quête:lag

An’archives announce the release of Ricshari, the first LP from Japanese free improvising duo MAI MAO. Consisting of Shizuo Uchida of Hasegawa-Shizuo, Albedo Gravitas, Archeus, Kito Muzukumi Rouber, TERROR SHIT, UH, etc. on bass, and Kyosuke Terada, of HUH (who have their own release due on An’archives soon), TERROR SHIT, Bay City Rolaz, Praymate, The Obey Unit, etc. on guitar, they’ve previously released two wild cassettes, Curvature Improvement Plan (Haang Niap, 2020) and Folk Dope Rally (2021), both documenting one-take improvisations from live gigs. Ricshari was recorded by Nobuki Nishiyama in January 2021, and is proof, if any was needed, that this duo is one of the most fiercely unique, out -there units currently extant – in Japan, or anywhere, for that matter.

The music of MAI MAO seems to proceed by opposites and juxtaposition, shifting from frantic, hectic runs of splattering note spray to moments of granular stasis, where Uchida and Terada coax their instruments into and out of deep wells of silence, or rest, temporarily, in a lagoon of fermenting fuzz. Spiralling kinetics are largely the order of the day, though – the opener, “Chew a flying flash prayer”, skitters here and there, guitar and bass jumping over one another in games of leapfrog and Twis ter, finding new ways to perplex and puzzle the listener, and perhaps each other in the process, Uchida and Terada fully committed to the short -circuiting spirit of the moment.

The energy here is hyperactive, but it also speaks of a curious and committed attention to improvisatory responsiveness, one that’s just as likely to fork off into different directions in a split second – it’s real edge-of-the-seat stuff, as though the hands are moving too fast for the mind to follow. That’s all the better, then, to let the gush of genuinely free-thinking, devoted duo improvisation to fly at its most playful and intelligent. File next to the likes of Davey Williams & LaDonna Smith and their TransMuseq companions, or th e wickedly perplexing bass-synth/trombone duets of Dave Dove Paul Duo, and you’ve some idea of what’s going on here, provisionally at least, ‘cos this one’s an enthralling, yet welcoming, head-scratcher of the highest calibre.

Energy and inspiration come from the Gwoka. From these hands which, when they are not a raised fist, pound the drums, proud of their roots and of their Guadeloupean identity.
This is where Celia Wa comes from, from all that she inherited by spending her childhood between the West Indies and France.

The first years of her life were spent discovering the musical soul of the island, letting the seven gwoka rhythms seep into her until they became an integral part of her. The following years were spent discovering reggae, salsa, jazz and the omnipresent hip hop. Music whose original source was close to her, but to which she only opened up after having travelled thousands of kilometres.

After two self-produced EPs, Wastral is the sum of these inspirations and influences. Born in the acoustic, it is under the modern and futuristic production of Victor Vagh (producer of Flavia Coelo) that the seven tracks were revealed and then sublimated. Dissipated in the vaporous arrangements, softened under the effect of the synthetic layers, the organic was meticulously covered with an electro varnish disturbed by the echoes and reverbs of the dub. Celia Wa's soaring, twirling flute grazes or stirring the groove, her lyrics reviving the memory of her island. In Creole or in English, they tell the story in the present tense without forgetting the past. A past full of the sounds of struggles, of clashing chains and cracking whips, marks that have disappeared from bodies but remain deeply rooted in families and history. New feminine signature at Heavenly Sweetness, Celia Wa draws with Wastral the map of an avant-garde stellar journey in which the musical star of Guadeloupe shines the brightest.

Limited amount of part 4 of the Herdersmat series available now. This vinyl was previously available only by purchasing the full MORDBOX001. Generic black sleeve.

Another Boogie-Funk records repress for the 1st time. Recorded in Lagos, Nigeria in 1982. Features the great Nkono Teles on clavinet and electric piano and Jojo Kuo, drummer who played with Manu Dibango and Fela Kuti among others.

Highlighting the continuing evolution of Durban's globally influential gqom sound, this special trilogy of releases showcases three separate artists from South Africa's fertile musical landscape. The set captures a fresh wave of gqom innovation from veteran producer DJ Skothan/DJ Scoturn, DJ Scriby, and 20-year-old DJ MaRiiO. DJ Skothan/DJ Scoturn has been a key figure in Durban's underground scene for many years, producing alongside Phelimuncasi, Bhejani, Tweeyking, Lafaristo, MaRiiO and DJ MP3. His gqom and house tracks have quietly provided a rumbling engine for the city's scene, and "Nevegation" is his debut full-length, providing a complex diagram of his dancefloor versatility. This isn't the gqom you might expect to hear: immediately on opener 'The Gringo' familiar sounds - shovel kicks, chopped vocals, sampled gasps, horror movie strings - are shuffled into atypical patterns, creating jerky soundscapes rather than the expected four-on-the-floor bump. 'Salut to DJ Lag' pays respect to Durban's Beyoncé-approved pioneer, but twists the template into a propulsive new form, adding rolling and evolving percussion that teases fractal shapes each bar. But the album's most unexpected and forward-thinking moment arrives with the aptly titled 'The King of Gqom', a track that simmers the genre's percussive sounds into limber sci-fi club futurism, tweaking the bass sounds into patterns that nod to dubstep, Jersey club and ballroom. 25-year-old DJ Scriby has been working behind the scenes since 2013, assisting the first wave of gqom innovators promote their sound both inside Durban and beyond. In 2017 he joined London's Trax Couture to release "The Clermont EP", and here he introduces his long-awaited follow-up "Izingoma zeGqomu". Scriby's approach to gqom is well-studied and self-aware, which gives him the ability to stretch the sound's scope across the diaspora: just peep the Atlanta trap synths on the dynamic 'Friday 13th', or the absorption of tight grime snares on opening track 'Goi'. Scriby's engineering skill pushes his productions to the next level, lending slithering downtempo tracks like 'Ouuu1' and 'Igqom Libuye' a widescreen, big-room punch without losing the genre's undulating funk. And the producer even eyes the EDM mainstage with 'Qumqum!!', balancing saccharine synths with jerky kicks, claps and rolling toms. The youngest artist featured in the collection, DJ MaRiiO started producing when he was just 12 years old, watching YouTube production videos. "No one told me how to use FL Studio," he admits, "and no one helped me doing different genres." This might be why his music sounds so completely unique; the basic structure of gqom is still present, but MaRiiO augments these elements with youthful energy and carefree use of unusual sounds and production methods. "Zulu Man" opener 'GQom NyeGe' manages to mash together trance synths, DMZ bass and a driving woodblock rhythm that reminds you of its Durban roots, while the bizarre 'Ngom ya Phesh', featuring MaRiiO's regular collaborator Hot Chicks on vocals, pushes the gqom template into the red, with overdriven kicks and disorienting environmental sounds. All three records provide a 360 degree view of Durban's contemporary underground, nodding to the past, present and future of gqom. It's a genre that's constantly in flux as it moves from South Africa's bedrooms and basements to main stages and movie screens across the globe.

This is the third set in our Soul Slabs sets, which compiles tracks from our diverse 45 releases showcasing artists big and small. It's a great way for folks to discover some of our lesser known artists or just discover our label's sound. Record shops have previously described our compilations as their RSD soundtrack! Our previous compilations have always sold out the day of (nearly) and maintained demand even upon the black vinyl represses.

Es geschah gegen Ende des Jahres 2008, als drei Liebhaber der 7"-Single beschlossen, in Berlin eine neue Vinyl-only Clubnacht zu starten. Mit dem Ziel, die Fixierung auf einen speziellen Musikstil, den bis dahin die anderen Vintage Dances zelebrierten, zu durchbrechen. Es sollte keine Grenzen geben, also begaben unsere drei sich auf eine lange Reise, immer auf der Suche nach neuem schwarzem Kleinvinyl für die Sammlung, möglichst oskur, aber mit der Prämisse, den Tanzboden zu füllen. Und hier nun findet sich die 3. Sammlung aus dem Dusty Ballroom Schatzkästchen - eine spannende, aber eklektische Mischung aus 40er Jahre Jump Blues, 50er Jahre Exotica, einer Prise DooWop, Surf mit Eastern Vibe, Rock & Roll aus Hawaii, Burlesque Tunes und mehr. Funktioniert in jeder Lebenslage!

repressed !

Now a frm favourite in many a DJ's record bag, Nigerian disco-boogie king Steve Monite's hit Only You' (featured on Soundway's recent Doing It In Lagos' compilaton), is given a rework by Sofrito's own Frankie Francis.
On the B-side, Nick The Record teams up with Idjut Boys' Dan Tyler to take on Haf Deo' - a beautful taste of breezy tropical Congolese pop from Tabu Ley Rochereau.

Unmittelbar nach der Veröffentlichung seines Debüt - Album "Where I Come From" attestierte der SPIEGEL: "Großartiger Start eines Supertalents", die NEUE MUSIK ZEITUNG kürte das Album zum "Debüt des Monats" und die renommierte "Münchner Konzertgesellschaft" verlieh ihm den Jazz - Förderpreis.
Mit dem neuen Album hat Sandro Roy nun augenscheinlich seine künstlerische Richtung gefunden, denn zum einen stellt er erstmals eine feste Besetzung, die Sandro Roy Unity Band, vor, zum anderen lässt er hier und da aber auch aufblitzen, dass er musikalischen Hochkarätern wie Bireli Lagrene, Jermaine Landsberger, David Gazarov oder Martin Taylor ein gern gesehener Partner im Studio ist.
Der auch bei SKIP schon mit eigenen Alben in Erscheinung getretene David Gazarov lässt das Django Reinhardt - Stück 'Place De Brouckere' in fast monkischer Schule daherkommen und zu Höhepunkten geraten die Begegnungen mit dem legendären Bireli Lagrene an der Gitarre, sei es die Hoagy Carmichael - Ballade 'The Nearness Of You', der Stevie Wonder-Klassiker 'You Are The Sunshine Of My Life' oder 'Dinelo', bei dem Sandro Roy und seine Band feinfühlig aber stets mit modernem Blick den Di Piazza-Klassiker mit Bireli Lagrene präsentieren. Und natürlich darf auch sein langjähriger Begleiter Jerome Weiss am Piano nicht fehlen, der in der Henry Mancini-Komposition 'Sabrina' den vielleicht klassischsten Zugang zu Sandro Roy offenlegt. Damit wird die Bandbreite unterschiedlichster Konstellationen abgebildet, die derzeit von Sandro Roy angeboten werden. Sandro Roy wird im Duo, Trio, Quartett, mit Orchestern und als virtuoser Solist sein Publikum weiter vergrößern, man darf gespannt sein, welche Ensembles er für sein Publikum auf den Festivals und in den Clubs bereithält.
Die CD erscheint im wertigen Digisleeve, das Vinyl kommt klassisch schwarz!

ORIGINAL RELEASE: 1984!
Und wieder buddeln Golden Core eine vergessene Perle
aus dem German Metal Underground, auch wenn das Wort
Hardrock hier ebenso angebracht wäre. 1984 veröffentlichte
die Band STARSTRUCK aus Karlsruhe ihr einziges
Lebenszeichen: Die LP „Thru´ To You“. Damit war man
regional nicht weit weg von GAMA Records, die ihren Sitz in
Kirchheim/Teck hatten und das Potenzial der lokal bereits
angesagten Gruppe erkannten. Aufgenommen wurde die Platte
im Spygel Studio mit Engineer Batze Kramer. Eben dieser hat
auch kultige Scheiben von Bands wie Tyrant, Stormwitch,
Bloody Six, Vampyr, Gravestone, Restless oder Necronomicon
veredelt. „Thru´ To You“ ist purer Zeitgeist und dazu passt
auch das Cover, welches beim genauen Hinschauen viel
Humor beweist.
Karlsruhe, Stuttgart, Heidelberg – melodischer Heavy Metal
war in diesem Großraum immer schon mehr angesagt als im
Ruhrgebiet oder im Norden. Nur München wurde noch bekannt
für seinen Hang zum AOR. Starstruck balancieren geschickt
den Mittelweg zwischen Härte und Radiofreundlichkeit, was
bei den gut arrangierten Songs und dem spielerischen Können
hätte zum Erfolgsrezept werden können. Leider war die Firma
GAMA nicht in der Lage, das Album adäquat zu promoten.
Immerhin wurde es ein Jahr später von Mausoleum (Belgien)
lizensiert, 1990 kam es dann auch erstmals auf CD (Aurophon,
in der Brainstorm Serie, die Sammler nur zu gut kennen).
Letztere Version kann man heute nicht mehr unter 70 Euro
(siehe Discogs) bekommen…
Golden Core machten auf Starstruck bereits 2021
aufmerksam, denn sie sind mit einem Track auf der
Compilation „The Best And The Rare Of GAMA Records“ zu
finden. Zum ersten Mal gibt es nun eine remasterte Version
des kultigen Albums auf CD, später im Jahr auch auf Vinyl.
Auch wenn die weniger bekannten Bands des GAMA-Kataloges
von Einigen immer noch belächelt werden…in den letzten
Jahren hat sich gerade in Südamerika und Osteuropa eine
große Fanbase in diese Richtung entwickelt, aber auch
weltweit wird der hart rockende Sound der Achtziger geliebt
und gerne kopiert. Starstruck waren mittendrin!

1970 album that marked a milestone in the history of Peruvian tropical music comprising an outstanding repertoire of Cuban rhythms as a response to the trends of the moment: boogaloo and Colombian cumbia. Guitarist Pancho Acosta lead the band and Kiko Fuentes delivered the vocals across some juicy descargas and guarachas. In the late sixties, a generation of young Peruvian musicians, who were fans of tropical sounds, chose Cuban rhythms over the onslaught of boogaloo and Colombian cumbia. This musical movement attracted a legion of young followers, mostly from popular districts of Lima. In 1969, percussionist Domingo Guzmán Villanueva was commissioned by the MAG record label to get together a group to revive Cuban musical tradition. To lead the project he recruited, Francisco "Pancho" Acosta, founder and guitarist of the Company Quinto. The new group was baptized Los Kintos, in a nod to their desire to carry on playing in the Compay Quinto style. The link between the two groups appears on this first album, as the group's name is written in two different ways: Los Kintos, on the front cover; and Los Quintos, on the back. Recordings began in 1969 and included the stunning 'Descarga Kinto', Richie Ray and Bobby Cruz's original 'Pancho Cristal' -renamed here 'Pancho Guzmán- and Cuban classics from the repertoire of the historic Trio Matamoros like 'Lágrimas Negras' or 'Mentiras', all with lead vocals by Kiko Fuentes. The success of their concerts would take them on tours across the country, always recognized as outstanding figures of Cuban music in Peru. This reissue brings back an album that marked a milestone in the history of Peruvian tropical music and revives the fame of the group's legendary live performances. First time vinyl reissue.

This mega-rare 1969 album pays tribute to the Bronx and Brooklyn neighborhoods where young Latinos had invented the boogaloo a few years earlier. This record highlights the quality of Peruvian boogaloo and the talent of musicians such as pianist Otto de Rojas and percussionist Coco Lagos. First time reissue. In the mid-sixties, when young Latino musicians in New York fused Afro-Cuban rhythms with rock, soul and jazz, they had no idea that their boogaloo bang bang would reverberate just as strong and loud in a distant South American country. From 1955, La Sonora Macedo, took Cuban music to every corner of Peru, backed the leading musicians of the Peruvian tropical universe, such as Ñiko Estrada, Joe di Roma, the double bass player Pepe Hernández, and the trumpet players Tito Chicoma and Charlie Palomares. All diehard fans of Cuban music, always alert to any new artist arriving from the island. In the early sixties, light rock, doo-wop, ballads, Italian songs and bossa nova paraded across Lima's stages, making performances by Cuban bands, previously so frequent, a thing of the past. Moreover, the unanimous success of the Beatles from 1964 onwards, gave the impression that music from the English-speaking world would dominate the rest of the decade. But this was not the case. In large part because of Manuel Guerrero's good relations with U.S Latino labels, such as Alegre Records, which released the initial recordings by Johnny Pacheco and Charlie Palmieri, allowing listeners in Lima to follow the development of the salsa movement almost from the beginning. MAG was undoubtedly the best representative of these new sounds. In 1969, the LP "Acabo con Lima, huyo pa' Nueva York" was released on this label, a project which brought together three figures from Lima's show business world: Manuel Antonio Guerrero, owner and founder of MAG, who wasn't shy of joining in on the chorus and percussion during recordings, Pablo Villanueva "Melcochita", a multifaceted artist from a talented musical family from the popular district of La Victoria, was responsible for the vocals and percussion on the album. And the third Lima show business figure in this project was the musician, singer and comedian Alberto Montroy Laostervened, who gained fame in the sixties while still in his twenties for his imitation of Cantinflas, the Mexican actor. Alberto bore a devilish resemblance to Cantinflas, not only in his gestures but also physically. Under the name of Pepe Moreno "Karamanduka" he also went on to record songs abroad such as "El boogaloo de Cantinflitas". "Acabo con Lima, huyo pa' Nueva York" was immediately re-released in other countries, highlighting the quality of Peruvian boogaloo and talent of musicians such as pianist Otto de Rojas and percussionist Coco Lagos, who feature prominently on the album. Songs such as 'Vuela mi descarga', 'Peruvian boogaloo' and 'Peruvian guajira', pay tribute to the Bronx and Brooklyn, neighborhoods where young Latinos had invented the boogaloo a few years earlier.

