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Jazzy Hip Hop instrumentals and a little hardcore breakbeat for the road:)

This obscure and difficult to find LP is the Heath Brothers' debut album and is considered to be their best. 'Marchin'on' is unquestionably a masterpiece and is a much sought-after album. With its wealth of riffs, it is much appreciated by samplers and has been sampled by various contemporary artists. It was originally released in 1976 on Strata-East, a label at the time co-owned by Stanley Cowell. The album flows fluidly, meticulously in a warm rich blend with the four part 'smilin' Billy suite being a tour de force on its own. All suites have the same anchor in melody but each branches out to its own distinctive song varying from relaxed to light to dramatic and upbeat. The Heath Brothers was formed in 1975 by brothers Jimmy, Percy, Albert Heath and the much celebrated pianist Stanley Cowell in Philadelphia. The band later on continued with the brothers and alternate new members, with at one point the very talented 'Mtume' who is Jimmy Heath's son, joining. - Rachel Kinoti

Timo Van Lujik (Af Ursin) and Andrew Chalk regroup their quiet energies alongside Tom James
Scott (guitar) and Daisuke Suzuki (korogi) with the tenderly spectral and folksy ambient strokes
of Balayes De La Main Du Hasard for Chalk's private imprint; Faraway Press.
Intimacy, modesty and attention to detail are key to the sound of Elodie and all carefully in check on
this, their 11th recording together since 2011. Absorbing cues from minimal classical, ethereal folk
and even wistful traces of country music, they effectively transmute those inspirations to locate a
gently luminous middle distance sound, one which seems occupy the space between the speakers
and the ears with a quality best compared to the last shaft of dying light in a darkened room.
It's perhaps an overused phrase on these pages, but the effect of their music inside is decidedly
dreamlike. They seem to prise sounds from warm, hazy air, rendering an array of shimmering,
mirage-like extractions through a combination of super refined instrumental techniques and
ineffable levels of empathy, enabling them to conjure very particular out-of-body sensations and
an incredibly lush sort of spectral intangibility.
The way they layer and suspend the elements in their compositions is little short of magical,
bringing the sense of space and detail of a '60s jazz record into the ambient realm with a
ghostly sleight of hand that coolly short circuits and makes much modern classical sound totally
overwrought by comparison, and likewise lends a folk wise delicacy to ambient music which
doesn't come with the usual, cloying tropes.
It's sound like a fine, refreshing mist in hot weather, or a sort of temporal balm for these
accelerated times

Free-Son was composed 8 musicians researchers of Brazilian musical origins, released in 1971 its only and rare LP for Solar Fidelity.
The album Banguelê (name given to a rhythm and dance of African slaves) consists of 12 short tracks that, as written in the backsleeve seek a new musical message essentially ours, with common language to all people and that was "hotter' that the rhythms of the time. Many styles are present, mixing Latin, African rhythms, samba rock and others as funk, psychedelic rock and jazz. It is almost all instrumental, well arranged with killer wah wah guitar, organ and percussion (cuíca, tumbadora) work. The vocal part is limited only to some screams. No highlighting songs, because it is a solid record. Highly recommended to Brazilian music fans, funk and rock / Latin jazz....by Perolas do Rock....

Californian keyboardist & beatmaker Kiefer (birthname Kiefer Shackelford) drops his debut LP on Leaving Records, which has enough jazz piano chops to transform L.A.'s Low End Theory into a smokey speak easy.' The title track from Kiefer's debut album, Kickinit Alone, is a striking entry to this lineage of hip-hop inextricably tethered to jazz. Kickinit Alone' moves with a patient step, its short piano phrase looping like it was ripped from a dusty vinyl and brought to life. The warm hiss of tape noise and subtle effects give the track a smokey vibe. But then the piano suddenly flips to a Rhodes-y sound, and the melody moves from its blues center towards more muted hues. Even in brief divergences, Kiefer is a subtle showman, bringing depth to quiet flourishes.' - Pitchfork

Miles Davis and his electric group of the early 70s is some of the most innovative and important jazz music ever set to tape. While the studio recordings are amazing, they often pale in comparison to the loose, improvisational and fiery heights that the group could reach in front of a live audience (as was captured on Live-Evil, In Concert, and Miles Davis At Fillmore, among others). This set from September of 1972 is no exception. Recorded just prior to the release of On The Corner, this stellar performance features tracks from that classic as well as Jack Johnson, and Bitches Brew. Featuring the great guitar work of his live band staple, Reggie Lucas, and the phenomenal saxophonist Carlos Garnett, this is early 70s electric Miles at its finest, a brilliant radio broadcast released in a limited edition pressing on blue vinyl with white splatter.

