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To say "Mo'Horizons is back" actually isn't the truth as they haven't been gone since their first release 20 years ago. But - of course - as usual for musicians working together over decades, their releases becoming more and more... let's say 'selected'.
So - on this release, in advance for their brandnew studio album 'MUSIC SUN LOVE' (release date 10th of May) and right on time for their 20th anniversary.

A1 "You Gotta Know It" feat. Noam Bar (7inch version)
Having her singing in their Soundsystem for quite some years, this is the first studio recording of Mo'Horizons with Noam Bar, singer and musician from Israel. after living in Tel Aviv and Madrid she is now based in Mo'Horizons' hometown Hannover. On this song you can hear her both talents to sing and rap.

B1 "Ella Dice" feat. Nené Vasquez (Instrumental version)
Long term Soundsystem member Nené Vasquez from Venezuela in another studio cooperation with Mo'Horizons, here on percussions, on the album version also singing.

Limited coloured versions of the "Future Pop" album from Perfume. Each colour is strictly limited to 100 units. Clear Vinyl / Pink vinyl / Green vinyl.

Limited coloured versions of the "Future Pop" album from Perfume. Each colour is strictly limited to 100 units. Clear Vinyl / Pink vinyl / Green vinyl.

Limited coloured versions of the "Future Pop" album from Perfume. Each colour is strictly limited to 100 units. Clear Vinyl / Pink vinyl / Green vinyl.

The Polyversal Souls are back with another collaboration with Ethopia's No. 1 soul singer Alemayehu Eshete. As they did on their first mutual release Alteleyeshegnem (PH45011), one more time the band presents a new interpretation of one of Alemayehu's classic songs.

Feqer Feqer Nèw is heavy soul at his best, completed by Alemayehu's trade mark vocal style. On Portrait of Alemayehu (Daytime), the Polyversal Souls are admiringly painting a picture of the master's gentle aura which surrounded him during the session.

It's that time again. The skies are calling and its time to board our trusty jet for the 5th outing of Africa Seven's premiere class compilation Africa Airways. For volume 5 its time to brace yourselves for 10 slices of Afro boogie goodness.

We up the boogie time groove with The Black Bells Group (the first band of lead singer Sidney 'Patrick Duteil' who went on to become the godfather of French hip-hop and a well know TV presenter. Here the groove is swinging... the perfect opener. Next up is German-based Cameroonian musician and cousin of Manu Dibango, Charly Kingson with this bass-synth boogie stomper. Big brass and jazzy trumpets add layers of sparkle too.

Next its time for some highlife inspired boogie from Ghanian Gyedu Blay Amboley. Highlife fused with reggae, disco, boogie and jazz just as the lyrics say.

Next we pair up with Africa Seven friend Eko once more under his Dikalo guise. The Cameroonian master musician is on fine form with his heavy brass and deep percussion with a driving afro boogie groove. To round off Side A its off to Cameroon again to groove with Jean 'Mekongo President'. Think Bernard 'Chic' Edwards on the bass with some African style and you can see it's the bottom end groove and afrobeat drums that power this gem along.

We open the second side slowly and purposefully with the highly sought after 'French Girl' from Fotso. Drippy bass synth grooves and a wondrous percussion and drum shuffle pair with piano riffs to make this a unique sounding track. Our friend Tala AM is next with the foot-stomping 'Sugar Lump'. JK Mandengue is next with most definitely the catchiest chorus you will hear today. Nigerian Jide Obe gets synth and clavinet rich with his doe to sensible dating advice 'Too Young'. We close off the album with a track from label good friend Jo Bisso under his Mulamba guise. Sounding like a long lost TV theme from a late night TV show circa 1977. Let's get down and boogie with the brand new dance in town folks... the Dashiki.

Until Volume Six takes flight it is time to unbuckle those seat belts folks.

The late Deben Bhattacharya was a noted Bengali record producer, ethnomusicologist, poet, documentarian, radio producer, and all around renaissance man. Having moved from Northern India to London as a young man, Bhattacharya began working for the BBC as a radio producer. In 1955, having worked all possible angles to securing funding, Bhattacharya traveled to India to record musicians. The success of this trip allowed him to travel again soon after to the countries of the Middle East. With recordings from Turkey, Syria, Jordan, Iraq, Iran, and Afghanistan, as well as India and Pakistan, this LP is one of the best and earliest documents of the diverse and rich musical traditions of the Middle East. Subtitled 'A Sound Travelogue by Deben Bhattacharya', 'Music On The Desert Road' is exactly that, a beautiful and flowing document of the region's sound.

White Shadows In The South Seas is the title of a book written in 1919 by Frederick O'Brien as part of a trilogy he wrote based on his experiences living in the Pacific islands in the early part of the 20th century. His book was taken as the starting point for a film to be directed, initially, by Robert Flaherty (famous at the time for his groundbreaking documentary / fiction film Nanook Of The North) with W.S.Van Dyke as his support. The film, ultimately, apart from the title, had little to do with O'Brien's book and Flaherty left the film after a few months leaving Van Dyke to finish it.

