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The very first studio radio recordings of Jacques Brel performing in three of the most mythical French cabarets : Chez Geneviève , Chez Gilles and l'Échelle de Jacob, between 1954 and 1956.

In the early 60's in France, Léo Ferré leaves the cabaret's stage where he used to perform for the music-hall scene where he keeps singing the Paris of lovers, night owls and misfits.

'I see music in shapes and colours, I write because I'm alive. I fervently believe in magic, in the moments of transcendence when everything makes sense. Through this I stay awake, I stay alive.'

Growing up on a Hertfordshire cul-de-sac then flying back 'home' to Kenya where her parents were born, shaped in Mara the traveller, the outsider and the romantic, that have become hallmarks of her music. Mara performs with her band (Poppy Ackroyd, Fiddes Smith, Jools Owen, Jamie Patterson) as well as solo.

Mara is classically trained in composition, piano and guitar as well as fine art. She has performed over 300 shows, both on festival stages and intimate concerts, most recent stages include Fusion (Germany), Kaltern Pop (Italy), Together the People (UK) and Sazavafest (Czech). Mara's music has taken her across Europe, to New Zealand, Australia, the US and around home shores in England, performing in venues small and large, some conventional, some extraordinary (including canal boats, caves, and a hospital!). She's become known for captivating audiences with her soulful melodies, rich lyricism, captivating voice, unassuming charm and wicked laugh

Raul Refree is one of the most acclaimed Spanish producers of the last decade. Working with ground breaking artists such as

Silvia Perez Cruz and Rosalia he has been at the forefront of the so-called 'new flamenco' movement.

He also collaborates with rock experimentalists like Lee Ranaldo from Sonic Youth - both playing in his band and co-producing Lee's last album 'Electric Trim.'

But Raül's musical life doesn't stop there. He is also a noted songwriter/composer/ musician who has released 6 previous solo albums, acclaimed film soundtracks and an

overflowing discography of genre-skewing projects. It is this merging of soundworlds that makes Raül's new solo release La Otra Mitad (The Other Half) - under the moniker

Refree - such an immersive and transportive listen. Mesmerizing acoustic and electric guitar explorations meet sampled street recordings,

haunted voices and hushed electronics. Nuanced and boundless. Having spent the last years as an inspired facilitator for, and co-creator with, a plethora of

storied musicians (American songwriter Josh Rouse, the aforementioned Cruz, Ranaldo, Rosalía and many more), in 2017 Refree undertook the production of two instrumental

leaning 10-inch solo EPs. The first of these, Jai Alai vol.01, is mostly a collection of reflective solo guitar music, with each title named according to the instrument used

on the track and the date on which it was played ('Ramirez 11012017' / 'Telecaster 01032017b'). The second Jai Alai volume is quite a different proposition, with the

material coming from a soundtrack project, and the sound palette expanded to include recordings of street music, voices and a subtle electronic dimension.

The tak:til release La Otra Mitad is a full-length album that weaves together the two Eps and creates a dramatic new entity in itself. Whereas the guitar tracks included from

Jai Alai vol.01 echo the spontaneity and sturdy simplicity of Derek Bailey or Durutti Column, they are balanced beautifully by the more textured soundtrack compositions

from Jai Alai vol.02, that make up the majority of the album.

Limited edition triple pack of S.A. Kwaito .. previously very hard to find and unknown tracks!

Strut present an exclusive new reissue
of a great (and now very rare) original
album from the early career of Nigerian
juju star Shina Peters, 'Sewele' from
1986.
''Sewele' represented a time of
transition in my music career,'
explains Peters. 'I had branched out
to start as a solo artist after spells with
Ebenezer Obey, Prince Adekunle and
Segun Adewale and I was trying to
fnd my own voice and to play juju in a
more progressive direction. This was
an important time for me. Three years
later, I had honed that sound into AfroJuju, and my 'Ace: Afro Juju Series 1'
album broke me as an artist.
On 'Sewele', Peters explores different
themes on four extended juju
workouts, showcasing his incredible
guitar work and his sense of fun as
the odd Bob Marley and Abba riff
pops up in the grooves. The title track
means 'shower of blessings': 'it's
like a prayer for my fans throughout
Nigeria and the diaspora.' The funky
Afrobeat of 'Yabis' is about being
proud to be African and not to follow
American ways and 'Agbe'ere De'
states proudly that Peters is coming
again with something different: 'I
always wanted to get the message
across to my fans that I was keeping
things fresh and creating melodies
and music that people would enjoy.'
The fnal track, 'Late Aboderin', is a
moving tribute to Peters' mentor, the
late Chief Aboderin: 'He helped me
in many ways including legal aid in a
court case against a record label. He
also bought a van to carry the band to
concerts.
This new reissue features all original
artwork and a new sleeve note by Sir
Shina Peters telling the story of the
album and his wider career. The album
audio has been restored by See Why
Audio and remastered by The Carvery.

European music culture has never been closed, on the contrary - it has always integrated influences from all other parts of the world. Two Tribes makes an effort to give insight in how musicians living in Europe today incorporate and transfer musical traditions particularly from the African continent into their own oeuvre.

Featured on Two Tribes are a broad range of constellations, ranging from musicians with roots in African countries who reside in Europe to collaborations between European and African artists. Musically our compilation tries to capture at least a part of the enormous diversity that contemporary music from Europe of this kind has to offer. The spectrum ranges from classical - songs' using traditional instruments from both continents to electronic productions that combine musical heritage with current club culture. Our selection can only be a musical snapshot since there is so much movement in this genre at the moment.

