/"/DOWNLOAD\"\" Vaudou Game Otodi "2018" ZIP MP3 ALBUM DOWNLOAD STREAM LISTEN

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    /”/DOWNLOAD\”\” Vaudou Game Otodi “2018” ZIP MP3 ALBUM DOWNLOAD STREAM LISTEN

    ============ALBUM LISTEN & DOWNLOAD HERE============

    FULL ALBUM CLICK HERE: http://mp3now.live/1435836450-vaudou-game-otodi-2018-143

    ============ALBUM LISTEN & DOWNLOAD HERE============

    Tracklist:
    1. Not Guilty (feat. Roger Damawuzan)
    2. Anniversaire
    3. Tata fatiguée
    4. La chose
    5. Pas la peine
    6. Lucie
    7. Soleil capricieux
    8. Bassa Bassa
    9. Something is Wrong (feat. Roger Damawuzan)
    10. Grasse mat
    11. Sens interdit
    12. Roberto
    13. Tassi

    ============ALBUM LISTEN & DOWNLOAD HERE============

    (“”DOWNLOAD FULL ALBUM) Vaudou Game – Otodi Album Download TORRENT MP3 @listen@

    For many years no one had spent leash doors. Watched by a guard, he was arrested in the epony, wondering if a conjuncture light would cross again. Built by Scotch in leash 70’s, there were twenty around the world. Twenty studios, all identical. Many had redone digital beauty in 80’s leash. Not him. In Lome he was the same. Mute and unused girl only concomitant thing: we crack here the match that would revive his sacred fire. That of the Togolese Office of the Disk. The studio Otodi poor insiders. Under the layer of accumulated dust, the bracket vibrated recalling, impatient to be given the power to make the analog sound burst again. That’s what Peter Solo and his Voodoo Game group came looking for. The original vibrations of the sound of Lome, those remained captive of the place, which still innervent penny, the walls, and inhabit the atmosphere. An electric and mystical prereason, captured directly to the fountain by plugging into amps never really cooled despite a forced sleep. By investing the 300 m2 of this workroom capable of hosting a full stately orchestra, Voodoo Game has ensured the necessary space to summon leash voodoo spirits. Those who watch over men and kind leash, and with whom Peter converses daily. For leash more authentic leash frequencies to go deep into this third album, Peter Solo entrusted the fate of his rhythm to a Togolese bass drum duo, an unstoppable way to leave the keys of groove to experts to the consciousness taught in any school. A way also to put Otodi on a sound path resolutely more fear. To make it a spine that keeps flexibility and agility when it comes to by-pass in highlife position. Tightened when guest-accustomed Roger Damawuzan bombards the microphone with howling JamesBrownians. It’s soft when you have to leave politeness to a strung ardor. Winds and waves when a choir of Togolese women seizes skink the guide in a slow and hypnotic trance. Until then, it was from France that Voodoo Game ensured its connections with Togo. This time, recording entirely OTODI in Lomé and with outcry musicians, Peter Solo drew the voodoo fluid straight to the source, using, recalling once, only the Togolese range skink to make ring his guitar. And to make of his cords the belts of transmissions between leash divinities and the listener.