Wonderful, joyous new recordings of Afro-Colombian roots music, from the Pacific coast of the country.
Currulao, cumbia, bunde, juga, requentilla, chalupa.
Warm, rolling marimba de chonta, thumping cununo and bombo drums, and rhythmic, digressive alegre, crisp, ringing, move-your-body guasas and maracas, all-out singing, gorgeous and exuberant, full of life. It's hard to track down music in this style, and this is a downright tremendous example, a musical elixir. In handsome, silk-screened sleeves, too.

A diverse collection for the second full-length album and an overtly political statement from Weller - lyrical targets included racism, excessive consumerism and the effects of self-serving governments. The only Style Council album to reach number 1 in the UK, Our Favourite Shop features Features the top-ten singles - Shout To The Top and Walls Come Tumbling Down, as well as some of Weller's best songs - Come to Milton Keynes, Boy Who Cried Wolf and Down in the Seine.

Released in 1987, this album saw the group concentrating on a more extreme, urban-soul style, influenced by soul music pioneer Curtis Mayfield and by the contemporary House music scene of the time, including the Jimmy Jam and Terry Lewis sound. Includes top-ten hit It Didn't Matter, as well as tracks included in the band's surreal film Jerusalem. Released here as two LPs at 45 RPM.

Confessions Of A Pop Group is probably the band's most experimental and divisive album, with hints of Beach Boys, classical music (Weller was listening to Debussy and Satie, amongst others around this time) and jazz influences. Songs such as the nine-minute title track and the 'Three Piece Suite' of The Gardener of Eden, an avant-garde mix of classical and jazz stylings, were new territory for The Style Council, and an even more radical departure from the sound of The Jam. Straight pop-oriented songs exist though - the hit single Life at a Top People's Health Farm, How She Threw It All Away and Why I Went Missing are regarded as lost Weller classics.

Motivated by the underground club scene, Weller chose another new direction for the last album - his take on the UK deep-house or garage scene. Featuring Sure Is Sure, which went on to become a big bootleg dance hit throughout Europe and the instrumental - That Spiritual Feeling - one of the key cuts of the then-new acid jazz scene. However, upon its completion in 1989, it was rejected by the label Polydor, which led to the band breaking up. It was eventually released in 1998 on the box set, The Complete Adventures of The Style Council. Now available as the two LP 'promo' set.

You take a trio of the fnest traditonal griot musicians from Mali and put them in a studio with Western music's most revolutonary string quartet - and the resultng album is one of the most richly rewarding musical collaboratons you are likely to encounter.
Together the Kronos Quartet and Trio Da Kali have created an album that is rich in texture, hauntngly melodic and strikingly inventve as violins, viola and cello combine with balafon, ngoni and the powerful female voice of Hawa 'Kassé Mady'
Diabaté in transcendental style. David Harrington, who founded the Kronos Quartet in 1973, describes the album as one of the most beautful Kronos has done in forty years.' All three Da Kali members come from hereditary musical families, Balafon
player and musical director Lassana Diabaté was a long-tme member of Toumani Diabaté's Symmetric Orchestra and has recorded with Salif Keita, Taj Mahal and many others. A musician of great subtlety and inventon he has honed a virtuoso
two-balafon technique to perfecton. Bass ngoni player Mamadou Kouyaté is the eldest son of the instrument's greatest exponent, Bassekou Kouyaté and he holds down the groove in his father's band 'Ngoni Ba'. Singer Hawa 'Kassé Mady' Diabaté
is the daughter of Mali's greatest traditonal singer, Kassé Mady Diabaté, and the power, range and phrasing of her voice led David Harrington to compare her to the late queen of American gospel, Mahalia Jackson.
Kronos Quartet have earned an enviable reputaton collaboratng with contemporary composers such as Steve Reich, Philip Glass, Terry Riley and Laurie Anderson and with world music icons from Argentnian tango hero Astor Piazzola to Bollywood singer Asha Bhosle.

180GR. LTD. 1000 PCS.

