Contact: [email protected] Our journey: https://thetinyclosetproject.tumblr.com/ --- From Khalid Aziz, MBBS, BA, MA, MEd(IT), FRCPC Professor, Department of Pediatrics University of Alberta: "Dear Tiny Closet Project, I wanted to convey thanks and appreciation to your project from my colleagues in Ethiopia who accepted the donated clothes on behalf of their institutions and families. One package was donated to St. Paul's Hospital NICU in Addis Ababa and received by the Head of Pediatrics, Dr. Solomie Derebessa and her colleague, Dr. Mahlet Abeyneh whom you see pictured with myself and Dr. Roger Turnell, our Ethio-Canada MNCH project director. The other package was donated to Fiche Hospital NICU and receved by Dr. Delessa and the hospital CEO who you see pictured separately in the other two pictures. The clothes will be used for families who do not have the resources to purchase them themselves."

Real Ethio Website – Find Real Estate for Rent in Ethiopia

The Ethiopian real estate market is on the rise in the capital, Addis Ababa. The property is divided into two types: the first is elite property, as a rule, it is represented by two- storey villas. Condominiums occupy a segment that is more significant. They're usually designed for low-income citizens of the country. Note that experts believe that in this country real estate is a tool for investment. Real estate in this state is suitable for renting to foreign tourists, and for independent living. Then be sure that you are investing your money, in case you would like to purchase real estate in Ethiopia. In modern times, the acquisition of real estate on the territory of the state is considered a very profitable way of investing money. In other words, today is the time to buy an apartment with the purpose of earning a resale in the future, even in this state. Furthermore, new houses of stone, monolithic and panel houses are being built.

Among the small towns of the country, the most popular are settlements that are located on the seashore and have the status of resort areas, for example PA¤rnu and Haapsalu. Many believe that it's calm safe and healthy to live there. Additionally, apartments in the student city of Tartu are very popular here. In this city is the famous university. It should be made clear a large share of the market belongs to real estate transactions. In the center of attention of almost all tenants are apartments with two and one -rooms. Demand for them is much higher than supply. Apartments located in the middle of the city enjoy huge popularity. A lot of the tenants are students that are looking for apartments for the whole academic year. Visit the website Real Ethio if you are looking to office, house or apartment for rent in Addis Ababa. On this particular website you will find a huge selection of premises for rent, for living or for commercial purposes. To learn more about Ethiopian house explore the best net page

Track of the day: Flamingods - Anya https://youtu.be/d7l31EWgAfU Download: http://ift.tt/2pSLLip Soundway Records Click here to subscribe to Soundway Records - http://www.bit.ly/sub2soundway MUSIC FROM PLANET EARTH: PAST, PRESENT & FUTURE Soundway Records was conceived in 2002 by label owner Miles Cleret whilst returning from Ghana with a hoard of dusty old 45s and LPs that had mostly not been heard outside the former Gold Coast since their original release. Planned on a whim the trip was not one of the carefully planned research expeditions that Miles would later embark on to any number of far-flung tropical destinations. On the contrary he left England with no idea of what he might find or that it might be the start of a career in the record business. Although the label has it's roots in West Africa the scope has grown to include many other parts of the tropical belt with the aim of making available recordings that have in most cases never been available outside of their original countries and often not even there for over 30 years. Over the years Soundway's modus operandi has been to approach the music from a different angle from many of the more established "World Music" labels. By focusing on more obscure artists as well as big names and often concentrating on progressive recordings more in sync with Cleret's generation and background in DJ culture and dance-music. Styles have included afro-beat, funk, highlife, ethio-jazz, molam, calypso, cumbia, champeta, biguine, latin-jazz and disco as well as many unclassifiable recordings. Since 2012 Soundway has begun releasing new material from a carefully selected handful of contemporary recording artists including acclaimed acts Ondatropica, Bomba Estereo and Ibibio Sound Machine http://ift.tt/jWpjxW http://ift.tt/1oGO1oN https://twitter.com/soundway