Pop & Rock Vinyl New Releases - News

Combo Lulo returns to Names You Can Trust for their sophomore single, digging deeper into the diversified sounds of the Caribbean that helped define their debut. While the first single took a Jamaican foundation south into the neighboring continent, fusing the sensibilities of rock steady with those of classic Afro-Latin orchestras, this single goes far east. Inspired by the heady and sublime sounds of foundational ska mixed with East African influences, (think Buster's Islam, Don D's Addis Ababa or Further East), The Sieve & The Sand is a brand new composition within this natural order, albeit with the fortune of different reggae eras and studio styles to draw from. Divided into two parts (but also available seamlessly as it was played in the studio), Combo Lulo's talented players move effortlessly from the galloping shuffle of ska into a deep and dark, Roots Radics-styled instrumental. It's a lovely ode to the original styles of reggae, but also another impressive accomplishment that will surely leave listeners and new fans in anticipation of the shape of things to come for Combo Lulo.

Dubben is back! The highly esteemed producer duo make their debut on Matasuna Records with this superb 7inch. The two have been active since 2007 and released great music with their unmistakable style on labels like GAMM, Resense or Dejavue. Their reworks are not only appreciated by brasileiros, but are also popular all over the world.

With "Jesus Boogie" on the A-side, Dubben turns in a new direction and give this Brazilian gem from the 70s a nice boogie touch. The focus of their treatment is the dance floor, so that the usual dub effects are not used here. The result is an extremely danceable number that makes you scream for more!

On the B-side you'll get "Cachaça" - a rework of an obscure 60s bossa number from Poland. The song was re-arranged and got new rhythm parts, which were flavoured with additional sounds and various effects. The extended dub part with psychedelic harmonica and delays blends seamlessly into the track. A great tune in beloved Dubben style!

Tarawangsawelas are a musical duo from Bandung, mainly performing a contemporary version of Tarawangsa, the sacred music from Sundanese West Java. Here they are joined by their teacher and maestro, Pak Pupung Supena, together with, Pak Jaja, on Sekalipon. Wanci is a minimalist, cosmic album composed with a careful modern interpretation of one of the most mystical and spiritual genres in Indonesia. A gorgeous and infectious six track album. TIP!
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Producer Rabih Beaini says "Last year, Europalia Festival commissioned me to work on a musical project with local musicians from Indonesia and develop a performance to tour during Europalia 2017. I chose to work with Tarawangsa, the sacred music from Sundanese West Java. Tarawangsa is played on two string instruments: a rababa-like two-stringed bowed instrument itself called Tarawangsa, and the Jentreng, a seven-stringed kecapi-like instrument. Typically from Rancakalong village in Sumedang, West Java, Tarawangsa is played as part of a ritual consisting of almost eight hours of music and dance, complete with offerings and prayers. During a performance, a selection from the forty two known Tarawangsa pieces slowly build up from a cosmic slow groove to more repetitive and hypnotic rhythms, inevitably bringing the listener and dancer to a trance state. During the residency I had the great honor to be able to develop new structures and pieces together with Tarawangsawelas, recording them in Bandung, and ultimately having them joined by their teacher and Tarawangsa maestro Pak Pupung Supena together with Pak Jaja on jentreng. This album is a modern description for one of the local Indonesian music scene, but mainly it is an offering for the Tarawangsa ritual, like the food and incense and the prayers, and the messages of the ancestors to the people of Rancakalong."

Composed and performed by Teguh Permana, Wisnu Ridwana and Rabih Beaini, except Sekalipun (traditional) performed by Pupung Supena, Jaja Rohmat, Teguh Permana & Wisnu Ridwana.
Recorded in Bandung, march 2017
Produced, mixed and arranged by Rabih Beaini.
Mastered by Neel at Enisslab.
Cover design by George Sowden, curated by M-L-XL,

Two monster funk fuelled afro disco monsters released in conjunction with the Triassic Tusk label from Scotland and their 2018 compilation Screamers Bangers & Cosmic Synths Vol II. Now presented here on a fat 180 gram 12'' remastered both tracks get a whole side of wax for the first time and now sound better than ever ! ''It Makes Me Dance And Sing'' is pulsating afro disco groove and comes from Liberian artist Tecumsay Roberts who originally released one album in 1979 - ''Getting It On'' which is extremely hard to track down. On the flipside Commy Bassey gives us the main track from her ''Let's Dance'' long player from 1980 with the catchy ''We Want Togetherness''.

By popular demand, Analog Africa is repressing a high quality LTD edition of 1000 copies of Rob's first legendary 'Funky Rob way' album - comes in a gatefold cover and a 60x30cm poster !

Rob "Roy" Raindorf, born on the 13th of May 1949 in Accra, is definitely one of the most enigmatic artists to come out of Ghana. He appeared from nowhere with a unique and twisted sound. An admirer of American artists Otis Reading, James Brown, Wilson Pickett and Ray Charles, Rob began his trade by learning the piano at a music school in Cotonou, Benin. One off pressing - tip!!