Debütsoloalbum des renommierten Musikers Bobby Stoker. Bobby verbrachte er seine komplette Kindheit mit seiner Familie im Ausland. Schon früh war ihm klar, dass die Musik sein Leben ist. Seit dem Schulabschluss wagte der Künstler den Sprung und ist seitdem ununterbrochen im Musikbusiness tätig. Stoker hat u.a. mit Größen wie Bobby Kimball (Sänger von Toto) auf der Bühne gestanden, organisiert bzw. begleitet mit seinen Bands große Events und spielt seit Anfang der 90er Jahre jedes Jahr etwa 100 Auftritte. 1995 - 1996 wirkte Bobby bei dem Musical "Tommy" von "The Who" in Offenbach mit und gründete sein eigenes Tonstudio in Frankfurt am Main. Dort lernte er 1999 auch die Ausnahmesängerin Melanie Thornton kennen und schrieb Songs für ihr Debut-Solo-Album "Ready To Fly", das 2002 den Gold-Status und Platz 3 der deutschen Album-Charts erreichte. Ebenfalls 2002 gründete Bobby die Produktionsfirma "Vivid Music Productions" (V.M.P) für den Bereich Eventplanung. Bis heute hat sich "Vivid Music Productions" als Künstlerpool etabliert und führt rund 100 Events jedes Jahr durch. Seit 2018 ist Bobby Mitglied bei Go Music, der Tour-Band von ex Klaus Lage-Bassist Martin Engelien und spielt dort zusammen mit Ausnahme-Musikern, wie Pitti Hecht (Percussions - Scorpions), Cherry Gehring (Keyboarder - Pur), Benne Neuner (Drums - Glasperlenspiel) oder Dirk Brand (Drums - Axxis). Während der Pandemie gründete er sein eigenes Label und begann mit den Arbeiten zu seinem Soloalbum "Everglow" 12 eingängige Rock Songs entstanden, die mit einem gehörigen Schuss Blues & Soul versehen wurden. Als Studiomusiker begleiten ihn bekannte & etablierte Namen wie Willy Wagner (Fish/Marillion, Bobby Kimball, Tony Carey/Rainbow) am Bass und Sänger wie Oliver Hartmann und Ina Morgan von Avantasia, die den Part der Background Vocals übernahmen. Konzerte für Herbst/ Winter 2022 sind in Vorbereitung.

LONG DISTANCE CALLING liefern mit "Eraser" das Progressive Rock Album des Jahres!
Mit ihrem Ruf als formidable und dynamische Live-Band,
nicht zuletzt aufgrund zahlreicher Europatourneen und
hochkarätiger Festivalauftritte, haben sich LONG DISTANCE
CALLING schon seit einiger Zeit auf eine Art Crescendo
ihres Könnens und ihrer Möglichkeiten hin entwickelt. Im
Jahr 2020 veröffentlichte die Band, obwohl sie nicht auf
Tournee gehen konnte, ihr siebtes und bisher fesselndstes
Album "How Do We Want To Live?", das aus dem Stand Platz
7 der deutschen Album Charts erreichte.
Da sie dieses Mal nicht in der Lage waren, ihre neue Musik
direkt unter die Leute zu bringen, beschlossen sie stattdessen, sich erneut mit Begeisterung in den kreativen Prozess
zu stürzen.
Das Endergebnis all dieser Kreativität ist dazu bestimmt,
eine der großen progressiven Platten des Jahres zu werden.
Das achte Album von LONG DISTANCE CALLING trägt den
Titel "Eraser": eine direkte und herzliche Hommage an die
allmähliche Erosion der Natur durch den Menschen.
"Eraser" ist den bedrohten Tierarten der Welt gewidmet,
wobei jeder Song ein bestimmtes, vom Aussterben bedrohtes Lebewesen darstellt.

LONG DISTANCE CALLING liefern mit "Eraser" das Progressive Rock Album des Jahres!
Mit ihrem Ruf als formidable und dynamische Live-Band,
nicht zuletzt aufgrund zahlreicher Europatourneen und
hochkarätiger Festivalauftritte, haben sich LONG DISTANCE
CALLING schon seit einiger Zeit auf eine Art Crescendo
ihres Könnens und ihrer Möglichkeiten hin entwickelt. Im
Jahr 2020 veröffentlichte die Band, obwohl sie nicht auf
Tournee gehen konnte, ihr siebtes und bisher fesselndstes
Album "How Do We Want To Live?", das aus dem Stand Platz
7 der deutschen Album Charts erreichte.
Da sie dieses Mal nicht in der Lage waren, ihre neue Musik
direkt unter die Leute zu bringen, beschlossen sie stattdessen, sich erneut mit Begeisterung in den kreativen Prozess
zu stürzen.
Das Endergebnis all dieser Kreativität ist dazu bestimmt,
eine der großen progressiven Platten des Jahres zu werden.
Das achte Album von LONG DISTANCE CALLING trägt den
Titel "Eraser": eine direkte und herzliche Hommage an die
allmähliche Erosion der Natur durch den Menschen.
"Eraser" ist den bedrohten Tierarten der Welt gewidmet,
wobei jeder Song ein bestimmtes, vom Aussterben bedrohtes Lebewesen darstellt.

LONG DISTANCE CALLING liefern mit "Eraser" das Progressive Rock Album des Jahres!
Mit ihrem Ruf als formidable und dynamische Live-Band,
nicht zuletzt aufgrund zahlreicher Europatourneen und
hochkarätiger Festivalauftritte, haben sich LONG DISTANCE
CALLING schon seit einiger Zeit auf eine Art Crescendo
ihres Könnens und ihrer Möglichkeiten hin entwickelt. Im
Jahr 2020 veröffentlichte die Band, obwohl sie nicht auf
Tournee gehen konnte, ihr siebtes und bisher fesselndstes
Album "How Do We Want To Live?", das aus dem Stand Platz
7 der deutschen Album Charts erreichte.
Da sie dieses Mal nicht in der Lage waren, ihre neue Musik
direkt unter die Leute zu bringen, beschlossen sie stattdessen, sich erneut mit Begeisterung in den kreativen Prozess
zu stürzen.
Das Endergebnis all dieser Kreativität ist dazu bestimmt,
eine der großen progressiven Platten des Jahres zu werden.
Das achte Album von LONG DISTANCE CALLING trägt den
Titel "Eraser": eine direkte und herzliche Hommage an die
allmähliche Erosion der Natur durch den Menschen.
"Eraser" ist den bedrohten Tierarten der Welt gewidmet,
wobei jeder Song ein bestimmtes, vom Aussterben bedrohtes Lebewesen darstellt.

Nigerian Afrobeat composer, bandleader, and multi-instrumentalist Fela Kuti has a vast catalogue that dates back over half a century. Roforofo Fight is one of the many standouts and it was recorded in Lagos in 1972 on the Jofabro label with the legendary Tony Allen on drums as well as Christopher Uwaifor on tenor, Lekan Animashaun on baritone and many other key players alongside the main man. The lyrics convey Fela's frustration at intolerant and violent behaviour as told through the story of a street fight.

UK label Dawn State continue their hot streak this summer with further eclectic moods for the dance floor and beyond. On the tools for the fifth outing on the label is KIDWHO, a blossoming talent who through the last years whilst enduring the pandemic found light by burying himself in his studio experiencing new creative flows. The “Warez House” EP varies in tastes, similar to the highs and lows of the times that just passed us by.

Diving into the deep end is the title track, “Warez House”, loopy and hypnotic, swaying between shades of low end leaned house and techno. Off kilter synths and pads maneuver their way around the driving force of the track. “It came together layer by layer, eventually turning into a dense (and at times, unruly!) groove. A final touch
of atmospherics from an old Roland ROMpler and the track was done - bar a generous helping hand in mixdown from Joel Kane (who also turned out a heads-down dub version which might make an appearance!).”

Leaning in a more hazy direction is the blissful cruiser, “Leploop Lagoon”, a deep and emotive vibe crafted especially for the early mornings. A sophisticated deep house energy from the talented producer. “‘Leploop Lagoon’ is the oldest track on the EP, a cleaned-up version of a rough jam I made around four years back. It takes its name from the Leploop, a quirky semi-modular analogue groovebox of sorts, hand-built in Italy. A very unique and unpredictable machine, it’s on bass duties here as well as providing some percussion sounds via the MPC sampler.”

On the flip side lies “Spectral Pattern”, and it packs a certain punch. The rolling arrangement converses in harmony with icy hi-hats that flash in and out teasing the energy, all of the elements having space to breathe and work their magic.“‘Spectral Pattern’ came together quickly one very productive weekend in the studio last year. It developed from the bass sequence, which comes from a Yamaha TG-33, an unassuming 80s digital synth known for its glassy mix of ROM samples and FM tones - very New Age sounding, or 90s computer game soundtracks. But when you strip it back to basics, it punches hard in the low-end.”

Slipping on to the B side is a five minute transcendental trip, offering yet another series of textures to this otherworldly EP. The final track “At Least We Hav Music” is an ethereal soundscape waiting to be explored, wandering amongst ambient realms throughout. “The label was keen to include an ambient track on the release, and I wanted to record something specially for them. At first I had in mind something droning and melancholic, but after a few experiments with cassette
loops and reverb pedals this was the one that stood out. It was recorded during one of the lockdowns, and I guess I needed to create something that sounded more hopeful than brooding. I messaged DS boss Tom Haus with a rough version, and we went on to have a grumble about the gloomy state of things, locked-down in our respective cities and missing friends, family, activities… At some point I wrote ‘at least we have music’ - and almost as soon as I had sent it I knew I had found the track’s title. I’m very lucky to have had my home studio as a refuge through the long months of lockdown, and I’m honoured to have the chance share some of my output from this period on this record.”
KIDWHO fitting the Dawn State ethos to a tee here as they set up shop for what looks to be another fantastic release. “Each of these tracks came about in quite different ways. Like many creative people, I had moments of struggle during the pandemic, where the lack of variety and day-to-day stimulation lead to periods of writer’s block, and so I used those times to focus on smaller, more manageable projects such as making synth patches, recording sounds and and throwing together short loops in my samplers for later use. A number of
these short loops eventually laid the foundations for title track ‘Warez House’. Big thanks to Dawn State, Joel Kane, El Choop and everyone else who has helped make this happen.” -

KIDWHO

Originally released in 2020

In a time of made up genres and increasingly entwined music, Marcoca is not even trying to put themselves in to a specific category.

Generally they consist of four individual musicians with various tastes and backgrounds, that enjoy their differences and don't worry too much about the outcome.

Inspired by the ups and downs of everyday life, they underlay their words with a soothing combination of Jazz, Surf, Funk and Psychedelic. Whatever that is supposed to mean.

Their first project resulted of highly uncoordinated recording sessions over the course of almost two years. While some of the songs had been previously arranged, some instrumental parts developed during the recording process in order to preserve the natural flow of the music. They don't try to improve the world but hope to make it bit more bearable. And they are from Germany, in case you’re dying to know…

“Irreverent and playful” MOJO // “...an utterly distinctive, mental world.” The Financial Times // “From keening ballads to haunting waltzes, Paradise has never seemed stranger” Shindig // “There’s a buoyancy to even the most lacerating lines now, a liberating relief in pressing on” Uncut // Way back when, before the pandemic, and before the release of Alex Rex’s last album Paradise escaped the confines of lockdown, Alex Neilson took a break from the road and set about putting together a record of poems extracted from the collapsed goldmine of his brain. Returning to his experimental roots, Mouthful of Earth’s cutting and oft heart-wrenching stanzas are set to music largely from underground legends Alastair Galbraith, Richard Youngs and Alex’s cult experimental drone record Belsayer Time (originally released on Time Lag Records in 2006. This is the first time that this music has ever been made available digitally). And for one track, Alex reunites with ex-Trembling Bells mucker Lavinia Blackwall for some free-form experimental jazz, reminiscent of the more psychedelically unhinged moments of Cammell/Roeg´s Performance soundtrack. To quote Stuart Maconie’s sleeve notes for the record, “One of the first things I learned about Alex’s musical imagination and modus operandi was a joy in collaboration, and Mouthful Of Earth continues in a tradition that has seen him work with many kindred spirits across many genres; Bonnie ‘Prince’ Billy, Current 93, Jandek, Kan Mikami, Shirley Collins, Six Organs of Admittance, Josephine Foster and Baby Dee. The list is disparate and stellar, the results are always interesting and alive.” Continuing in the spirit of collaboration, Mouthful of Earth’s words and music are accompanied by a digital book of drawings by Kent-based visual artist, musician and art psychotherapist, Benjamin Prosser (Insta: @benjaminprosser). These are not so much literal illustrations as reactions. The combination of poems and visuals works a suite of haunted vignettes, dense with bleak humour and hallucinatory images. “The phantom hand of a lover pressed over the mouth of your mother” / “the whole gurning universe” / “the collapsed farmhouse of my mouth”. Mouthful of Earth is both visceral and corporeal, flecked with blood, sweat and beers. Or as Alex puts it "a continuous project of describing the human spirit pushed to the point of crisis”. Mouthful of Earth finds beauty in scarring and peace in torment. It’s both an assault and a balm of sorts. Life, says Neilson “is not a golden arc / It's a bent aerial / connected to a vast and terrible machine/operated by a child”. But listen hard and you will also hear beauty… “The song of yourself, roaring like a cloud, explicable only by light”. With sleeve notes by BBC Radio presenter and author Stuart Maconie, Mouthful of Earth is released on limited edition vinyl (300 copies only) and digitally via Neolithic Recordings. Reminiscent of his early work with Trembling Bells, and again featuring Lavinia Blackwall on vox, the track is a red herring; a nod towards a lighter shade of darkness.

We have two versions (two different covers) - black vinyl or multicolor, limited, hand nubered (111 copies) vinyl.

Two years after the well-received compilation "Nebula," Himalaya Collective (probably the largest team of beatmakers in Poland) returns with another release. This time the Himalayan section of 24 producers (and some exceptional guests from outside the collective) will take us on a journey into the skies. On "Latawce" (which means "Kites" in English), we will hear 24 tracks with one goal in mind - to allow a maximum two-minute flight. The premiere (not accidentally) will take place on the 1st day of summer.

The sound of each Kite has been colored thanks to the excellent mastering done by Eprom. The album's vinyl version was made in two options and with two different covers. @Eloprzemi is responsible for the design of the classic version, and the cover of the limited surprise vinyl was designed by Gbur. The limited edition is hand-numbered (111 copies), and the surprise is worth emphasizing the different colors of each vinyl! Crazy Action! Great album! The perfect soundtrack for the summer holidays 2022!

Die Death Metal-Band WITCH VOMIT mit Ihrem neuen Album „Buried Deep in a Bottomless Grave“. Es ist nach „A Scream from the Tomb Below“ (2016) das zweite Album der US-Amerikaner.