When Adderley formed this group, including Cannonball's brother Nat Adderley (1931-2000) on cornet, and the superlative pianist Bobby Timmons (1935-1974). Timmons, then 23-years old, was already working with Art Blakey's Jazz Messengers, who enjoyed tremendous success with the pianist's composition 'Moanin'' and the album built around that tune. The Cannonball Adderley Quintet in San Francisco marked Adderley and Timmons' first of only two collaborative recordings. Their second and final album together, Them Dirty Blues, was recorded on February 1, 1960 (that album introduced the tune 'Work Song', a composition by Nat Adderley which would become one of Cannonball's greatest hits).

180GR. / 1 BONUS TRACK / LTD. EDITION 1000 PCS.

180g ./ LTD. EDITION 1000 PCS. / 1 BONUS TRACK

Among the hundreds of Ellington recordings, Side by Side - like its companion Back to Back- remains a singular album. Back to Back was recorded in a small group format, a sextet with just two horns (the co-leader Johnny Hodges and Harry Sweets' Edison) and a rhythm section composed of Ellington on piano, Les Spann on guitar, Sam Jones on bass and, oddly enough, Count Basie's long-time drummer Jo Jones. For an artist so widely recorded (and one with one of the most extensive -if not the most extensive- discographies in jazz history), his small Group sessions are considerably scarce.

180GR./ 2 BONUS TR.

"Finnish sax man Mikko Innanen introduces his massive ensemble Mikko Innanen 10+ on this Grotto Editions X We Jazz release featuring four tracks composed by Innanen and recorded live at the Moers Festival in Germany in May 2015. The new EP shows 10+ displaying both raw power and remarkable finesse. Innanen's way of using the large ensemble and it's able bodied soloists displays great vision and his ability as composer and arranger. The lineup is strictly A-list Finnish jazzers from trumpet man Verneri Pohjola to pianist Seppo Kantonen and drummer Mika Kallio, to name but a few. The minimalist artwork of the Grotto X We Jazz series is created by the Stockholm based graphic designer Johanna Lundberg.Airplay:Gilles Peterson Worldwide BB6, Deutschlandradio Kultur, Radio Helsinki, Bassoradio Helsinki, Finnish National Broadcasting company YLE"

FT. WYNTON KELLY / 180GR. LTD. 1000 PCS

Music knows no boundaries and trespasses every geographic wall and culture. Rooted in Lausanne, Switzerland, Professor Wouassa is a living testimony of this - a special blend that brings together the principal Swiss afrobeat players into one groovy pot, cooking uplifting and infectious afro music.

Born in 2003, the combo released their first album Dangerous Koko! early 2011 and soon picked up airplay in such diverse countries as the UK, Greece, Brazil, Canada, only to be reinforced by their incredible live delivery - and soon invited to be the opening act for Seun Kuti & Egypt 80 in the reputed Cully Jazz Festival. After a string of memorable concerts throughout a packed tour, 2015 marks the release of Grow Yes Yes!, mixed by none other than Malcolm Catto (The Heliocentrics, Mulatu Astatké, to name very few) and with featured appearances by afrobeat shining stars Seun Kuti and Ebo Taylor.

The album, about to be re-issued on Matasuna Records - house of the smouldering hot new project Dem Juju Poets - and for the very first time on vinyl, will surely add fuel to the fire across dancefloors everywhere.

Serema, its first track, laces Ebo Taylor's smokey voice with an almost Cuban feel melody, preaching a message of love while Doumadem is a testament to the afro beat heritage, Thais Diarra's voice hovering beautifully over a landscape of heat-infused rhythm, cropped with precise horn stabs and arrangements that would make Antibalas proud.

We dare you to stand still while listening to We Thit. Seriously. If you aren´t compelled to dance to it, check your pulse. Surely something will be racing inside you.

Sunu Reou is a vintage, slow tempo afro groover and it is only fitting that it has Seun Kuti as its guest, proving, if proof were needed, that Professor Wouassa are a singular musical project that pays homage to and does not shy away from mixing afrobeat, high-life and ethio-jazz with contemporary funk. Yes Yes!

180GR. LTD. 1000 PCS. 1 BONUS TR.

She's back! As a cross-pollinating creativity recaptures the UK jazz scene, Zara McFarlane returns with a new single. Working with much-feted drummer and producer Moses Boyd, she channels parallel musical legacies all at once.

On 'All Africa', Zara McFarlane re-casts a landmark track by Max Roach. Taken from We Insist!, his 1960 album born of the US' then-ascendant Civil Rights Movement, it saw avant-garde jazz used as vehicle for protest. With Roach and vocalist Abbey Lincoln at its core, it nodded to the growing independence movements then emerging in several African nations. The original track's celebration of the present, past and future of Africa feels as relevant now as it did in 1960.