When his education ended, he ventured out to make what money he could by getting gigs with the movers and shakers of the Beninese music scene, namely Orchestre Poly-Rythmo as well as the Black Santiagos. Absorbing and learning the intricacies of music composition, Rob returned to Ghana where he began to write his own songs and eventually sought the backing of a band, specifically one which possessed horns.

In 1977, a young Rob travelled to the city of Takoradi in western Ghana to approach an army band named Mag-2 whom he had seen perform in Accra. Mag-2 had an entire section of its ensemble dedicated to horns and some of the sophisticated music equipment available in Ghana at the time - Hofner guitars, Yamaha keyboards and the like.

Belonging to the "magnificient" second battalion of the Takoradi-based army unit, original founder Amponsah Rockson decided to aptly name the band "Mag-2." Joining the army during the 1970s was often an easy decision, particularly for musicians, since the army provided not only good music equipment but basic services such as food and medical care.

Mag-2 was essentially filled with the best elements of "The Parrots," a highlife band in which Amponsah was the lead guitarist. Their primary task was to entertain soldiers and with the army tour bus, perform from town to town as well as in reputable venues in the captial. Enticed by the style of music Rob had proposed, Mag-2 backed the Ghanaian sensation on two of his most astonishing records - his first and second albums -"Funky Rob Way" and "Make it Fast, Make it Slow," both of which were recorded at Essiebons studios in Accra.

Despite Rob's training and musical education, Amponsah was responsible for the vast majority of the compositions, such as building the chord progression and arranging the horns that Rob craved. Rob would even wait for the Mag-2 maestro's cue to begin singing. Despite early successes, a once-unflinching interest in Afrobeat began to wane by the early 1980s and Disco Boogie rapidly became the vogue style around which label owners and music producers sought to capitalize upon. The style Rob had shaped his career around was in decline and an adequate income consequently became a major concern, forcing him to travel to Hamburg, Germany in search of a financial backer.

The Daktaris is a well-disciplined army of two hundred African Bull Elephants marching relentlessly up your business to the beat from Funky Drummer. Or so began the liner notes on the original pressing of this album.

Truth is often stranger than fiction. In 1998 Desco Records—a precursor to Daptone and Soul Fire records—released The Daktaris' Soul Explosion, ostensibly as a reissue of an unearthed Nigerian LP from the seventies. Though it's now common knowledge that the story was a bit of a hoax, the record's significance as a seminal part of the Afrobeat and afro-funk renaissance of the last two decades cannot be denied. The roots of the Budos Band, Antibalas, and uncountable others can be traced back to this enigmatic afro-funk release.

Now, two decades later, Daptone has remastered the album from the original tapes, including a bonus track that had previously only been available on a 45, and featuring extensive all new liner notes by Bosco Mann telling the bizarre true story behind the Daktaris sessions.

KEY MARKETING POINTS:
- FULLY REMASTERED, including new bonus track, 'In the Middle.'
- Extensive new liner notes by BOSCO MANN explaining the real story behind The Daktaris.
- Features members of The DAP-KINGS and ANTIBALAS.
- Features JOJO KUO (drummer for FELA KUTI) on vox and percussion.
- Originally released on DESCO RECORDS in the 1998, has been out of print for years.
- The spirit of the late, great Fela Kuti runs through The Daktaris' Soul Explosion. - Jazz Times

Loya is a new project by French producer Sébastien Lejeune, which allows him to research his
own cultural heritage, as a native of La Réunion.
For the past five years, Loya has been exploring the musical environment of the sister islands of the
Mascarenes (Indian Ocean), breaking down the boundaries between electronic music and
traditional music in a globalized world. Growing up in the great melting pot of La Reunion, Loya was
exposed to a number of cultures and rhythms that fueled his curiosity.
Settling in metropolitan France in the mid-90s, Loya's first encounter with electronic music
happened upon discovering acts such as Autechre, Plaid and Boards of Canada. Soon, Loya was
drawing from Intelligent Dance Music and bleep techno to build complex rhythm arrangements and
ethereal melodies. Throughout this research, Loya gradually managed to tame the erratic nature of
his machines to summon states of trance that reminded him of the music he grew up listening to as
native of the Mascarene.
From this route through the meanders of contemporary electronic music, Loya developed a
trademark sound based on triple time beats, pointillist sound design and a taste for experimentation.
Such distinctive features can already be heard on his first self-produced album Eruption, released
in 2014 and the EP Indian Ocean, released in 2016 on Mawimbi Records, although Corail is his
most accomplished work and a testament of his clear talent.
Exploring the blue depths of the Indian Ocean with the fluency of a native, the ten compositions of
Corail unfold like an archipelago. Showcasing the talents of traditional musicians such as Mauritius
ravanne icon Menwar and Madagascan accordion master Régis Gizavo, Corail finds a fine balance
between the soft, velvety ripples of modular synthesizers and the rawness of frantic percussion
motifs and local field recordings.

The return of the Zanzibara series: first-time reissue of a Deep Taarab masterpiece from legendary Swahili singer Zuhura Swaleh, recorded in Nairobi in 1981.