I purchased O'Brien's book, along with many others, from Basement Books, a secondhand bookstore in Melbourne/Australia. Part of my 'Islomania' and on going fascination with all things Pacific. When I discovered there was a 1929 silent film based on the book I sought it out and started to present it as part of my 'Live Music/Silent films' repertoire. Tabu by Frederick Murnau, which coincidently also had Flaherty as co-director originally, was the first film I ever wrote / improvised a score for and presented as a live film/music performance. My repertoire extends to over 23 films now.

My eclectic and diverse musical and artistic interests extend into 'Hawaiian', 'Exotica', 'Ambient' and 'Electronic' Music. I have produced several volumes of so called 'Electronic, Ambient, Exotica' on CD and Vinyl, including Kiribati, Globe Notes, Rayon Hula ( on Vinyl, CD and digital format ) and most recently, New Globe Note on Vinyl and White Shadows In The South Seas on CD.
White Shadows In The South Seas features some of the music presented in my live screenings of the 1929 silent film.

The film is the story of Dr. Matthew Lloyd, an alcoholic doctor who is disgusted by the exploitation by white people of the natives on a Polynesian island. The natives dive for pearls, however, numerous accidents occur and one diver dies. In anger, Dr. Lloyd punches Sebastian, the employer. As revenge and to prevent further interruption of his activities, he tricks Dr. Lloyd onto a ship with a diseased crew (thinking they are ill) and his men rough him up and send the ship off into a storm. Dr. Lloyd survives and is washed ashore on an island where none of the natives have ever seen a white man before. Lloyd is rescued and ultimately falls in love with the chief's daughter, who is Taboo, hence Lloyd is prevented from pursuing his love for her. An incident occurs and a young boy is thought to have drowned but Lloyd is able to revive him, earning him points and permission with the chief's daughter. Lloyd begins to realise that the local islanders have no sense of the value of the black pearls which grow in abundance around their island and he starts to dive for them and collect them. One morning the white man Sebastian unexpectedly turns up on a scooner and starts to offer the islanders trade for their pearls. Llloyd tries to interrupt the encounter and is shot and dies. His wife and the islanders morn for his dead body and, symbolically, the passing of a way of life.

Mike Cooper plays - Electric and acoustic lap steel guitars / electronics / Zoom Sampletrack / Kaos Pad / Casio SK1 / Korg Drum Machine / Self Made Instruments.

It also features field recordings made on Pulau Ubin by Mike Cooper during a month as Artist In Residence for The Artist Village / Singapore.

I would like to acknowledge and thank Lawrence English (Room40 Records) for his assistance and encouragement with the original recordings and the CD version of White Shadows In The South Seas.

All music written and played by Mike Cooper PRS/MCPS - except Po Mahina (trad. Arr. Cooper) and Hilo Hanakahi (trad. Arr. Cooper)

Recorded and Mixed at the Steelworks in Rome 2012/2013.

A White Shadow In The South Seas
In February 2014 'A White Shadow In The South Seas' was the title of an audio-visual installation I made at the Teatro In Scatola in Rome, Italy, presented as part of a series of sound installations titled 'Visitazioni' produced by Proposte Sonore.

The essay below, as well as our collection of Hawaiian shirts, Exotica and Hawaiian vinyl records, was an inspiration for this installation.

'..the transformation and reconstitution of the souvenir commodity as an indigenous ethnic art form and a scarce relic of Hawai'i's romanticized past...' from - Clothing and Textile Reasearch Journal - From Kitsch to Chic by Marcia A. Morgado.

And....
Michael Thompson's Rubbish Theory (1979)
' ...a critical aspect of Western culture is the pre-disposition to see objects in terms of two overt categories: the transient and the durable. Objects identified as transient have finite life spans and lose value over time, whereas those identified as durable have infinite lives and over time increae in value....category assignments are arbitrary, but once assigned a category membership determines relative value. Fashion apparel-by defenition-is assigned to the transient category; paintings commonly are designated durables....how is it that transient objects.. ( e.g. Hawaiian shirts and vinyl records ) ..sometimes become durables.

Objects assigned to the rubbish category are largely invisible, have no value and, ideally, no life span. Fashion for example, no longer worn and relegated to the back of the wardrobe has fallen into the covert rubbish category. But rubbish can be rescued and transformed. Thompson says ' What I believe happens is a transient object gradually declining in value and in expected life span may slide across into rubbish. Here it exists in a timeless and valueless limbo where it has a chance to be re-discovered and be successfully transformed to a durable. Such transferes are radical: objects gradually slide from transcience to rubbish, but the transformation from rubbish to durable involves an all-or-nothing leap across two boundaries, that separating the worthless from the valuable and that between the covert and the overt. Things drift into obscurity but they leap into prominence.