As you can hopefully see and hear, the leitmotif while compiling Two Tribes was to keep an eye on the ease of handling different cultural influences amongst the featured artists. It was important to us that the included music doesn´t just copy African music styles one to one but has an own handwriting and builds a bridge between the musical legacy of both continents. With all the track included, we have found a number of great examples and decided to showcase twelve of them on this first volume. The music included refers to the musical traditions of Senegal, Kenya, Nigeria, Ivory Coast, Ethiopia, Morocco, Zimbabwe and South Africa amongst others. The involved musicians are spread all over Europe, from Finland to Great Britain, Italy, England, France and Portugal to Germany.

Be it organic or electronic music, we think that all of the tracks really deserve your ear! Tobi Kirsch & Ubbo Gronewold, June 2018

Cómeme delivers to you one of the freshest rhythms of 2018, recorded in Johannesburg, the new residency for the renegades of the beat. This is 'Rain' - starring Matias Aguayo and the actress, dj and singer Ayanda Seoka aka Mujaji The Rain. She's resident at the legendary Bar Kitchener's all femme 'Pussy Party', a space for feminist / queer action and dancefloor joy, right in the centre of Joburg.

Cómeme has been since some time in a serious and passionate relationship with that city. Radio Cómeme transmitted shows from there with electronica legend Felix Laband, Mpumelelo Mkatha from BLK JKS, the queer performance duo Faka, Gqom pioneers RudeBoyz and also Kwaito's legacy keeper Spleef McZaul. Matias Aguayo ventured into a beautiful collaboration with DJ Spoko, released two years ago on this label.

'Rain' is a deeply rhythmical track, inspired by the grooves that converged when Cómeme swing crossed the paths with the syncopations people in Joburg were dancing to. It has become quite clear in the recent years that elegantly shuffled triplets are marking a way to the future in dance music, especially in the southern hemisphere, no matter if you're in Durban, Rio or Santiago.

On top of this modern groove we can hear Mujaji the Rain enjoying how she gets wet under a dark and tropical sky. Laughter, joy and ecstasy is what she emanates while hypnotically involving you into this atmosphere of dense drumming and trance. (side note: Cómeme has been consequently evading the description hypnotical in press releases but this time it was unavoidable).

For further jacking fun we generously included a 'Club Mix', including more drum frenzy towards the second half of the track, and a 'Just Drums Mix' for the skilful DJ.

Side B features the jam 'Serious', which comes along with another killer beat, reminiscent of Michael Jackson or Cheri. A late-night track in which Mujaji The Rain turns into a sensual but slightly annoying creature that doesn't want to leave the dancefloor. and for sure doesn't want to go home.

We added an instrumental version to this complexly arranged tracks, which feature pianos, strings, and heavy synth bass stabs.
All tracks on this 12' are written in a 6/8 signature, which some normative DJs might shy away from, but be safe: both tracks are in 120 bpm and carry the seal of official Cómeme dancefloor approval by the label's highly respected DJs.

Favorite Recordings proudly presents Jongler, first LP by Pat Kalla produced by Bruno 'Patchworks' Hovart. PAT KALLA is a musician, singer and storyteller. Patrice of his birth name, in tribute to the great Lumumba! Lover of words, French language, and music of course. Born in Lyon, from a Cameroonian father, musician and political activist, and a French and literary mother, he explores from his childhood the Soul, the Slam, the Funk ... and the art of telling stories, life being a great one... After years of touring alongside many bands (Conte & Soul, Legend of Eboa King, Mento Cloub, Voilaaa Sound System), several acclaimed titles on the two albums by Voilaaa, and recently a first
acclaimed EP revealing some hot singles such as 'Lady Angola' or 'Ancien Combattant', he comes back with this project to put a bit of primordial lightness in a rainy world: A tribute to the
African culture in honor of a father with "Sawa" origins, the tribe from the people of Makossa. Jojo Ngallé, Moni Bilé, Pain, Manu Dibango, Franco, Rochereau, Kabaselé, Fela, François Nkotti &
The Black Style, all these legends' vinyls have turned on the family turntable and the collection has whetted the child's appetite. Through this new trip, he revisits styles that are sometimes little known to Western audiences, such as High-Life, Makossa, Angolan Music, Afrobeat, Afro-Disco and others.
We could talk about 'Franc CFA', we could talk about Jacques Foccart, but we will rather dance, because "the dancer seems naive, but his feet must be connected with earth to understand history..." Backed by the "Super Mojo Disco", a hyperactive band from Lyon with deep groove and positive energy, Pat Kalla offers us an anti-crisis project, where swaying and feel-good humor is mandatory! An album soon in the crates, beware « c'est médicament » (it's medicine)!!

Japanese edits, Limited copies!

Rich, Deep, Percussive Soulful Folk Album From Master Togolese Singer, Akofa Akoussah.

The Album Moves Through Uptempo Afro-folk-funk On 'tango' To Deep Ballads Of 'ramer Sans Rame' And 'i Tcho Tchass' And Lighter Moments On 'g Blem Di' And 'mitso Aseye'. Akofas Exceptional Songs And Soaring Vocals Are Decorated With Percussion, Guitar Lines, Subtle Backing Vocals And Horns To Create A Unique, Rich Sonic. The Album Was Recorded For Release By French Label Sonafric In 1976. Produced By Gérard Akueson; Founder & Owner Of African Record Label, 'akue', Based In Paris.