Zuhura Swaleh & Party initially rose to fame on the Mombasa scene in the early 1970s. Traditional taarab music - the Islamic music of Zanzibar and the East African coast - had for a long time been influenced by Bollywood soundtracks, but Zuhura & Party were instrumental in bringing the focus back onto classic Swahili styles, at the same time introducing a new fast-paced and electrically amplified style known as chakacha that revolutionized the scene.

Zuhura was not afraid of speaking out and her music - sometimes featuring risqué lyrics - dealt with contemporary issues from a female perspective, something of a rarity at the time and something that would pave the way for the new 'modern taarab' sound that came to fore in the 1990s.

The group played across Kenya, Uganda and Tanzania throughout the 70s, and while playing a wedding in Nairobi in 1981 they were approached by the local Polygram studio to record an album - one of the only full-length Taarab recordings of the period. The record did not catch on as the LP format was not suited to the tiny portable record players in use in Kenya back then, and the record industry as a whole collapsed in the wake of the 1982 coup d'état attempt and the resulting economic slump. Only a few records were pressed and have since become much sought-after collectors' items. Locally the songs survived and remained popular as pirated dubs (first on cassette now on CDR).

Buda Musique is proud to present one of the few Taarab LPs ever recorded for the first time on vinyl outside of Kenya.
*180 gm pressing.
*First time reissue.

Mit ZEBRE präsentiert der in Graz lebende Künstler Nick Acorne am 8. Februar 2019 sein Debütalbum. Die elf Songs zeigen ein vielschichtiges Elektro Jazz Album mit Hang zum Experimentellen. Klassische Pianokompositionen verweben sich mit groovelastigen Drumpartien und geheimnisvollen Vocalsamples. Gekonnt werden dabei anspruchsvolle Arrangements versteckt und Genregrenzen spielerisch ausgelotet. Thematisch verfolgt die Platte - auch aufgrund ihrer verschiendsprachiger Texte - nicht immer einfach auszumachende Motive, wohl aber grundlegende Fragen des künstlerischen Schaffens, deren Wichtigkeit und Absurdität. ZEBRE ist ein ausgereiftes und eklektisches Erstlingswerk auf hohem kompositorischen Level. Der Anspruch Acornes nach emotionalem Ausdruck und Freiheit durch musikalisches Schaffen spiegelt sich auf ZEBRE in traumhaften, surrealistischen Klangbildern wieder.

Caetano Veloso's seminal first '68 Tropicalia monster in MONO, must have or what...

First Authorized North American Vinyl Issue of Caetano Veloso Courtesy of Third Man Records!

IN VERY RARE MONO VERSION

Caetano Veloso's self-titled debut solo album is one of the most important and influential Brazilian (and, dare we say, South American) albums of all time. With the release of this seminal album, Veloso would become the leading voice of Tropicália. The songs on this album immediately connected with people. "Alegria, Algeria" was his breakout hit that gained traction as a hymn for liberty advocates, juxtaposing images of Coca Cola, guerrilla groups, bombs and Brigitte Bardot as part of the everyday experience. The album's first song "Tropicália" was an anthem for the whole movement; it's a fragmented allegory, a structure borrowed from friends in the concrete poetry scene, touching on divergent cultural symbols, events, allusions and idioms, nimbly representing and critiquing the many contradictions in the new Brazilian dictatorship.

"Superbacana" (translated as "Supergroovy") follows a hyperbolic superhero's use of technology to fight a gang of cowboys led by the money-hungry Uncle Scrooge, serving as allusions to American imperialism and greed felt in their country, all in the rapid-fire structure of a comic book. The subtext in all these songs, which the dictatorship would not immediately catch, were that these repressed but glaring contradictions, not the bountiful sunny paradise that the military regime was pushing, were the true national identity. Unfortunately, these cleverly veiled jabs in Veloso and his contemporaries' bodies of work gained greater and greater exposure as the movement became more and more popular, leading to the arrest, imprisonment and forced exile of Veloso and many of his cohort. Despite these difficulties, the Tropicalists continued creating in exile, strongly influencing artists both at home and abroad.

This is the first authorized North American vinyl issue of Caetano Veloso. Whether you're a longtime fan or first-time listener, Third Man Records could not be more proud to spread the compelling story of this album, this artist and the Tropicália movement.

Since releasing his Caboclo EP on Big In Japan in May (support from Dom Sirvini Wah Wah 45s, BBC Radio 3 The Late Junction, Mixmag, Trax Magazine, and more), Lagartijeando (pronounced 'Lagar - ti - eh - hando') has packed in a European tour including sets at Fusion, Melt, The Yard (with Tim Garcia), Le Mellotron & more.

Synonymous with pushing the Latin electronic scene forwards with contemporaries Nicola Cruz and Chancha Via Circuito, he signed to ZZK records (Nicola Cruz) in '09 and went on to release on Waxploitaton (Gnarles Barkley), Wonderwheel (Nickodemus) where his album was in the Bandcamp top 100 albums of 2017.