The delightful consequence of this hypothesis is that in order to study the social control of value we must study rubbish.

The rubbish-to-durable transformation is accompanied by the development of highly specialized knowledge derived from the discovery of subtle variations and complex details that went unnoticed in the objects transient stage. The discoveries initiate renewed interest in the object and its market value begins to climb. As prices soar beyond the reach of ordinary people, the object becomes available only in high priced collectors' markets. Furthermore, as market values rise, the aesthetic value of the object undergoes a reassessment as well, and it becomes increasingly apparent that the objects intrinsic beauty has been overlooked. Ultimately the object is re -assigned as a durable and becomes recognized as a timeless classic.

Exotica, Ambience and Pacificism - A dialogue with Mike Cooper & Professor Philip Hayward Deputy Pro Vice Chancellor of Research Southern Cross University, Lismore, Australia.

Kumasi was a group comprised of Ray Phiri, Jabu Sibumbe, Isaac Mtshali and Lloyd Lelosa. Sometime between their formation as The Cannibals (*needing reissues*) and the almighty group Stimela, Kumasi released one album and a couple of singles. The artists had contracts under Gallo and couldn't reveal that they were linked to the music in any way, leading Kumasi to have only a brief mysterious run in the early 80s.

But the secrets out! This release presents a collection of five songs from their incredibly rare full length LP, and adds to that their version of the South African classic, 'Picnic'. Pressed as a 2x12' compilation, sounding incredible! Kumasi brings a unique blend of disco funk with that special South African tinge.

Ray Phiri died in 2017 - this album goes out in his dedication.

*Release has four variations of the Protea flower sticker*

In September 2016 Chouk Bwa met the Brussels-based duo The Ångstromers. A traditional Haitian Mizik Rasin — roots music — band, Chouk Bwa, formerly Chouk Bwa Libète, realizes the source of a drum and dance style using percussion and call-and-response vocals that are infused with Haitian Vodou.

'Chouk Bwa' means 'Root' in Haitian Creole. Three percussionists and two dancers are led by composer Jean Claude 'Sambaton' Dorvil on vocals and the fer, an iron bar/bell that announces different rhythms employed to call up the spirits, assisted by Gomez 'Djopipi' Henris.

Chouk Bwa display the deep African heritage of Haiti, torn from Africa and secretly re-planted in a new land. The band members speak for Haiti, a nation that has seen the hardest of times and maintains a relentless spirit and strength through its culture.

The two tracks were selected from the first meeting with the Ångstromers at Café Central, Brussels, recorded live in September 2016. Modular synths and other vintage electronic instruments bring another dimension to Chouk Bwa's music.

Daniel Savio has been producing hi quality releases for 20 years in groups such as Hundarna från söder, and a bunch of reocords in his own name, and as Kool DJ Dust. Most notably is his disco edits on releases as "The Disco Opera" and his contribution as a skwee originator on Flogsta Dancehall.

Now Daniel Savio makes his debut on Kings Chamber with four efortlessly cool digital dub tracks, on wich he manages to take on a new genre and still keep his signature sound.

António de Sousa Dias
(Portuguese composer. He has a background that includes studies in jazz, electronics, telecommunications, musicology and computer programming, in addition to his studies in composition at the Lisbon Conservatory with Capdeville and at the University of Paris VIII with Horacio Vaggione. He has had close connections with music theatre, as a member of the groups ColecViva and Opus Sic (together with Capdeville). He has written many scores for the cinema. He has been appointed to teach composition and electro-acoustics at the Escola Superior de Música in Lisbon, His composition owes much to his involvement with cinema and music theatre even when the works are not theatrical themselves. Aesthetically, he is much influenced by the ideas of Capdeville: his music embraces a wide range of stylistic references and focusses greatly on the dramatic and rhetorical function

Spare acoustic elements and unusual sonic and electronic touches! occasionally hitting some funky touches features lush orchestrations, groovier touches great jazz instrumental echoes LIKE a soundtracks of 70s psychedelic

Magical movie based on ancient legends and alchemy. Parallel worlds. The power of love. Knowledge, fortune, rebirth into a higher plane. A wonderful fantasy movie that takes Portuguese cinema to rare ends presents a passage to an ideal world. I also don't think the direction is very inspired. I like the scenarios, the ambiance Still, some powerful symbolism, a nice magical tale and an interesting soundtrack composed by the director's son who was just 20 when the film was made and also appears playing piano in the movie bringing Casablanca to mind with the hypnotic repetition of the theme song symbolic of a newfound love.
  Antonio Macedo was one of the pioneers of the Portuguese filmmaker Mixing SF with fantastic presents us with a strange and disturbing world, in which irony is always present. Also surprising is the transfiguration that the real world sees itself going through when it is affected by the strangeness of a different reality. In the fantastic universe of Antonio de Macedo, the real world merely provides a set of signs which can only be deciphered with a key coming from another universe, to which only a few people have access. Macedo's movies, which include weird elements, magic fantasy, dark fantasy, science-fiction and so on.movies were almost always at odds with the Portuguese censorship,  investigation and teaching. He published several books, essays, philosophy and fiction Thus, the reading of his works becomes an initiatory process in which the reader seeks out the occult truth hidden behind the story.

