Burkina Electric
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Burkina Electric

New York City, Est, Burkina Faso | Established. Jan 01, 2014 | INDIE

New York City, Est, Burkina Faso | INDIE
Established on Jan, 2014
Band World EDM


This band has not uploaded any videos
This band has not uploaded any videos



"Notable Press Quotes"

“Hot, intelligent and musical”
– Steve Reich

“A sleek, kinetic album.”
- Nate Chinen, The New York Times
Critics’ Choice, New CDs: Paspanga, by Burkina Electric

“I’m not a fan of electronica, but when I heard this music I said, “Wait a minute, I love this stuff…The guitarist [Wende K. Blass] is out of this world. I mean this guy…when I heard the solos that he had on this record, I said ‘Wow, where is he from? I want to meet him.’”
- Betto Arcos, NPR’s All Things Considered

“Burkina Electric mesmerizes with overabundant spirit and nifty computer skills.”
- Brent DiCrescenzo, TimeOut Chicago

“A unique collaboration between African and European musicians…Combining the beautiful vocals of Lingani with the African guitar licks of Blass — mixed with the electronic and percussion wizardry of Lukas Ligeti and Pyrolator — the sound of Burkina Electric is unlike anything else. It's an excitingly new 21st-century interpretation of African music.”
- Jon Kertzer, KEXP Seattle

“The quintessential joy of an all-out West African party, with its contagious dance-floor grooves, fast guitar breaks, and call-and-response passages, courses through “Paspanga,’’ the debut album from Burkina Electric.”
- Siddhartha Mitter, The Boston Globe

“Burkina Electric/Paspanga: West African ebullience, timeless electronic brainbugs, tireless experimentation, no hipster pandering.”
- Christopher R. Weingarten, music critic, 1000 Times Yes

"Burkina Electric throws open the Museum Of Mankind doors and shocks the system."
- Richard Gehr, paperthinwalls.com

“The début full-length album by this multi-continental group, led by Lukas Ligeti (the son of the noted composer), combines West Africanrhythms and electronic dance-floor effects. This seemingly fractured approach is united by the enchanting and energetic voice of its lead singer,
Maï Lingani.”
- The New Yorker
Burkina Electric’s Paspanga selected for Pop Notes
- Various

"Masters of Cultural and Stylistic Fusion in a Mash-Up of Their Very Own"

By Claudia La Rocco
Published: August 11, 2008

As Lincoln Center Out of Doors audience members searched, with increasing urgency, for empty seats in Damrosch Park on Friday night, dancers warmed up on the band shell stage. One trio executed silky moves you might find in a club, while a tall man sank into deep pliés, using stage scaffolding as his barre: it was a perfect teaser for the happy mash-up of forms and styles that lay ahead in a two-and-a-half-hour feast of works by Armitage Gone! Dance in collaboration with the band Burkina Electric and Evidence, a Dance Company.

Karole Armitage and Ronald K. Brown, the artistic director of Evidence, are each masters at blending disparate traditions. You know fusion (that dreaded word) is working when the term never occurs to you, when you don’t stop to identify the various vocabularies but simply sink unresistingly into the whole, like slipping into water at just the right temperature. To watch these choreographers is to see two artists in conversation with imposing traditions and histories, paying homage to the past while exploring ways to go forward.

Mr. Brown, in his dances, is often talking with the whole of the African diaspora, and Burkina Electric’s irresistible brew of West African music and electronica would seem a more natural fit for him than for Ms. Armitage, who has spent much of her career figuring out how to push ballet in new directions. But with “Summer of Love,” a preview of a work that will have its premiere in Italy this year, she has a sexy, richly layered hit on her hands.

Ms. Armitage is an intensely bright woman, and her choreography sometimes suffers from brainy excess. But “Summer of Love,” with its ever-in-flux community of instrumentalists, singers and dancers (wearing festively sophisticated retro costumes by Peter Speliopoulos), doesn’t seem overthought; it seems felt, and deeply so. Not that there aren’t ideas here — of how we coexist and don’t, how we relate and don’t, physically — but the ideas are intrinsic to the movement, not imposed on it.

What is most exciting (aside from the fabulously charismatic singer Mai Lingani and her backup dancers) is seeing Ms. Armitage work through ideas of partnering. Her women seem like next-generation ballerinas, impossibly long- and strong-limbed and unabashedly sexual as they lash their legs about their men; Megumi Eda’s duet with the guitarist Wende K. Blass is particularly fierce. It’s 2008, and these are no longer punk ballerinas, as Ms. Armitage was once called. But they’re certainly street.