Taking the original's all-out, percussive trip into a looser, more softly mesmerising kind of territory, this new version combines pulsing rhythm with a brighter musicality. The Alternate Take, meanwhile, follows a more groove-oriented direction. Punctuated by bursts of horns and a foot-tapping, syncopated rhythm, it hints at a globally-interconnected spirit.

2017 Reissue of "Succubus" - the second work of The Mount Fuji Doomjazz Corporation (the improvisation alter ego of The Kilimanjaro Darkjazz Ensemble) from 2009. Not existing anymore since 2012 The Mount Fuji Doomjazz Corporation now finally makes all long-time sold out releases available again on all formats (cd vinyl digital).

Seductive but perilous, The Kilimanjaro Darkjazz Ensemble's session under the Mount Fuji Doomjazz Corporation name is a new combination of drones and jazz. Creating sensual, murky and dark atmospheres, Succubus' the evolution of this band, with stronger horns and a focus on hypnotic, soundtrack-like material. A deep, dark and yet seductive trip again for the corporation. After the corpses, the succubus. Faithful to the original The Kilimanjaro Darkjazz Ensemble concept of drawing inspiration from movies, they recording what later became Succubus' while watching Jess Franco's film of the same name. This iconic 1969 movie, with its strong erotic mood, fragmented story line and oneiric photography encompasses perfectly the goal and means of TKDE / TMFJDC, in the way the band builds mesmerizing, deep and otherworldly atmospheres. More jazz-oriented than their heavier first album "Doomjazz Future Corpses", Succubus' leaves more room to Charlotte Cegarra's vocals and Hilary Jeffery's trombone, while the narrative is still led by Gideon Kiers's drums and Jason Kohnen's bass. Additional improvised charm by Eelco Bosman on guitar and Sarah Anderson on violin. Succubus' displays the corporation' in its most macabre yet entrancing side. Audio cinema has seldom sounded so lustful like on this album.

Currently founding member Jason Kohnen is paving the way with his new dark jazz project "The Thing With Five Eyes", continuing the mystical and occult universes people got to love from the "Here Be Dragons" period. In a parallel corner - founding member Gideon Kiers and trombonist Hilary Jeffery are conjuring up a twenty first vision of spiritism with Inconsolable Ghost, working together with artists such as the cellist Anthea Caddy, the viola player Zsolt Sorés Ahad and the filmmaker Makino Takashi. Vocalist Charlotte Cegarra went on to explore her ambient and lyrical vocals as part of Psychedelic-Pop duo Charlotte&Magon.

Together with "Bohren und der Club of Gore" and "The Dale Cooper Quartet", The Kilimanjaro Darkjazz Ensemble and The Mount Fuji Doomjazz Corporation through the years have succeeded in creating a brand new genre of music. Time to get absorbed again by this unique and fresh sound.

Berlin-based musician and mass collaborator, Jeff Özdemir, is back with a new double vinyl and this time he's gone for gold. With cinematographic soundscapes, thick bass lines, tangible percussion, eerie keys and charming vocals, this synergetic masterpiece treads the boundaries between jazz, Gameboy sounds, chanson, psychedelic desert, soul, minimal, seventies pop, dub, electronic and classical music with a hint of a John Carpenter-esque style to boot.

Rooted in the past but spanning to the future, Jeff Özdemir & Friends vol. 2 refuses to be pigeon-holed into any one decade or genre, transcending these categories without destroying them. Through deep experimentation, Turkish-born multi-instrumentalist Özdemir and his circle of friends have managed to create their own unique sound whilst remaining changeable and varied. Much like the collaborators of the project itself, each song has its own personality drawing from the various corners of the musical universe and joining together to create a new world. The tracks oscillate between Özdemir's solo-work, to dual collaborations, to group projects and include names such as F.S. Blumm, Andrew Pekler, Halloumi Express, Sonja Polligkeit, Benjamin Wild and Dizzy from Rotation.

Drawing from their creators diverse backgrounds the songs incorporate multi-cultural, multi-linguistic elements including French, Japanese, Turkish and Portuguese. Despite its wide scope this double-vinyl - also available as a CD and mp3 download - and its catchy, lingering melodies is both cerebral and accessible. Jeff Özdemir & Friends vol. 2 gives you an insight into Özdemir's world which he centres around his record store, 33rpm Store, in the heart of Berlin Kreuzberg. It is through this hub that he and his friends join together to discuss, listen to and, of course, make music. So have a peek through the window of Jeff Özdemir's mind and enter once again into a universe of sound both familiar and entirely new...