Music Was Truly In The Blood Of Julie Akofa Akoussah. She Began Singing At The Age Of Three, Inspired And Led By Her Mother And Older Sister And Became Principal Soloist In Her School Choir, St. Peter & Paul Choir Of Our Immaculate Conception Parish Of Nyékonakpoé, At The Age Of 8. From There Her Career Blossomed, And Singing Often Took Precedence Over Her Studies. In Order To Master Her Art She Spent Time Studying And Working Closely With Local Groups Including Mélo Togo, Rocka Mambo, Rio Romamcero, Ok Fiesta, Eryco Jazz, Afro Cubano, Los Muchacho, Elégance Jazz And Togo Star Amongst Others. In Her Own Words: 'luck Opened The Door In January 1966 Where I Had The Honour Of Being Selected To Share The Stage With Bella Below - One Of The Best Voices Of

Africa - At The 1st 'negro Arts Festival' In Dakar. On My Return, I Was Approached By Ambroise Ouyi, The Highly Respected Singer & Poet, And We Wrote 'tu Ne M'écris Plus', My Very First Opus.'

The Popularity Of Her Work Led To An Increased Exposure For Togolese Music Outside Of The Country, In Neighbouring Ghana And Benin Most Notably. During Her Career She Collaborated And Performed With Greats Including Manou Djibango, Queen Pelagie, Abeti Massikini, Aycha Koné And Myriam Makeba. Akoussah Was Also Dedicated To, And Widely Recognised For, Her Work For Social Causes, Championing And Nurturing Young Musical Talent, And The Fight Against Aids. She Was President Of The National Union Of Artists Musicians Of Togo (unam) Before Sadly Passing Away In April 2007 After A Long Illness, At The Age Of 57.

Helge Schneider Braucht Keine Große Einführung: Helge Ist Jazzmusiker Und Versteht Es Wie Kaum Ein(e)andere(r), Diesen - way Of Making Music Heimlich In Seine Auftritte Einzuführen. Helge Hat Viel Zu Tun Und Kaum Privatleben. Wenn Er Mal Zeit Hat, Sind Seine Hobbies Holzhacken. Er Fliegt Nicht Und Hat Vor Sieben Jahren Aufgehört Mit Dem Rauchen. Sein Klavierspiel Ist Ein Produkt Seiner Mittlerweile Fast Fünfzigjahrelang Dauernden Täglichen Übe-stunden. Er Geht Demnächst Zum Zahnarzt. Der Zahnarzt Hat Interesse An Ihn. Termine, Termine, Termine, Das Hat Helge Schneider Nicht So Gerne, Aber Er Muss Ja.

1993 Erschien Sein Unvergleichliches Erfolgsalbum - es Gibt Reis, Baby - Inklusive Hits Wie - katzeklo Und - telefonmann . 25 Jahre Später Gibt Es Nun Endlich Die Chance Diese Titel Auf Vinyl Zu Hören. Doppelvinyl! So Richtig Im Klappcover! Zum Anhören! Für Fans Und Faninnen! Wenn Das Mal Nicht Schön Ist.

Gnawa is a uniquely Moroccan sound with roots in Islam and links to a healing ritual called Lila (Arabic for night).
From this heritage comes Innov Gnawa, the only New York-based Gnawa group made from Moroccan natives, led by the Mâalem (Master) Hassan Ben Jaâfer.

Japanese edits, Limited copies!

Japanese edits, Limited copies!

Chiara Civello bietet mit "Éclipse" ein eingängiges und eklektisch-internationales Pop-Album. Die Kosmopolitin, die obwohl eigentlich Italienerin ihre Ausbildung in den USA absolvierte um dann nach Brasilien weiterzuziehen, mischt hier internationalen Pop mit brasilianischen Bossa-Nova Klängen, Jazz und elektronischen Elementen. Über allem liegt ihre samtige Stimme und die meist italienischen, seltener auch französischen oder englischen Texte; Civello singt und schreibt in fünf Sprachen. "Èclipse" wurde produziert von Nouvelle Vague Gründer Marc Collin, den Olivier Libaux, die zweite Hälfte von Nouvelle Vague, als den "weltweit besten Talent-Scout für Sängerinnen" bezeichnete. Collin verdanken wir unter anderem auch das Solo-Debütalbum von Yasmine Hamdan - mit der der talentierten Chiara Civello hat er seine neue große
Entdeckung gemacht.

'Hive Mind Records present a 2LP compilation of songs by Moulay Ahmed El Hassani, a master of modern Moroccan music, who updates traditional folk forms with drum machines, autotune and incredible psychedelic guitar.

Moulay Ahmed El Hassani is practically unknown outside of his home country of Morocco where he's released over 50 albums on cassette and CD over the past 30 years, however Hive Mind Records seek to remedy that situation with the release of this compilation featuring songs originally released on Ahmed's own label, Sawt el Hassani, between 2006 and 2014.

Ahmed writes his own songs, plays all instruments himself, records and self produces at his home studio in Beni Mellal. His unique sound takes influence from a variety of Moroccan folk forms, particularly the Izlan and Ahidous styles of the Amazigh people of the mid-Atlas region. Ahmed has blended these styles with the rai and chaabi that were popular across the country through his youth. The resulting sound is like a twenty-first century folk music for a people caught somewhere between a vision of their own idealised pastoral past and a turbo charged, technologically driven urban future. Ahmed has embraced new musical technologies and his songs are made up of complex, polyrhythmic drum machine patterns, subtle loops, washes of new age synth, heavily autotuned male and female duet vocals, and his signature psychedelic microtonal guitar playing. His songs are sometimes gentle and melancholic, and sometimes more upbeat, but always deeply lyrical and melodic, and all feature lyrics in Amazigh and Arabic that deal with social issues and universal themes of love and loss.