Mr. Brown’s propulsive dances are street and soul all at once. Elegant, fluid diagonals and processionals are pregnant with emotion and history. Joyousness and resistance walk hand in hand in works like “Upside Down,” an excerpt from “Destiny,” from 1998.

On Friday “Upside Down” preceded “High Life” (2000), a historical saga that uses various dance forms to trace migrations, voluntary and forced, throughout the African diaspora. The score incorporates music and text by Fela Anikulapo Kuti, the poet Nikki Giovanni, James Brown’s former backup band the J.B.’s, Oscar Brown Jr. and others.

Few choreographers do as much with walking as Mr. Brown does, and in “High Life” we see the shuffle of slaves morph into the wearied but purposeful gait of people seeking a better life. Later there are slinky jazz struts and, finally, we come full circle, when modern American dance meets deeply rooted African traditions in a language that is wholly Mr. Brown’s.

The company’s name, Evidence, suits his dedication to bearing witness. But toward the end, when Mr. Brown and his extraordinary dancers (in Omotayo Wunmi Olaiya’s handsomely deconstructed costumes) explode into an ecstatic release, another word suggests itself: emancipation.

- The New York Times

"Fun with cool energy out of Africa"

By Leigh Witchel
Published: November 7, 2009

"Itutu" means "cool" in Yoruba. Judging from Karole Armitage's work at BAM, it might also mean "fun."
For this piece, Armitage -- the former Merce Cunningham dancer and punk ballerina of the '80s -- collaborated with West African band Burkina Electric and composer Lukas Ligeti. Her 10 dancers share the stage with the band, which has two dancers of its own.
African dance alternates with ballet moves and catwalk poses, the two groups blend together -- and everyone onstage seems to be having such a good time, it's impossible not to have one yourself.

There's a lot of talent on that stage. Mai Lingani, the band's vocalist, is more than a good singer -- she can also move and has star quality. The Armitage dancers whack their legs as if they were rubber. Leonides D. Arpon and Megumi Eda stand out, and Eda's duets with Burkina Electric dancer Zoko Zoko are a centerpiece of the show.
Armitage's choreography is energetic and well-made. She makes sly ballet references, and her big, everybody-dance finale is something Balanchine might have choreographed -- had he been from Burkina Faso, or what used to be Upper Volta, the band's home.
The music by Ligeti and the band blends electronics and African rhythms. Exuberant floral set designs by Philip Taaffe and costumes by Peter Speliopoulos suit the dance perfectly.
If there's anything wrong with "Itutu," it's that it's a little too long and a bit too loud. That's outweighed by the craftsmanship and energy. Bring earplugs and enjoy the cool.

- New York Post

"Burkina Electric, Lukas Ligeti’s Electronic Africa, Present Music’s Restless Journey"

By David Luhrssen
Published Feb 4, 2010

Being the first ever electronica band from Burkina Faso, the landlocked African nation formerly known as Upper Volta, is an interesting accomplishment. More intriguing, however, is the overall career of the group’s co-founder and percussionist, Lukas Ligeti. The son of one of the mid-20th century’s singular composers, Gyorgi Ligeti (author of the spooky music from 2001: A Space Odyssey), the younger Ligeti has found his own path in contemporary classical music. He also finds time for his band, Burkina Electric, a convergence of Africa with contemporary electro-funk. It’s music that can easily fill dance floors with the gentle sway of its fluid rhythms. Dancers are part of the ensemble, their choreography similarly blending tradition and experimentation.

Ligeti and Burkina Electric will be the guests of Milwaukee’s contemporary music ensemble and presenter, Present Music, at a Feb. 6 Turner Hall Ballroom concert. Along with a performance by Burkina Electric, the 7:30 p.m. show will include Present Music performing Ligeti’s composition for strings, Moving Houses, plus a pair of 1980s era Philip Glass pieces and the world premiere of Caroline Mallonee’s Reaction.

While acknowledging a debt to his distinguished father, Ligeti was drawn in directions that led far away from European modernism. Like many younger composers, he feels no obligation to stick to any one thing; rather, his track record is one of restless exploration into jazz, rock, electronics and the music of Africa. In 1998 he moved to New York and became part of the “downtown scene” of musicians whose taste for the avant-garde melds into the sonic language of rock. Six years later he founded Burkina Electric with Mai Lingani, whose sharp, penetrating vocals dominate the band along with Ligeti’s marimba lumina, a MIDI percussion synthesizer in the key of sub-Saharan Africa.