Lagartijeando has now produced a very special EP with a choir from an indigenous tribe called Coro Qom Chelaalapi. The choir formed as a means of passing down their culture to future generations in the absence of any formal records. They have been declared a living cultural heritage by UNESCO.

Blending traditional songs with brooding beats and big grooves, The Revisión EP is a unique and special collaboration exploring the tribe's rich musical heritage with contemporary production.

The original songs have a mythology and their bespoke instruments have deep significances. The nivike is a single string violin (representing the sounds made by a jaguar sharpening its claws on a tree trunk) and was used as a form of communication to contact loved ones or to find love amongst the mountain dwellers.

Track 1 - Antiguos Dueños De Las Flechas (Ancient Owner Of Arrows); the dark brooding bass and haunting vocals tell the sad story of the Spanish conquistadores destroying local tribes' agriculture & way of life.

Track 2 - Lapacho - Lagartijeando lays down a big groove to accompany the choirs' infectious vocals. It is about a tree that when in bloom signifies the start of marriage season.

Track 3 - Zorro Zagas is about a fictitious character who takes advantage of other people. A rambling beat and the playful nivike are a reminder to the young not to take advantage of their fellow tribesmen.

Track 4 - Inti Che Remix - gives Antiguos Duesos De Las Flechas a minimal, bass heavy make-over that wouldn't be out of place on the Drive movie soundtrack.

Track 5 - Klik & Frik Remix (who have previously released on Waxploitation) have produced a down-tempo dreamscape around the choirs' vocals.

Track 6 - Ohxala Remix switches things up on Zorro Zagas and turns it into a deep house stomper.

"Shinshunfu" exists at a crossroads, a form both distinctly Japanese and distinctly "other", a complex blend of folk strains that is deep with emotional resonance and hard to place even for aficionados of Japanese traditional music. Of "Shinshunfu", only the drone of the sho¯ and the occasional taiko hit appear in plain view. The exploration sits comfortably in the idiosyncratic sound world that Ken has been prolifically constructing for himself in the last few years (what he has come to call "Japanese electronic-folklore"), just as brilliant as one would expect. --- Spencer Doran (Visible Cloaks)

The cover of this release features a gradation of color, a subtle but complete infusion of one element into another, an almost imperceptible moment where A becomes B and both become more. And that is one way of thinking about the music in this release, a piece composed in the mid-1950s, and a 2018 re-working of that same piece. The original was composed by Ko¯hei Amada and played by an ensemble in which the Japanese traditional instruments koto, sho¯ and taiko fuse perfectly with the Irish harp. The composition itself also melds Amada' s traditional, classical sensibilities and his knowledge of the deepest roots of Japanese music with his appreciation of new developments in both Japanese and Western music.

Another element to consider here is the role of Amada' s voice and lyrics, fusing noh and other traditional elements with a modernity foreshadowing the rise of the singer-songwriter, melding high tradition with folk impulses. This theme of gradation and infusion continues in the other piece of music on this release, Sugai Ken's revision of the original, with its puzzling amalgamation of analog/digital, acoustic/electric, and performed/programmed, with the various temporal and geographical elements of Amada's music melted and melded into the 21st century.

'Listen To The Music' is the fourth star-studded 'Songs Around The World' album and video series from the world-renowned Playing For Change organization. It features audio recordings of hit rock and world-beat songs, along with a compelling series of performance videos in which Playing For Change's unique recording process is documented to great effect. each song is multi-track recorded and videotaped in multiple picturesque locations around the world by visionary producer and hilanthropist Mark Johnson. The full 12 song project features more than 200 Artists and was recorded in 25 different countries. Featured stars include The Doobie Brothers, Ellis Hall, Jack Johnson, Dr. John, Warren Haynes, Cyril and Ivan Neville, John Cruz, Preservation Hall Jazz Band (New Orleans), TP OK Jazz Band from Congo
(Kinshasa), John Densmore, Bombino, Buddy Guy, Waddy Wachtel, Roots Gospel Voices of Mississippi, James Gadson, Reggie McBride, Karl Denson,Roberto Carcasses, Mamadou Diabate, Lee Oskar,Anders Osborne and Pancho Amat.
Now available on vinyl.

The 2nd release will be coming up from Japanese dispatching Label 'VOLKUTA - Songs of Japan' which has released Ikue Asazaki's 'Yoisurabushi' for the first release. For this release, 3 songs are selected from the album 'Infuke' released in 2001 by Umeko Ando who is known as the master of Upopo (song) and Mukkuri (mouth harp) and also known as one of the successor of the Ainu tribal culture of Hokkaido Obihiro district. Umeko Ando has been sending the Ainu Music to both at home and over the world with her unafraid of challenging style adopting new style for new generations but the same time respecting the original which is followed since the ancient. A1 'Battaki' is fusion of the Ainu's Upopo and folky sound of Tonkori the stringed instrument of the Ainu & percussion by Oki from Oki Dub Ainu Band. Contrariwise A2, A3 are Mukkuri representing the Ainu's primitive style itself. For sideB, Joe Claussell has remixed over 14minutes giving Jazz essence into 'Battaki".