There's really very little that can be said in a press release to can prepare you for the sound of Moulay Ahmed ElHassani's music, other than that you're unlikely to have heard anything quite like it before.'

In C is a musical piece by the composer and performing musician Terry Riley. As one of the first minimalist compositions and a masterpiece of this genre it's a response to the modern music that dominated the scene in 1968. The piece inspired a lot of famous composers, like Philip Glass and Steve Reich. In C consists of repeating cells and different rhythms, loosely based on the musical structures he had heard and loved in north African music. 53 short musical phrases is where the compositions is made of. The thing that makes In C so enduring is that, once all concept is stripped away, it's a seriously hypnotic piece of music. For listeners with a sympathy for minimalism it's a wild and impressive work, full of energy.

Ernesto Chahoud's 'Taitu' is a collection of soul-fuelled stompers straight from the dancefloors of 1970s Addis Ababa. A breathless journey through the unique Ethio sound that bands were forging at the time, the 24- track compilation is the result of the Lebanese DJ and crate digger's decadelong love affair with the 'golden age' of Ethiopian music. Among the musical gems featured are 7's by some of the heavyweights of the scene including the godfather of Ethio jazz Mulatu Astatke and Alemayehu Eshete, the vocalist dubbed the 'Ethiopian Elvis', alongside tracks by more obscure artists such as Merawi Yohannis and Birkineh Wurga. For 'Taitu', Chahoud has selected 24 of his essential Ethio-Soul 7's, that never leave his DJ box, and together they capture this opportune moment in Ethiopian music history that saw bands experiment with an armful of influences: gliding through R&B, rock & roll, jazz, funk, soul and boogaloo. What came out was a distinctly Ethiopian interpretation: pentatonic
scales, horn-driven melodies and soul-shattering vocals sung in Amharic The songs are difficult to box in to one genre but they share a simplicity and rawness, added to by their lo-fi quality - with many recordings made in rudimentary studios with only a couple of mics for the entire band.

Strut present the frst ever international reissue of in-demand '80s zouk LP 'Las Palé'
by Feeling Kréyol, out of Guadeloupe.
Producer Darius Denon explains: 'This was 1988 and bands like Zouk Machine and Kassav
were huge. I had met producer Frankie Brumier when I was performing at festivals and
parties and he wanted to record a girl group so we began scouting venues, mainly around
the Grande-Terre district in the island's capital, Pointe-à-Pitre. I ran auditions and picked out
the best three voices - Fabienne, Leïla and Yolande. One was singing in a choir and none of
them had met each other previously.'
Recording at a studio in Le Gosier, Denon trained them to sing the songs and spent around
6 weeks recording the album: 'I gave them a couple of compositions that I had planned for
my own solo album. I remember that we all got on really well; the sessions were fun.'
The title track 'Las Palé' was the lead track pushed as a single and achieved modest
success domestically. The band did a few promotional performances in the island's
discotheques but, in the end, the album stalled. 'Studios were expensive and there was
no cheap technology as we have now. So, the producer ended up cutting corners with the
production - the mix was not completely fnished and the voices were not synchronised
right to some of the tracks.'
For Denon, he continued his career to the present day, successfully moving to Paris and
breaking through with the hit 'Je t'emmene' in 1998. Meanwhile, although 'Las Palé' turned
out to be Feeling Kréyol's only recording, the interest in the album has grown in recent years
with the title track's lo-f charm fnding its way into sets by Invisible City and onto Red Light
Radio and more. This frst full reissue is remastered by The Carvery and features full original
artwork along with a new interview with Darius Denon.
KEY POINTS:
- First ever reissue of sought after original zouk LP from 1988
- Sleeve notes by modern day zouk star and album producer Darius Denon
- Remastered by The Carvery
- Tracks already cult classics through plays by Invisible City, Motor City Drum
Ensemble and more
FOR FANS OF:
Sofrito, Digital Zandoli, Kassav, William Onyeabor, Soundway, Invisible City, Motor
City Drum Ensemble, Disques Debs, zouk, Haitian compas, Gilles Peterson, Darius
Denon, Les Vikings

Limitierte Vinyl-Wiederveröffentlichung des ektrisierenden Schlussalbums von Kameruns legendären Los Camaroes, das erstmals seit 1979 wieder auf LP erhältlich ist. "Resurrection Los" wurde live in der Mango Bar in Yaoundé aufgenommen und war die letzte Zusammenarbeit zwischen Bandleader Jean Gabari und dem bahnbrechenden Gitarristen Messi Martin. Die Neuauflage der Deluxe-LP enthält Notizen zur Geschichte der Band des Original-Keyboarder Mbambo "Johnny Cosmos" Simon sowie alle neuen Interviews mit dem Produzenten Nicolas Mongué und dem Ingenieur Emmanuel Guyssot.

While we were exploring the world digging for music that exists at the edge of many genres we realised the need to create an(other) adventurous new sublabel in the Discrepant family. SOUK Records aims to bring beats from every corner of the world with the divergent and discrepant taste we've been delivering since 2010. It is more than a dance music label. Our focus is on the strains of dance/beat music being created in different cultures, with the influences of the globalized world but still with its own identity.