„Buried Deep in a Bottomless Grave“ wurde erneut von Evan Mersky produziert. Das Mastering lag in den Händen von Dan Randall (u.a. für TOXIC HOLOCAUST tätig), während Matt Stikker (u.a. für OUTER HEAVEN tätig) für das Cover-Artwork verantwortlich zeichnet.

Das neue Album von WITCH VOMIT wird am 30. August 2019 via 20 Buck Spin erscheinen.

Dritte Auflage, blutrotes Vinyl. In Zusammenarbeit mit dem britischen Entwickler-Studio Kaizen Game Works veröffentlicht das Kölner Soundtrack-Label Black Screen Records im Frühjahr 2021 Barry "Epoch" Toppings funkigen "City-Pop meets Vaporwave"-Soundtrack zu dem von der internationalen Gaming-Presse gefeierten Open World Adventure Game Paradise Killer auf Vinyl. Barrys Toppings Soundtrack erscheint auf limitiertem 180g blutrotem Vinyl und kommt in einem von 80er Animes & City Pop-Alben inspirierten Artwork der deutschen Designerin Mizucat. Zudem enthält das Vinyl ein gefaltetes A2 Poster und einen Download Code. Die Sounds des Paradieses. Die Musik eines kosmischen Traums. Tracks einer anderen Realität. Das Tempo eines Verbrechens, dass alle Verbrechen beendet. Der Beat von lange verlorenen außerirdischen Göttern. Die Playlist des "Investigation Freaks". Lass dich von der Musik ins Paradies führen. Fühle die glühend heiße Sonne auf deiner Haut. Rieche unerträglich heißen Beton. Genieße den süßen Geschmack von Verbrechen, begangen, auf einer tropischen Insel in einer alternativen Realität. Erinnerst du dich daran, wie wir am Strand getanzt haben? Neben den paradiesischen Straßen? Du hast mir dieses Mix-Tape auf dem Dach deines Apartments gemacht. Wir haben den Mond angestarrt. Du sagtest, du würdest den Mond töten. Ich glaubte dir nicht. Wie falsch ich doch lag.

The French-Hong Kong DJ and producer Romain FX, founder of Fauve Radio and Fauve Records, debuts on Cracki Records !

After having made his mark on renowned labels such as Exploited, Eskimo Recordings, Novaj 新し, LAGASTA, Fantastic Voyage, Mamie's Records or Hard Fist Records, the ultra-productive artist is about to release Le Sucre d'Adam a new EP of 4 tracks and 2 remixes with the Parisian label Cracki Records.

Mixing Italian dream house, jazz, and Italo Disco, Romain FX wanted to create with this EP a timeless record and convey a message of hope for a better world.

The first track "Zeste d'Orange" is full of joyful emotions, with a feeling of unity and sharing, strongly influenced by 80-90's pop songs like "Rise Up" by The Parachute Club, and "Send Me On My Way" by Rusted Roots.

With its melancholic keyboards, "Le Sucre d'Adam" is a pure concentrate of Italo Dream House, and it's not a coincidence that Romain FX entrusted the remix of the track to the German Lauer, specialist of the genre.

"Italominati" with its powerful bass, draws him in the field of the fairy, influenced by artists like Todd Terje or Skatebård. It is the Korean producer Shubostar, new figure of the dark disco scene, who took care of the remix for a very effective cosmic version !

Last track of the EP, "Crave Cave Rave" with its Rave UK and progressive house accents was imagined as a long DJ Set closing. Intense and heavy at the beginning, the track ends with a feeling of extreme release, closing the EP in the most beautiful way.

Giallo is the fourth in a series of five double vinyl releases that bring together some of Ennio Morricone’s greatest soundtrack music. Each collection centres on a different movie genre, together they allow the listener to rediscover the unmatched genius of the greatest movie composer of all time. The Maestro. This collection was announced before Ennio Morricone passed away on July 6, 2020. We’ll continue to release the series to honour this great composer.

When we think of 1960’s Italian pulp cinema, the spaghetti western is the genre that comes to mind. However, Italy was responsible for another classic cinematic exploitation movement around the same time, one that is equally as compelling, but less widely recognised. Giallo…

Giallo, meaning ‘yellow’, is the Italian term for crime fiction, it was named after the bright yellow colours of early pulp fiction paperbacks. Film audiences adopted it as the name for a peculiarly Italian sub-genre of thriller cinema that had its heyday in the 1970’s - just as the Spaghetti Western movement was waning. The Giallo can be difficult to define, but essentially it is an Italian crime film that draws from a pool of common themes: stylized murders, amateur sleuths, sleazy glamour, psychological crimes, enigmatic titles and all these themes are underpinned by creepily atmospheric Ennio Morricone music scores. Starting 70 years ago as an arranger for the piece Mamma Bianca, Ennio Morricone is the emperor of scores and soundtracks. Morricone has always been a huge influence for the likes of Hans Zimmer, Danger Mouse, Muse, Metallica and many more musicians. He was one of the most successful composers of all-time, selling over 70 million records and winning dozens of awards.

Giallo is available as a limited edition of 3000 individually numbered copies on “giallo and black marbled” (clear, yellow and black mixed) vinyl. The package includes a 4-page insert with liner notes written by Claudio Fuiano. The gatefold sleeve contains a silver foil spot varnish on the outside and images of iconic movie posters on the inside.

Beginning life in 2018 in the home of songwriter Myles McCabe experimenting with shouty, electronic bedroom pop ME REX are equipped with multitudes of “surging gargantuan hooks”, McCabe was quickly joined by longtime friends Kathryn Woods (guitar/vocals), Phoebe Cross (drums/vocals) and Rich Mandell (bass/keys/vocals). In 2021 the band released their debut album Megabear: a record built from 52 short tracks intended to be played in shuffle mode in order for the listener to create their own perfect combination of songs. In 2022 they dove headfirst into follow-up EP Pterodactyl which saw them change pace and tact throughout — constructing delicate vocal layers with luscious swathes of guitars and keys to build a bridge between their raw DIY past and a bright, creative future. Across all four songs on new EP, Plesiosaur, ME REX focus their attention on catchy choruses and snappy rhythms. With Toilet of Venus acting as an extension of Lager Door, the former track looks at present struggles as opposed to the latters inherent nostalgia, Jupiter Pluvius looks theologically at the idea of projecting strength and power onto inanimate objects, all wrapped in sharp wordplay and vibrant fuzzed out guitars and keys that are addictive as hell. Described as “nothing short of an artistic triumph” by Brooklyn Vegan— as well as seeing praise from Pitchfork, DIY, Rocksound, Line Of Best Fit, BBC 6Music, Radio X, Amazing Radio, Audiotree, The I Paper and Baby’s Alright— ME REX are showing no signs of slowing down.

Helmed by Dave Watts aka D.WattsRiot (Fun-da-mental), the debut KingL Man album, ‘Headonix’ is beat-laden shout out in response to the perpetual state of war we seem to find ourselves at. Outrage and disgust, love and hate, history and presence.

Contributions come from four continents.

Fresh on the scene is Senegalese vocalist Sidi I.B., who arrived on Canarian shores with two hundred other compatriots, cold, wet and hungry after seven days at sea with nothing but his future in his hands.

Temporarily housed at the infamous migrant holding centre in Las Raíces, Tenerife, the studio environment provided an avenue of relief from the inadequate conditions at the overcrowded camp.

Also from Senegal, living in Santa Cruz de Tenerife, is rapper Ibrahima El Latigazo who delivers his lyrics in French, Wolof, Spanish, English & Sérère. Rounding up the Senegalese contingent is Mame Samba, a group that hold the spirits close when performing. Their contribution is from recording sessions they had with François R. Cambuzat & Gianna Greco (Putan Club / Ifriqiyya Electrique).

Kiki Hitomi (Waq Waq Kingdom/King Midas Sound) returns to the fold, exhaling positivity with Canarian multi-instrumentalist Javier Afonso (Grenouille). The Canarian faction also includes violinist Mónica Viñoly, Dani Garcia (Lagoss/Tupperwear) and Vakawuare. Further guests include percussionist Miroca Paris (Cesária Évora/Madonna); Hamid Mantu (TransGlobal Underground);
Ramjac (Dub Colossus), drums and percussion respectively.

Nika Roza Danilova, die Sängerin, Songwriterin und Produzentin, die seit 2009 unter ihrem Künstlernamen ZOLA JESUS veröffentlicht, hat eine Stimme, die die Faszien der Realität durchschneidet und den rohen Nerv der Erfahrung trifft. Auf früheren Alben hat ZOLA JESUS weitgehend die Rolle der Autorin und Alleinherrscherin gespielt und jeden Aspekt des Sounds und des Aussehens ihres Projekts akribisch für sich ausgearbeitet. Diesmal erkannte sie jedoch, dass ihr gewohntes Bedürfnis nach Kontrolle sie von ihrer Kunst abschnitt. Als die Frustration darüber, dass sie nicht in der Lage war, etwas zu erschaffen, unerträglich wurde, bat sie zum ersten Mal in der Geschichte von ZOLA JESUS um externen Input. "At some point, I had to work with other people. I needed new blood. I needed somebody else." Sie schickte ihre Demos an den Produzenten Randall Dunn, der für seine Arbeit mit Sunn O))) und an Johann Johannssons Filmmusik für "Mandy" bekannt geworden ist. Außerdem begann sie, mit dem Schlagzeuger und Perkussionisten Matt Chamberlain zusammenzuarbeiten, der bereits an Alben von FIONA APPLE, BOB DYLAN und DAVID BOWIE mitgewirkt hat. In ihrem kreativen Prozess begann Danilova, eine Beziehung mit dem Unbekannten aufzubauen...

Nika Roza Danilova, die Sängerin, Songwriterin und Produzentin, die seit 2009 unter ihrem Künstlernamen ZOLA JESUS veröffentlicht, hat eine Stimme, die die Faszien der Realität durchschneidet und den rohen Nerv der Erfahrung trifft. Auf früheren Alben hat ZOLA JESUS weitgehend die Rolle der Autorin und Alleinherrscherin gespielt und jeden Aspekt des Sounds und des Aussehens ihres Projekts akribisch für sich ausgearbeitet. Diesmal erkannte sie jedoch, dass ihr gewohntes Bedürfnis nach Kontrolle sie von ihrer Kunst abschnitt. Als die Frustration darüber, dass sie nicht in der Lage war, etwas zu erschaffen, unerträglich wurde, bat sie zum ersten Mal in der Geschichte von ZOLA JESUS um externen Input. "At some point, I had to work with other people. I needed new blood. I needed somebody else." Sie schickte ihre Demos an den Produzenten Randall Dunn, der für seine Arbeit mit Sunn O))) und an Johann Johannssons Filmmusik für "Mandy" bekannt geworden ist. Außerdem begann sie, mit dem Schlagzeuger und Perkussionisten Matt Chamberlain zusammenzuarbeiten, der bereits an Alben von FIONA APPLE, BOB DYLAN und DAVID BOWIE mitgewirkt hat. In ihrem kreativen Prozess begann Danilova, eine Beziehung mit dem Unbekannten aufzubauen...

Nika Roza Danilova, die Sängerin, Songwriterin und Produzentin, die seit 2009 unter ihrem Künstlernamen ZOLA JESUS veröffentlicht, hat eine Stimme, die die Faszien der Realität durchschneidet und den rohen Nerv der Erfahrung trifft. Auf früheren Alben hat ZOLA JESUS weitgehend die Rolle der Autorin und Alleinherrscherin gespielt und jeden Aspekt des Sounds und des Aussehens ihres Projekts akribisch für sich ausgearbeitet. Diesmal erkannte sie jedoch, dass ihr gewohntes Bedürfnis nach Kontrolle sie von ihrer Kunst abschnitt. Als die Frustration darüber, dass sie nicht in der Lage war, etwas zu erschaffen, unerträglich wurde, bat sie zum ersten Mal in der Geschichte von ZOLA JESUS um externen Input. "At some point, I had to work with other people. I needed new blood. I needed somebody else." Sie schickte ihre Demos an den Produzenten Randall Dunn, der für seine Arbeit mit Sunn O))) und an Johann Johannssons Filmmusik für "Mandy" bekannt geworden ist. Außerdem begann sie, mit dem Schlagzeuger und Perkussionisten Matt Chamberlain zusammenzuarbeiten, der bereits an Alben von FIONA APPLE, BOB DYLAN und DAVID BOWIE mitgewirkt hat. In ihrem kreativen Prozess begann Danilova, eine Beziehung mit dem Unbekannten aufzubauen...

Nika Roza Danilova, die Sängerin, Songwriterin und Produzentin, die seit 2009 unter ihrem Künstlernamen ZOLA JESUS veröffentlicht, hat eine Stimme, die die Faszien der Realität durchschneidet und den rohen Nerv der Erfahrung trifft. Auf früheren Alben hat ZOLA JESUS weitgehend die Rolle der Autorin und Alleinherrscherin gespielt und jeden Aspekt des Sounds und des Aussehens ihres Projekts akribisch für sich ausgearbeitet. Diesmal erkannte sie jedoch, dass ihr gewohntes Bedürfnis nach Kontrolle sie von ihrer Kunst abschnitt. Als die Frustration darüber, dass sie nicht in der Lage war, etwas zu erschaffen, unerträglich wurde, bat sie zum ersten Mal in der Geschichte von ZOLA JESUS um externen Input. "At some point, I had to work with other people. I needed new blood. I needed somebody else." Sie schickte ihre Demos an den Produzenten Randall Dunn, der für seine Arbeit mit Sunn O))) und an Johann Johannssons Filmmusik für "Mandy" bekannt geworden ist. Außerdem begann sie, mit dem Schlagzeuger und Perkussionisten Matt Chamberlain zusammenzuarbeiten, der bereits an Alben von FIONA APPLE, BOB DYLAN und DAVID BOWIE mitgewirkt hat. In ihrem kreativen Prozess begann Danilova, eine Beziehung mit dem Unbekannten aufzubauen...

Entrails umfasst den Death Metal-Sound der frühen 90er Jahre in einem absolut kriminellen Ausmaß!

Dieses Album hat den klassischen schwedischen Stil des Death Metal der frühen 90er Jahre. Es ist sehr stark an die alten Entombed und Dismember angelehnt, aber sie haben ihren eigenen Sound. Die Riffs sind frisch und tödlich, ebenso wie die Energie, die diese Veröffentlichung umgibt.

Das musikalische Können ist unübertrefflich und es ist großartig, dass der schwedische Death Metal-Sound in Bands wie Entrails lebendig geblieben ist. Die Musik ist geradezu brutal, der Gesang und die Gitarrenriffs sind explosiv. Wir würden es wagen zu sagen, dass dies eine Top-Veröffentlichung für das Jahr 2011 ist.

Für eine Band, die fast 20 Jahre lang im Dornröschenschlaf lag, sind sie ziemlich stark zurückgekommen und haben einige der Wurzeln des alten Landes mitgebracht. Ist dieser Sound bereits nahezu perfekt umgesetzt worden? Ja, aber man könnte Entrails eine kleine Gnadenfrist gewähren, denn im Ernst, sie sind einfach wahnsinnig schwer und schrecklich brutal von Anfang bis Ende. Man kann sehen, wo Bands wie Bloodbath diesen elitären Sound gefunden haben. Die Produktion ist von erstklassiger Qualität und jede Note wird entsprechend geschreddert. Diese Jungs kennen ihren Death Metal.

One of the most legendary LPs from Uruguay remains a hidden treasure in the rest of the world. It is the first LP by singer Diane Denoir. Diane was a regular in the “Conciertos Beat” (“Beat Concerts”) of Montevideo's 1960s scene where she performed with Eduardo Mateo on guitar (leader of El Kinto, one of the most influential bands in "candombe beat", and the ones who coined the term), Roberto Galletti on drums and Antonio Lagarde on double bass. Diane was also Mateo's muse throughout the early years of his career, he wrote several songs for her, among them “Esa tirsteza,” “Y hoy te vi,” and the classic “Mejor me voy.” Eduardo Mateo would become one of the biggest names of all times in Uruguay's musical scene. Diane, instead, found herself outside the country when the military coup installed a non constitutional government in Urugay in 1973 and was wisely advised by friends not to go back home to avoid trouble with the new dictatorial regime. A brave defendant of Human Rights, she had been very active against torture, thus becoming a target for the dictatorial regime military intelligence. She exiled in Argentina and Venezuela, and she later settled in Europe and didn't perform in public or record again until recent years when she returned to her home country.