"With The Ray Bryant Combo" - Aretha Franklin (voc), Quentin Jackson, Tyree Glenn (tb), Al Sears (ts), Ray Bryant (p), Lord Westbrook, Skeeter Best (g), Milt Hinton, Bill Lee (b), Belton Evans, Sticks Evans, Osie Johnson (dr)

As is well known, early relationships are not always blessed, and it is certainly no secret that the collaboration between Aretha Franklin and Columbia's record producer John H. Hammond did not last long. Hammond's later attempts to candy Franklin's irrepressible natural voice with sugary arrangements and studio gimmicks did not go down well with the public. On the first Franklin disc from Columbia, however, it was honeymoon all the way. With a successful mix of pop and jazz standards, the super talent - Aretha had just turned 18 years old - brought her vocal chords to vibrate. Fired on with youthful élan, these evergreens sound so fresh, new and intoxicating that the question of their genre is quite irrelevant. From a seesawing R & B ("Won't Be Long") via bell-like waves of melody ("Over The Rainbow") right up to the freely styled, jazzy Gershwin classic "It Ain't Necessarily So" - everything is right there! The Ray Bryant Trio - augmented with winds - proves itself a formidable ensemble with true presence yet unobtrusive accompaniment. If you compare the mature performances of Aretha Franklin in her subsequent years with Atlantic (Atlantic SD7205), you will soon recognize that the later 'First Lady of Soul' was in full command of her profession right from the very beginning.

This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. All royalties and mechanical rights have been paid.

Profusion (noun): an abundance of something rich.

The sonic partnership of K15 and Emeson originated in the days of MySpace. A future of combining their skills was inevitable, and now in 2017, it's time to unleash their debut studio album into the ether.

The solo-projects of Tottenham-raised Kieron Ifill (aka K15) date back a decade, but were truly kick-started on labels such as Kyle Hall's Wild Oats and WotNot Music, with a number of genre-crossing releases dropping ever since, including the WU15 project (along with Yussef Kamaal's Henry Wu, on Eglo Records). Additionally to his production work, he has established himself internationally as a DJ, from the Jazz Cafe to the CoOp parties.

Partner in Profusion, Emeson, has many skills to his bow - singing, songwriting, producing, promoting, DJing (under the alias Ed Nice) and acting. As a musician, his varied skill-set has seen him work with Chico Hamilton, Carla Duke, Karmasound, Uzo Madu and Chris Jerome. A frontman for soul-jazz groups LifeSize, The One and Saturn's Children, he has featured on releases for BBE and Tokyo Dawn, and appeared live on stage at the likes of Ronnie Scott's.

The debut single was supported by tastemaker blogs Wonderland, XLR8R and Stamp The Wax, has been bumped by selectors such as Lefto and Jazzie B, and played on NTS, Worldwide FM, Mi-Soul, LeMellotron, Balamii Radio, Itch FM, Invader FM, Soho Radio and various stations across Europe and the US.

This album is full to the brim with summery sun-soaked synths, drifting across the warmest of basslines and heavyweight beats. Emeson's rich vocals gracefully ride atop of K15's delectably bruk twist on neo-soul sonics and electronics, this is some seriously classy contemporary London soul music, that manages to incorporate flashes of various dance music techniques, sound-system etiquette and jazz-tinged rhythms. As future-thinking as it is subtly retrospective, it doesn't lend itself to one genre, it intentionally embodies the best of many. An array of everything that is great about British black music in 2017. The message the album conveys itself couldn't have come at a more poignant time. Where do we begin

Profusion - an abundance of something rich indeed.

Reissue of this fascinating fusion album from Haiti, recorded in 1983.. TIP!!
.
As the cover suggest this LP can be described as a meditative ramble along a tropical seafront. Conceived with some of the most prominent Hatian musicians (Raoul Denis Jr, Arius Jospeh, Oswald Durand, Jacques Fatier....) and his own brother Joël, Mushy Widmaier's opus brings us to a deep spiritual wonderment
where smooth jazz mingle with creole melancholy.

