Post Modern Cumbia Blog

The Modern Music of Colombia….by Dj Canalh from France

Taken from generation bass. French DJ Canalh (whose mixes have been on GenBass many times) was living in Colombia, and before leaving he made a special Mixtape!!
and he also wrote the note:

“Colombian music is as powerful and influential as the American, Jamaican and UK music, isn’t it?
Many have a special interest in salsa, cumbia tropical music of the 70s, the Golden Age of Discos Fuentes label, Sonolux, Victoria, Tambora, etc.. But to restrict it would be a mistake.
Indeed, the dynamism of modern music of Colombians and those in the diaspora is undeniable.
This mix / compilation whose artwork and design were carried out by Colombian, proposes to prove it.
Some troublemakers have come to interfere in the playlist, these are foreigners who have or are working closely with Colombian, in the case of Quantic, Robert Santiago, Charles Tox.
But the quality of the music, the diversity of Colombian artists is impressive, and despite that, I had to leave some on the way! The first third of the mix is slightly political, inevitable, but the 2 / 3 that remain are a party, what seemed like a good translation of that amazing country music, right? That’s it … Colombia … Goodbye”


Canalh – Aurevoir Colombie by Canalh [kanaj]

El Playlist
1. Kaisolo + Ferdys Arrieta (Gaitereos de San Jacinto) – Este País Tiene Arreglo / Bandcamp
2. Antioquia – Guerra (Plan Colombia) / Bandcamp
3. Robert Santiago – La democracia (remix)
4. El Criollo – DesplaSound
5. Frente Cumbiero – Aguanegra / Names you can trust
6. Papaya Republik – Pescao
7. Chocquibtown feat la 33 – Pescao Envenenao / Bandcamp
8. Pielmantra – Te lo Dije / Free
9. Cero 39 – Cumbia anti
10. Cero 39 – Fuego (bomba estereo vs cero39)
11. Pernett – El Baile del Guevatronik Feat. Fangafrika
12. Alerta Kamarada – De donde viene la cumbia
13. Ciudad pasarela – Viejo santo -Territory Dub remix / Bandcamp
14. Caballo Vs Diego Bernal – Bring It Home (Mexicans with Guns RMX) / inédit
15. Quantic Presenta Flowering Inferno – Dub Y Guaguanco
16. Supersonico – Salsa Scratch
17. Rocca – El original (Le retour)
18. Interlude : Puerto Candelaria
19. Systema solar – Mi kolombia
20. Aniceto Molina – Sombrero Volteao (Orion Edit) / Bandcamp
21. Kinky Electric Noise – Campesino Urbano
22. Lido Pimienta – Humano (Noisewhite remix)
23. KinKy CumbiA – NoblezzA (karibe espacial)
24. Profetas – Baila
25. Plastic Caramelo – Plastic Caramelo
26. Isa GT – Pa Las Mamasitas (Chief Boima & Orion Remix)
27. Shurtek Collective – El Cumbiatón Feat Hibikilla, Afra & Kei (Incredible Beatbox)
28. Clase candante – Ven Y Baila / inédit
29. Monareta – Raimundo llevate el mundo
30. DanyF – Jaus (Bleepolar remix)
31. Systema Solar – Quien Es El Patron (Charles Tox Efectivo rmx) / Galletas calientes
32. Cero 39 – Buen dia Barranquilla
33. Santiago Lozano – Una sonrisa antes de regresar al mundo / Bandcamp


ZZK’s Fauna /VillaDiamante feat. Pernett freestyling

Oh man, what a night last friday thanks to the freaky friday organizers…they bring international cumbia peeps mixed with our local futuristic sound.
Nice people those argentinians , so low key and down to earth they are exactly the opposite of what colombians think of argentos (arrogant, stuck up etc..)
Some dubspetty cumbia, mixed with argentinian raggae rappin style, mindboggling bass sounds and a drunken Pernett rappin about weed , later on he got even more drunk and rapped about ganja and after he was wasted he sang about the medicine wonders of …yeah you guessed… marijuana.
Beautiful girls! Black , white ,brown and everything in between …just swirling their hips to the cumbia swing, raising the tension, the place was so packed and hot it was impossible feeling their hips and naked shoulders.
Looking foreward to the next freaky friday baby!!!!

Dargelos and Dante in a cumbia…Cumpa mero mero

2 90’s icons from latin rock a Babasonico and a Kuriaki from Argentina rappin with mexicanisms doin’ a peruvian cumbia which is originally from Colombia.

Dargelo’s has got to be one of my favorite lyricists in castellano…it’s fun 2 hear him in a cumbia….
De todas las mentiras te prefiero a ti vida mia.

More on DJ Orion, cumbia and zoophilia in the Atlantic coast.