On her eponymous 1972 debut album, Diane fused all her influences in one solid sound through songs created by Uruguayan songwriters (Eduardo Mateo, Urbano Moraes –bassplayer for El Kinto,– Daniel Amaro, Giuso Bellanca), plus Argentinian lyricist Edgardo Lisi. She had released a couple of 7" between 1966 and 1970, but it is her debut album –which would be her only one until her 2008 comeback– that made her legend grow among future generations of music lovers.



It's hard to name artists in the same dimension as Diane Denoir for reference, but be sure that you will love this LP if you like the candombe beat scene of El Kinto, Tótem or the Fattorusso brothers (Hugo and Osvaldo) in their post Los Shakers works, but also the bossa nova sound and even artists of their own like Vainica Doble.



Very limited edition, only 500 copies made. Remastered sound. Comes in upgraded artwork, gimmick cover with printed inner sleeve.

Stefan Schwanders Repeat Orchestra presents “Infamous Lost Tracks”, an album appearing out of the blue, coming from spheres where time, space and Zeitgeist are nothing more than words.
With the Repeat Orchestra Schwander (who of course also is Harmonious Thelonious, A Rocket In Dub, Antonelli and a lot more) found a unique way of channeling deep House Music, a minimalistic setup and an idea of creating enjoyable music into amazing tracks that sound so effortless and natural. From first track "Call And Response" on it’s obvious that the main thing that this album is about is the groove, sometimes euphoric, sometimes quite unobtrusive but always irresistible, build from massive basslines, complex rhythms and the masterfully performed interplay of repetition and modulation. Warm harmonies, multilayered (at times quite unusual ("Nightdubbing")) melodies and subtle arrangements complete these Infamous Lost Tracks and their very own formular between Düsseldorf, Chicago and Lagos. There’s nothing harsh in this music, no aggression, still it’s far from being tame or tranquil: The pumping energy of "A Means To An End" or the sublime liquid shuffle of "Less Sensational" show the swing and kick inside these works that are made for delight but not to please.

And “Monks In A Club” is the most brilliant example of dancefloor understatement that you’ll ever hear in your life. Reduction, elegance and the right kind of mania concentrated into some minutes of pure club heaven. Handclaps, nonchalance & madness. An essential singularity and the swan song to the Repeat Orchestra, there will be no more of it. Get It And Smile.

For more than twelve years, Morphology have been re-writing the rules of electronics. Michael Diekmann and Matti Turunen have melted electro, IDM and techno into their own unique sound. To celebrate their achievements, FireScope has sifted through the impressive discography of this Finnish pairing to bring long out of print tracks to a life.

Twelve 1 collects music released between 2009 and 2016, a dozen works that span labels like Abstract Forms, AC Records, Cultivated Electronics, diametric., Semantica, Stilleben and Vortex Traks. Opening with the cold love affair of “Manmade Woman,” this collection brings together frosted floor funk, cerebral armchair electronics and a quality of composition that only Morphology can provide. Embedded in the album are outposts of electro menace, tracks with that extra bit of bite such as “Dementia” and “Dalek Invasion. Deep and thought-provoking pieces abound, such as the otherworldly dreamscapes of “Magellan Probe” and “Moebius Strip” which were first heard on Arne Weinberg’s diametric. An understated balance permeates the record, broad concepts are interwoven with subtle shifts to bring a timeless quality to pieces like “Spacetime Interval”, “Europa” and “Plankton.” A perfect expression of over a decade of work.

Not only does this double LP gather rare tracks never before heard together, but also each piece has been lovingly remastered to breath new life into these wonderful works. Twelve 1 celebrates the music of Morphology in all its glory, two masters of modern electronic music who continue to re-define and re-design genres.

Kenn hat es wieder getan... Es würde Sinn machen, sein vorheriges Werk "Dancing with the Past" als das neue Anacrusis-Album zu bezeichnen und das nicht nur, weil das meiste darauf enthaltene Material mit der Absicht geschrieben wurde, ein Comeback zu feiern. Acht Jahre später meldet sich Mr. Nardi mit einem weiteren Epos zurück, das zwar eine Stunde kürzer ist als der Vorgänger, aber von der Qualität her "Trauma" atmet seinen Nacken. Die epische Länge beider Alben sollte den Hörer aber nicht zurückhalten, denn das hier ist wirklich fesselndes Material von Anfang bis Ende, dunkle Progressive/Thrash-Scheiben, die nichts von dem vermissen lassen, was das Repertoire von Anacrusis zu einem der beliebtesten in der Szene gemacht hat. "Trauma" ist dynamischer und ein bisschen weniger atmosphärisch, was an der geringeren Anzahl der Balladen liegt. Hier sind es nur drei, die sich jeweils einem bestimmten Segment zuwenden aus dem balladesken Bereich, ansonsten bestimmt eine brachiale Kombination aus Progressive und Thrash die Handlung, das schnellere Material pulverisiert, vielschichtige Thrasher voller voller inbrünstiger Tempowechsel und abrupter Stimmungswechsel. Das Herzstück des Albums ist die 11-minütige Odyssee "The Orphan", eine zusammenfassende Reise durch alle Ecken und Winkel des des Anacrusis-Katalogs, ein fesselndes Epos, wie es Anacrusis bzw. Nardi noch nie versucht haben.

Wir wollen glauben, dass die Anacrusis-Fans bereitwillig ins Nardi-Lager gewechselt sind, das in nicht allzu regelmäßiger Folge deftige Genüsse verspricht. Das ist auch gut so, solange er einen ganzen Vormittag füllen kann, wird er bei allen ganz oben auf der Liste stehen.

Für Fans von: Anacrusis, Nevermore, Atheist, Voivod, Forbidden, Control Denied

26 original recordings with comprehensive 12-page booklet
The music of Cuba, including its instruments, performance, and dance, comprises
a large set of unique traditions influenced mostly by West African and European
(especially Spanish) music. Cuban music is among the richest and most
influential regional music in the world.
Cuban music has contributed to the development of a wide variety of genres and
styles around the globe. Examples include the son Cubano, guarachá, danzón,
bolero, rhumba, Afro- Cuban jazz, salsa, and a wide variety of genres in Latin
America. Many of these styles are represented on this outstanding collection,
which presents 26 of Cuban music's greatest hits performed by the most
celebrated Cuban stars.

"Big Time" entstand mit einem Peitschenhieb in den seltenen, fruchtbaren Momenten, in denen sowohl frische Trauer als auch frische Liebe gleichzeitig auftreten, in denen sich Kummer und Verliebtheit gegenseitig verstärken, verkomplizieren und erklären. Verlust ist schon immer ein Thema in Olsens Songs gewesen, aber nur wenige können Elegien mit einer derart rücksichtslosen Energie schreiben, wie sie. Wenn diese aus allen Nähten platzende, bergab rasende Energie für ihre Arbeit unüberwindbar schien, beweist "Big Time", dass Olsen jetzt von einem verwurzelteren Ort der Klarheit aus schreibt. Dabei arbeitet sie mit einer elastischen Beherrschung ihrer Stimme - sowohl klanglich als auch künstlerisch. In diesen Liedern geht es nicht nur um die Transformation von Trauer, sondern auch darum, Freiheit und Freude in den Entbehrungen zu finden, die diese mit sich bringen. "Big Time" ist ein Album über die expansive Kraft der neuen Liebe, geschrieben in der Zeit, als Angel Olsen sich als queer outete und ihre ersten Erfahrungen mit queerer Liebe und Herzschmerz machte. Aber dieser Glanz und Optimismus wird durch ein tiefes und vielschichtiges Gefühl von Verlust gemildert. Während Olsens Prozess der Auseinandersetzung mit ihrem Queer-Sein und der Konfrontation mit den Traumata, die sie davon abgehalten hatten, sich selbst voll und ganz zu akzeptieren, fühlte sie, dass es an der Zeit war, sich ihren Eltern gegenüber zu outen - eine Hürde, die sie eine Zeit lang vermieden hatte. "Some experiences just make you feel as though you're five years old, no matter how wise or adult you think you are", schreibt sie über diese Zeit. Nach diesem tränenreichen, aber erleichternden Gespräch feierte sie mit ihrem/ihrer Partner*in, ihren Freund*innen, mit Austern und Wein. "Finally, at the ripe age of 34, I was free to be me." Drei Tage später starb ihr Vater, dessen Beerdigung Olsen zum Anlass nahm, den/die Partner*in ihrer Familie vorzustellen. Nur zwei Wochen später erhielt Olsen den Anruf, dass ihre Mutter in der Notaufnahme lag. Eine Zeit im Hospiz kam bald darauf, und eine zweite Beerdigung folgte kurz nach der ersten. Eine weitere Reise zurück nach St. Louis, eine weitere Trauerbewältigung, eine weitere Vertiefung und Intensivierung dieser noch jungen Liebe. Drei Wochen nach der Beerdigung ihrer Mutter war Olsen im Studio, um dieses unglaublich weise und zärtliche neue Album "Big Time" aufzunehmen. Ausgelassene Anspielungen an Tammy Wynette und Kitty Wells tauchen auf "Big Time" ebenso auf wie die komplexen Orchestrationen ihres genreübergreifenden 2019er Albums "All Mirrors". Während jenes Album voller dramatischer Veränderungen und Wendungen war, liegen die Überraschungen hier in ihrer Einfachheit - ein langsames Anschwellen der Streicher, eine Instrumentierung, die wie ein Sturm zyklisch ist, oder funkelnde Hörner in einer lichtdurchfluteten Break-up-Ballade, während kaum ein Synthesizer in Sicht ist. "Big Time" wurde zusammen mit dem Co-Produzenten Jonathan Wilson in seinen Fivestar Studios in Topanga, Kalifornien, aufgenommen und gemischt. Drew Erickson spielte Klavier, Orgel und kümmerte sich um die Streicherarrangements. Olsens langjährige Bandkollegin Emily Elhaj spielte durchgehend den Bass.

"Big Time" entstand mit einem Peitschenhieb in den seltenen, fruchtbaren Momenten, in denen sowohl frische Trauer als auch frische Liebe gleichzeitig auftreten, in denen sich Kummer und Verliebtheit gegenseitig verstärken, verkomplizieren und erklären. Verlust ist schon immer ein Thema in Olsens Songs gewesen, aber nur wenige können Elegien mit einer derart rücksichtslosen Energie schreiben, wie sie. Wenn diese aus allen Nähten platzende, bergab rasende Energie für ihre Arbeit unüberwindbar schien, beweist "Big Time", dass Olsen jetzt von einem verwurzelteren Ort der Klarheit aus schreibt. Dabei arbeitet sie mit einer elastischen Beherrschung ihrer Stimme - sowohl klanglich als auch künstlerisch. In diesen Liedern geht es nicht nur um die Transformation von Trauer, sondern auch darum, Freiheit und Freude in den Entbehrungen zu finden, die diese mit sich bringen. "Big Time" ist ein Album über die expansive Kraft der neuen Liebe, geschrieben in der Zeit, als Angel Olsen sich als queer outete und ihre ersten Erfahrungen mit queerer Liebe und Herzschmerz machte. Aber dieser Glanz und Optimismus wird durch ein tiefes und vielschichtiges Gefühl von Verlust gemildert. Während Olsens Prozess der Auseinandersetzung mit ihrem Queer-Sein und der Konfrontation mit den Traumata, die sie davon abgehalten hatten, sich selbst voll und ganz zu akzeptieren, fühlte sie, dass es an der Zeit war, sich ihren Eltern gegenüber zu outen - eine Hürde, die sie eine Zeit lang vermieden hatte. "Some experiences just make you feel as though you're five years old, no matter how wise or adult you think you are", schreibt sie über diese Zeit. Nach diesem tränenreichen, aber erleichternden Gespräch feierte sie mit ihrem/ihrer Partner*in, ihren Freund*innen, mit Austern und Wein. "Finally, at the ripe age of 34, I was free to be me." Drei Tage später starb ihr Vater, dessen Beerdigung Olsen zum Anlass nahm, den/die Partner*in ihrer Familie vorzustellen. Nur zwei Wochen später erhielt Olsen den Anruf, dass ihre Mutter in der Notaufnahme lag. Eine Zeit im Hospiz kam bald darauf, und eine zweite Beerdigung folgte kurz nach der ersten. Eine weitere Reise zurück nach St. Louis, eine weitere Trauerbewältigung, eine weitere Vertiefung und Intensivierung dieser noch jungen Liebe. Drei Wochen nach der Beerdigung ihrer Mutter war Olsen im Studio, um dieses unglaublich weise und zärtliche neue Album "Big Time" aufzunehmen. Ausgelassene Anspielungen an Tammy Wynette und Kitty Wells tauchen auf "Big Time" ebenso auf wie die komplexen Orchestrationen ihres genreübergreifenden 2019er Albums "All Mirrors". Während jenes Album voller dramatischer Veränderungen und Wendungen war, liegen die Überraschungen hier in ihrer Einfachheit - ein langsames Anschwellen der Streicher, eine Instrumentierung, die wie ein Sturm zyklisch ist, oder funkelnde Hörner in einer lichtdurchfluteten Break-up-Ballade, während kaum ein Synthesizer in Sicht ist. "Big Time" wurde zusammen mit dem Co-Produzenten Jonathan Wilson in seinen Fivestar Studios in Topanga, Kalifornien, aufgenommen und gemischt. Drew Erickson spielte Klavier, Orgel und kümmerte sich um die Streicherarrangements. Olsens langjährige Bandkollegin Emily Elhaj spielte durchgehend den Bass.

"Big Time" entstand mit einem Peitschenhieb in den seltenen, fruchtbaren Momenten, in denen sowohl frische Trauer als auch frische Liebe gleichzeitig auftreten, in denen sich Kummer und Verliebtheit gegenseitig verstärken, verkomplizieren und erklären. Verlust ist schon immer ein Thema in Olsens Songs gewesen, aber nur wenige können Elegien mit einer derart rücksichtslosen Energie schreiben, wie sie. Wenn diese aus allen Nähten platzende, bergab rasende Energie für ihre Arbeit unüberwindbar schien, beweist "Big Time", dass Olsen jetzt von einem verwurzelteren Ort der Klarheit aus schreibt. Dabei arbeitet sie mit einer elastischen Beherrschung ihrer Stimme - sowohl klanglich als auch künstlerisch. In diesen Liedern geht es nicht nur um die Transformation von Trauer, sondern auch darum, Freiheit und Freude in den Entbehrungen zu finden, die diese mit sich bringen. "Big Time" ist ein Album über die expansive Kraft der neuen Liebe, geschrieben in der Zeit, als Angel Olsen sich als queer outete und ihre ersten Erfahrungen mit queerer Liebe und Herzschmerz machte. Aber dieser Glanz und Optimismus wird durch ein tiefes und vielschichtiges Gefühl von Verlust gemildert. Während Olsens Prozess der Auseinandersetzung mit ihrem Queer-Sein und der Konfrontation mit den Traumata, die sie davon abgehalten hatten, sich selbst voll und ganz zu akzeptieren, fühlte sie, dass es an der Zeit war, sich ihren Eltern gegenüber zu outen - eine Hürde, die sie eine Zeit lang vermieden hatte. "Some experiences just make you feel as though you're five years old, no matter how wise or adult you think you are", schreibt sie über diese Zeit. Nach diesem tränenreichen, aber erleichternden Gespräch feierte sie mit ihrem/ihrer Partner*in, ihren Freund*innen, mit Austern und Wein. "Finally, at the ripe age of 34, I was free to be me." Drei Tage später starb ihr Vater, dessen Beerdigung Olsen zum Anlass nahm, den/die Partner*in ihrer Familie vorzustellen. Nur zwei Wochen später erhielt Olsen den Anruf, dass ihre Mutter in der Notaufnahme lag. Eine Zeit im Hospiz kam bald darauf, und eine zweite Beerdigung folgte kurz nach der ersten. Eine weitere Reise zurück nach St. Louis, eine weitere Trauerbewältigung, eine weitere Vertiefung und Intensivierung dieser noch jungen Liebe. Drei Wochen nach der Beerdigung ihrer Mutter war Olsen im Studio, um dieses unglaublich weise und zärtliche neue Album "Big Time" aufzunehmen. Ausgelassene Anspielungen an Tammy Wynette und Kitty Wells tauchen auf "Big Time" ebenso auf wie die komplexen Orchestrationen ihres genreübergreifenden 2019er Albums "All Mirrors". Während jenes Album voller dramatischer Veränderungen und Wendungen war, liegen die Überraschungen hier in ihrer Einfachheit - ein langsames Anschwellen der Streicher, eine Instrumentierung, die wie ein Sturm zyklisch ist, oder funkelnde Hörner in einer lichtdurchfluteten Break-up-Ballade, während kaum ein Synthesizer in Sicht ist. "Big Time" wurde zusammen mit dem Co-Produzenten Jonathan Wilson in seinen Fivestar Studios in Topanga, Kalifornien, aufgenommen und gemischt. Drew Erickson spielte Klavier, Orgel und kümmerte sich um die Streicherarrangements. Olsens langjährige Bandkollegin Emily Elhaj spielte durchgehend den Bass.