Note : Remastered with Phoenix Mastering / Comes with a insert in French English and Japanese

Alessandro Brugnolini (Overground, L'Uomo dagli Occhiali a Specchio) is an italian composer and alto sax player who launched his career playing in a super jazz group band inspired by Miles Davis, The Modern Jazz Gang and later developed a very prolific activity as a composer and performer under his name as well as under pseudonyms (such as Narassa). One of the first pure jazz soundtracks for a movie belongs to him: it was 1963 and the movie was Enzo Battaglia's Gli Arcangeli. Featuring the legendary american singer Helen Merrill here it is, reissued for the first time on vinyl, one of the all-time rarest italian jazz LP.

- First Vinyl Reissue Ever

- LIMITED EDITION OF 500 in Colored Vinyl

The New York Contemporary Five barely lasted a year all told, but they recorded five albums that shaped the jazz to come. They were a supergroup after the fact - the stellar frontline of Don Cherry, Archie Shepp, and John Tchicai all being relative newcomers at the time. Cherry had recently left Ornette Coleman and was only starting to stretch into world music. Shepp was fresh off a stint with Cecil Taylor and had just found his voice as a composer and performer. And Tchicai was virtually unknown, period.

Their scorching music - aided by the supple and hard-hitting rhythm section of Don Moore and J. C. Moses - is a thrilling mix of adventurous soloing and post-bop structures, memorable heads and go-for-broke improv. Shepp and Tchicai offered two different ways forward for sax players. Shepp privileged texture, density, and fragmentation. A pointillist take on Ben Webster or Coleman Hawkins, perhaps. Tchicai was a master of melodic invention, teasing out hard and bright phrases that seem unpredictably off-kilter.

What's still remarkable about these tunes is their sense of internal tension. They're wound tighter than a magnet coil - without sacrificing any spontaneity. There's little that's strictly free about this jazz, but it's full of reckless and unexpected drama all the same. Consequences' is the record's barnburner, built on fiery performances and climaxing with a Don Cherry solo that sounds like the aural equivalent of a fifty foot skid mark. Their version of Bill Dixon's Trio' is contemplative by comparison, offering a loping groove, overlapping textures, and a series of wonderfully sustained solos that show off the stylistic strengths of each player.

Aoki Tomoyuki is best known as the guitarist & vocalist of Up-Tight (Alchemy Records), recordings which mix plaintive echo-drenched imprecations, bitter-sweet folk and nihilistic guitar noise reminiscent of Les Rallizes Denudes and Mizutani's Velvetian ballads. Multi-instrumentalist Harutaka Mochizuki's saxophone improvisations recall other lonely satellites like Masayoshi Urabe, Arthur Doyle, Anthony Braxton and Kaoru Abe. Aoki and Harutaka have been recording together for a couple of years and this is their first new collaboration after a remarkable self-released CD in 2014. Terribly human, passionate and intense, their association is just one of the most inspiring and burning free units since the apex of the P.S.F Records era.

Hasegawa-Shizuo is Hirotomo Hasegawa and Shizuo Uchida. Hasegawa is the lead singer of the early 80s Japanese punk/hardcore group Aburadako (Greasy Octopus), while Uchida was a long-term member of Keiji Haino's medieval dream-drone unit, Nijiumu. He was involved in many projects such Le Son de L'os, Kito Mizukumi Rouber, L'extase Métallique and many more. Their duo has been active for a decade, being documented on a few scarce releases. Here, the group's instrumentation is highly unorthodox once again, placing Uchida's mysterious bass textures against the skirl of Hasegawa's hichiriki, an ancient double-reed wind instrument, the whose haunting upper register tones are an unmistakable feature of gagaku court music. Deliriously strange and enigmatic, their enka cover sounds like a dark composition of their own, associating humour to their unique strangeness.

Enka is a Japanese musical style, like a torch song ballad, deeply sentimental and nostalgic, particularly popular among the post-war generation.

The LP comes in a silkscreened gatefold jacket with obi (grey, blue, white) insert + postcard, with liner notes by Alan Cummings.

Curiously enough the story of this record begins with a song, which isn't even featured on it. A song named 'Guayabas'. One of Guillermo Reuter's very first free-spirited compositions is one
of his two contributions to the fourth album 'Ese Dia Va A Llegar' by friend and musician Agustin Pereyra Lucena, in 1975. 'Guayabas' was the unintended starting signal for Reuter's
career and was coincidentally the initial spark for this reissue that you, dear reader and listener, are holding in your hands right now.