* Vinyl LP includes MP3 download for all tracks on the CD version *
C.K. Mann made his name as a virtuous guitar player in Ghana when he played with Moses Kweku Oppong in the Kakaikus Guitar Band in the early 60s. He then became the leader of the band Ocean's Strings until 1966. In 1968, he enjoyed a hit with the single 'Edina Benya'.
Mann was known for blending authentic African music with European influences. He was inspired by Latin American music and created a style all of his own. He became known as the 'King of Highlife' in Ghana in the 70's, when he released the record 'Nimpa Rebre' featuring vocals from Pat Thomas and Kofi Yankwon.
Funky Highlife came out of the Essiebons label run by Dick Essilfe Bondzie. According to Dick, this album could have been a massive hit in Ghana but the vinyl factories ran out of stock because of Ghana's economic downturn, so the demand for the record could not be met. The album is a fusion of highlife and soul. The best-known track 'Asafo beesuon' is a multi-layered, drum heavy, funk medley and is over 13 minutes long.

Picking up exactly where Disaster left off, Evryman For Himself features a full band and larger arrangements. Includes contributions from David Coulter (Damon Albarn, The Pogues), Fred Lonberg-Holm, Jason Toth (The Handsome Family) and the horns of Ralph Carney (Tom Waits, B52s). Second entry in the "Disaster Trilogy".

His work has inspired a diverse cast of collaborators that lie inside and outside his realm of alternative Americana, such as Jarvis Cocker, Thor Harris (Swans, Freakwater), and The Handsome Family with recent performances that include the likes of Rufus Wainwright, Andrew Bird, and Swans.

Ebo Taylor is a legendary guitarist, composer, arranger and producer from Accra, Ghana. A leading light of Ghanaian music since the 1960's, Taylor is still touring and recording, and at the age of 80 will be releasing a brand new studio album on Mr Bongo in 2018.
For this album, Ebo joined forces with 12-piece band 'The Pelikans' — from the Cape Coast region of Ghana — led by Bessa Simmona, with rhythm guitarist Fifi Orleans Lindsay. A genuine 'holy-grail' of Ghanaian music and one of Ebo's most saught-after.
The album was released on the small Abookyi label. Named after a nightclub they played in called PELIKANS, and sung in English and Fante, this was the first album where Ebo sang on tracks, such as the classic 'Come Along', on which he also plays keyboard. This song clearly defined a new direction in highlife and has become a Ghanaian funk anthem. 'Come Along' formed the basis of Sadat X's 'Remember That' hip hop jam from 2011.
This official Mr Bongo re-issue is packaged in our new & improved heavyweight 'tip-on' sleeves, printed in Japan, pressed on high quality vinyl, with label designs and artwork as per the original release. Ebo's forthcoming new studio album, 'MIND YOUR OWN BUSINESS' is set for release in spring 2018, on Mr Bongo.

Sissoko is the undisputed master of tamani (the original talking drum), that he started to play since he was a child (thanks to the teaching of his grand-father Djeli Baba Sissoko and Djeli Maka Sissoko and Djatourou Sissoko) and from which he is able to extract all the notes simply with a one, natural movement. Baba Sissoko plays also ngoni, kamalengoni, guitar, balaphon, calebasse, hang and ... he sings!

He is from a great and ancient dynasty of griots from Mali: in the Malian tradition, griots are deputed to calm down hearts and souls, by means of music. Baba Sissoko has been the first one to introduce the sound of tamani in the modern music of Mali.

In the Baba compositions there is a great influence of Amadran, that is a repetitive and hypnotic musical structure typical from Mali by which, according to many researchers, blues was born.

Among others, he worked and cooperated with Habib Koite, Rokia Traore, Ibrahim Ferrer, Buena Vista Social Club, Don Moye and Art Ensemble of Chicago, Dee Dee Bridgewater, Enzo Avitabile, Miguel Anga Diaz, Omar Sosa, Chris Joris, Bob Stuwart, Aka Moon, Roberto Fonseca, Oumou Sangare, Philippe Caterina, Toots Thielemans, Kasse Mady Diabate, Afel Bocoum, Cheick Tidjane Chek, Toumani Diabate, Ballake Sissoko, Mighty Mo Rodgers, Antonello Salis and many others.