REPRESS

'the best soul album — in the real sense of the word — you'll hear this year... classic, blistering afro-beat' (Daily Telegraph); 'as tight as a pressure cooker... fierce and fun' (The Wire); 'son meilleur album... monumentale, triomphante, orgasmique' (Les Inrockuptibles); '**** utterly infectious... a triumphant return' (The Observer).

The nicest tracks of the King played by the Jazz scene. From "Fever" to "Love me tender", a selection of the best covers.

Als eine der spannendsten, neuen Stimmen im Alternative-Bereich haben Porridge Radio sich innerhalb von nur einem Jahr mit ihrem Album Every Bad (2020) von den DIY-Lieblingen hin zur Mercury Prize nominierten Band gewandelt. Mit Waterslide, Diving Board, Ladder To The Sky kündigen Porridge Radio heute ihr drittes Studioalbum für den 20. Mai via Secretly Canadian an. Während Every Bad die scharfsinnige und offenherzige Ehrlichkeit von Frontfrau Dana Margolin offenbarte, befördert Waterslide, Diving Board, Ladder To The Sky dies auf ein neues hymnisches Level. Dies ist der Sound einer Person Ende Zwanzig, die sich den Enttäuschungen der Liebe und des Lebens stellt und herausfindet, wie man in dieser Welt existiert - ohne dabei so zu tun, als wüsste sie alle Antworten. Ganz nebenbei ist das Ganze höllisch eingängig. Das Album beginnt mit "Back To The Radio" als kraftvoller Aufruf, der einen Kontrast zu Margolins Lyriks um Panik und Abgeschiedenheit zeigt ("lock all the windows and march up the stairs"), bis sich ein stürmischer Chorus aufbauscht, der einen sofort all seine Freund*innen fest umklammern lassen möchte. Waterslide, Diving Board, Ladder To The Sky ist wie ein surreales Gemälde, das teilweise durch eine Collage der Künstlerin Eileen Agar inspiriert ist und an das Unter- und Eintauchen, heikle Lagen und existentielle Lebensängste der letzten Zeit erinnert und gleichzeitig aus der Erzählung der Jakobsleiter aus dem Alten Testament schöpft, die wiederum "symbolizes the ups and downs of human life, of virtue and transgression", erklärt Margolin. Die Vorstellung, dass ein emotionaler Zustand nicht ausschließlich binär ist, ist dabei wesentlich für das neue Album. "With this album, the feelings of joy, fear and endlessness coexist together", fügt Margolin hinzu.

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Brian Eno hat den Begriff Ambient Music geprägt und berühmt gemacht - die Musik aber hat er nicht allein erfunden. Brüder im Geiste waren die deutschen Musiker Hans-Joachim Roedelius und Dieter Moebius (Cluster). Es ist müßig, darüber zu spekulieren, wer wen beeinflusst hat, die Idee der Ambient-Musik lag Mitte der 70er-Jahre einfach in der Luft. Fakt ist, dass Brian Eno 1975 ein Konzert von Cluster in Hamburg besuchte. Er stellte sich strategisch günstig in die erste Reihe, und erwartungsgemäß bat man ihn zu einem Jam auf die Bühne. Nach dem Konzert verabredete man ein Treffen, das dann 1977 stattfand. Drei Wochen lang waren Eno und Cluster im Studio von Conny Plank. Zwei Alben entstanden daraus: "Cluster & Eno" sowie "After The Heat". Ersteres ist ohne Übertreibung das erste in Deutschland produzierte Ambient-Album. "After The Heat" ist jedoch etwas völlig anderes. Während auf "Cluster & Eno" die Handschrift von Cluster zu lesen ist (und Enos Ambient-Konzept die Hand führt), ist "After The Heat" eher ein Eno-Album mit den Stilmerkmalen der Cluster-Musik.

‘Cinnamon Sea’ is the perfect introduction to one of the most mysterious, ever-morphing underground bands from New Zealand. The Garbage and the Flowers make their long awaited return with another psychedelic masterpiece from the band that gave us 1997's cult dreampop gem 'Eyes Rind As If Beggars'. A hybrid fusion of the Velvets, Elephant 6 and any God-fearing stoned strummers you can think of, with a nod to Charlie Manson’s bedside balladry to boot. On their return, the band hone their songcraft with tracks like ‘Eye Know Who You Are’, a tantalising piece of Mazzy Star on steroids, a spiralling sonic rumble, that reaches a miasmic high on every hummed chorus. It opens the Pandora’s box of this release, a sleight of ear collection of five songs from this cosmology-observing Australia-based outfit. Tracks like ‘Red Star’ exist in a land where sound levels are destroyed by savage birds. ‘On The Radio’ trips into an untuned lagoon. There’s a quasi-religious zeal to proceedings, a nod to Sterling Morrison’s Velvet strum elsewhere, everything that would have been key to the Elephant 6 conglomerate not so long ago, maybe, if you can even imagine, My Bloody Valentine unplugged. ‘Cinnamon Sea’ was recorded in an abandoned courthouse in Freyerstown, a ghostly village in Victoria’s Goldfields in Southeast Australia, where you’re more likely to meet giant grey kangaroos bounding on its dusty main street than tottering prospectors these days. It unravels with claustrophobic glee as we traverse the structured climes of exemplary songwriting seasoned with the salt of improvisation. This from a band who previously released an album famously dubbed ‘Stoned Rehearsal’. It closes with the track ‘Jacob B’, a melancholy tale that’s a hybrid of Manson’s troubled tunes and the psychedelic folk songs of Quicksilver’s Dino Valente. File under: outsider music for insiders. “By some measure Wellington's most brilliant pop band, The Garbage & The Flowers are classic underground rock'n'roll with a hazy ramshackle sound pockmarked by bursts of genius.” Forced Exposure

Dirty Lagoon is a sonic call-to-action, inspired by his experiences living in Ibiza and witnessing first-hand the contrasts between the island’s stunning natural beauty and the environment degradation that occurs due to human-made waste.

The title track is masterclass of kaleidoscopic techno; both colourful and jacking, it is testament to the rich array of sounds the artist has been exploring throughout the past year. An inspiring addition to his discography.

‘Dub Embassy’ is a stirring accompaniment, a beautiful tripped out record full of warm cascading dubby rhythms that begs to be played on a festival system.

Completing the trio, ‘Code is the Code’ is a pin-sharp cut that combines powerful rhythms with peak-time melodic flourishes. In both sound and name, it’s a fitting tribute to Drumcode signature sound that’s thrilling and functional in equal measures. A ‘Code is the Code’ merchandise drop will accompany the release of this track, more details TBA.

Beyer will be donating 100% of the profits from ‘Dirty Lagoon’ to Coral Vita, an award-winning company that protects eco-systems by growing diverse and resilient corals that are then out-planted into damaged reefs.

HIGHLIGHTS: 1967 descargas album by Peruvian percussionist Coco Lagos y Sus Orates, featuring Alfredo Linares, Charlie Palomares, Otto de Rojas, Mario Allison_ This album was recorded following the success of the descarga sessions released by New York label Alegre Records. It includes a version of Cal Tjader's 'Mamblues' and 'Brava pachanga', an original by the Father of Boogaloo, Joe Cuba, among many other stand-out tracks. Quality official reissue on 180g vinyl after years unavailable. Includes insert with liner notes. Details: 1966 was a prolific year for the MAG record label. The microphones were constantly on at the label's studios, recording timeless hits by Los Demonios de Corocochay, Betico Salas, Cholo Berrocal, Mario Allison, Alfredo Linares, Carlos Muñoz and Los Pacharacos, just to mention the most successful ones. The percussion playing by 29-year-old Peruvian Coco Lagos stands out on a number of these recordings. Coco continued his early career, and he played the conga drums for artists who passed through Lima, accompanying Pérez Prado, Oréfiche and Chano Scotty, among others. In the late 50s, he started working as a regular musician in the recently founded record company MAG, alongside musicians such as Ñiko Estrada, Mario Allison, Lucho Macedo...

After the Bend is the second album from Louisville based Flanger Magazine, and the follow up to FM’s 2018 debut, Breslin. Whereas Breslin was the solo creation of Christopher Bush, an album noted for “an astute synthesis of ‘library music’ and solo acoustic guitar,” and “a seamless blend into the uncluttered and airier side of classic 1970’s giallo,” After the Bend is an ensemble affair. An ecosystem, a perfect mutualism bodies forth—of strings, outdoor recordings, electronics, reeds, and percussion—featuring new FM players Anna Krippenstapel (Frekons (Freakwater + Mekons), The Other Years), Jim Marlowe (Equipment Pointed Ankh, Tropical Trash, Sapat), Eric Lanham and Benjamin Zoeller (both from Caboladies). The various combos perform with both a distinguished efficacy and unhurried Sunday drift—charged and beautiful, pulsating and pleasing. The production is subtle and tasteful. Mutating past the old saws of bounded individualism, a strange form of tentacular life accrues, cyborgian-fungral-tangles of the more-than-human variety.

Robert Beatty’s cover art of otherworldly and interconnected river-scape gradients, coupled with song titles like “Reservoir,” “Falls Fountain Removed,” and “Sympathies for the River,” cue and clue the listener toward a river as a singular multitude analogue for the album. Interstitial gaps, clearings and openings give rise and merge into an accumulated flow from the tributaries of spirited improvisational performance, palimpsestic song cycles, and high fidelity studio production. The composite sound-image of After the Bend refuses to put both oars down into any one of the eddies of the folk, sound, chamber, electronic, or jazz idioms, and instead glides along the currents found within the slipstreams between.

Gathering samples, a River Doctor Limnologist inspecting the properties of After the Bend might note the specter of Leroy Jenkin’s free-violin heat-light deepin the water’s thermal stratification. Or mortgage the late-Maestro’s time with Gruppo di Improvvisazione Nuova Consonanza to pay down the growing river heat budget. Or take one’s dirty buckets to the banks of the 19th laundromat where Walt Dickerson plays his vibraphone parts from Divine Gemini with dowsing rods. Or excavate the bedrock in the drainage basin, noting skeletal remains of a Shostakovich string quartet attempting to tune up a Kentucky Fiddle’s subsequent influence on the chemical composition of the water. Or consult the historical revisionist reenactment troupe’s episode of Fishing with John (Fahey) in which Codona, The Sea Ensemble and Nuno Canavarro guest host as their fleet of paddle boats churn river water into a regal lager, and all the fish get drunk in their quest for the leaner enamel Hosianna Mantra GPS coordinates of the Fattened Herb.

Bush and Marlowe recorded and produced the album at End of an Ear Studios, located in the Portland neighborhood, in the west end of the city of Louisville, bordering the Ohio River, between Kentucky’s Upper South and the Indiana’s Midwest, during the first year of the global pandemic, amidst the planet’s sixth great extinction event. As good a time to be alive as any other. (by Kris Abplanalp)

Having scooped the prestigious Record Store Day Unsigned 2020 award, her debut album 'In The Blue Corner' was released as a limited edition run on turquoise sparkle vinyl in November 2021. Now available on a full digital and physical release including a new vinyl pressing on dusk blue coloured vinyl. "Loving this. Really cool voice_ love the voice!" Craig Charles (6Music) // "The most original sound. Like Little Richard, Mark Ronson, Nina Simone and Nick Cave all got locked in a New Orleans speakeasy" Record Store Day Unsigned Panel 2020 // "Wow, I mean what's not to like about that? That is sensational! How groovy is that?! Mark Radcliffe, BBC 6Music // "What a voice!" Robert Elms, BBC London // "Her voice is stunning, powerful and unique, and her stage presence hits the back of the room at any venue she plays" DJ Anne Frankenstein, Jazz FM // Included in Craig Charles' Funk and Soul 'Ones to Watch 2022' list. From London via Lagos, charismatic chanteuse Sister Cookie will take you on an eclectic excursion into the roots & fruits of black music. Old sounds, new tricks. Sensuous, seductive and moody. As well as possessing a distinctive voice that's tender and sweet when it needs to be, she's a composer and self-taught pianist who writes honest and raw songs about pain, heartbreak, suffering - all that bad (meaning-good) stuff. A mainstay on the vintage Soul & R'n'R circuit since 2015 with slots at Wilderness, Latitude, Red Rooster, Port Elliot and more under her belt - as well as touring across Europe with her band - Sister Cookie has so far been supported by Craig Charles, Mark Radcliffe & Cerys Matthews at 6Music, Robert Elms on BBC London plus plays on Resonance, Jazz FM and Amazing Radio. Craig Charles is a big supporter on BBC 6 Music and has played current single 'Ain't No Good (But It's Good Enough For Me)' several times. Steve Lamacq and Lauren Laverne have also given the track multiple plays. The track has also been playlisted at Jazz FM. Singles from the album have been played many times across European radio stations including France Culture, Rock Radio (Greece), Radio Nova (Portugal), Mach 5 (Italy), HR Radio Sijeme (Croatia). She's performed at some of the UK's most esteemed venues including the 100 Club and Union Chapel, The Round Chapel and has enjoyed a number of stints as a guest vocalist with The Soulful Orchestra, Jim Jones & The Righteous Mind, Future Shape Of Sound & MFC Chicken. Sister Cookie Is going to be part of the judging panel for Record Store Day Unsigned competition in April, the competition she won in 2020.

Produziert von Jorge Elbrecht (SKY FERREIRA, JAPANESE BREAKFAST, WILD NOTHING) ist "Giving The World Away" HATCHIEs bisher ausuferndstes Werk. Mit umfangreichem Input von ihrem langjährigen Kollaborateur Joe Agius, nimmt es die himmlischen, schimmernden Shoegaze- und Pop-Sensibilitäten ihrer früheren Veröffentlichungen auf, dreht aber den Lautstärke-Regler um das Zehnfache auf. Ursprünglich wollte Harriette Pilbeam mit diesen Songs eine energischere Richtung einschlagen - sie hatte die klare Vision einer HATCHIE-Show, die sich in eine Tanzparty verwandelt und mehr Bewegung und Lebendigkeit in ihre Live-Shows bringt. Aber dann, zwischen Covid und den Lockdowns in Australien, zog sich Pilbeam mehr in sich selbst zurück, und diese Selbstbeobachtung und Selbstfindung diente als wahre Inspiration für die Platte. In "Giving The World Away" kehrt sie immer wieder zu demselben Thema zurück - verinnerlichte Scham abzubauen und Dankbarkeit und Beständigkeit zu finden, und endlich in der Lage zu sein, sich selbst zu vertrauen. Harriette Pilbeam wuchs als Jüngste in ihrer Familie auf, ein selbst bezeichnetes "großes Baby", aber sie sagt, die letzten anderthalb Jahre hätten ihr den Raum gegeben, sich selbst besser zu verstehen. Nach Jahren der emotionalen Selbstverleugnung legt sie hier ihre Ängste offen. "Giving The World Away" ist ein Album über Selbstvertrauen, über Rückgewinnung, über die seltsame Zeit im jungen Erwachsenenalter, in der man endlich in der Lage ist, sich selbst klar zu sehen. "Giving The World Away" ist der bisher klarste Blick auf Pilbeam und ein Zeugnis der Kraft und des Mutes, die daraus entstehen, wenn man sich verletzlich zeigt und sein Herz aufs Spiel setzt.