“It’s an orchestral instrument—a marimba with electronics associated with it,” Present Music Artistic Director Kevin Stalheim says of Ligeti’s signature instrument. “It runs from string sounds to electronic sounds to an actual marimba. It’s mind blowing when he does it live.”

Ligeti has explained that his embrace of the marimba lumina, which is armed with an arsenal of sampled sounds, came from his boredom in watching mouse-clicking musicians with laptops on stage. He wanted an instrument that looked more dynamic—that audiences could engage with visually as well as sonically.

“It’s the old and the new coming together,” Stalheim continues. “We know all about Fela [Kuti]. Burkina Electric adds the dimension of a new music composer to Afro-pop. You might find yourself in an ethereal soundscape all of a sudden! It’s an adventure beyond pop music, but Burkina
Electric is a kick-ass Afro-pop band.”

A lot of “world beat” is an artificial grafting of disparate elements, a cold fusion. For Stalheim, Burkina Electric’s music “sounds very natural. It represents the new world of young composers in the pop and academic worlds.”

Representing another side of his many interests, Ligeti’s Moving Houses is a string quartet originally commissioned by the Kronos Quartet. The music begins with simple, moody themes and develops into a complex web of references to everything from “Eleanor Rigby” to African rhythm and Gypsy fiddling.

In the eclectic realm of Saturday’s concert program, the pair of Glass pieces, with elegantly spinning wheels of minimalism, represents familiarity, the grounding in an already well-established tradition of postmodernism. The final composer on the bill, Mallonee, will be familiar to Present Music fans. Her composition for three musicians playing beer bottles, arranged around the theme of the old Milwaukee favorite “100 Bottles of Beer on the Wall,” was a hit when performed by Present Music in 2008.

The new work by Mallonee to be unveiled Saturday has nothing to do with beer, Africa or electronica. Written for violin, viola, cello, bass, tenor saxophone, clarinet, percussion and piano, “it’s rhythmically intricate, even though the beat is steady,” Stalheim says. “The musicians play their notes in less obvious places.” It sounds challenging and is part of the mélange of seriousness and fun that has long marked Present Music’s concerts.

- Shepherd Express (Milwaukee)

"Innovative DU music festival merges old and new"

By Kyle MacMillan
Published February 20, 2010

If classical music is to survive, let alone prosper, in the 21st century and attract vital new listeners, the field has to find ways to redefine itself. Not only must the music itself evolve in response to the transforming tastes of the iPod generation, the ways it is presented need to change to fit today's shorter attention spans and increased informality.

The University of Denver's Newman Center for the Performing Arts offered a possible way forward Friday evening, with the first of two programs in its first-ever Mile High Voltage Festival. This exciting, innovative offering focuses on a fast-growing if still little-known group of varied musicians who are blurring and even erasing the boundaries between classical music and hip hop, indie rock and world music.

Epitomizing this new brand of crossover was the world premiere of Evan Ziporyn's immediately appealing "NO one To KNOW one." The short, action-packed work combines an assortment of amplified orchestral instruments, including a flute, cello and vibraphone, with the decidedly nonclassical steel pan. The unusual mix of instruments interwoven with an atmospheric chant-like vocal part (soprano Megan Burness) produced alluring, exotic sound colors, which were in turn complemented and energized by layers of insistent, percussive rhythms.

If some offerings were more conventionally classical, there was little that was overtly classical about others, such as the eight songs of Burkina Electric, a group that compellingly merges traditional African music with an electronic dance vibe.
However classical or not, the international, sixmember group lit up the stage with a highly energetic, tightly integrated performance. Deserving special mention was the amazingly multifaceted vocalist Maï Lingani, who embellished her singing in five languages with a range of vocalisms and calls.

The Newman Center deserves praise for taking on such a daring offering — a first for Denver and probably the Rocky Mountain region. Mile High Voltage is obviously not for everyone. But for music-lovers who crave the new, offbeat and unexpected, it should not be missed. The festival returns at 7:30 tonight with a completely different lineup.