In the latest works, Baba enjoyed working with Luca Sapio (in the album "Three Gees"), hosting Corey Harris (Grammy winner, star of the well- known documentary "from Mali to Mississippi" directed by Martin Scorsese) . also his work with DJ Khalab, 'Khalab & Baba ", released in October 2015, won the track of the year award at the 2016 Gilles Peterson Worldwide Awards, an annual ceremony by Gilles Peterson, DJ of the BBC.

Never content with the ordinary, Baba Sissoko started his personal outstanding musical journey in Bamako, Mali, several years ago. Carrying on his shoulders the legacy of a legendary dynasty of Malian griots and repeating to himself that 'It's getting closer and closer but I'm not there yet' he broke all the boundaries,

His most appreciated satisfaction came few years ago when he found out that his firstborn daughter, Djana, a young and super talented 18 years old, decided to follow his path and to join him in the mission to deliver his meaningful message of peace and joy to the world.

Consolidating the relationship with the Italian producer Luca Sapio they recorded a new album together called 'Fasiya' that magnifies this cross- cultural exchange where looking at the roots to shape the future is the key

If ever a record delivered the promise of new excitement this one is exactly that kind. Baba constantly explores new sounds, and as a result, has electronically transformed his traditional ngoni into one of the wildest fresh sounding lead instruments to hit the music world in years.

With his arsenal of handmade instruments, he provided a mystic way followed like a comet tail by Djana's sparkly soulful vocals where Bambara blends naturally with English and Franc¸ais.

For the occasion Max Weissefeldt (Poets Of Rhythm, Dr. John, Guy One) sat at the drums and lighted up some fiery high-life beats, solid ground for tentacular horns arranged by M. Claudio Giusti that skyrocketed the whole record into the sky.

All recorded in Luca's analog studio, the result is an organic music corner stone that fueled by new and vintage obscure gear panoramizing a new sound directed at anyone who wants to lost himself in a vibey sonic garden, but most of all at anyone who can feel the beat, that basically means everybody.

2 track Single from Big Youth released by Mafia/Dub Store Records

Volume 9 of Mukatsuku Afro series kicks off with 'M'Ongele M'Am' from Cameroon artist Eko Roosevelt Louis taken from his early 1980's self-titled album and licenced for this 45 from Nubiphone & Africa Seven. The track was one of the highlights of the 2017 Pop Makossa compilation for Analagog Africa and it's the first time ever on a single in its own right.Driving brass funk fuelled afro disco does not really get much better than this. On the flipside Georges Ouedraogo from Burkina Faso gives us us the dance floor bomb ''Deni'' taken from his 1978 long player ''Gnanfou Gnanfou'' also licenced from Africa Seven and also the first time ever on a single. Punchy brass offset by those hipnotic vocals and funky wah-wah guitar has a deserved place on the flip. Strictly no repress. Essential 45 for the dancefloor !

Linda Ronstadt released more than two dozen studio albums during a stellar career that has spanned more than five decades. Surprisingly, during all that time, the legendary singer never released a live album. That will finally change with an upcoming album that features amazing performances from a concert that Ronstadt recorded in 1980 for her acclaimed HBO television special.

Recorded on April 24, 1980 at Television Center Studios in Hollywood, the concert captures Ronstadt at the peak of her reign as America's most popular female rock singer. For LIVE IN HOLLYWOOD, Ronstadt selected 12 of her favorite performances from the original concert.

In concert, she was joined by an outstanding band that included guitarists Kenny Edwards and Danny Kortchmar, drummer Russ Kunkel, bassist Bob Glaub, keyboardist Billy Payne (of Little Feat fame), pedal steel guitarist Dan Dugmore, and backing vocalist Wendy Waldman. Rounding out the band was Peter Asher - Ronstadt's producer and the concert's executive producer - who played percussion and sang background.

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.

Hypnotic, unvarnished recordings by one of Pakistan's most revered and iconic classical singers. The roots of Saami's music go back to the 13th century - but it's message is

contemporary and universal: 'to sing is to listen.' Produced by GRAMMY Award winner Ian Brennan. Vol.5 of Glitterbeat's acclaimed Hidden Musics series.

75-year-old, Ustad Saami risks his life daily in Pakistan to keep alive his microtonal, pre-Islamic, multilingual (Farsi, Sanskrit, Hindi, the ancient and dead language of Vedic, gibberish, Arabic, and Urdu) music. Handed down by his ancestors for over a

thousand years, he is 'the only practitioner of Surti left in the world' and when he passes, this music will die with him as well. Extremists resent his work as they do anything else pre-dating Muhammad. Master

Ustad Naseeruddin Saami has spent his entire life mastering the nuances of every given note. 'To sing is to listen.' These are the words of the master. The translation of his own

last name, Saami, even means 'to hear.' The master shapes the notes with his hands as he sings like conducting a Theremin. Most master's now hide their knowledge, possessively passing their skills down

through family only. Subsequently, traditions have died and wither. Master Saami's mission is to share his knowledge with the world, so that the music may live on freely.