Produziert von Jorge Elbrecht (SKY FERREIRA, JAPANESE BREAKFAST, WILD NOTHING) ist "Giving The World Away" HATCHIEs bisher ausuferndstes Werk. Mit umfangreichem Input von ihrem langjährigen Kollaborateur Joe Agius, nimmt es die himmlischen, schimmernden Shoegaze- und Pop-Sensibilitäten ihrer früheren Veröffentlichungen auf, dreht aber den Lautstärke-Regler um das Zehnfache auf. Ursprünglich wollte Harriette Pilbeam mit diesen Songs eine energischere Richtung einschlagen - sie hatte die klare Vision einer HATCHIE-Show, die sich in eine Tanzparty verwandelt und mehr Bewegung und Lebendigkeit in ihre Live-Shows bringt. Aber dann, zwischen Covid und den Lockdowns in Australien, zog sich Pilbeam mehr in sich selbst zurück, und diese Selbstbeobachtung und Selbstfindung diente als wahre Inspiration für die Platte. In "Giving The World Away" kehrt sie immer wieder zu demselben Thema zurück - verinnerlichte Scham abzubauen und Dankbarkeit und Beständigkeit zu finden, und endlich in der Lage zu sein, sich selbst zu vertrauen. Harriette Pilbeam wuchs als Jüngste in ihrer Familie auf, ein selbst bezeichnetes "großes Baby", aber sie sagt, die letzten anderthalb Jahre hätten ihr den Raum gegeben, sich selbst besser zu verstehen. Nach Jahren der emotionalen Selbstverleugnung legt sie hier ihre Ängste offen. "Giving The World Away" ist ein Album über Selbstvertrauen, über Rückgewinnung, über die seltsame Zeit im jungen Erwachsenenalter, in der man endlich in der Lage ist, sich selbst klar zu sehen. "Giving The World Away" ist der bisher klarste Blick auf Pilbeam und ein Zeugnis der Kraft und des Mutes, die daraus entstehen, wenn man sich verletzlich zeigt und sein Herz aufs Spiel setzt.

Produziert von Jorge Elbrecht (SKY FERREIRA, JAPANESE BREAKFAST, WILD NOTHING) ist "Giving The World Away" HATCHIEs bisher ausuferndstes Werk. Mit umfangreichem Input von ihrem langjährigen Kollaborateur Joe Agius, nimmt es die himmlischen, schimmernden Shoegaze- und Pop-Sensibilitäten ihrer früheren Veröffentlichungen auf, dreht aber den Lautstärke-Regler um das Zehnfache auf. Ursprünglich wollte Harriette Pilbeam mit diesen Songs eine energischere Richtung einschlagen - sie hatte die klare Vision einer HATCHIE-Show, die sich in eine Tanzparty verwandelt und mehr Bewegung und Lebendigkeit in ihre Live-Shows bringt. Aber dann, zwischen Covid und den Lockdowns in Australien, zog sich Pilbeam mehr in sich selbst zurück, und diese Selbstbeobachtung und Selbstfindung diente als wahre Inspiration für die Platte. In "Giving The World Away" kehrt sie immer wieder zu demselben Thema zurück - verinnerlichte Scham abzubauen und Dankbarkeit und Beständigkeit zu finden, und endlich in der Lage zu sein, sich selbst zu vertrauen. Harriette Pilbeam wuchs als Jüngste in ihrer Familie auf, ein selbst bezeichnetes "großes Baby", aber sie sagt, die letzten anderthalb Jahre hätten ihr den Raum gegeben, sich selbst besser zu verstehen. Nach Jahren der emotionalen Selbstverleugnung legt sie hier ihre Ängste offen. "Giving The World Away" ist ein Album über Selbstvertrauen, über Rückgewinnung, über die seltsame Zeit im jungen Erwachsenenalter, in der man endlich in der Lage ist, sich selbst klar zu sehen. "Giving The World Away" ist der bisher klarste Blick auf Pilbeam und ein Zeugnis der Kraft und des Mutes, die daraus entstehen, wenn man sich verletzlich zeigt und sein Herz aufs Spiel setzt.

Kadi Yombo, published in 1989, is the most successful album in the quest for a fusion between tradition and modernity in Bwiti harp music of the Tsogho people of Gabon. Combining beating rattles with a layer of synthesizers, Papé Nziengui blends in a contrapuntal dialogue characteristic of harp playing: male song in appeal and female choir in response, male voice of the musical arc and rhythms of female worship. But above all it’s Tsogho ritual music and modern studio orchestration. The result is an initiatory itinerary of 10 musical pieces which are all milestones likely to be simultaneously listened to, danced, meditated on, and soon acclaimed. In the years since, Nziengui has traveled he world from Lagos to Paris, from Tokyo to Cordoba, from Brussels to Mexico City to become a true icon, the emblem of Gabonese music.

Like Bob Dylan, "electrifying" folk and Bob Marley mixing rock with reggae, some purists have criticized Nziengui for having distorted the music of harp by imposing a cross with modern instruments. They even went so far as to claim that Nziengui was just an average harpist covering his shortcomings with stunts that were only good for impressing neophytes; like playing a harp placed upside down behind his back or playing two or three harps simultaneously. Sincere convictions or venomous defamations, in any case, Nziengui never gave in to such attacks, imposing himself on the contrary to pay homage to the elders (Yves Mouenga, Jean Honoré Miabé, Vickoss Ekondo) while instructing the maximum of young people. He is thus the promoter of many young talents, the most prominent of which is certainly his nephew Jean Pierre Mingongué. In a conservative society where the sacred is confused with secrecy, exposing the mysteries of Bwiti in broad daylight can be punished by exclusion or even execution.

Papé Nziengui has always claimed that he faces such risks because he never felt enslaved to a community that governs his life, that regulates his conduct, that has a right of censorship over his activities. Like Ravi Shankar, the famous sitarist, Papé Nziengui is a man of rupture but also of openness, a transmitter of culture. As proof, he has established himself in Libreville, Gabo’s capital, as the main harpist for sessions and concerts, accompanying the greatest national artists (Akendengué, Rompavè, Annie-Flore Batchiellilys, Les Champs sur la Lowé, etc.) as well as foreign artists (Papa Wemba, Manu Dibango, Kassav', Toups Bebey, etc.). In 1988, he was the first harpist to release an album in the form of a cassette produced by the French Cultural Center (Papé Nziengui, Chants et Musiques Tsogho). At the same time, he created his own group (Bovenga), combining traditional music instruments (musical bow, drums, various percussion instruments, etc.) in the framework of a true national orchestra, which gave the first concert and the first tours of a traditional music that was both modern and dynamic, thus "democratizing" the harp, to the dismay of certain purists.

On the other hand, in modern music, dominated by the logic of profit or even commercialism, artistic creation must often be adjusted for a specific audience based on reason rather than heart. But instead of allowing himself to be distorted, Papé Nziengui has always tried to produce music that is not a caricature, worthy in its expression as in its content, of the sacredness and transcendence of the music of the Origins. This is what makes Nziengui not only the musician, but the man someone whose age hasn’t altered any of his freshness or authenticity

Kadi Yombo, published in 1989, is the most successful album in the quest for a fusion between tradition and modernity in Bwiti harp music of the Tsogho people of Gabon. Combining beating rattles with a layer of synthesizers, Papé Nziengui blends in a contrapuntal dialogue characteristic of harp playing: male song in appeal and female choir in response, male voice of the musical arc and rhythms of female worship. But above all it’s Tsogho ritual music and modern studio orchestration. The result is an initiatory itinerary of 10 musical pieces which are all milestones likely to be simultaneously listened to, danced, meditated on, and soon acclaimed. In the years since, Nziengui has traveled he world from Lagos to Paris, from Tokyo to Cordoba, from Brussels to Mexico City to become a true icon, the emblem of Gabonese music.

Like Bob Dylan, "electrifying" folk and Bob Marley mixing rock with reggae, some purists have criticized Nziengui for having distorted the music of harp by imposing a cross with modern instruments. They even went so far as to claim that Nziengui was just an average harpist covering his shortcomings with stunts that were only good for impressing neophytes; like playing a harp placed upside down behind his back or playing two or three harps simultaneously. Sincere convictions or venomous defamations, in any case, Nziengui never gave in to such attacks, imposing himself on the contrary to pay homage to the elders (Yves Mouenga, Jean Honoré Miabé, Vickoss Ekondo) while instructing the maximum of young people. He is thus the promoter of many young talents, the most prominent of which is certainly his nephew Jean Pierre Mingongué. In a conservative society where the sacred is confused with secrecy, exposing the mysteries of Bwiti in broad daylight can be punished by exclusion or even execution.

Papé Nziengui has always claimed that he faces such risks because he never felt enslaved to a community that governs his life, that regulates his conduct, that has a right of censorship over his activities. Like Ravi Shankar, the famous sitarist, Papé Nziengui is a man of rupture but also of openness, a transmitter of culture. As proof, he has established himself in Libreville, Gabo’s capital, as the main harpist for sessions and concerts, accompanying the greatest national artists (Akendengué, Rompavè, Annie-Flore Batchiellilys, Les Champs sur la Lowé, etc.) as well as foreign artists (Papa Wemba, Manu Dibango, Kassav', Toups Bebey, etc.). In 1988, he was the first harpist to release an album in the form of a cassette produced by the French Cultural Center (Papé Nziengui, Chants et Musiques Tsogho). At the same time, he created his own group (Bovenga), combining traditional music instruments (musical bow, drums, various percussion instruments, etc.) in the framework of a true national orchestra, which gave the first concert and the first tours of a traditional music that was both modern and dynamic, thus "democratizing" the harp, to the dismay of certain purists.

On the other hand, in modern music, dominated by the logic of profit or even commercialism, artistic creation must often be adjusted for a specific audience based on reason rather than heart. But instead of allowing himself to be distorted, Papé Nziengui has always tried to produce music that is not a caricature, worthy in its expression as in its content, of the sacredness and transcendence of the music of the Origins. This is what makes Nziengui not only the musician, but the man someone whose age hasn’t altered any of his freshness or authenticity

Raa spelar Pierce & von Euler ("Raa plays Pierce and von Euler") is Raa's
third studio album, following the acclaimed Skanes jarnvagar (2018) and
Ljungens lag (2019)
The A-side is comprised of two songs by Spiritualized, and the B-side contains
dub- like versions of Stockholm- based musician Henrik von Euler's piano EP,
Hemskogen. As everyone knows, four songs are rarely enough for an LP. So, it
was time to dig up a few old favourites. "I have loved Spiritualized ever since the
release of their debut album, Lazer Guided Melodies, in 1992. I'm especially fond
of the slow songs and their abysmal bass lines. "Take Your Time" is one of them,
and the idea to make something with it has followed me for a long time. "I Think
I'm in Love" is here translated into "Jag tror jag är kär". The energy of it invites
irresponsible late-night driving", says Magnus Sveningsson.

Kadi Yombo, published in 1989, is the most successful album in the quest for a fusion between tradition and modernity in Bwiti harp music of the Tsogho people of Gabon. Combining beating rattles with a layer of synthesizers, Papé Nziengui blends in a contrapuntal dialogue characteristic of harp playing: male song in appeal and female choir in response, male voice of the musical arc and rhythms of female worship. But above all it’s Tsogho ritual music and modern studio orchestration. The result is an initiatory itinerary of 10 musical pieces which are all milestones likely to be simultaneously listened to, danced, meditated on, and soon acclaimed. In the years since, Nziengui has traveled he world from Lagos to Paris, from Tokyo to Cordoba, from Brussels to Mexico City to become a true icon, the emblem of Gabonese music.

Like Bob Dylan, "electrifying" folk and Bob Marley mixing rock with reggae, some purists have criticized Nziengui for having distorted the music of harp by imposing a cross with modern instruments. They even went so far as to claim that Nziengui was just an average harpist covering his shortcomings with stunts that were only good for impressing neophytes; like playing a harp placed upside down behind his back or playing two or three harps simultaneously. Sincere convictions or venomous defamations, in any case, Nziengui never gave in to such attacks, imposing himself on the contrary to pay homage to the elders (Yves Mouenga, Jean Honoré Miabé, Vickoss Ekondo) while instructing the maximum of young people. He is thus the promoter of many young talents, the most prominent of which is certainly his nephew Jean Pierre Mingongué. In a conservative society where the sacred is confused with secrecy, exposing the mysteries of Bwiti in broad daylight can be punished by exclusion or even execution.

Papé Nziengui has always claimed that he faces such risks because he never felt enslaved to a community that governs his life, that regulates his conduct, that has a right of censorship over his activities. Like Ravi Shankar, the famous sitarist, Papé Nziengui is a man of rupture but also of openness, a transmitter of culture. As proof, he has established himself in Libreville, Gabo’s capital, as the main harpist for sessions and concerts, accompanying the greatest national artists (Akendengué, Rompavè, Annie-Flore Batchiellilys, Les Champs sur la Lowé, etc.) as well as foreign artists (Papa Wemba, Manu Dibango, Kassav', Toups Bebey, etc.). In 1988, he was the first harpist to release an album in the form of a cassette produced by the French Cultural Center (Papé Nziengui, Chants et Musiques Tsogho). At the same time, he created his own group (Bovenga), combining traditional music instruments (musical bow, drums, various percussion instruments, etc.) in the framework of a true national orchestra, which gave the first concert and the first tours of a traditional music that was both modern and dynamic, thus "democratizing" the harp, to the dismay of certain purists.

On the other hand, in modern music, dominated by the logic of profit or even commercialism, artistic creation must often be adjusted for a specific audience based on reason rather than heart. But instead of allowing himself to be distorted, Papé Nziengui has always tried to produce music that is not a caricature, worthy in its expression as in its content, of the sacredness and transcendence of the music of the Origins. This is what makes Nziengui not only the musician, but the man someone whose age hasn’t altered any of his freshness or authenticity

Roxy Music veröffentlichen am 1. April eine neue Half-Speed gemasterte Version ihres Albums „For Your
Pleasure“.

Im Jahr 1973 folgte nach dem Debutalbum von Roxy Music das zweite Album mit dem Titel „For Your Pleasure“. Für die Produktion des Albums konnte die Band mehr Zeit im Studio verbringen, was zu einer
aufwändigeren und experimentelleren Produktion führte. Brian Enos Mischung aus Tape-Loop-Effekten ist in „The Bogus Man“ unüberhörbar und „Do the Strand“ wird als die typische Roxy Music-Hymne gefeiert.

Das Album schaffte es bis auf Platz 4 in den britischen Albumcharts.
„For Your Pleasure” wurde von Miles Showell in den Abbey Road Studios neu gemastert. Um die verbesserte Audioqualität widerzuspiegeln, wurde das Artwork überarbeitet und mit einer glänzenden Laminierung versehen, sodass das Album nicht nur eine Schallplatte, sondern ein Kunstwerk ist.

Das Album erscheint als 1LP.

Ltd to 100 copies

Yearly compilation album RADAR by KEROXEN, introducing the second volume in the series of themed based albums showcasing the talents and misfortunes of carefully selected musicians/bands based in the Canary Islands.

Where Radar Vol.1 (KXN012, 2020) focused its sights on rock oriented music, Vol.2 looks at the more experimental, free flowing side of electronic and sample based music, also Made in Tenerife this last year (2021).

The format stays the same as Vol.1: 4 different artists are invited to contribute 2 tracks, no rules other than do their own thing. The result being an extraordinary amalgamation of various genres and styles of the electronic music cannon including: smoky dub beats by King L. Man, tropical casiotone divagations by Usted, inverted & polyrhythmic workouts from the Tupperwear duo, ultra precise dub-tech-2step edits by Postman and organic psychedelics by freak trio Lagoss.

Yet another crucial document from a region you usually do not associate with forward thinking music, more than a simple compilation, RADAR 2 unveils the thin veil of new and uncompromising music being produced in and around the orbit of the Keroxen Collective.

It seems the Atlantic isolation works as a catalyser here, judging from the copious amount of different and challenging music we’ve been seeing from this corner of the world over the last few years. We invite you to dive with us, in the wild remote tropical waters of RADAR vol.2.

