Pop & Rock Vinyl New Releases - News

After years of playing with the Moroccan community of Brussels, music maker and jazz musician Luc Mishalle knows every trick of the cross-fertilization of gnawa music, jazz & brass. Gnawa is the Northern African islamic sufi music with healing vibrations and spiritual lyrics, played by the descendants of African slaves. The album title 'Beats & Pieces' refers to the collaborations with Belgian percussionist Roel Poriau (Think of One, Antwerp Gipsy-Ska Orkestra), Tunisian electronic producer Sofyann Ben Youssef (Ammar808, Kel Assouf) and Moroccan-Belgian gnawa master Maalem Driss Filali. 'The album is significantly less 'jazz' than past collaborations with Byron Wallen and Trevor Watts,' explains Mishalle. 'It's based on gnawa songs I transcribed and arranged together. Half of the songs contain vocals, which makes it more radio-friendly.' There are also fragments of Beninese traditionals and which bring us to another thread through the album: trance. You can find it in gnawa music and even more in Benin, the cradle of voodoo. 'Trance music aims to create obsession through constant repetition. We kept the essence of that music, adding jazz and brass colours,' Mishalle finds these musicians in Brussels, and together they search for the sound of this city known for its hyper-diversity. 'Brussels' context is unique, in Belgium and beyond. Our metropole has quirky vibrations. To catch them, you have to fully submerge.'

Two of the best tracks off the Brasileira LP get an updated dancefloor treatment by Selvagem, Carrot Green and Joakim.
Those who experienced listening to the original Maria Rita version of "Cântico Brasileiro Nº3 (Kamaiurá)" on the dancefloor know it's such a thrilling experience that could only be better if the song was a bit longer. At the same time, it didn't make much sense to mess with the original. Having these thoughts on their minds, the Selvagem boys' Augusto Olivani and Millos Kaiser (the minds behind Selva Discos) had an insight while discussing the reissue of the "Brasileira" material with singer Maria Rita Stumpf: why not hit the studio and remake the track Also, why not ask someone like Joakim, known for his exquisite taste and brilliant production skills, to remix "Lamento Africano/Rictus" It would be the perfect package. And that's what happened.
In order to properly remake "Kamaiurá", they recruited Paulo Sergio Santos from Uakti, one of the musicians that took part of the original "Brasileira" recording sessions, a supertalented multi-instrumentist who still possesses a version of the plastic tubes responsible for the particular bass sound of the track and also a couple of flutes reminiscent of the ones first used (not to mention a lot of crazy instruments he brought alongside him; on a side note for those not familiar with Uakti, it was an instrumental music group from Brazil famous for creating their own instruments whose godfather was Milton Nascimento and peaked in the 1990's playing with Philip Glass). Carlos Gualda aka Carrot Green, who's been collaborating with Selvagem for the past 3 years, was also summoned for the mission.
The project of remaking "Kamaiurá" also needed a proper recording studio, so Augusto and Millos pulled a couple of strings to rent the legendary Vice-Versa studio in São Paulo (now owned by the Brazilian label Trama), which was founded by Rogério Duprat (yes, the Tropicalia maestro), Luiz Arruda Botelho, Sá & Guarabyra in the early 1970's - a beautiful, spacious acoustically-treated wooden room fully equipped and controlled by a Neve console. There, Paulo Sergio Santos recorded 12 different instruments (none of them electric or electronic) and Maria Rita Stumpf sang in a studio after more than 20 years, on a different arrangement than the original, with a new intro and an outro, also extending the song (including a breakdow) for a better dancefloor experience. Later, Selvagem & Carrot Green worked on the post-production, adding a kick drum, a hi-hat and some Rolando SH-101 punctuation, all very minimal, so the feeling of a jungle excursion of the new session would be preserved.
Concerning the "Lamento Africano/Rictus" remix, it's a great feeling when you present your first choice an idea and the person is just hooked by the power of the music. Joakim was just very interested about the singer, the instruments used, the lyrics and jumped aboard this project quickly. He didn't had the same opportunity as Selvagem & Carrot Green had, being offered to work with just the original song, but did an amazing job inverting the elements of this suite, using the kalimba-sounding instrument in the introduction and the African lyrics in the breakdown, turning this subtle, sensitive chant in a dancefloor monster.