- The Denver Post

"Burkina Electric: 21st-Century African Music"

By Jon Kertzer
January 26, 2010 from KEXP, Seattle

A unique collaboration between African and European musicians, Burkina Electric is a group of six performers, singers and dancers from Burkina Faso, Germany and Austria — all now based primarily in New York City.
One of Africa's first electronic acts, the band was formed several years ago by Austrian composer and percussionist Lukas Ligeti, with singer Mai Lingani and guitarist Wende
Blass from Ougadougou, Burkina Faso, and electronics wizard Pyrolator from Dusseldorf, Germany.
Ligeti grew up as a classical composer and talented percussionist — not surprising for the son of legendary classical composer Gyorgy Ligeti. But he also fell in love with the music of Africa, and spent time performing and teaching in South Africa, Zimbabwe and Ghana, as well as performing with
African musicians in Cote D'Ivoire (Ivory Coast). This is where he met Lingani and Blass, and when he brought in his friend Pyrolator to create this original sound, which combines a variety of modern electronic instruments with the traditional rhythms and melodies of Burkina Faso.
The group is rounded out by the talented singer/dancers Zoko Zoko and Vicky — and you really need to see their live on-stage performances to fully appreciate what they add to Burkina Electric.
Performing for KEXP and The Best Ambiance from the Cutting Room Studios in Manhattan, Burkina Electric performed four songs from its new debut recording, Paspanga. Combining the beautiful vocals of Lingani with the African guitar licks of Blass — mixed with the electronic and percussion wizardry of Lukas Ligeti and Pyrolator — the sound of Burkina Electric is unlike anything else. It's an excitingly new 21st-century interpretation of African music.
Engineered by Anthony "Rocky" Gallo on Jan. 9, 2010.


"Burkina Electric, Old Town School of Folk Music"

By Peter Margasak
Published: February 2010

This transatlantic outfit, led by Brooklyn-based percussionist and composer Lukas Ligeti—son of famed Hungarian composer Gyorgy—comes into its own on its new second album, Paspanga (Cantaloupe). Burkina Electric has found a perfect balance of Western electronic dance music and traditional song forms from Burkina Faso. It certainly helps that the group includes a singer as strong and charismatic as Mai Lingani—who's a star in Burkina Faso and can rough up her limber, glassy voice into a startling growl—as well as a guitarist as fluid and colorful as her countryman
Wende K. Blass. But Ligeti and his German collaborator, Pyrolator (aka Kurt Dahlke, a former member of influential groups D.A.F. and Der Plan), hold up their end of the bargain: the beats they wed to their bandmates' hypnotizing rustic melodies aren't jacked-up club stomps but rather three-dimensional matrices of live and programmed percussion that sift, shift, lope, and gallop. The marriage is thoughtful and effective, with each half strengthening the other whether one's lying low or they're both going full tilt. The group also includes dancers Hugues Zoko and Idrissa Kafando, who contribute backing vocals.

- Chicago Reader

"A fusion of African music and the world: Burkina Electric"

By Siddhartha Mitter
Published: March 7, 2010

The quintessential joy of an all-out West African party, with its contagious dance-floor grooves, fast guitar breaks, and call-and-response passages, courses through “Paspanga,’’ the debut album from Burkina Electric. But equally present is the tense, haunting quality of high-grade electronica, with its accents of house, drum ’n’bass, downtempo, and more abstract concoctions from the soul of the machine.

Though billed as “Burkina Faso’s first electronic band,’’ the band is international. It includes Austrian composer-percussionist Lukas Ligeti, German producer Pyrolator, and two stellar musicians from Burkina Faso: guitarist Wende K. Blass and singer Maï Lingani, a soulful and charismatic presence who seems at ease in every context.

“Paspanga’’ may be Burkina Electric’s first album, but the four met back in 1994, when they played together in Abidjan, the metropolis of Ivory Coast, which has a large immigrant population from neighboring Burkina Faso. Ten years later, Ligeti, who went on to explore African music on frequent trips all over the continent, was commissioned to put together a Burkina Faso project. “I knew exactly who to invite,’’ he says. The band grew out of that opportunity, with Blass and Lingani eventually joining Ligeti in New York. Their work also involves sessions in Pyrolator’s studio in Germany, and frequent travel to Burkina Faso to record, perform, and research.

“We use a lot of traditional rhythms from Burkina Faso that are not too often used in urban pop, and not at all outside of the country,’’ says Ligeti, a son of contemporary classical composer György Ligeti. “The languages Maï sings in are from Burkina Faso.’’ The themes include proverbs, allegories, and social messages.