A masterful mix of timeless American soul with vintage 1970s African samples in a most rewarding way – musical traveler Eamon teams with production duo Likeminds for No Matter The Season, his second album for Now-Again. “I’ve been singing since I was a tike, promoters used to call me ‘the boy wonder’, but with this record it felt new, almost like I was singing every note as if my life depended on it,” says Eamon from his home in Southern California, a far cry from his native Staten Island, New York City. But you wouldn’t know his birthplace from the way he sings, especially on No Matter The Season, where Eamon put a new spin on vintage samples from the Now-Again catalog, crafting beats from various African rhythms such as Amanaz’s Zamrock, the Hygrades Nigerian funk, and Ayalew Mesfin’s Ethiopian tezetas. Shortly after the release of his last Now-Again project, Captive Thoughts, he began working with the production duo on two original compositions that appear on No Matter The Season. But as time went on, he came upon the idea of completing the album by sending the duo samples from the Now-Again catalog to work with. Which were expanded upon with a multitude of live instruments. “There was something special about combing through the African records at Now-Again,” Eamon reflects. “I had never heard the variety of funk and soul that existed in places like Lagos and Addis Ababa, it was like a history lesson in Rhythm & Blues. I was hearing the godfathers of the movement here in the US. I wanted to pay my respect to that lineage. Since singing in my father’s doo-wop group as a kid, I’ve always used music from the past to create and express something new in the present. But to be able to do that across continents and get back to the roots…that was really impactful for me.” Likeminds, helmed by Chris Soper and Jesse Singer, two East Coast transplants to LA who are as comfortable chopping up samples on an MPC as they are playing classic instruments, using vintage microphones, or recording to tape, offer up what could be described as a West Coast spin on the revivalist soul sound championed by Daptone Records. “For sure, the album is soaked in an old school feel, but to still tap into the depths of my soul today is always the end goal,” Eamon states. All but two tracks are based on Now-Again samples, using the classic rhythms as accompaniment to showcase Eamon’s emotional singing style that is still as honest and raw as when he was a 16, singing about heartbreak. The end result, No Matter the Season, is a celebration of the musical relationship between Africa and America and the thrilling soul music that relationship has spawned since the 60s and 70s. “My hope is people know that I’m not leaving anything on the table in this chapter of my career,” Eamon reflects. “Only thing I can do is pour my heart out on every single line. Even though I’m writing and screaming to the heavens about my joy, my pain, my love…these are songs for everyone, everywhere, anytime. You’re gonna walk away feeling something. This is why I titled the album No Matter The Season.”

Rare Nigerian Afrobeat-Funk from 1976.

First vinyl reissue since 1976.

First Ever Release Outside Of The African Continent.
Comes With Insert/Liner Notes.
180g BLACK vinyl limited to 500 copies (w/obi strip) - Non-Returnable.
THE FRIIMEN MUZIK COMPANY (also known as FRIIMEN) was formed after the Biafran war in 1973-1974 in the town of ABA in the eastern part of Nigeria. Aba was the Number 1 Music Hub in the entire Eastern Region of Nigeria. While bands and artists like ‘Ofege’ and ‘Fela Kuti’ ruled the LAGOS scene, bands like ‘Friimen’ and ‘The Apostles’ were ruling the ABA scene.
Before forming the band, most of its members were already working together as freelance session musicians backing up solo artists on several recordings and concerts (or were playing in military bands that gradually became civilian bands because the war had just ended). FRIIMEN members’ credits were numerous and they played, wrote or performed on recordings from well-known acts like The Funkees, The Jets, The Apostles…and countless others.
When they started concentrating on writing their own songs, the group instantly took off and became an overnight hit that resulted in them doing multiple successful nationwide tours. FRIIMEN would go on to record three albums: Free Man (1976), We Can Get It On (1978) and Merry Man (1979). All three albums were released on the Aba based label Anodisc Records (THE key label to be on if you wanted your music heard and out there), Anodisc also released hit records by ‘Sweet Unit’ and ‘Voice Of The Cross’ but The Friimen Muzik Company was the label’s signature band.
The Friimen Muzik Company was so solid that every new group or artist wanted the Friimen to back them up in the recording studio. As a result, Anodisc Records received tons of demo cassettes from aspiring artists…the label would then first consult the Friimen members to see if these new acts were worthy of giving a chance to record and release an album for Anodisc. Over the course of the years the band went through several line-up changes…but in 1980 the band finally broke up and their story came to an end.
The album we are presenting you today (Free Man from 1976) was recorded at the famous Decca Studios in Lagos and comes swinging right out of the gate with a set of no less than EIGHT monster tunes. Expect nothing less than crazy afrobeat and over the top melodic funk influenced by a wide array of artists (both local and international). Mesmerizing solos, captivating grooves, impeccable sequences that turned many heads…everything you need to get a dancehall into a complete uproar. The musicians’ skills are just plain incredible! FREE MAN is a quintessential record that every serious collector or fan needs to have in his/her collection.
This reissue also comes with an insert featuring pictures of the band and extensive liner notes from band-member Arthur Freds.
Tracklist:
Release Yourself , Free Man , My Dreams , Funky Workshop , Word of the Lord , We'll Get Our Share , You Can't Change Anything , Gimme Some Time

Rare Nigerian Afrobeat-Afropop Album.

First vinyl reissue since 1985.

Solo Album by Ofege Frontman Melvin Ukachi.
First Ever Release Outside Of The African Continent.
180g BLACK vinyl limited to 500 copies (w/obi strip). Non-Returnable.
Melvin Ukachi needs little introduction, the Lagos (Nigeria) based vocalist and bandleader is a living legend. Melvin is known for his fantastic solo albums, his vocals for the afrobeat star-groups M.F.B. and Ozzobia…but his biggest legacy is without a doubt him being the singer and bandleader of Ofege.
Melvin formed Ofege in the early 1970s (when he and the other band members were all still a bunch of teenagers). Due to their vibrant combo of sweet harmonies, hooks & fuzz, Ofege would become one of the most legendary Nigerian groups of all time, with expressive sales and national stardom to follow. At the turn of the century (and because of tracks appearing on various compilations) Ofege would receive international acknowledgment for being the first of their kind and THE ultimate West-African psychedelic funk band!
Melvin Ukachi recorded four milestone albums with Ofege: ‘Try and Love’ (1973) ‘The Last of The Origins’ (1976), ‘Higher Plane Breeze’ (1977) and ‘How Do You Feel’ (1978). When the Ofege story came to an end, Melvin recorded two astonishing solo albums: ‘Evolution-Bring Back The Ofege Beat’ (1981) and ‘I am Ok’ (1985). Both of his solo recordings have now become much sought-after holy grails for collectors and fans alike.
On the album we are presenting you today (I AM OK from 1985) the listener is treated to Ofege’s trademark sound…but we’re also shown a perfect glimpse of the late 70’s afrobeat works combining soul, jazzy rhythms, William Onyeabor style laid back electro funk synths & fluid boogie-danceability. The female backing vocals and handclaps by Princess Bunmi Olajubu (Femi Kuti) also deserve a special mention because they add so much depth and grooves to this amazing record.
Expect some serious local ‘all-star’ guest musicians on this record as well. Next to him playing the synth, Jake Sollo also produced this gem of an album! To top things off the tracks were recorded and mixed at the legendary RAS Studio in Akwa, Nigeria…all slickly engineered by John Malife (Black Children Sledge Funk Band, T-Fire, BLO).
‘I AM OK’ was released on CRS Nigeria in 1985 and is a total Afro-pop-funk classic that begs for a special place in your record collection. It’s tight, funky and Melvin’s soulful vocals are to die for. This record is a monster!
Tracklist:
I'm Ok , I Don't Mind , Come and Dance , We are Fine , Keep on Loving Him , Wanted , I Wanna Hide You

Deutsche Pressestimmen zu All Encores:

"Die Encore-Trilogie wird zum Album erhoben- und das mit Recht!" (Groove)
"Perfektes Release für goldene Herbsttage." (Groove)
"Angenehm facettenreich" (Rolling Stone)
"Buchstäblich Audio-Balsam" (Audio)
"Wunderwerk" (Flair)
Zur Feier des fünften Piano Days erscheint Nils Frahms All Encores Serie als 3-LP Set. Lag der Fokus von Encores 1 vor allem auf akustischen Klangwelten - Soloklavier und Harmonium standen hier im Mittelpunkt -, woraufhin Frahm für Encores 2 verstärkt auf Ambient-Texturen setzte, konzentriert er sich mit Encores 3 in erster Linie auf die rhythmischen und elektronischen Aspekte seiner Musik. "Die Idee zu All Encores hatten wir genau genommen schon vor All Melody: Nämlich drei Veröffentlichungen zu machen, von denen jede ihren eigenen musikalischen Stil hat und ihr eigenes Thema. Wir hatten daher zunächst sogar an ein Triple-Album gedacht. Doch dann wurde All Melody immer größer und verdrängte diese ersten Konzeptideen", kommentiert Frahm die Entstehung. "Ich denke, die Idee von All Encores ist gewissermaßen mit klanglichen Inseln zu vergleichen, die All Melody einrahmen."

Griffit Vigo has been producing music since 2004 and spearheaded the sound of gqom in the early 2010s alongside artists such as DJ Lag, Rudeboyz, Emo Kid, and Dominowe. Predominantly releasing on Gqom Oh!, it was Vigo’s singles ’Ree’s Vibe’ and ‘DJ’ that cemented his reputation and helped gqom go on to become something of a global phenomenon with its intense, heavily syncopated style of dance music filtering into the work of producers around the world.

wieder auf Lager Die Hamburger Band Faust gehört zu den großen Namen, die der Krautrock der 1970er-Jahre hervorgebracht hat. Als Jean-Hervé Péron und Zappi Diermaier 1971 ihr Debütalbum vorlegten, wollte das in Deutschland niemand hören, im Ausland jedoch verkauften sich "The Faust Tapes" über 100.000-mal. "There is no group more mythical than Faust", schwärmte der englische Musiker und Krautrock-Kenner Julian Cope Jahrzehnte später. Mit "Just Us" setzen Faust ihren musikalischen Weg fort. Während Diermaier seinem Handwerk - Schlagzeug und Perkussion - treu bleibt, integriert Peron allerhand unübliche Klangquellen in sein Bassspiel, verschiedene Streichinstrumente, Klavier und sogar eine Nähmaschine als Metronom. Tracks wie "Nur nous" und "Ich bin ein Pavian" zeigen, dass Faust nichts von ihrer Vorliebe für Avantgarde und Dadaismus verloren haben. Ausflüge ins folkloristische Gefilde ("Cavaqui-ho", "Gammes") runden das wahrhaft faustische Überraschungspaket ab.

In the 1990s, Malka Family landed from the planet Kif to convert France to their vibrant and crazy madness made of euphoric riffs and glittering suits. Direct heirs of George Clinton and his cosmic P-Funk, they quickly burned stages around the world with this communicative energy which only large ensembles have the secret to. France, Europe, Japan, Africa, Canada… They will be forced to stop in the early 2000s replaced by DJs and computers.

2021. June 5th. Three years after the reformation of the band, Ground Control received a message from "Major Thom" - the astronaut Thomas Pesquet himself. The post is clear! Le Retour du Kif produced in 2018 is played in space… @Thom_astro and all the crew members of the ISS are totally fans of the Malka Family’s Music!

A new era begins, the Jedi of Funk have swept away the machines and their logarithmic music, groove and heavyweight Funk reign in the galaxy once again. The Malka Family is releasing a new 14 track album, SuperLune, a crazy and heavenly funk combo!

This time, back to Malka Family’s old recipes. They spend hours, nights in the studio, writing songs, arranging horns, recording vocals, slapping the bass guitar… "SuperLune is a more introspective album, we did everything without any restrictions, and our funk is more accomplished than ever…" says Jo Mannix fresh out from mixing the album. French Radio Nova tells: "In their spaceship, the bass is definitely queen. From your head to your feet and (especially) through your buttocks, “Blue Funk” will awaken your senses. Without even realizing it, you've already been swept up in the crazy storm of the Malka Family. All the ingredients are there: the dance, the music and an atmosphere that only they have the secret to…" Last but not least, to accompany the interplanetary release of SuperLune, Malka re-embark in their spaceship for the next cosmic tour. Let’s go to the Moon! The SuperLune!

GRAMMY-nominated saxophonist and composer Melissa Aldana joins the Blue Note Records family with the release of 12 Stars, her debut album as a leader for the legendary label following her appearance on the acclaimed 2020 album by the collective ARTEMIS. The Brooklyn-based tenor player from Santiago, Chile has garnered international recognition for her visionary work as a band leader, as well as her deeply meditative interpretation of language and vocabulary. 12 Stars grapples with concepts of childrearing, familial forgiveness, acceptance, and self-love, and was inspired by her deep interest in tarot. The album was produced by guitarist Lage Lund, who also performs as part of a remarkable quintet with Sullivan Fortner on piano and Fender Rhodes, Kush Abadey on drums, and Pablo Menares on bass.

GRAMMY-nominated saxophonist and composer Melissa Aldana joins the Blue Note Records family with the release of 12 Stars, her debut album as a leader for the legendary label following her appearance on the acclaimed 2020 album by the collective ARTEMIS. The Brooklyn-based tenor player from Santiago, Chile has garnered international recognition for her visionary work as a band leader, as well as her deeply meditative interpretation of language and vocabulary. 12 Stars grapples with concepts of childrearing, familial forgiveness, acceptance, and self-love, and was inspired by her deep interest in tarot. The album was produced by guitarist Lage Lund, who also performs as part of a remarkable quintet with Sullivan Fortner on piano and Fender Rhodes, Kush Abadey on drums, and Pablo Menares on bass.

On a balmy Brazilian night in February, 1981, a crowd gathered in Rio de Janeiro's Gávea neighbourhood under the iconic dome of the city's Planetário (Planetarium). Alongside musicians like Helio Delmiro and Milton Nascimento (who were in the audience that night), they were there to see the great "Bruxo" (sorcerer) Hermeto Pascoal live in concert, with his new band formation which would become known simply as "O Grupo" (The Group).

Growing up on a farm in Brazil's northeastern state of Alagoas, Hermeto has always been deeply in tune with, and inspired by nature. In his youth he would make his own flutes to play call and response with the birds and frogs. He would build scrap-metal instruments in his blacksmith grandfather's forge, and sit for hours by the lake listening to the sounds of nature. On the Planetário Da Gávea recordings though, Hermeto is cast as the "sorcerer" or the "cosmic emissary" (as the great Brazilian guitarist Guinga once called him), exhibiting an intuitive sense of harmony and melody beyond that of our own world.

"Tudo e Som" (All is Sound). It's a phrase Hermeto regularly returns to, and it points to the fact that not only can music be made from anything, but also alludes to something much more profound. It's an understanding of the universe as being in a state of constant movement, forever vibrating at the quantum level, like the string of a guitar, or a saxophone's reed. "Tudo e Som" is a declaration of the mystical and spiritual power of sound, as a fundamentally vibrational force.

The series of concerts at the Planetário marked the birth of "O Grupo" which would last with the same line-up (apart from Zé Eduardo Nazário) for the next eleven years. Every member of O Grupo was a phenomenal musician in their own right. It was one of saxophonist/flautist Carlos Malta's first gigs with the group, and the concert unusually featured two drummers, Zé Eduardo Nazário and Marcio Bahia. Nazário, from São Paulo, had played with Hermeto during the mid-70s (as well as with Milton Nascimento, Egberto Gismonti and Toninho Horta, to name a few). Bahia though had just joined the group. Acclaimed keyboard player Jovino Santos Neto was on keyboards, piano and organ, and the great Itiberê Zwarg (who remains in Hermeto's band to this day), played bass. Rounding the group off was the percussionist Pernambuco. During this period (up until the early 90s) the group would rehearse for hours on end, virtually seven days a week, with a total dedication to music and Hermeto's musical vision.