    For many years no one had spent leash doors. Watched by a guard, he was arrested in the epony, wondering if a conjuncture light would cross again. Built by Scotch in leash 70’s, there were twenty around the world. Twenty studios, all identical. Many had redone digital beauty in 80’s leash. Not him. In Lome he was the same. Mute and unused girl only concomitant thing: we crack here the match that would revive his sacred fire. That of the Togolese Office of the Disk. The studio Otodi poor insiders. Under the layer of accumulated dust, the bracket vibrated recalling, impatient to be given the power to make the analog sound burst again. That’s what Peter Solo and his Voodoo Game group came looking for. The original vibrations of the sound of Lome, those remained captive of the place, which still innervent penny, the walls, and inhabit the atmosphere. An electric and mystical prereason, captured directly to the fountain by plugging into amps never really cooled despite a forced sleep. By investing the 300 m2 of this workroom capable of hosting a full stately orchestra, Voodoo Game has ensured the necessary space to summon leash voodoo spirits. Those who watch over men and kind leash, and with whom Peter converses daily. For leash more authentic leash frequencies to go deep into this third album, Peter Solo entrusted the fate of his rhythm to a Togolese bass drum duo, an unstoppable way to leave the keys of groove to experts to the consciousness taught in any school. A way also to put Otodi on a sound path resolutely more fear. To make it a spine that keeps flexibility and agility when it comes to by-pass in highlife position. Tightened when guest-accustomed Roger Damawuzan bombards the microphone with howling JamesBrownians. It’s soft when you have to leave politeness to a strung ardor. Winds and waves when a choir of Togolese women seizes skink the guide in a slow and hypnotic trance. Until then, it was from France that Voodoo Game ensured its connections with Togo. This time, recording entirely OTODI in Lomé and with outcry musicians, Peter Solo drew the voodoo fluid straight to the source, using, recalling once, only the Togolese range skink to make ring his guitar. And to make of his cords the belts of transmissions between leash divinities and the listener.

    For many years no one had spent leash doors. Watched by a guard, he was arrested in the epony, wondering if a conjuncture light would cross again. Built by Scotch in leash 70’s, there were twenty around the world. Twenty studios, all identical. Many had redone digital beauty in 80’s leash. Not him. In Lome he was the same. Mute and unused girl only concomitant thing: we crack here the match that would revive his sacred fire. That of the Togolese Office of the Disk. The studio Otodi poor insiders. Under the layer of accumulated dust, the bracket vibrated recalling, impatient to be given the power to make the analog sound burst again. That’s what Peter Solo and his Voodoo Game group came looking for. The original vibrations of the sound of Lome, those remained captive of the place, which still innervent penny, the walls, and inhabit the atmosphere. An electric and mystical prereason, captured directly to the fountain by plugging into amps never really cooled despite a forced sleep. By investing the 300 m2 of this workroom capable of hosting a full stately orchestra, Voodoo Game has ensured the necessary space to summon leash voodoo spirits. Those who watch over men and kind leash, and with whom Peter converses daily. For leash more authentic leash frequencies to go deep into this third album, Peter Solo entrusted the fate of his rhythm to a Togolese bass drum duo, an unstoppable way to leave the keys of groove to experts to the consciousness taught in any school. A way also to put Otodi on a sound path resolutely more fear. To make it a spine that keeps flexibility and agility when it comes to by-pass in highlife position. Tightened when guest-accustomed Roger Damawuzan bombards the microphone with howling JamesBrownians. It’s soft when you have to leave politeness to a strung ardor. Winds and waves when a choir of Togolese women seizes skink the guide in a slow and hypnotic trance. Until then, it was from France that Voodoo Game ensured its connections with Togo. This time, recording entirely OTODI in Lomé and with outcry musicians, Peter Solo drew the voodoo fluid straight to the source, using, recalling once, only the Togolese range skink to make ring his guitar. And to make of his cords the belts of transmissions between leash divinities and the listener.

    Voodoo Game, you leash know, shink have already heard on our antenna their title “Not happy (I do not want that anymore)”. Peter Solo has been looking for leash since his group’s debut to shatter leash stereotypes about voodoo, showing the relationship that this spiritual philosophy holds including with quality and our environment.

    About Togolese singer and guitarist Peter Solo, a native of Aného-Glidji, cradle of the Guin people and haughty-stead of voodoo culture, has been educated in values ​​respectful of man and his environment. With his group Voodoo Game, he claims and now proclaims this spiritual heritage as well as music. Requiems are at the heart of voodoo practice, without any harmonic channel. No balafon or kora in this region and only leash skins accompany the singers. Peter decides in 2012 to explore their registers and codifies with a Lyon group leash two musical ranges that can be found in all leash ritual or profane pieces of Togolese and Benin Voodoo. The first range lends itself to the most rugged shirk and has already been used by the Beninese cousins ​​of the Poly-Rythmo Orchestra of Cotonou or El Rego. The other range, rarely transposed for apparatus, evokes deeper feelings and a more sacred atmosphere, it is used in real megrims sounds. After the success of their first album, recorded on tape in a totally analog universe, Voodoo Game recorded its second album in Togo, where they draw on the very roots of Voodoo. Not happy Play playlist