The Ainu originally has been living powerful on the ground of Hokkaido with great natures as well as aborigines like Native Americans or Eskimos. It's a well known fact that a place name Hokkaido is phonetic equivalent from Ainu Language by force. It is not easy to imagine their original highly developed culture & tradition and their trading business with abroad when you already know the Ainu's simple freely living style which is actually made up for tourism. The truth is father from our expectations. And we can never forget the persecuted history that the westernizing Japanese (Japanese expect the Ainu) robbed the land unfairly, forced the values which is convenient only for themselves. The Label is happy to release all over the world of Ms. Umeko Ando and the producer Mr. Oki's production who are definitely one of the brave predecessors who has been creating wonderful music to redeem the pride of the Ainu.

Releasing the sound by vinyl record is also to deliver the background of the music through media of a jacket. It is absolutely different from what is released with simple two hole sleeve. The remixer Joe Claussell has not just remixed the sound, he had recreated the view of this music into his world of view.

It has been 4years already from the first release, but still have the same touching ever since we had decided to release these music. We have faith this music will be play for many years in the whole world as well as our first release.

Afro/Latin/Jazz from the UK. . getting low on this too. (sounds of the universe top jazz albums of the year)

'Legendary drummer, Ikuro Takahashi played in most of the important bands of the psychedelic underground Japanese scene : Keiji Haino's Fushitsusha, Seishokki, High Rise, Che´-Shizu, Maher Shalal Hash Baz, Kousokuya, LSD March and Nagisa Ni Te, but also with Junzo Suzuki, Tamio Shiraishi, Akiko Hotaka and many others, making it difficult to write a comprehensive list. Ikuro does not make a distinction between the young musicians with whom he collaborates, and the big names of the underground behind whom he brings an enveloping rhythm, like the wind blowing through a bamboo forest.

A native of Hokkai¨do, born in 1957, exiled in downtown Tokyo, Ikuro Takahashi lived there for a while before settling back in Sapporo with his partner, dancer Yoko Muronoi, starting the Anoyonodekigoto project together. All pieces gathered here were composed for their duo shows. Yoko Moronoi was reunited with the shadows of her ancestors in 2017, leaving Ikuro alone in the world of the living. This record appears as the last flower laid at the shrine of her dance.
This album gathers 7 tracks, most of which were built from an overlay of oscillators, music boxes and metronomes. Sometimes it recalls Takehisa Kosugi's pieces, a common way of unfolding time and space, of making our perception float. Takahashi is like a weaver trapping our listening in his electric wires, dragging us in a flux of rhythmic, fluid, circular patterns. Like shamans summoning our shadows, our ghosts, to make the living core within us sing.

Shane Cooper is a bassist, composer and producer from Cape Town, South Africa. He is part of the new wave of young voices in the South African jazz scene. A prolific sideman and award-winning acoustic jazz artist, he also involved in South Africa's leftfield electronic dance scene under the alias Card On Spokes.

Shane Cooper is a bassist, composer and producer from Cape Town, South Africa. He is part of the new wave of young voices in the South African jazz scene. A prolific sideman and award-winning acoustic jazz artist, he also involved in South Africa's leftfield electronic dance scene under the alias Card On Spokes.

Born the 26th of October 1956 in Aïn Azel near the Algerian city of Sétif, Nordine Staïfi, real name Larbi Smati, was very young when he emigrated to the French Chambéry region.
After having recorded 'Sraoui' style songs, his real devotion as a singer took place in 1978 when publishing the song 'El Ghorba S'hiba', a disco version of a traditional East-Algerian piece. This song would revolutionize the modern Algerian music, and made Nordine one of its most important protagonists of the 1980s.
For nearly ten years he dedicated himself to the modernization of his music, traversed by the themes of exile, love and the nostalgia of his country.
Nordine Staïfi died prematurely on December 17th 1989 in France, at the age of 33.

YANGA brings a new dimension to the rapidly growing scene of Afro-Latin independent music taking shape in Los Angeles and concentrated in the fertile enclave known as the Inland Empire. Intertwined with other intrepid musical explorers who call the IE home, YANGA has sprouted their own distinct branch on the tree of Caribbean music and culture.

Much like their cousins and Names You Can Trust label mates of the same Southern California region (QUITAPENAS, EL SANTO GOLPE and BUYEPONGO), YANGA creates new recipes based on a traditionalbouillabaisseof Afro-Carib rhythm, sharing a few ingredients and musicians to develop a deeper chemistry and cohesiveness but cohering into their own piquant flavor.

YANGA's singular focus and strength is their inspiration from and adherence to the beloved rhythms found throughout the Caribbean coast of Colombia — rhythms like cumbia,garabato, tambora and zambapalo. These rhythms form a touchstone and a proud statement of purpose for their debut on Names You Can Trust.