Most of the compositions performed that night at the Planetário had never been recorded before, and many are unique to this album, including the wild 'Homônimo Sintróvio', the exaltant 'Samba Do Belaqua', 'Vou Pra Lá e Pra Cá' and 'Bombardino', which features Hermeto's wonderfully absurd call and response mouthpiece soliloquy. Then there's the stunning 7/4 Samba 'Jegue' which builds with inventive dissonance, before releasing yet another celestially colourful, celebratory refrain. The show also features the first recorded performances of 'Era Pra Ser e Não Foi' and 'Ilza na Feijoada' (inspired by Hermetos' wife Ilza's famed black bean and meat stew), which Hermeto later recorded on his 1984 studio album "Lagoa Da Canoa Município De Arapiraca".

Dubbed by Miles Davis as "one of the most important musicians on the planet", a Hermeto Pascoal live show was (and still is) an experience like no other. Across the recording of the Planetário concert, wild improvisation meets groovy, virtuosic vamping on progressive, extended psychedelic jams. The tracks are generally built around a beautiful, transcendent melody; instantly recognisable as being Hermeto's, and for the most part, the musicians then solo over extended two chord vamps. There's a plethora of powerfully delivered rhythms, wild solos and the performances are punctuated by Hermeto's unpredictable, at times comical sonic antics.

Over forty years since this historic happening, Far Out Recordings is overjoyed to release this magical recording of Hermeto Pascoal e Grupo Live at Planetário Da Gávea, on double vinyl LP, CD and digitally for a February 4th 2022 release.

Limited Edition Vinyl LP – 1971 album cover, thick tip-on sleeve, 700 copies only

Finally putting an end to a long wait for library music lovers, Four Flies Records is proud to present the first reissue of Piero Umiliani's Paesaggi – a record that, despite remaining for many years pretty obscure compared to other titles in the maestro's discography, is now regarded by collectors and experts as the gold standard in Italian library music.

Originally released in two versions with different sleeves, the first on Liuto Records in 1971 and the second on Ciak Record in 1980, the album features tracks composed by the maestro himself (under his alias Zalla) and performed by the legendary super-group of Italian session players I Marc 4, this time with Angelo Baroncini instead of Carlo Pes on guitars (which probably explains the name being spelled with a 'k' instead of a 'c' on the album cover).

The Italian word paesaggi means "landscapes", and that is exactly what the music in the album has been designed to evoke – a journey of moods and emotions, through exotic and pastoral scenery, with loungey sounds that caress your ears like the song of an enchanted nightingale. Mysterious yet captivating soundscapes transport you to a faraway and peaceful place, possibly somewhere in rural Asia. While listening to the record, you'll feel as if you are sitting under a pavilion, right in the middle of a tea plantation, enjoying a freshly brewed green tea and watching the calm sunset.

In addition, Paesaggi is paradigmatic of Italian library music and its genre-defying nature. By using a multitude of instruments, such as flute, vibraphone, harpsichord, sitar, gong and others, it brings together a variety of arrangements, styles, and genres spanning from bossa nova to jazz, easy listening to psychedelic, Latin, exotica, and many more.

Under Umiliani's brilliant direction, the pianos and keyboard instruments of Antonello Vannucchi, the guitars of Angelo Baroncini, the bass of Maurizio Majorana, and the drums of Roberto Podio dance together and – enriched by other instruments played by top session musicians like Bruno Battisti D'Amario (sitar), Franco De Gemini (harmonica), or Franco Chiari (vibraphone) – create the sound that makes Paesaggi so unique.

With the honour of reissuing this masterpiece so many decades since its release comes a responsibility to do full justice to one of the greatest Italian composers of the 20th century and his now celebrated legacy. Four Flies have done their best to put out a record that replicates as closely as possible the value of the original as a cultural artefact, providing Italian library connoisseurs and novices alike with an exquisite sonic, and tactile, experience.

To celebrate the 35th Anniversary of the debut album "Hipsway" PNFG
will remaster and repackage this frankly outstanding debut album in
gatefold glory
Originally released in 1986, the album spent 23 weeks in the UK charts, spawned
the hit single "The Honeythief" and should have been hit singles "Ask The Lord"
and "Long White Car" whilst also contributing "Tinder" to a long- running lager
commercial.The album will be remastered for vinyl by Paul McGeechan (Love &
Money) and will feature extensive new liner notes.

Es gibt keinen perfekten Weg, um das New Yorker Duo Water From Your Eyes zu beschreiben, sie allein auf Zahlen zu reduzieren wäre ungenau und leichtsinnig. Bestehend aus Nate Amos (er/sie) und Rachel Brown (sie/sie), die beide auch für ihre Soloarbeit unter den Namen This Is Lorelei bzw. Thanks For Coming bekannt sind, ist die Gruppe seit 2016 zusammen und hat einen klarsichtigen Ansatz für zukunftsweisende Tanzmusik entwickelt, die Strenge, Charme und Satire in einem Paket vereint, das durchweg innovativ und anders als alles ist, was ihre Zeitgenoss*innen in der Brooklyner DIY-Szene oder außerhalb davon machen. "Structure" ist ein Album, das sich an Widersprüchen erfreut und mit augenzwinkerndem Witz und unzweifelhaftem Know-How durch geradlinige Subgenres watet - ein Album, das das bisher erstaunlichste Projekt von Water From Your Eyes darstellt. Beeinflusst von Scott Walkers einziger Veröffentlichung aus den 80ern, "Climate Of Hunter", und den nachhallenden Werken des Farbfeldmalers Mark Rothko, ist "Structure" ein Konzeptalbum, das sich über die Idee von Konzeptalben lustig macht. Wie aus Höhlen zu kommende Tanzstücke dienen als hypnotisches Fundament zwischen Spoken-Word-Monologen, cineastischen Nummern und einem scheinbar fröhlichen Opener. Die siebenminütigen Epen "My Love's" und ""Quotations"" sind ausufernde, an Industrial gemahnende Stücke, wobei beide Tracks sägezahnartige Loops und Grooves einsetzen, die in der Lage sind, selbst die passivsten Zuhörer zu hypnotisieren. Wie Rothkos widersprüchliche Darstellung des Statischen und Kinetischen laden Water From Your Eyes dazu ein, an der stoischen Fassade von "Structure" zu kratzen, einen genaueren Blick auf die detaillierte Handarbeit zu werfen und die Risse im Spiegel zu verfolgen. Trotz der titelgebenden Implikationen und der kunstvollen konzeptionellen Ästhetik ist "Structure" eher unbeschwert als ernst. Sowohl Rachel Brown als auch Nate Amos, die in ihren jeweiligen Solo-Projekten bissig witzig sind, wenden ihren Humor natürlich auch auf "Structure" an, eine Platte, die den kreativen Prozess der Band widerspiegelt. Eifrige Hörer werden sich an wiederholten Durchläufen erfreuen, um die melodischen Feinheiten, die rhythmischen Kleinigkeiten und die lyrischen Wiederholungen der Platte zu entdecken. "Structure" ist eine erstklassige Errungenschaft des "brutalen" Pop: Es ist verträumt und dissoziativ, nuanciert und hypnotisch und webt Fäden zusammen, die der Hörer mit jedem Durchlauf neu entwirren kann.

Kapingbdi came together in Liberia, West Africa, during the late 1970’s and had their own unique style. This six to seven-piece band played original compositions in a vibrant mix of African Rhythms, Soul, Spiritual Jazz, Funk and Rock. Led by Kojo Samuels on sax, flute and vocals “Born in The Night” presents the essential tracks from their rare studio LPs produced between 1978-1981. The work has been carefully edited and remastered in 2019 for vinyl LP and a 6-Page Digipack CD, which includes two additional recordings. Kapingbdi toured through Europe and the U.S. and were the only Afro funk band to ever come out of Liberia.

Kapingbdi hail from Liberia, West Africa and have their own imitable style. They effortlessly combine traditional African music in a modern mix of Jazz, Funk, Soul and Rock. The band is a fusion of the old and the new.

The word "Kapingbdi" is taken from the Sierra Leone language Mende and means "born in the night". Kojo Samuels was given the name by his Latin teacher whilst attending high school in Freetown, They often meet and debate at night in the city and soon after Kojo is called Kapingbdi. The name serves as a description of his origin. Born In Lagos, Nigeria in 1943. The son of slave children. His mother from Nigeria and father from Sierra Leone who moved the family to Liberia, during the 1950’s.

Kojo has played music for as long as he can remember. He starts with the harmonica and later becomes a drummer and percussionist in his first band at school. During his art studies 1965-1972, he tours Germany and works as an art teacher in the USA. His band Kapingbdi is reorganized five times and consists of up to seven musicians. In a VW-Bulli he drives the group from concert to concert and if the drummer fails, he jumps in himself. Between 1978 and 1981 three Kapingbdi LPs are produced for the independent label Trikont, recorded in Hamburg and Munich. During this creative period, the band plays at festivals in Africa and Europe. In 1984, the band tours the United States and shortly after, they came to an end.

At their best, Kapingbdi would rouse the audience with original compositions like "Human Rights", justice for all, especially for South Africans, and "You Go Go You Go Come". The officials and employees in the government departments have no time for the common man, for any questions such as job search, scholarship or similar, he receives the answer "go, come back tomorrow" and the same thing the following day. Or "Now Is The Time For Cry For Love." Now it is time to scream for love and finally, time for humanity and justice. Despite immense difficulties, the musicians consciously live and work in Africa and are at home in Liberia.

On April 12, 1980, ordinary soldiers and non-commissioned officers organize a coup against the government. This is an attempt to put an end to a policy of exploitation of the Liberian people. Whilst efforts to eradicate poverty, lawlessness and illiteracy are obvious throughout the country, Liberia is still Americanized to a high degree. This is evident, as the radio programs of that time almost exclusively played American disco music. Under these conditions, the people seek a reconnection to their folk music, and Kapingbdi were aware of this. Kojo tried many times to come together with traditional Liberian musicians. This passion takes him north of the country. Meeting and playing with the old hornblowers and playing music on traditional instruments, such as the elephant tusk.

Kapingbdi make high quality tape copies of their own vinyl LPs and patiently try to displace all unauthorized tapes from the domestic "market". Nevertheless, it is hard to make a living through music in Liberia. Kapingbdi, is now celebrated. The radio plays are in abundance, but royalties are not forthcoming. Their musical link is the feeling of Afrobeat and Highlife, which is found in each of the many Kapingbdi pieces. They embody Jazz, which is understood to be the most refined example of black music outside of Africa. In Liberia, Jazz is virtually impossible to hear. Bright shining names such as John Coltrane, Charlie Parker or Miles Davis were widely unknown. Thus, the Black Jazz, including its Back-To-Africa movement of the 60’s and 70‘s, passes by without leaving a trace in Africa itself.

Kojo's claim at the time, was to make African music with the depth, sensitivity and the freedom of the technical level of Jazz. This makes Kapingbdi the torchbeares. The underpaid prophets in small Liberia. It is the passion with which the founder of the band continues to work on their music for years. Tirelessly, stimulating and encouraging his fellow musicians. This is ultimately responsible for the success of Kapingbdi in Liberia itself. The local audience seems to listen to the band in fascinated astonishment. One wonders about the ability to develop as demonstrated by Kapingbdi on the basis of their music. It is African and unusually jazzy, danceable and better than the American disco music heard on the radio.

Rather than chase the money and the job opportunities in Europe, Kapingbdi are firmly rooted in Africa. The musicians live in Monrovia, the capital of Liberia, at the Kabingbdi workshop, located in the Congotown area on the eastern edge of the sprawling city. Kojo works here as a sculptor, painter, batik artist and musician. The sales revenue that his activities generate, gives him the opportunity to support the development of African Jazz music. The highest percentage of funds are from Germany and Kojo’s work ethic is “to work on your own thing“. The stance taken aims to support the welfare of Liberians and Africans. The other musicians of the group live in a second house that is nearby.

For the sake of consistency, Kapingbdi is a full-time band. However, the revenue, from all of the sources, could not keep them afloat. Equally, as important to the group are Kojos's knowledge of traditional African music and his sculpting skills. His knowledge is shared with others at the afternoon workshops. It is here that they discuss new lyrics, engage in political debate and the self-imposed task of improving conditions in Africa. At times the debate became heated, especially during rehearsals. This was regarded as good and integrative, sowing the seeds of innitiative to keep the band together.

From 1980 to 1985 Kojo also opened and ran the club "Panjebota", located on the grounds of the U.S. Consulate in Monrovia. Almost every evening Kapingbdi perform the song "Wrong Curfew Walk", whose lyrics lament the killing of citizens during the curfew imposed by the Liberian government. When the head of state Samuel Doe hears the song, he behaves agressively and forces Kojo to close the "Panjebota". Kojo had already moved on. Soonafter he meets Fela Kuti at the Africa-Festival and plays concerts in Germany with Cecil Taylor's workshop band.

Kapingbdi is for thinking, dreaming, dancing. What they sing about is what they have experienced. Kojo Samuels is 76 years old today and still follows his vocation as a critical musician, artist and activist.

Ekkehart Fleischhammer / Sonorama 2019 (with the help of original press sheets and the memories of Kojo Samuels)

Arriving two years after his last full-length effort ("Jallalla"), Lagartijeando (aka Mati Zundel) once again returns to Wonderwheel with an expansive new album, "La Tercera Vision." A maturation of the Lagartijeando sound, "La Tercera Vision" ("the third vision") sees the Argentinian wade into uncharted, if sonically familiar waters, bridging his Andean inspired electronic-folk with psychedelic ambience, West African instrumentation, and even a few moments of pop melodies. The beauty of Lagartijeando's work is its ability to marry seemingly unrelated styles and sounds to something seamless and wholly original.

"Isla de Sol," the opening track, introduces the album with a taste of Mati's classic sound: Andean pan flute, the familiar chugging rhythm of a cumbia beat, luscious string arrangements, and a sampled vocal. Moving on, "Mano de Fatima" (the project's second single) sees a fusion of traditional Moroccan Gnawa instrumentation with digital cumbia rhythms, featuring the work of Khalil Mounji on vocals and guembri (aka sintir, the three-stringed, skin-covered lute used in Gnawa music). Eva de Marce - a singer-songwriter-producer based in Madrid - takes centre-stage on "Tierra Natal," with her vocals coming through in a rich whisper, singing a melody reminiscent of a lullaby.

At the album's halfway mark, Lagartijeando introduces a new direction for his sound with "Onda," a collaboration with the Brazilian artist Tagua Tagua. An earworm of a melody is sung over a joyous beat that nods to pop sensibilities while being satisfyingly infused with Zundel's sonic DNA. It's a gem of a tune that suggests an exciting new sound for the Argentinian. A few more collaborations close out the album, two with Mexican singer-songwriter Madeleine Bachan Kaur ("Crepúsculo" & "La Montaña Sagrada"), "Magaleña" with Javier Arce, and the album closer "Ware" featuring Sajra. Also included in the album is "Sideral Cumbia," the first single released earlier this Summer, which has seen extensive press and radio support from the likes of Vice / Noisey, Electronic Groove, Sounds And Colours, KCRW ("Today's Top Tune" & "Morning Becomes Eclectic"), and KEXP, as well as landing a spot on Spotify's "Fresh Dance" playlist.

Lagartijeando is the name of producer, musician and DJ Mati Zundel. Strongly influenced by his travels throughout Latin America, Mati's signature psychedelic dance tracks latch onto everything from traditional folk sounds from the Bolivian altiplano to the jungle beats of Brazil. Mati hypnotically fuses his traditional influences (with an emphasis on shaman chant and charango loops) with contemporary electronic beats, creating a sound that once left NPR speechless.

"La Tercera Vision" is due out on Brooklyn's Wonderwheel Recordings October 29th.

South Africa is in fact the only country in the whole African continent that has developed a strong Jazz tradition. Initially influenced by the great American stylists, (Ellington, Gillespie...) South Africa gradually developed its own soulful style based on a distinctive taste for melody and a deep sense of groove. Masterfully selected from the so-called Golden Age of the genre, (late Fifties / early Sixties), this compilation represents the best introduction to the work of a large and varied body of musicians and composers who inevitably developed their music as part of the historical Anti-Apartheid struggle, and as means of self expression in the dark times of exile. Kippie Moeketsi, Hugh Masekela, Dollar Brand, Chris McGregor, Dudu Pukwana, Mongesi Feza, Barney Rabachan, Nick Moyake and of course the queen Miriam Makeba are just some of the main voices represented here. A bunch of true warriors. in one word: A must!