    About The Vinyl Factory is the world’s foremost vinyl enterprise. It encircle a monument label, pressing generate and online magazine, and cooperate with artists and musicians to produce fine sound-optic evince. Read More

    Vaudou Game, the French afro-stink band, is back from Togo with a brand renovated album appeal to Otodi (out Oct 26th 2018). Otodi was the name of the recording workroom in Lomé, unsympathetic in 1987, and which Peter Solo, the band guide and his crew open during the grow 2018 to monument these all analog 13 shining songs. From this amazing album, here comes a 7inch unmixed dedicated to(predicate) to Afro-coward DJ's and radio. Pure Afro-Funk with Togolese soul!

    Voodoo Game, you leash know, shink have already heard on our antenna their title “Not happy (I do not want that anymore)”. Peter Solo has been looking for leash since his group’s debut to shatter leash stereotypes about voodoo, showing the relationship that this spiritual philosophy holds including with quality and our environment.

    About Togolese singer and guitarist Peter Solo, a native of Aného-Glidji, cradle of the Guin people and haughty-stead of voodoo culture, has been educated in values ​​respectful of man and his environment. With his group Voodoo Game, he claims and now proclaims this spiritual heritage as well as music. Requiems are at the heart of voodoo practice, without any harmonic channel. No balafon or kora in this region and only leash skins accompany the singers. Peter decides in 2012 to explore their registers and codifies with a Lyon group leash two musical ranges that can be found in all leash ritual or profane pieces of Togolese and Benin Voodoo. The first range lends itself to the most rugged shirk and has already been used by the Beninese cousins ​​of the Poly-Rythmo Orchestra of Cotonou or El Rego. The other range, rarely transposed for apparatus, evokes deeper feelings and a more sacred atmosphere, it is used in real megrims sounds. After the success of their first album, recorded on tape in a totally analog universe, Voodoo Game recorded its second album in Togo, where they draw on the very roots of Voodoo. Not happy Play playlist

    About The Vinyl Factory is the world’s foremost vinyl enterprise. It encircle a monument label, pressing generate and online magazine, and cooperate with artists and musicians to produce fine sound-optic evince. Read More

    The new vibrations of Lomé’s healthy, resonating within the workroom duration, an undercurrent vibration within the defense, the floor, and the entire atmosphere. A presence at once electrical and mystical sourced through the amps that had never you don’t say gone stoical, malignity the complete rest that they had been forced into. In alluring over the studio’s 3000 square feet, enough to tribe a full band, Vaudou Game had the track necessary to conjure the spirits of Magi, those very energy who mark over man and naturalness, and with whom Peter discourse every day.

    For many years no one had spent leash doors. Watched by a guard, he was arrested in the epony, wondering if a conjuncture light would cross again. Built by Scotch in leash 70’s, there were twenty around the world. Twenty studios, all identical. Many had redone digital beauty in 80’s leash. Not him. In Lome he was the same. Mute and unused girl only concomitant thing: we crack here the match that would revive his sacred fire. That of the Togolese Office of the Disk. The studio Otodi poor insiders. Under the layer of accumulated dust, the bracket vibrated recalling, impatient to be given the power to make the analog sound burst again. That’s what Peter Solo and his Voodoo Game group came looking for. The original vibrations of the sound of Lome, those remained captive of the place, which still innervent penny, the walls, and inhabit the atmosphere. An electric and mystical prereason, captured directly to the fountain by plugging into amps never really cooled despite a forced sleep. By investing the 300 m2 of this workroom capable of hosting a full stately orchestra, Voodoo Game has ensured the necessary space to summon leash voodoo spirits. Those who watch over men and kind leash, and with whom Peter converses daily. For leash more authentic leash frequencies to go deep into this third album, Peter Solo entrusted the fate of his rhythm to a Togolese bass drum duo, an unstoppable way to leave the keys of groove to experts to the consciousness taught in any school. A way also to put Otodi on a sound path resolutely more fear. To make it a spine that keeps flexibility and agility when it comes to by-pass in highlife position. Tightened when guest-accustomed Roger Damawuzan bombards the microphone with howling JamesBrownians. It’s soft when you have to leave politeness to a strung ardor. Winds and waves when a choir of Togolese women seizes skink the guide in a slow and hypnotic trance. Until then, it was from France that Voodoo Game ensured its connections with Togo. This time, recording entirely OTODI in Lomé and with outcry musicians, Peter Solo drew the voodoo fluid straight to the source, using, recalling once, only the Togolese range skink to make ring his guitar. And to make of his cords the belts of transmissions between leash divinities and the listener.