With that in mind, our first release couldn't be more on point. Beat master Muqata'a, one of the brains behind the thriving hip hop scene in Ramallah, Palestine, delivers a unique instrumental album. 'Inkanakuntu' is more than an instrumental hip hop album, with nods to classic hip hop works and mixed with a downtempo grime feel that captures the urgency and eagerness of UK's dance culture.

With these eight instrumentals Muqata'a shows how vast and deep his music knowledge is, with a refined taste and a perfect sense of melody moulding. Sometimes it's real raw, in others we can feel a mellowness and jazz feeling or the perfect pop beat. Make no mistake, Muqata'a is a beats craftsman.

At First Glance, "garden Of Stone", The Inaugural Solo Record By P. A. Hülsenbeck, Seems To Ripple Serpentine. Scales Over Flesh Topple Softly As A Snake Piles High In The Dim. A Texture Nearly Like An Overcoat, A Shape Almost Like A Huddled Body. Almost, Until Hülsenbeck's Hand Beckons You Into The Reality That This Is No Snake, This Is P. A. Himself.

"garden Of Stone" Is A Molt, A Shedding Of One Old Thing To Reveal Something New. But Instead Of The Shirking Off Of Some Glistening Scaled Skin The Record's Nine Pieces Shed The Raw Human Experience And From Its Depths Rises Hülsenbeck. P. A.'s Voice, Much Like His Image On The Album Cover, Is Hidden Under Each Piece. He Uses His Voice As An Instrument That Drifts In From Somewhere Deep, Dark, And Below. In Front, Around, Above, And Underneath Swim Guitar, Synthesizer, Koto, Saxophone, Trumpet, Horn, Drums, And Bass To Provide A Soft, Lush Foundation. From Somewhere Distant, Each Note Carries The Gentle Scent Of Tall Pines, Forgotten Cabins, And Damp But Breezy Oceans.

Each Piece In This Album Reminisces Of A Well Laid Plot, They Swell To Retreat, Ebb To Flow And Just As A Distortion Begins To Drift In, Some Swift Wind Carries The Melody Away. P. A. Hülsenbeck's Music Is The Outcome Of The Search For Sound, A Polyphonic Reflexion Of The Music Itself. It Is Organic. It Moves In The Darkness And Dances In The Open; Exposed And Forever Drifting. When After Hülsenbeck's First Band Sizarr Ceased To Exist, The Musician Radicalized His Language Under The Doomhound Moniker. After One Year Of Touring He Finally Began To Shed His Electronic Hide To Reveal Something Gentle And New. Here Is His Skin.

Hülsenbeck's New Album Dances The Way Flesh Might, Whether It Be By Serpent Or Some Other Body. This Is A Response To P. A.'s Research In The Corporeal Realm. Beginning In Leipzig, P. A. Became Engulfed In Techniques That Explore The Relationships Between Body And Mind Through Exercises In Expressive Movement Improvisation. In Other Words, He Began To Dance. And Through Those Physical Techniques, He Found The Philosophy That From Now On Determines His Approach: Turn The Inside Out Without Question And Give It Freely To The Outside World. A Process In Which Hülsenbeck Routinely Finds Himself Practicing In The Distinctive Dreamland Of "garden Of Stone".

It Is Here In This Seemingly Bleak Landscape Of Hard And Nothing That He Realizes: He Is Surrounded By Everything He Needs-he Just Has To Put The Pieces Together.

It Is Most Obvious When Listening To The Debut's First Single, "a Serpent Of Velour": "when The Scorpion Kissed A Careless Heart / It Was Yearning To Be Torn Apart." The Music Becomes A Journey. This Stone Garden Begins To Blossom. Here Is Where We Get To Know A Self That Is Both Observant And Exposed To The Observed. Insects Crawl Over Fabric, Memories Fade Away, Desire Emerges. While "anima", "säule" And "vessel" Are Instrumental, The Other Six Pieces On "garden Of Stone" Tell Stories That Conjure Up A Person Who Blossoms In The Ether Behind: P. A. Hülsenbeck Is Truly Himself.

The Record Was Produced By The Berlin Based Musician In Collaboration With His Friend Tim Roth (ex-drangsal). It Was Recorded By Joe Haege And Fritz Brückner (both Of White Wine). Fritz Has Also Played Bassoon On "survey". Drums Played By Johannes Döpping, Electric Bass And Upright Bass By Johanne Weber (jungstötter), Horn And Trumpet By Max Kraft. Everything Else Played By Hülsenbeck.

This Manifesto Of Outsider Orchestrations, Teenage Symphonies And Cultivated Concrete Is The Debut Album Of Experimental Irish Avant Garde And Electro Acoustic Innovator Roger Doyle. A Pianist, Composer And Improvisational Jazz Drummer With A Penchant For Experimentation That Would Marginalise Him From Traditional Seats Of Learning In His Native Homeland But Embrace Him To The Bosom Of Europe's Leading Forward-thinking Research Centres For Electronic And Computer Music. Here He Would Piece Together Two Highly Sought After Experimental Albums Before Returning Home To Channel His Multi-disciplinary Work Ethic Into The Agit Pop Theatrical Company Operating Theatre And Play A Leading Role In The Burgeoning Irish New Wave Scene As An Early Signing To U2's Mother Records.

A Collection Of Some Of Doyle's Earliest Works As An Indomitable Scholarship Student Of Composition At The Royal Irish Academy Of Music In Dublin And Then As Founding Member And Drummer Of Experimental Jazz Rock Outfit Jazz Therapy (who Would Later Become Supply Demand & Curve), This Patchwork 1975 Debut Long-player Draws From What Was An Already Bulging Portfolio That Included Academic Assignments, Living Room Compositions And Soundtrack Collaborations With Irish Filmmakers.