For him, everything centers on one note. From that, all else grows and music is seen as a sixth sense for people to better communicate with each other. With great precision, Saami utilizes 49-notes versus the West's mere seven. The scale was

founded by a mix-raced royal whose lifelong endeavor was to make peace with duality through art. This predecessor of Qawwali music is called Khayál, the Arabic word for 'imagination' and in it the melody carries the meaning. The lyrics are

almost incidental during these call-and-responses. 'With the musician's tongues reddened and teeth devastated from chewing Paan, we recorded all night long taking only a short break for a meal. In the morning

after the sun had come up, the younger players were understandably collapsing from exhaustion. The master, though, displayed markedly more energy than when we had begun the night before. He urged the others to keep going, but was

unsuccessful. His power proved too much for them to keep up with'. - Ian Brennan

The first commercial vinyl edition of this classic of modern African music, from Burkinab musician and singer-songwriter Victor Deme. The album is a unique mosaic of folk blues melodies, intimate Mandingo ballads, and Latin

influences, salsa and flamenco. This reissue celebrates the album's 10th anniversary, which was a huge success in France (Gold disc, with 100,000 copies sold) and voted Album of the Year in 2008 by France Inter listeners (the No. 1 French public radio station).

After a 30-year career in Burkina Faso, Deme finally released his first album aged 46. In 2007, with the help of journalist David Commeillas and of Soundicate's activists, they founded the label Chapa Blues Records to promote Victor's

music. The singer started to work on his album in the small studio at the back of his artist residence in Ouagadougou, the capital of Burkina Faso. The studio is no more than two rooms separated by a truck windshield and equipped with

a 16- track console, but it has become the rallying point of numerous talented artists. 'His voice is warm and slightly husky and his songs are splendidly lyrical and supported by excellent guitar playing.' - Songlines (The Best Albums of 2008)

LP DELUXE EDITION includes: Pink vinyl / Poster / Redeem code, Ltd to 300 copies, LP includes redeem code / Ltd to 700 copies - PRAED's fourth album. This is the ultimate kit to prepare calmly for the sixth extinction! The Lebanese duo delivers a raging interpretation of the chaabi - popular Arabic music - using synthesizers, drum Machines, samples and other devices. The result is hypnotic and psychedelic, on the verge of trance. The clarinet of Paed Conca and the soaring lyricism of Raed Yassin sound like distant calls for help emerging from a world that is falling apart and slipping away. The record itself is enhanced by its sleeve - designed by the Lebanese artist Raphaëlle Macaron - printed in 5 Pantone colors making it as explosive as the music.

LP DELUXE EDITION includes: Pink vinyl / Poster / Redeem code, Ltd to 300 copies, LP includes redeem code / Ltd to 700 copies - PRAED's fourth album. This is the ultimate kit to prepare calmly for the sixth extinction! The Lebanese duo delivers a raging interpretation of the chaabi - popular Arabic music - using synthesizers, drum Machines, samples and other devices. The result is hypnotic and psychedelic, on the verge of trance. The clarinet of Paed Conca and the soaring lyricism of Raed Yassin sound like distant calls for help emerging from a world that is falling apart and slipping away. The record itself is enhanced by its sleeve - designed by the Lebanese artist Raphaëlle Macaron - printed in 5 Pantone colors making it as explosive as the music.

'Buena Vista Social Club' is both the name given to this extraordinary pool of musicians and the album,
recorded in just six days in Havana's 1950s vintage EGREM studios. It was clear from the atmosphere
of the recording sessions that something very special was taking place. However, no one could have
predicted that Buena Vista Social Club would become a worldwide phenomenon, outselling any other
record in the same genre, elevatng the artsts to superstar status and popularising Cuba's rich musical
heritage, all of which has contributed to a massive boom in Cuba's tourist and recording industries.
'Buena Vista Social Club' was released in June 1997 and has since come to be regarded as a classic,
selling 7 million copies worldwide.

First time reissue of Scion Succcess' debut
Pressed in the UK on red vinyl. Ten song LP full of NYC dancehall classics like "Put It On" and "Pain-A-Back." Recorded at Phillip Smart's HC&F studios with the best NYC session players of the day, a criminally underrated LP. Check out "Juggling Spot"

'Miri' is the fifth album by Malian ngoni maestro Bassekou Kouyate and the followup to the acclaimed 'Ba Power' (2015) which saw a more electric approach, complete with distortion and wah wah pedal (as Mojo magazine

says 'in Kouyat 's hands, the little lute, with its skin made from the head of a cow, becomes every bit as thuggish as a distorted Les Paul.'). The sound on this new album is more rootsy and reconnects to the beginnings

of Bassekou's solo career and his celebrated debut album 'Segu Blue' (2007). 'Miri' ('dream' or 'contemplation' in the Bamana language) sees Bassekou in a somber, contemplative mood, reflecting about life, love, friendship, family and

his country in a time of crisis. Mali's problems are plentiful: egoism in politics, Islamists, tensions between nomads and cultivators and climate change (including the Niger river drying up).