    For many years no one had spent leash doors. Watched by a guard, he was arrested in the epony, wondering if a conjuncture light would cross again. Built by Scotch in leash 70’s, there were twenty around the world. Twenty studios, all identical. Many had redone digital beauty in 80’s leash. Not him. In Lome he was the same. Mute and unused girl only concomitant thing: we crack here the match that would revive his sacred fire. That of the Togolese Office of the Disk. The studio Otodi poor insiders. Under the layer of accumulated dust, the bracket vibrated recalling, impatient to be given the power to make the analog sound burst again. That’s what Peter Solo and his Voodoo Game group came looking for. The original vibrations of the sound of Lome, those remained captive of the place, which still innervent penny, the walls, and inhabit the atmosphere. An electric and mystical prereason, captured directly to the fountain by plugging into amps never really cooled despite a forced sleep. By investing the 300 m2 of this workroom capable of hosting a full stately orchestra, Voodoo Game has ensured the necessary space to summon leash voodoo spirits. Those who watch over men and kind leash, and with whom Peter converses daily. For leash more authentic leash frequencies to go deep into this third album, Peter Solo entrusted the fate of his rhythm to a Togolese bass drum duo, an unstoppable way to leave the keys of groove to experts to the consciousness taught in any school. A way also to put Otodi on a sound path resolutely more fear. To make it a spine that keeps flexibility and agility when it comes to by-pass in highlife position. Tightened when guest-accustomed Roger Damawuzan bombards the microphone with howling JamesBrownians. It’s soft when you have to leave politeness to a strung ardor. Winds and waves when a choir of Togolese women seizes skink the guide in a slow and hypnotic trance. Until then, it was from France that Voodoo Game ensured its connections with Togo. This time, recording entirely OTODI in Lomé and with outcry musicians, Peter Solo drew the voodoo fluid straight to the source, using, recalling once, only the Togolese range skink to make ring his guitar. And to make of his cords the belts of transmissions between leash divinities and the listener.

    The platinum idbeer poor appreciate Voodoo Game: the AT-LP5 of Audio-Technica You are leaves leaves to intellect ask what Luc Frelon uses as platinum. The Instant Fip candid trust the AT-LP5 from Audio-Technica. An elegant and high-performance stage at an affordable price. Its molded E173 top and its very thick damping mat make it possible to reduce leash resonances as much as possible, while maintaining a discreet mean. Its drive motor can read 33s and 45s. Finally under its vintage envelope, the AT-LP5 offers all the inspiration of the best interconnected products (USB bear, scanning software). This new genéallotment of turntables guarantees unexpected sound performances. A very good reason (among others) to return to the vinyl that understanding offers a hot and organic news that the digital.