Led by John D'Alessandro's accordion and the fiery female voice of Eddika Organista (El Haru Kuroi), this new recording is an intense ode to the band's fundamental influences, conceptually crystallized in the studio of Chicano Batman bassist Eduardo Arenas with veteran Marcos Garcia (Antibalas, Chico Mann, Here Lies Man) crafting the mix. It's a realized and impeccably executed scene of dark, gritty and saturated drums and bass, the entire sonic landscape dosed with subtle psychedelia and studio wizardry that never overshadows the band's natural performance or their reverence for the classic sounds of the tropical '70s. The finished product is a perfect juxtaposition between vintage and modern. This special edition, double-issue single packed with deep dancefloor grooves are a sure-shot entry into the timeless canon of Afro-Caribbean recordings.

'In the summer of 2017, Kees Berkers (Baby Galaxy, YAYAYA) & Yves Lennertz (Bounty Island) started writing and recording songs in a ballet school in a remote village atthe foot of the Plateau of Doenrade near Alpaca Mountain. Being avid record collectors, with both members having a collection spanning almost every musical era and genre, details from many different genres seep through in their music.

Using South East Asian music from the 60 ´s and 70 ´s as a main inspiration, whilst also bringing their individual musical backgrounds and interests to the table, the recording spree resulted in a remarkable set of songs mixing world music, disco, funk and electronic music.'

World-renowned Irish American group The Gloaming return with their highly anticipated third studio album.

The Gloaming is four master musicians and one singer, seemingly suspended in time as their music unfurls around them, its tendrils reaching out into every nook and cranny of the room.

It's undoubtedly Irish music - with violinists Martin Hayes and Caoimhín Ó Raghallaigh, guitarist Dennis Cahill and Iarla Ó Lionáird, one of the greatest contemporary Sean-nós singers. However, it's also more than that: pianist and producer Thomas Bartlett steers the music towards a place where modernity and the old world become one. The heart of The Gloaming remains but there are touches throughout that signal its points of difference.

In exile from his city in Northern Mali, singer/songwriter Ahmed Ag Kaedy returns to the origins of Tuareg folk with sessions of stripped down solo acoustic guitar. Mellow pentatonic notes dance over plaintive vocals, intimate and close mic'd, endearing in their simplicity. Drifting from melancholic ballads and pleas for peace, "Akaline Kidal" is a politically charged and poignant recording for a community ripped apart by division and civil war.

Originally released in 1982 on the short-lived Lyncell Records imprint, BBE Music is excited to
present the brilliant and ultra-rare album 'African Sunset' by South African band Kabasa.
Formed in Soweto by vocalist and bassist Tata 'TNT' Sibeko, guitarist Robert 'Doc' Mthalane
(described as the Jimi Hendrix of South Africa) and percussionist Oupa Segwai, Kabasa
recorded a trio of powerful albums in early-80s Johannesburg. Having been part of the
iconic Afro-rock band Harari, the first ever local black pop band to appear on South African
TV, Mthalane and Segwai decamped to team up with Sibeko for Kabasa's eponymous
debut in 1980.
'African Sunset' is their third and final album and is produced by the band with songwriting
duties shared between founding members Sibeko and Mthalane as well as newly-joined
percussionist and flautist Mabote 'Kelly' Petlane. Taking in psychedelic rock influences
alongside shades of jazz, funk and more traditional sounds, 'African Sunset' is a timeless
album, standing out to this day thanks to its heavy grooves, great songwriting and superior
musicianship.
With original pressings of 'African Sunset' now virtually impossible to find, BBE Music is
delighted to present this carefully remastered version that includes original artwork.
Available on vinyl, CD and digital formats.

Following a run of sought-after releases on cassette from artists including Anthony Naples, Xvarr and E Ruscha V, Good Morning Tapes switch to vinyl for their latest (and first with HJ).

By Mahbunzi Nahgo Pihndi ("All the Healing Green Leaves of the Forest') aka Brian Close, one half of New York avant-garde duo Georgia:

'This record is an extension of a foray into trance ritual music. It is structured as a companion for film, meditation, vision seeking & sound rest.

It is by nature a nature worship record, combining acoustic percussive improvisation, sensory foley, vocalized staccatos, and a specific brew of physical / metaphysical sound relations... mind hush / thought flush / spirit rush / sun rise.

Inspired by an initiation ceremony of the Bwiti / Fang people of Gabon. This collection relays a fragmented branch of timings of this ceremony and proposes other paths for the sacred (Mougongo) instrument.

Recoded + Restructured + Reflected as a time capsule, with fullest respect / blessings to breeze the Bwiti understandings through the current climate.

Proceeds of this record will be donated to Tata-Yo (Nganga), Ebando.'

On their latest album "On the Train Ride Home", The Paper Kites muse on late night longings both romantic and heartbreaking, but all filled with hope. The mostly acoustic collection is anchored by singer Sam Bentley's croons for the escapists, the street wanderers, the lovers, and the lonely. "On The Train Ride Home" is the first part of a two-part release, with the second album "On The Corner Where You Live" to be released this fall.