As a European co-leader of an African-identified band, Ligeti is well aware of the politics that swirl around
Western work with African art - such as the controversy around Vampire Weekend, the indie rock band that calls its esthetic “Upper West Side Soweto.’’ “I think a lot of this colonial debate is very tired,’’ he says. “When I collaborate with people from other cultures, I see them as individuals, not representatives.’’ Still, he has his own method to make sure the exchange takes place on fair terms. “One of my roles,’’ he says, “is to make sure that no one has an easy time.’’

- The Boston Globe

"Download Burkina Electric's "Ligdi""

By Christopher Weingarten
Published: January 28, 2010

The Brooklyn-via-West Africa collective Burkina Electric play an effortless blend of the traditional rhythms of Burkina Faso and speaker-shaking booty-bounce of modern club music. While guitarist Wende K. Blass, vocalist Mai Lingani, and dancers As and Vicky all originally hail from Burkina Faso, the Bushwick-based electronics guru and drummer
Lukas Ligeti has made New York the band's default home in recent years. Ligeti, the son of legendary Hungarian composer Gyorgy Ligeti, started collaborating with musicians on the Ivory Coast in 1994 and has been mutating traditional music and contemporary electronics ever since--notably, the Burkina line-up is completed by legendary synth-punk Kurt "Pyrolator" Dahlke from German new wave pioneers D.A.F. The band's debut album, Paspanga (Cantaloupe), is a high-energy burst of Madchester beats, woozy samples and outright woofer-wreckage, hopefully doing for Burkina Faso what Buraka Som Sistema did for Portugal, give or take a heavier dose of the more laidback, psychedelic vibe of Eno/Byrne's My Life In The Bush Of Ghosts. Check out "Ligdi," a track that surges with disorienting polyrhythms, soaring vocals, Art Of Noise-style electro blurts, and a blissful, vibrant, maddening, chant-along coda that could have been on Merriweather Post Pavillion, no fooling.

Burkina Electric's Lukas Ligeti on "Ligdi"
What is "Ligdi" about?
"Ligdi" means money in the More language, one of 60 languages in Burkina Faso, but among the most widely spoken--it's the language of the Mossi people who live in the center of the country, around the capital city, Ouagadougou. The song is about the problems money can cause in interpersonal relationships--corruption, greed, etc.

Tell me about the rhythms you guys use.
The basic rhythm of the song is the waraba, a traditional bell pattern of the Mossi that can, like so many African rhythms, be understood as binary (2/4) or ternary (3/4). This constant tension of 2:3 creates a rhythmic ambiguity. That's typical of African music, but in the case of the waraba, which is a very simple pattern, it's especially clear. Our interpretation of the waraba here leans toward the 3/4 side, but it's still ambiguous. We use samples of the traditonal mossi bell, the tchema, but have processed them beyond recognition using our electronics. For the final section of the piece, I play drums, so there's a contrast between the programmed and the live-played beats. When i play the drums, I sometimes go out of time, abandoning the beat and play some ametric improvisations, but then i fall back in with the beat again. This contrasting of the precise drum machines with the more loose drumming and the totally free-improvised sections is very unusual, and has probably never been done before in African music.

Tell me about the particular recording and practicing hurdles when your bandmates live thousands of miles away...
It's very difficult getting people together when they live so far apart. In the beginning, we were dependent on funding to have a week here and there to see each other. In 2006, we were able to work a bit through a grant that allowed Pyrolator and me to go to Burkina Faso. But since 2007 we've performed quite a bit and have been increasingly based in NYC. Pyrolator flies in when there are gigs, but the other bandmembers spend perhaps more time in NYC than in Africa. Like that, we've become a working band.

What's your favorite place to eat in Bushwick?
It's a great neighborhood but not a foodie mecca. I don't cook, so I eat out often, and my favorite part of town to eat is Queens--Elmhurst, Woodside, Jackson Heights, etc. In
Brooklyn, I like Sunset Park's Chinatown and the Mexican restaurants on 5th ave. in the
40s. I also like some of the newer African restaurants that have opened around Bed Stuy, especially Le Grand Dakar on Grand Ave.