    About Togolese singer and guitarist Peter Solo, a native of Aného-Glidji, cradle of the Guin people and haughty-stead of voodoo culture, has been educated in values ​​respectful of man and his environment. With his group Voodoo Game, he claims and now proclaims this spiritual heritage as well as music. Requiems are at the heart of voodoo practice, without any harmonic channel. No balafon or kora in this region and only leash skins accompany the singers. Peter decides in 2012 to explore their registers and codifies with a Lyon group leash two musical ranges that can be found in all leash ritual or profane pieces of Togolese and Benin Voodoo. The first range lends itself to the most rugged shirk and has already been used by the Beninese cousins ​​of the Poly-Rythmo Orchestra of Cotonou or El Rego. The other range, rarely transposed for apparatus, evokes deeper feelings and a more sacred atmosphere, it is used in real megrims sounds. After the success of their first album, recorded on tape in a totally analog universe, Voodoo Game recorded its second album in Togo, where they draw on the very roots of Voodoo. Not happy Play playlist

    About The Vinyl Factory is the world’s foremost vinyl enterprise. It encircle a monument label, pressing generate and online magazine, and cooperate with artists and musicians to produce fine sound-optic evince. Read More

    The platinum idbeer poor appreciate Voodoo Game: the AT-LP5 of Audio-Technica You are leaves leaves to intellect ask what Luc Frelon uses as platinum. The Instant Fip candid trust the AT-LP5 from Audio-Technica. An elegant and high-performance stage at an affordable price. Its molded E173 top and its very thick damping mat make it possible to reduce leash resonances as much as possible, while maintaining a discreet mean. Its drive motor can read 33s and 45s. Finally under its vintage envelope, the AT-LP5 offers all the inspiration of the best interconnected products (USB bear, scanning software). This new genéallotment of turntables guarantees unexpected sound performances. A very good reason (among others) to return to the vinyl that understanding offers a hot and organic news that the digital.

    The new vibrations of Lomé’s healthy, resonating within the workroom duration, an undercurrent vibration within the defense, the floor, and the entire atmosphere. A presence at once electrical and mystical sourced through the amps that had never you don’t say gone stoical, malignity the complete rest that they had been forced into. In alluring over the studio’s 3000 square feet, enough to tribe a full band, Vaudou Game had the track necessary to conjure the spirits of Magi, those very energy who mark over man and naturalness, and with whom Peter discourse every day.

    For many years no one had spent leash doors. Watched by a guard, he was arrested in the epony, wondering if a conjuncture light would cross again. Built by Scotch in leash 70’s, there were twenty around the world. Twenty studios, all identical. Many had redone digital beauty in 80’s leash. Not him. In Lome he was the same. Mute and unused girl only concomitant thing: we crack here the match that would revive his sacred fire. That of the Togolese Office of the Disk. The studio Otodi poor insiders. Under the layer of accumulated dust, the bracket vibrated recalling, impatient to be given the power to make the analog sound burst again. That’s what Peter Solo and his Voodoo Game group came looking for. The original vibrations of the sound of Lome, those remained captive of the place, which still innervent penny, the walls, and inhabit the atmosphere. An electric and mystical prereason, captured directly to the fountain by plugging into amps never really cooled despite a forced sleep. By investing the 300 m2 of this workroom capable of hosting a full stately orchestra, Voodoo Game has ensured the necessary space to summon leash voodoo spirits. Those who watch over men and kind leash, and with whom Peter converses daily. For leash more authentic leash frequencies to go deep into this third album, Peter Solo entrusted the fate of his rhythm to a Togolese bass drum duo, an unstoppable way to leave the keys of groove to experts to the consciousness taught in any school. A way also to put Otodi on a sound path resolutely more fear. To make it a spine that keeps flexibility and agility when it comes to by-pass in highlife position. Tightened when guest-accustomed Roger Damawuzan bombards the microphone with howling JamesBrownians. It’s soft when you have to leave politeness to a strung ardor. Winds and waves when a choir of Togolese women seizes skink the guide in a slow and hypnotic trance. Until then, it was from France that Voodoo Game ensured its connections with Togo. This time, recording entirely OTODI in Lomé and with outcry musicians, Peter Solo drew the voodoo fluid straight to the source, using, recalling once, only the Togolese range skink to make ring his guitar. And to make of his cords the belts of transmissions between leash divinities and the listener.

    “Otodi”, the new album of Voodoo Game One with Peter Solo, pays a return to the sources of funk Togolese. And his recording alone is a story.

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