DJ Orion and his Carajo Colombia from some months ago… nice art

In the album there’s a classic of zoophiliac tunes…Mi burrita….My donkey…Eliseo hasn’t seen his girlfriend in a while so he went to the backwoods to see her….My donkey mua mua mua and it goes something like this…

La Burita (Orion Edit) by dj_Orion

Toy Selectah talkin’ Cumbia at the Redbull music academy

Ex Control Machete now with Diplo’s Maddecent talking about cumbia’s origins and the way Mexicans and Argentinians made their own styles out of this riddim from Colombia…

Here’s a link

Colombia will dance w/ the Frikstailers tomorrow night.

Hey folks, I’m back from a trip in the wilderness, no laptop, no news about people being spied on by the President, nothing but trees,both kinds jejeje..
So I come back 2 the city and first thing I hear is that the Frikstailers are playing in teatro metro in Bogota next fri night. sweet, I’m there…..tell you about it on Saturday baby!!!!!

a little taste of the freakysounds on this kickass vid>

Cumbia del clitoris

MumBai Mafia with the clit cumbia. heavy , distorted cumbia from Belgium.
My theory is that Colegiala was an international hit for Rodolfo Aicadi, 40 years later kids find this in their grandparents collection and caught the cumbia fever.

Cumbia del Clitoris by MumBai Mafia

Cumbia fight….. Andres Landero and his rebels versus Vallenato from Valledupar

Most San Jacinteros don’t like their music to be called Vallenato because of deep socio political differences between the Valledupar and San Jacinto regions.
These are excerpts of an excellent thesis written by Bardo Martinez
Rythms from similar origins were played differently,also with different instrumentation : Guacharaca, Caja, Accordeon.
The origin of these set of rhythms played by this instrumentation has been said to derive from the municipality of Valledupar in the department of El Cesar. By the 1960’s the term vallenato, this music from this particular region became El Vallenato, subsequently becoming a homogenous entity which cast “accordion music from elsewhere in La Costa…as a derivative or of secondary importance. This phenomenon was created by a process of commercialization and a political project which involved elites, Vallenato musicians and composers from “La Provincia” who succeeded in splitting the dept. of Magdalena in half by creating the dept. of El Cesar as a way of politically empowering them and that region under President Lleras Restrepo. This along with the creation of El Festival de la Leyenda Vallenata in 1968 solidified “El Vallenato” as a hegemonic force in la costa which definitely overshadowed other regions and their traditions, especially as “El Vallenato” became commercialized into a nationally recognized genre.

In an interview with Rito Llerena Villalobos, Musical icon Adolfo Pacheco describes the hegemony of “El Vallenato” in la costa and the music business.
“The accordion came to everybody. Here the son: the paseo, the merengue, are played totally different. The names….the merengue was called on etype of rhythm which is more like a pasaje, or a fandango, I still know many songs like that. The vallenatos call our type of paseo acachacao”.
What Pacheco is saying is that people in San Jacinto played similar vallenato rythms, that were markedly different of course; which is ok, but the Vallenatos looked down upon them in a patronizing way because of such difference, as if their rhythms were more original and more authentic then those from San Jacinto. Pacheco then states that this hegemony that the Vallenatos pushed in amplifying their style while denigrating others, translated into commercial success for them and the recording companies that backed them. He states that, “the Vallenatos were in style because of the recording companies who logically triumphed, they sold more discs, they were better businessmen with the Vallenatos then with us.
In this way, Pacheco very clearly defined the hegemony of “El Vallenato” pushed by its intellectuals (Gabriel Garcia Marquez), and its marginalizing effects on San Jacinto and their musical culture as represented by the depreciation of his commercial success. However, throughout the testimony he reaffirms the fact that the “folclor” of San Jacinto is just as good and “pure” as that of Valledupar, and that he resented being called a “Vallenato” or its secondary pejorative, “Vallenato Sabanero21”. All this is densely packed in one of his most famous songs La Hamaca Grande, of which Landero interpreted and created the musical arrangements to. Here Pacheco describes the meaning of this song:

• what we have in San Jacinto is the Faroto Indian who played the gaita, who is just like their Francisco El Hombre22 and that I was gonna take them our folklor in a huge hammock, bigger then the biggest thing in San Jacinto, the Cerro de Maco. I was saying this in a literary manner, that I was goint to take our folclor to make the Vallenatos sing, to sway them musically on a huge hammock, that was being rocked by Andres Landero, Los Gaiteros de San Jacinto, and myself”
As Pacheco states, this song was a response to the Vallenato Festival and the hegemony which it imposed (shotguns, nafer). What Pacheco represents is the allegiance which musicians from San Jacinto, like Landero, held to their traditional cultural forms in resistance to the overbearing allegory of El Vallenato and commercialization

You can find the rest of it here:
The song entilted LA HAMACA GRANDE…..The giant hammock with which they’ll sway away the Vallenateros

Andrés Landero – Con ritmo, tambores y velas – 01. Virgen De La Candelaria by hombreranajorge

CUMBIA …styles in Colombia

Types of Colombian cumbias
Classic Cumbia:
Played with a Kuisi sigí (male gaita) and a Kuisi bunzí ( female gaita). Gaitas are sorta long wooden flutes made by the native american where the sound of the male gaita “chased” the female sounds. Basically the rythms from the African Yoruba religion, (more specifically the rythms for the God Obatalá) mixed with these native melodies from the Kogui tribe from north of Colombia and the classic Cumbia was born.
Classic Cumbias are never sung, they are instrumentals which are supposed to be danced.
the gaitas are played with maracas and a basic drum.