Originally Part-recorded And Subsequently Aborted When The Would-be Label Vanished Without Trace Overnight, Oizzo No Was Shelved Indefinitely Until A Scholarship At The Prestigious Institute Of Sonology At The University Of Utrecht In Holland Afforded Doyle Not Only The Opportunity To Partially Revise His Humble Opus In Their State Of The Art Studios (as Well As Those Of The Ems Studios In Stockholm) But Also The Money To Press A Limited Run Of 500 Copies And Help Further Cement The Foundations Of His Future Status As One Of Ireland's Leading And Most Versatile Contemporary Composers.

This 2XLP album, EUROPA, is dedicated to and inspired by events in 2015 & 2016, which saw the spectre of global crisis come knocking at Europe's doorstep.During this time, more than a million migrants and refugees fled their homes in the Middle East, Northern Africa, sub-Saharan Africa and other conflict ravaged areas in search of a better life. For many, hopes of a future for themselves and their families lay in continental Europe.As already said about the preceding 12' single with the same name - One of the most well- trodden paths on this journey was the Balkan route, a trail leading through Turkey, Greece, and the former Yugoslavia.. This route was not without its dangers, and the dreams of thousands upon thousands were dashed by impassible security fences and discordant EU politics, as one by one they were turned away at borders, or worse, forcibly returned to their countries of origin.Europa was recorded during long jam sessions in Belgrade as the media spotlight started to dim. The city became the purgatorial destination for a large number of migrants, whose journeys had been cut short.
This double LP reflects the atmosphere of disillusionment and uncertainty about the future, which descended on the Serbian capital. Dark and melancholic saxophone playing on top of heavy kicks and Mediterranean percussions dominate the epic 17 minutes title track. The collaboration with Jerusalem in My heart continues the melancholic atmosphere, adding to it JIMH signature delayed baglama sounds, to create a 12 minute emotional journey, tearing away abstract concepts of 'longing' and 'home' with ever growing tension and magnitude. Genre-less, illusive and not easy to categorize, Tapan's debut album on Malka Tuti is an original soundtrack of a fragment in time and space, capturing a moment and transcending it musically for the rest of the world to experience.

Bazza Ranks & Dynamite MC return with another two track golden nugget for the Vinyl heads. After the last outing the pair notched up plays from Radio Royalty such as David Rodigan, Don Letts, Melody Kane and many more. Don't Let is pass is good advice as the last 7" sold out FAST. Available from Irish Moss Records Feb 2019.

The Hoodna Orchestra is a 12 member orchestra who studies and investigates the African origins of western popular music. The Orchestra was formed in 2012, in the south side of Tel Aviv, by a group of musicians, and it functions as a collective and a record label.
Hoodna's musical director is the guitarist and composer Ilan Smilan. The cultural and musical environment that surrounds the group has a great effect on its creative process. Exposure to Ethiopian', Eritrean and Arabic musical traditions, coupled with an ongoing study and exploration of different jazz styles, creates a unique blend which has made The Hoodna Orchestra one of the most appreciated and sought-after live shows in Israel.

To sign off 2018, Malka Tuti are releasing a mega 4- tracker ep by Khida, in collaboration with their old time friend from back home Mihai Balabas. The 4 different tracks were written over the past few years, slowly plotted produced and perfected, each in its own 'twisted' direction. There are no dancefloor killers here, but instead 4 very unique voyages, experimental sonic excursions in time and space. It was the track Chloe that caught our attention, back in 2015. It's not a typical Khidja track, but the musicality and the composition in it reminded us of lost balearic moments. It made us reminisce on summery Sunday mornings back when life was still a bit more innocent, and naive. Out of our infatuation with that track came the idea of 'sitting on it' until the right tracks will be ready, and here we are, more than 3 years later.

The pampa, filled with enigmatic lines and geoglyphs known as Nazca, gives name to this record label.

Nazca Records was created to collect the music and art that Viracochas (beings of other worlds), shared with the ancient Nazca people, known for their love for music, dance and nature.

These recordings represent the music that was once played in another time and that will be played again in the future...They are the memories of the future.

Each vinyl and recording tells a story of the memories from each ceremony that took place in the Pampa Colorada, from music that was played, and of the figures and lines that the Nazcas used to show their gratitude to the Viracochas.
Maybe you're wondering how its possible or how we were able to capture those recordings in Nazca Records to then press to vinyl. It has been discovered that if an intelligent or exotic species wanted to connect to others,
they would use radio signals as they can travel any distance and require very little energy to send.
The logical wave frequency to communicate would be 1420 Megahertz, which is the frequency irradiated by the neutral hydrogen, when its atoms interact between each other.
Based on this info and knowing that hydrogen is the most abundant element in space, and after a lot of tries, in the end we were finally able to make the first contact with the Viracochas!
What is a cargo culto This word defines an ethnological phenomenon that happens when a technologically primitive society enters in contact with a technologically advanced
society.
This translates into a show of gratitude and admiration of one civilization for the other, in the case of Nazca, the cargo culto for the Viracochas, as a sign of gratitude, was represented by the lines, while the one of the Viracochas for the Nazca was shown through their music and art.
This fourth vinyl is divided in 2 parts, the first one collects the recording that beGun, a Viracocha, used to thank the Nazca people. His cargo culto is a record, a journey, a chapter
narrated through 2 original songs that are completed by 2 remixes, the first one by the magic Viracocha El Búho, and the second by Viracochas Klik & Frik.
The cargo cult used by the Nazca to thank these Viracochas' music and art was the line called The Tree.