It's been 6 years since ALTZ.P released their debut single 'Dodop' in 2012 from a label 'Crue-l', which Kenji Takimi presides over. They've produced the black fat tight band sound, which is exotic and toxic but sharmanic and heavenly. Pulseman, the singular genius, has a perfect command of vibration frequency originating the groove. His minimalism and the Middle East disco beats by the drummer, Mau (ex-NEWEST MODEL), and the bass player, Shake Yoshimura, are intersecting organically. The one and only sound view of ALTZ, the star that shines on the scene, is spiritually colored by the shrine maiden chorus girls, Maririns, whose names are all Mari. Their psychedelic power of language in the soulful chorus is interesting. Also, 21CH (ex-DAMAGE) is performing the synthesizer as a guest player.

After the melancholic, heart-melting Nem Kaldı, the quintet delivers a light upbeat piece, Oy Oy Emine, a traditional Turkish song interpreted in the spirit of the group: the
BaÄŸlama (Turkish lute) introduces the melody before a warm and dynamic rhythm section kicks in, over which Derya's superb voice jousts with wah-wah guitars and acid
synthesizers.

After the Stroom releases ... Musiques Electroniques Actuelles presents 1999's solo work of NSRD founder, Hardijs Ledinš. A soft solo ambient album, going from folklore to inspired rhythmical jazz language. Limited to 350, 180gramms + 3 page Booklet !

Banging kwaito double sider! Two of the best tracks pressed on a 12 - Nicely remastered.

Patience, Violet ,and Pinky recorded their first Album in 1992. Knowing each other from the music scene, the back up singers turned friends teamed up with Emmanuel Diale and signed with Mob Music to embark on their music career as their own act. The first two albums were straight African Disco, A leftover sound of the 80's that some had still hoped to capitalize on. By the time they released their third album Why O Nketsa so Baby, loosely translated to "Why are you doing this to me Baby", Kwaito was still called either Disco or International House, and it was new sound that was taking over. The third album was influenced by the Shangaan sound made largely popular by artists like Penny Penny and Peta Teanet. Looking back now, at the time Mob Music was really leading the pack with this new sound. Being one of the last labels to have official releases with artwork and a group of young talented producers given full creative freedom they pushed the sound in a way only few other labels of that time can be given the same credit.

For their fourth and final album on Mob Music they worked with legendary producer/songwriter Malcom "X" Makume. With three years of songwriting experience and stellar talent behind the desk the result was the LP Malende. Eight tracks that would combine the early kwaito sound with the more uptempo International House topped off with productions heavily inspired by what had been slowly making its way from Chicago over the last 10 years. At the time they had some success and to this day are well known amongst the real heads.

The girls would go on to record one final album once their contract with Mob was up and then after a 5 album catalog would hang up their matching outfits for work a in a newly free South Africa. They remain friends to this day.

*For this release LCT have chosen two of their favourite tracks from the album Malende, wonderfully remastered and pressed loudly on a 12" single for the Deejays

Omena label boss Tooli delivers three tracks all inspired and dedicated to Tompkins Square Park.

Two of the UK's unsung heroes NY*AK and Mark Hand transform the title track into a 15 minute journey with plenty twists and turns.

A - 45 rpm - 'Afterclapp - Capitão de Area'
Based on a novel 'Capitães da Areia' by Brazilian author Jorge Amado, Captião de Areia captures the
nostalgic Bahian vibe of the original 'twisted tale' of youth vagabonds living on the streets and beaches of
Salvador, Bahia, Brazil.
B - 45 rpm - 'Afterclapp - Beiramar'
Even more dreamy than the A side, Beiramar, is classic Brazilian trip hop experience and takes us back to the
good old days when Ninja tune, Mo wax, and Wall of Sound ruled the genre.
Heavily influenced by hip hop, jazz and bass music, Rodrigo Vellutini's solo project, Afterclapp combines samples and
edits with electronic sounds and live instrumentation. This ep, features Brazilian music from the North and South of
Brazil. Afterclapp is from Florianopolis Brazil. This classic MSLX artwork was created by Shuggie.

Four tracks of Turkish Disco/Folk by the artist that brought you 'Volga Nehri' - limited copies in!

Mac DeMarco here covering one of his biggest musical idols, Haruomi Hosono. Having referenced him in numerous interviews and on his album covers, DeMarco now pays direct homage to the Japanese legend with his sincere take on 'Honey Moon,' originally released on Tropical Dandy in 1975. DeMarco effortlessly sings the original lyrics in Japanese, while maintaining his own unmistakable cool.

Our Favourite Bothy Botherers Mac-talla Nan Creag (comprised Of Hoch Ma Toch, Other Lands And Lord Of The Isles) Return To Firecracker Recordings, Channeling Ancient Rites, The Mysteries Of The Scottish Landscape And Its Elements Through Technologies Both Old And New For Your Listening Pleasure.

