soul food and pura vibes
Guts, the beatmaker, the producer, the performer, the DJ.
Samplers and sequencing. Cut, pitch, filter, cut again, program, deconstruct to build better.
Guts is in control of the aircraft. In the cabin, a colourful and generous fresco announces the name of his latest album: PHILANTROPIQUES.
An Afro-tropical album.
A solitary work roughly the opposite of what he had lived in the last three years and the release of Eternal, an album recorded with his Pura Vida Band, then a show honed, developed and perfected during tours in France and Europe.
Experimental, sunny, which would explore all the vibrations from the southern hemisphere that Guts has been collecting for years by indulging in his passion for diggin'. Those with which he sets his DJ sets on fire, those which he patiently collected from the five volumes of his Beach Diggin' compilations.
Jowee Omicil, Lameck Macaba, Djeuhdjoah and Nicholson, Pat Kalla, distorting for the occasion company in Voilàà à Sound System, Draman Dembélé, Black Sage, or Mario Canonge. The foremost Angolan semba, Vum Vum. Samba-soul sovereign Catia Werneck. Pinduca aka The King Of The Carimbo. The illustrious Nazaré Pereira. All of them came to lend a hand. Add a dose of brass, guitar, flute or vibraphone. Tap the keys of the keyboard, make the woodland of the balafon sound, take the microphone for a vocal caress or go wild to make the cabin vibrate. To put poems to music or bring a touch of humour.
Travel between Brazil, the Caribbean and Africa. Lose the sense of direction in an Afro trance, between the hum of the bass and the spinning percussion, wiggle until dehydration on tough funk, gently undulating on Brazilian jazz-funk.
To carry out his plan, Guts was joined by the services of Cyril Atef (co-leader of Bumcello and Congopunq) and Ben Wolf (the man behind the comeback of African legends Pat Thomas and Ebo Taylor) to whom he entrusted part of the keys to the realization.
He also set up a new live band where Kenny Ruby’s bass, Cyril’s drums, Cyril Atef’s percussion, Adelaide Songeons’ trombone and Ben Wolf’s sax become the axis around which all the pieces were thought and composed. A totem on which the arrangements would later agglomerate and from which all further ideas would be developed.