- The Village Voice


Double EP Rêem Tekré released in 2007 on AtaTak Records (Germany)
CD Paspanga released in 2010 on Cantaloupe Music (US), worldwide distribution via Naxos



BURKINA ELECTRIC is the first electronica band from Burkina Faso, in the deep interior of West Africa. Based in Ouagadougou, Burkina Faso's capital, it is, at the same time, an international band, with members living in New York, U.S.A. and hailing from Cte d'Ivoire and Austria in addition to Burkina Faso. Burkina Electric's music combines the traditions and rhythms of Burkina Faso with contemporary electronic dance culture, making it a trailblazer in world music. This diverse and talented group consists of four musicians and two dancers who collectively participate in the creative process and represent disparate musical genres and sounds from across the globe.

Rather than recycling well-known rock and funk rhythms, Burkina Electric seeks to enrich the fabric of electronic dance music by using unusual rhythms that are rarely heard and little-known even in much of Africa. This includes ancient rhythms of the Sahel, such as the Mossi peoples' Ouaraba and Ouenega, but also new rhythms of their own creation. The band invites you to discover that these exotic rhythms groove at least as powerfully as disco, house, or drum & bass!

Additionally, the group creates a unique and refreshing musical world that is all their own by incorporating sounds of traditional instruments and found sounds recorded in Burkina Faso. It is truly African electronica, an exotic exploration and fusion of musical styles both experimental and entertaining. Performances are often further enhanced by the use of live-manipulated video.

Award-winning singer Ma Lingani, a star in Burkina Faso because of her unique voice and charismatic stage presence, sings in Mor, Dioula, Bissa, and French. Wende K. Blass, one of Burkina's premier guitarists, contributes soulful guitar melodies. New York-based drummer/electronicist Lukas Ligeti is one of the most up-and-coming concert music composers internationally. Known for his nonconformity, diverse interests, and imagination, he has received commissions from prominent groups such as the Kronos Quartet and the Bang on a Can All Stars. Vicky and Zoko Zoko are skilled dancers/choreographers who bring high energy and sharp moves, and also contribute powerful vocals.

Prior to Burkina Electrics formation, band members Ma Lingani, Wende K. Blass, Pyrolator, and Lukas Ligeti had become close friends as members of Beta Foly, a group that emerged from a workshop led by Lukas and Pyrolator in Abidjan, Cte d'Ivoire, which, among other experiments, created some of the earliest fusions of techno/trip-hop with African traditional music. In 2007, Burkina Electric released the double EP "Rem Tekr", featuring 4 songs plus remixes by DJ Spooky, Paul de Jong of The Books, Badawi, Rupert Huber of Tosca, and Mapstation on Germany's AtaTak label; the groups debut full-length album, "Paspanga", was released in 2010 by the New York-based label Cantaloupe Music, distributed worldwide by Naxos.

Burkina Electric has recently toured East Africa, performing at the Sauti za Busara Festival in Zanzibar as well as in Dar es Salaam and Addis Ababa. The group has also performed at venues such as the Festival Jazz Ouaga in Burkina Faso, the Montral Jazz Festival, Luminato Festival (Toronto), Le Poisson Rouge (New York City), the Old Town School of Music (Chicago), the Southern Theater (Minneapolis), Mile High Voltage Festival (University of Denver), the Cleveland Art Museum, and many others. With choreographer Karole Armitage and her dance company, Armitage Gone! Dance, Burkina Electric created the work "Summer of Love, which was first performed at Lincoln Center in NYC and then staged at the Teatro Massimo Bellini in Catania, Italy. The work was then developed into Itutu, which the band and Company performed at the Brooklyn Academy of Musics Next Wave Festival at the Howard Gilman Opera House in November 2009. Repeat performances were given at Celebrate Brooklyn (NYC), the Opra de Monte Carlo (Monaco), the Festival Pays de Danses (Belgium), and the Schrittmacher Festival (Germany).

To contact Burkina Electric:
q@lukasligeti.com, burkinaelectric@yahoo.com, www.burkinaelectric.com
Lukas Ligeti Productions, LLC, P.O. Box 370614, Brooklyn, NY 11237-0614, USA, +1-917-348-1957

Record Label: Cantaloupe Music,
80 Hanson Place, Ste . 702, Brooklyn, NY 11217, USA, +1-718-852-7755, info@cantaloupemusic.com, www.cantaloupemusic.com

Laurent Boireau, Crepuscule Productions, +33-(0), contact@crepusculeprod.fr, www.crepusculeprod.fr

Marisa Segala, Odense, Denmark, +45-, marisa@secondtotheleft.com, www.secondtotheleft.com

Band Members