This Time Round The Archaeological Work Of Forestry Commission Scotland At Dun Deardail In Glen Nevis, And The Links Between That Site And The Ancient Celtic Myth 'the Sorrow Of Derdriu' Provided Fertile Ground For New Exploration And Response. Accompanying The Music Once Again Will Be A Lush Booklet Containing Some Of The Stunning Imagery That Results From The Work Fcs Have Done There, All Packaged And Silk-screened With The Usual Finesse We've Come To Expect From Firecracker Recordings And Their Chief Visionary House Of Traps, In Conjunction With 12th Isle's Al White.

Captured In Part In A High Vaulted Medieval Church, Then In Home Studios, Bouncing Ideas Back And Forth Over The Internet, Mtnc Have Once Again Drawn On Field Recordings, Traditional Instrumentation, Analogue Electronics And The Simple Power Of The Human Voice To Create A Shimmering And Expansive Song Cycle.

Whereas The First Album Was Borne Out Of An Intense Period Of Field Trips And Whisky Fuelled Jam Sessions In Brochs And Had A Loose Approach Overall, The Second Is Perhaps More Focussed In Its Themes Relating To The Ancient Tale - Love, War, Beauty And Tragedy All Intertwined - And They Arguably Go Deeper This Time, Conjuring Up Something Of The Fourth World Feel, By Way Of The Firth Of Forth.

With Additional Contributions From Professor John Kenny - Whose Primal Zummoesque Playing On A Range Of Horns Including A Giant Conch Shell And A Replica Of The Ancient Deskford Carynx Underpins Several Tracks On The Album - And Eva Sutherland (daughter Of Other Lands) Who Provides A Reading From The Myth At The Very Beginning, This Is An Album That Not Only Carries The Heaviness Of History But Also Looks To The Light Of The Future.'

Guadeloupe 1986. The football World Cup has all the Islanders' eyes riveted to their TV sets. At every half time breaks, local TV channel RFO broadcasts a music video on repeat: ''Tou't Jou Pa Min'm". Max Rambhojan, the local singer responsible for this monster tune, has arrived.

In the video, he effortlessly sings and kickstarts a joyous street party with his band, Show Man, his dancers, kids, friends, family and what seems like the whole neighbourhood. The song will gain cult status from then on, cementing the power of the 'Zouk Chiré' sound, a high tempo version of Zouk, highly influenced by Guadeloupe's Carnival mass drum bands. Max self-releases his first solo album on vinyl in 1985, enrolling some of the best musicians the scene has to offer: his band leader King Klero, Guy Jacquet of les Vikings de la Guadeloupe fame on production duties, Ramon Pyrmée on synths, Claude Vamur, Meliza... In 1992 a new solo album follows. By then the artists have familiarized themselves with computers and the sound has gone full-on digital. In that album Max records an updated version of his 'Tou't Jou Pa Min'm' anthem to great effect.

Reducing Max Rambhojan to a zouk artist would be a mistake. He's first and foremost a master of Gwo-Ka, a musical practice born during the transatlantic slave trade and performed by all ethnic and religious groups of Guadeloupe. It has never ceased to exist and has become a major part of the Island folk music culture. Max Rambhojan was schooled as a kid by Gwo-Ka pioneer Guy Conquette, and quickly joined the backing band of another legend, Ti-Sélès. That sound is the root of his particular style, especially vibrant on two tracks in his repertoire: 'Cecilia' and 'On Jou Matin', both featured on this release's b-side. A touch of Spiritual Jazz is also palpable, allowing a magical vibe to spread, giving birth to some of the deepest music from this era.

In 2019, Max still performs Gwo-Ka every week-end in Guadeloupe and also hosts a show on local radio Media Tropical, 88.1FM. Secousse and Hot Mule are proud to present those 4 lost gems on wax and digital, carefully restored and remastered.

King Jammy, bürgerlich Lloyd James (* 1947 in Montego Bay), früher Prince Jammy, ist ein
jamaikanischer Musikproduzent. Zu Beginn seiner Karriere machte er zusammen mit King Tubby
Dub Musik. Seit Mitte der 1980er Jahre ist er einer der einflussreichsten Dancehall
Produzenten. Er war zusammen mit Bobby Digital einer der Ersten, die digitale Rhythmen im
Reggae verwendeten.
Zu den Künstlern, die von King Jammy produziert wurden, gehören unter anderem Wayne Smith,
Shabba Ranks, Cocoa Tea, Horace Andy, Black Uhuru, Cutty Ranks und Eek-A-Mouse.
Kamikazi Dub ist ein Schatz aus der frühen Dub-Zeit - aufgenommen von Prince Jammy. Als
Schüler des kreativen Meisters King Tubby nahm Prince Jammy sein eigenes Meisterwerk auf.
Bei diesem Dub Space, den JAMMY geschaffen hat, sind Drum und Bass, unterstützt von Orgel und
Gitarre, im Reverb zu hören. Die intelligente Auswahl von Soundeffekten passt gut in die
psychedelische Musik. Das Album enthält einige andere Dub-Stars wie Sly & Robbie, Augustus
Pablo, Duggie, Bobby Ellis und viele mehr. Als das Album 1979 herauskam, wurde es zu einem
dieser Klassiker, die die Tür zu einer neuen Musikwelt öffneten.