As always there is the intricate sound of Bassekou's virtuoso ngoni playing - and, ever the innovator of the ngoni, one of the album's stand out tracks, 'Wele ni' sees him playing slide ngoni with a bottleneck. Guests include Habib

Koite, Afel Bocoum, Abdoulaye Diabate and Michael League (Snarky Puppy, Bokante) amongst others. 'Superb ... As usual, the playing is incredible. He takes an ngoni - a lute like

cross between a guitar and a cricket bat - and creates complex riffs and rills that draw the listener in to the music. It seems and sounds simple but there is incredible layered complexity to the music as it builds. The sound isn't forced

but you find yourself following the multiple rhythms and strands of the music in a natural way as each pushes forward into your consciousness ... Magnificent.' ***** Music-News

Tradition futuristic Cumbia travelsound through Caraibs, Africa, Andines, Spain, India, ... Superb open minded compilatio nbringing loads of bloody good tune... and a pure spirit :! ENJOY !

Africa cumbia psychedelic

Kêtu Records started as a project which sells original vinyl discs with the aim of promoting African music of the Golden Age (1960-70). We have developed a large network in Africa to trace these original vinyl discs. We also organize events and sell the discs. Part of the profit is reverted to support local initiatives such as local orchestras, O.N.G. that help disables and schools.

For this first single release, NKOTTI FRANCOIS, great Cameroonian artist of the 70s-80s and still active on the African scene, signs for a reissue of 'MUWASO MWA LONGE' and 'NJA KA'; two amazing titles from the LP Retro 2000.

First ever experimental Tuareg guitar soundtrack. Original soundtrack recording to the film Zerzura, the first ever Saharan acid Western, telling the story of a nomad's search for a magic city of gold. Evoking the desert journey with free form guitar improvisations, the soundtrack is a meditation on the mysteries of the Sahara. Composed by writer and actor Ahmoudou Madassane, the instrumental score takes the familiar Tuareg guitar tradition into new directions, transforming desert blues into ambient soundscapes. Recorded in studio while watching footage from the film, the score was recorded in live and spontaneous takes. Heavily based around the electric guitar, Madassane also plays a handful of other in-studio instrumentation (prepared piano, Moog, Timpani) and is joined by a number of collaborators, including guitarist Marisa Anderson. A prolific and backing artist in a number of groups (Mdou Moctar, Les Filles de Illighadad), Madassane is well versed in Tuareg guitar folk and draws inspiration from this tradition before veering off into uncharted territory. Pieces fluctuate in timing and break free from standard rhythm, moving from melancholic serenity to blurry psychedelic fury. An experimental foray for Tuareg guitar, Zerzura is the first of its kind.

'Cohesion' is the third full album from Anchorsong - AKA Tokyo-born, London-based electronic artist Masaaki Yoshida. Taking inspiration from Classical Indian Percussion, and '70s and /80s Bollywood film soundtracks

Anchorsong creates a journey of psychedelic, danceable and free-spirited compositions that blur the boundary between rhythm and melody. It was whilst extensively touring his previous album, 'Ceremonial', that Masaaki

became deeply fascinated with percussion, and shifted his attention away from the African drums present on his last record to the music of the Middle East, South East Asia, and then more specifically to the sounds of India. 'The Indian

percussion was the one I was most fascinated with, so I began to dig into that genre deeper, I started with classics like Ravi Shankar, and the more classical Indian musicians. But then I began to explore the world of Bollywood and movie

soundtracks which is another world and the more I listened to composers like Sapan Jagmohan, Rajesh Roshan and Kalyanji Anandji, the more the concept of the new record began to form.

Choosing to work with traditional Indian instruments like the tabla and dholak, Yoshida wanted to use instruments that possessed melodic qualities, and could be tuned to work in the context of electronic music. He found that when Indian

percussions mixed with other instruments they began to sound like a melody that blurred the border between rhythm and melody. The concept of bringing together contrasting elements and cultures is evident from the album's title,

'Cohesion'. Here Anchorsong has brought together musical traditions and sounds from across borders, forging a truly unique body of work. Having reached new heights with 'Ceremonial' through accolades such as BBC 6Music's #5 Album

Of The Year, 'Cohesion' looks to build on such successes through the coupling of a comprehensive European tour kicking off around the release of the album.

Matasuna Records is delighted to present another highlight with its new release: the first ever official reissue of the 7inch "Viajecito/Too Late" by Peruvian band "Black Sugar". Originally released in 1971, the single is one of the most in demand Latin American 45s. So it isn't surprising that nowadays 7inches in good condition are extremly rare and only available for several hundred dollars.
Both tracks were completely remastered in Lima (Peru) and now sound better than ever!