Modern Cumbia:
Other instruments such as la caña de milo (shorter wooden flute), drums such as tambor llamador which keeps the basic beat playing along with the Tambora or Bombo which is the bigger one and makes the bass sounds and the Alegre drum which improvises and embelishes the groove.
Other instruments in this type of Cumbia include piano and guacharaca. There are lyrics and different variations of cumbia such as mapalé which is a lot faster and very very sexual. I’ve seen very few peolple who aren’t black who can dance this the right way. Other variants of the Cumbia are Bullerengue,Saloma, Gaita (don’t confuse with the instrument), Porros which have two types: Porro palitiado and Porro tapao depending on the way you strike the drum with sticks. There are more variations but sorry…I’m not a folklor student.
Joe Arroyo and a Modern cumbia (with lyrics)

Cumbia Vallenata :
This is the famous cumbia known around the world with heroes such as Andres Landero A.K.A The King of Cumbia (eventhough he didn’t like the name Vallenato) very well known by Mexicans. Great songwriters Alfredo Guttierrez and Lisandro Mesa who were members of the Corraleros del Majagual (the Colombian Fania allstars jeje) were also very popular in Colombia and internationally.
This type of Cumbia combines the elements of the Classic and Modern Cumbias, it has instrumentals and it is sung. The accordeon is used but Andres Landero The Cumbia King who was a gaitero from a family of gaiteros from San Jacinto
played in a different way which was more of a gaitero’s angle of looking at music.
Andres Landero , The King of Cumbia with a song called “Raros gaiteros” or Wierd Gaita players.

Tropical Cumbia or Brass Cumbia:* I know…. tropical cumbia/ oxymoron.
It started in the mid 1950’s when big cuban bands were the thing with all their trumpets, timbales and big sound fused with cumbias and porros and Gaitas. see Rodolfo Aicardi, Sonora Dinamita and the great Fruko or Ernesto Estrada who was in the Corraleros as musical director and later with in his own band “Fruko y sus Tesos” fused hard 70’s salsa with cumbias and other colombian riddims.
This is a Gaita rythm called “la Piojosa” from Sonora Cienaguera . enjoy

La Piojosa – Sonora Cienaguera by ebiruojaba

Postmodern Cumbias: from early 70’s to now. Think Sly Stone and James Brown doing CUMBIA, that was COLUMNA DE early 70’s Colombian rock band

Cumbia de La Columna de Fuego by ebiruojaba

After JOE ARROYO’S fusions of Salsa, Champeta,Soca,Cumbia and Reggae (See La Noche) hit bigtime throuhgout the 80’s it became normal for young rockers in the 90’s to fuse rock elements with cumbia’s and other folkloric music. Important bands came out such as La Provincia with the the great guitar player Teto Ocampo. La Provincia later did a hard Funk rock cumbia champeta experiment under the name Bloque de Busqueda later shortened to Bloque a band that played all over the world, funkifying afrocolombian music and experimentation whose musicians later worked with Richard Blair ,a Brit who worked with Peter Gabriels Real World music label and was engineering and producing albums with the great Folklorist Totó la Momposina and was behind Carlos Vives’s huge commercial breakthrough.
With all these riddims and peolple beside him Richard Blair created Sidestepper, mixing the british electronica dub scene with afrocaribbean riddims in the early 90’s.

By this time rock band “Los Aterciopelados” fused punk rock vibe and modern cumbia’s with their cover of Lisandro Mesa’s hit song “La Baracunatana.” Years later one half of the duo Aterciopelados Hector Buitrago would release his solo album Conector where he has tradtional cumbia singers mixed with electronica and middle eatern elements.
The name of the song is Damaquiel featuring the great Burro Mocho , I’ll do a post on Burro Mocho later..
Postmodern cumbia from 2006:

Do Argentinians only beat Colombians in Football? check these beats out

Is it like rock in britain where they were outrocking the inventors of rock with the brit invasion?
Well It would be a nice thing if we had an argentinian invasion in Colombia . But Cumbia….No more Charly no more Fito please….
Let’s swap Fito Paez for HIjo de la Cumbia and Charly Garcia for Sandro Dalepedro ..Please , I do hate Charly and Colombians can’t seem to get enough of these people, their music is tired.. a copy of a copy, Charly wants to be Lennon and Fito wants to be Charly …. say no more… jejej now Sandro Delpedro wants to be Sandro Delpedro …judge youselves

love this song called Cumbia Junk …it is broken, glithy, wobbly and so not junk. art. ArtCumbia

Sandro Dalepedro – Cumbia Junk by sylordub-sandro dalepedro