Both Tribal And Ballistic, Hypnotic And Mesmerising 'antropophony' Is The New Record From Dos Ritmos (klasse Wrecks Family Members Luca Lozano And Phran). The Two Producers, Based In Berlin And Barcelona, Join Forces Over The Sea To Create A 5 Tracker Of Demented Drums And Percussion, Ghostly Voices And Haunted Atmospheres.

Strut proudly present the brand-new studio album from Nubiyan Twist, 'Jungle Run'.

Now one of the leading lights in the UK's new generation of soulful, genre-fluid artists, the Leeds-born and now London-based 12-piece collective have created their finest recordings to date, effortlessly weaving together elements of jazz, soul, hip hop, African styles, Latin, dub, hip hop and electronics in a flow of thought-provoking and life-affirming music.

Recorded at the band's own self-built Henwood Studio in rural Oxfordshire, the album effortlessly moves through different voices from the band's circle. The inimitable, timeless vocals of Nubiya Brandon lead the way on the album's title track about breaking preconceptions and promoting equality, 'Where you from I'm from wherever I be.' Saxophonist Nick Richards vocals the killer first single from the album about inner turmoil and a search for the truth, 'Tell It To Me Slowly' while rising Ghanaian star K.O.G. appears on the Afro jams 'Basa Basa' and 'They Talk'. Percussionist Pilo Adami (Nina Miranda / Afrosamba) voices the infectious bossa-jazz jam 'Borders'. The band also draft in two African legends for guest duties with the original Afrobeat maestro Tony Allen on 'Ghosts' and Ethio jazz pioneer Mulatu Astatke contributing vibes on the sinuous 'Addis To London'. 'The depth of talent and ideas that every member of this group has brought to the table for this album is incredible,'

says producer and orchestrator Tom Excell. 'Conceptually, 'Jungle Run' is all about connecting different people and cultures whilst exploring the journey of individuals. This album is the pinnacle of everything we have done to date and to collaborate with the godfathers of Afrobeat and Ethio Jazz and celebrate their music in a modern context was very humbling.'

The album is another landmark for a band that has been consistently developing their sound since their formation in 2015 at Leeds College Of Music. 'One of the biggest factors in our sound was the exciting music scene in Leeds,' explains saxman Joe Henwood. 'From a reggae night called 'Sub Dub' to venues playing whacked out experimental jazz.' Since then, the band's self-titled debut album (2015), EP 'Siren Song' (2016) and single 'Dance Inna London' (2017) have become classics in their own right and their live show has become an essential ticket; previous live highlights have included high profile slots at David Byrne's Meltdown at the South Bank and Glastonbury West Holts

'Jungle Run' is released on 15th February on CD, 2LP and digital. Cover artwork comes from acclaimed designer Marcus Davies and the album is mastered by The Carvery. Nubiyan Twist tour across Europe from November.

In 1972, Orchestre Abass released two incredible singles on Polydor. These records - featuring

Samarin Banza, Haka Dunia and other afrofunk masterpieces - were powerful enough to knock

any music head out, but it wasn't until the discovery of some unreleased material by the band that

the seeds for this project were planted.

It all happened in 2008 in Ghana. I was going through some tapes that had previously been the

property of PolyGram one of the major record companies based in west Africa. In the late 80s political

instability and curfews had paralysed the music industry forcing Polygram to close their Ghanaian

subsidiaries leaving all of their recordings behind. These recordings had been packed in boxes and

left vegetating in an Accra warehouse for three decades until I came along. To my surprise all of the

tapes looked unharmed and I was particularly relieved to hear that the Orchestre Abass tape was in

an excellent state of condition. I began fiddling around with the idea of releasing an album of the

band and that plan got an additional boost with le 'coup de grace' which had landed in the form of

an ultra rare tune called Honam discovered in Sotoboua, a small northern Togolese town in the

middle of nowhere. That find completed this selection.

I had previously discovered some similar music in Northern Benin and in Nigeria and I started

picturing an area that spread all the way from Northern Ghana to Northern Cameroon, an area I

dubbed 'The Islamic funk belt' due to the fact that Super Borgou de Parakou, Napo De Mi Amor,

Uppers International and Hamad Kalkaba just to name a few - all from that 'belt' - were groups

made up of musicians with an Islamic background. This can be felt and heard in the music and

particularly in the singing since many of the musicians had attended koranic schools and the

languages used in the songs often had Arabic elements fused in - Orchestra Abass was one of them.

With their heavy, organ-led sound combining with the deftest of musical touches, these records were

the work of a rhythmic powerhouse and we are honoured to be in a position to present the

recordings of Togo´s funkiest Band.

Unfortunately Malam Issa Abass, the founder, guitarist and organ player of the band, was killed in

1993 by a grenade thrown into his bedroom and to help me reconstruct the biography of the band I

tracked down Thon Komla, one of the band´s songwriters and Abderaman Issa, the guitar player

of the band.

All the music was licensed directly from the various composers of these songs. The vinyl is pressed on

180 High Quality Virgin Vinyl and the gatefold contains previously unseen pictures and a detailed

biography of the might band.