In 1970 Black Sugar emerged from the band "Los Far-Fen", which was founded 1969 by guitarist Victor "Coco" Salazar and keyboardist Miguel "Chino" Figueroa. The new musical director of the label Sono Radio, Jamie Delgado, signed them in 1970 and gave the band its name "Black Sugar". He also helped them to record & release their first self-titled LP in 1971. Black Sugar was formed by some of Peru's best young musicians of their day and achieved great success in South America.

Viajecito opens the single and surprises with his varied composition: guitar riffs meet strange vocal/animal sounds and create a psychedelic atmosphere. With introduction of the bassline, the piano and the rhythm section, the track moves away from this mood. When the horns start to play and the vocals appear, the track gets another turn and takes the listener on "a little journey". Excellent Latin Jazz track that makes you want more!

Too Late is one of the biggest tunes of the Northern Soul scene and also one of the most sought after vinyl. Listening to it reveals why: the piano and the brass create an extremely intoxicating melody - perfectly accompanied by a great rhythm combo, which is pushed further and further by the singer. For sure one of the best Latinsoul songs and a bomb for every dancefloor!

A welcome branching out into the reggae universe, Rocafort is proud to present The Circle of Confusion featuring the legendary sweet falsetto voice of Cornel Campbell. Lausanne Switzerland meets Kingston Jamaica in this heartfelt, stripped back, feel-good homage to the late 70s roots reggaestyle.

The Circle of Confusion are a Swiss production duo: Seb.K (Shakedown productions) and Phil'eas (Black Diamond Sound). Diehard reggae fans, they dared to contact their favourite Jamaican singer and got a result with Campbell delivering the lyrics on the spot, written on the day of Nelson Mandela' death. There's depth and feeling in this wonderfully lilting, plaintive song, typical of Campbell's social consciousness and beautiful soul. Hard to believe it was all strung together in a shiny, clean Swiss studio when the sound is so simply warm and Jamaican. Beautiful run on the keyboards by Jah Lou.

If you were moved by the Rhythm and Sound album of 2001, you will not be disappointed with this splendid roots collaboration. We can only hope there's more to come.

Names You Can Trust presents the second installment of Rueda de Bullerengue, a collaborative series with NY-based Bullerengue collective, Bulla En El Barrio. Named after the group's ongoing monthly performance and workshop in Brooklyn, Bulla's collaborative spirit and dedication to the tradition of los bailes cantados has made an indelible mark on the bubbling tropical music scene of New York City, and in turn, found their way into the crates and sets of DJs and vinyl aficionados via their first 7-inch release on NYCT in 2017. Since those initial moves, Bulla has continued to grow and add working members while maintaining a philosophy and connection grounded in the traditions of their Colombian origins. They've studied and collaborated with elders and legends like Emilson Pacheco and Darlina Sáenz, and this past year embarked on a recording with Barranquilla-based collective Tonada Baile Cantado — the focus of this edition's recording and release.

Considered one of the premier groups advancing the tradition of Bullerengue within Colombia, this incredibly talented group of young musicians are a rarity for their skill and age. In a region where there are ongoing festivals celebrating the tradition of Bullerengue that still command massive audiences and performers, Tonada is a true representative of what can happen when such an amazing tradition is passed forward to an eager next generation. Produced by Bulla members Camilo Rodriguez and Diana Herrera (aka Carolina Oliveras) in between their time smashing stages across the U.S. for Combo Chimbita, this is a carefully nurtured and powerful bridge to the beloved traditions of Colombia's Caribe region.

Without further ado, here lies Volume 2 of Rueda de Bullerengue, featuring Tonada Baile Cantado, a new generation of traditional Colombian dance music transmitted directly from Barranquilla — Four dance floor crashers in the styles of fandango and chalupa, ready-made for your 45 spins in the inimitable style of Names You Can Trust.

The first new release exclusively via TAD from Boomarm Nation, who welcomes Tunisian producer Lokal Affair to their family. His debut Seremunia EP, 3 tracks of deep percussive jams, is inspired by life in the Sahara desert, evening fire rituals, and ecstatic drumming styles from across the globe. Lush, mid-tempo spiritual sounds for your sound system. Lokal Affair AKA Malek Midouni is a Tunisian born musician currently living in Lyon, France.

As a bonus the label commissioned an incredible thundering remix of the percussion heavy tune Goumari' from good brother Alter Echo.

Carolina Lins & Os Planatos present an infectious reworking of the Kaiser Chiefs' classic 'I Predict A Riot'. Appealing to those who are fans of Musica Popular Brasileira, the Kaiser Chiefs and football alike, this track is a sweltering funky take on the British anthem.

Released in 1992 this recording is a unique and beautifully crafted album combining hip hop, funk and synth elements with a pulsating Japanese sensibility Hoodoo Fushimi's masterpiece recording has stood the test of time gaining a cult following along the way and we're honored to be reissuing this important recording in the Japanese musical lexicon.