South African disco release. The title track 'Dance', written by Belgian composer Frank Degrijse, was released by Night Force and became a hit throughout Europe in 1980.
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In South Africa the song was released with permission at a slower tempo (the original 45rpm was 'officially' slowed down to 33rpm). Added to this are four tracks by Music Team's in-house production team the Tom Cats - including dub reworkings of recent Afrosynth releases 'Burnin Beat' and 'Searchin', here released as 'Hot Stuff' and 'Search For Love' respectively. Synth-heavy oddities 'You Are My Fire' and 'Shake Shake' make up the rest of the tracklist.

Ever since Onom Agemo & The Disco Jumpers broke the dreaded curse of the difficult second album by releasing "Liquid Love", a cocktail so spicy and delectable that it could warm the cockles of the grumpiest man alive's heart, even in the most Arctic conditions, everybody wondered how the Onom crew could top that one. But now you have an opportunity to whip out your "Magic Polaroid" as proof that this wasn't an impossible Project. Never before has the band so successfully captured their full-on live sound as they do here, thanks to three days of recording frenzy at Daniel Nentwig and Sebastian Maschat's Butterama studio, a haven of analog hardware hidden in a remote part of Berlin's Neukölln district. The exploding kaleidoscope of styles that make up this album, perfectly reflected by the stunning cover artwork from Nick Henderson and photography by Christoph Rothmeier, means that they can no longer be confined to their early description as an "Afro-Funk Quintet" or merely described as a lively tribute to the artists which have influenced them: their sound is 100 per cent pure uncut Onom Agemo, even though every track feels like a new beginning. The presence of a charismatic in-house vocalist who brought her own lyrics along has also boosted their confidence considerably and provided a further knock-out punch to their onstage performances.
And no one will be disappointed as soon as the first bars of "The Trumpets Of Denmark" stomp on stage like a boisterous fanfare, with Johannes Schleiermacher's impressive wall of sound production making the musicians sound like a much bigger band than what their line-up suggests (with Maria Schneider from Andromeda Mega Express Orchestra adding some extra percussive clout) and just the right amount of dizzying cross-rhythms to steer it away from potential bombast. When Onom Agemo's powerhouse vocalist Natalie Greffel starts chanting what at first sounds like a string of Onomatopoeia, it soon becomes clear that she's laying down her manifesto for a nostalgic Space-Age yet to come, with a few key words serving as Mantra (Focus, patience, tears and creation): an invitation to drive off the Information Superhighway and its endless litany of polite noises, to redirect our gaze inside ourselves and learn to understand and sometimes question how others perceive us.

Kalita Records are proud and honoured to announce the first
ever and official reissue of Kallaloo's sought-after 1982
disco single 'Star Child', accompanied by interview-based
liner notes. Originally released on Jeffrey Turpin's
Trinidadian record label IDA, 'Star Child' has since become
highly sought-after by both DJs and collectors alike as an
invisible, yet astonishing piece of Caribbean disco. Unable
at the time to gain the traction and success that it deserved,
we hope that this re-release provides an opportunity to bring
such a great record to a much wider audience.
Kallaloo consisted of various Trinidadian musicians including
Keith Alexander and Peter Wayne Barkley. Keith had been
well-respected as a member of the Trinidadian group Impact, and
was later to become an in-demand producer and composer under
the name of Keith Diamond, responsible for various hits by Billy
Ocean, Donna Summer, Starpoint and Melba Moore. In contrast,
Peter was a well-known recording session drummer, but after
'Star Child's' release he moved to North Carolina to pursue other
interests and 'was never heard from again'.
'Star Child' was recorded at Right Track Recording, in mid-town
Manhattan, New York. As Jeffrey recalls, the atmosphere in the
studio was 'great', with 'everyone upbeat, the cream of the crop
just looking for that break... everyone was talented and just
wanted the chance to express their own ideas'. Five hundred
copies of the record were released on IDA with a white label
design, and they were sold both in Brooklyn, New York and Port
of Spain, Trinidad. It was also released on a red label, however
this was not to Jeffrey's knowledge at the time.
Jeffrey explains that the reason why the record didn't fare well at
the time was because of the difficulty in getting the song played
on the radio. As he recalls, radio stations were much more likely
to play 'radio versions' of songs which lasted for a couple of
minutes, rather than five or seven minute 'extended' versions
such as 'Star Child', which were more suitable to a club
environment. In addition, as Jeffrey explains, radio airplay is a
'political business', and also within a short while band members
such as Keith got their own breaks, and the Kallaloo era was over
as quickly as it had started.

For this album, the legendary Congolese band Konono N°1 has joined forces with acclaimed Angolan/Portuguese artist Batida aka Pedro Coquenão. Deluxe double LP with colour innersleeves and download code.

Along with producer Vincent Kenis, they convened in Batida's garage-cum-studio in Lisbon with a series of collaborators and friends of Batida's, reflecting the city's vibrant, cosmopolitan music life: guitarist Papa Juju (the leader of Lisbon's foremost Afro-fusion band Terrakota), vocalist Selma Uamusse (one of the best young African singers currently residing in Portugal) and MC AF Diaphra, a distinguished slam poet and an artist/producer in his own right.

As we all know by now, Konono N°1 are based in Kinshasa, DRC, but originate from the Bakongo ethnic group, which lives in a region straddling the border between the Congo and Angola. Hence certain similarities between Konono's rhythms and some types of Angolan music from which Batida has drawn inspiration for his albums and shows.

This encounter was obviously bound to happen... but was nevertheless quite an adventure: blending the worlds of electronics beats and organic grooves was a challenge to which the parties have risen beautifully to create this exciting, unheard-of new strain of Afro-electro music. The album was jointly produced by Vincent Kenis and Pedro Coquenão.