Following the recent reissue of Vox Populi!s Aither album, Emotional Rescue further explores the more discerning, esoteric sounds of the French 80s avant-garde scene in coute Visual artist, sound designer, musician, label founder and emotional tree consultant Ramuntcho Matta is a man of shifting, relentless talents. Diagnosed with autism at a young age. Therapy based on yoga and music set him on a path, leading to learn from the likes of composter Cuarteto Cedrn. Discovering avant-music at an early age, he moved to New York to study in the "Third Street School of Music", meeting John Cage and going on to work on projects with Laurie Anderson, Brion Gysin and Don Cherry. His architectural concepts applied to composition were explored on his 3 solo LPs from the 1980s. The middle of these, coute, is possibly his most cohesive, exploring the use of extra-European musicians, especially African and Brazilian percussion, jazz horn playing, as well as Uruguayan singer Elie Meideros. Mexicos Cacau de Queirozs performance on saxophone and flute is stunning, former Gipsy Kings member, Jorge Negrito Trasante attributes much of the LPs Brazilian percussive flavour, while Magmas bassist Jannick Top brings gravitas, including performing a water claps duet alongside Matta on the exquisite O Clapo. As one piece, coute endlessly avoids standard musical formulas, seeking textures of far-flung elements; alchemy against a background of freedom to experiment that would be the theme throughout Mattas career, whether setting up SSR records under the alias Michael Pope or in his more recent output, teaching methodology of doubt

Second solo album from Stéphane San Juan, long-time drummer for Amadou & Mariam and percussionist for Bernard Purdie.
Stellar Samba Jazz LP combining classic Brazilian melodies and the rhythms of the Orixas, featuring a host of heavyweight Brazilian players including Wilson das Neves. Stéphane is currently drummer and percussionist on David Byrne's world tour.

'Pat Thomas has been known as a driving singing / writing / bass-playing force behind San Francisco band Cool Ghouls for years and, over those years, in tandem with the band's group effort, has cultivated an interesting voice as a solo act. 'Solo' isn't really the correct word though because the tracks on I Ain't Buyin' It showcase recordings complete with fully fleshed out arrangements, not unlike other ambitious California classics like The Beach Boys or Love. These comparisons seem lazy, given the obvious associations of the west coast with this sort of sonic imagery, which bands from San Francisco or LA—but SF especially—are seldom able to shake off. But at the entry point of this record, you welcome it as you would a lover of this style. 'As this album's initial feeling moves forward, you get better acquainted with Thomas's idiosyncratic song-writing and production style, which are playful and groovy and lighthearted. But these songs also convey a deeper inner dialogue which reflects the inherent paradox of life in a city such as San Francisco, or many other American cities. The feeling of general displacement and falling victim to commerce is real. A feeling that includes everything from the seduction of empty suburban idealism, to the city being robbed of its creative force by pointless commerce, to the entire USA being literally robbed from Native Americans. It's hard to maintain a positive outlook when one reflects on the depth of this situation, but Thomas has succeeded in presenting a way to embrace these circumstances: through this music.' —Emmett Kelly (The Cairo Gang)

The Afro National Band Was Formed In Freetown, Sierra Leone In 1972. Their Inspirational Leader, Sulay Abu Bakarr Accompanied By His Wife Patricia And Ayo Roy Macauley Split From The Sabanoh Jazz Band To Form Their New Group. They Skillfully Merged Highlife And Jazz Sounds With A Deep Knowledge Of West African Sounds. Growing To Become One Of The Premiere Bands To Emerge From Sierra Leone They Not Only Defined The Sound Of The Country For A Generation But Also Crafted Some Of The Country's Most Popular And Memorable Songs (for Example Sonjo Which Is Included On This Collection).

The Band Toured Extensively Throughout Africa And Europe In The 70s (working With The Giant Of Sierra Leone Music Akie Deen In The Process). Towards The End Of The 70s The Band Departed Sierra Leone, Sulay And His Wife Moving To Maryland In The Us And Other Members Moving To London.

Our Collection Focuses On Possibly Not The Best Known Songs Of The Band But The Tracks Which Have The Rhythms To Move The Dance Floor. We Open With The Foot Tapping "jokenge" And Its Driving Shuffle Beat, Swirling Organ And Percussive Guitar Lines. "push Am Forward" Takes A Afro-psychadelic Turn With Its Hypnotic Rhythms And Driving Distorted Guitar. "mr Who You Be" Is A Cover Of The Fela Kuti Track, Doing It Fine Justice. "gowa" Highlights The Vocal Prowess Of The Band, As Dose The Ever Popular "sonjo" (the Version Featured Here Is A Rare Alternate Recording).

"money Palava" Opens Up Side Two With Its Infectious Highlife Beat And Hooky Vocals. "money Nor Bataya" Highlights The Bands First Use Of Synthesizers. "mother In Law" Sweeps Up Back To Free Town 1973 With Its Clever Vocal. "set My Soul On Fire" Is A Bonus Track Which Brings In The International Flavour Of The Band.

The Afro National Band Continues In Various Guises To This Day, With Sulay And Patricia Acting As The Proud And Talismanic Figures For A Whole Generation Of Sierra Leonean Music.

3rd chapter of ultra-heavyweight dub and UK steppers from the mighty King Earthquake.

Special Limited Edition 12'' Translucent Tan coloured Vinyl in Single Pocket Jacket with matte finish. Printed inner sleeve. Download coupon included.

Shad is a Canadian rapper with four solo albums under his belt, one R&B side-project, a Master's degree and numerous accolades. On October 26, 2018, he will release his highly-anticipated concept album entitled A Short Story About A War.

In addition to three of his records being nominated on the Short List of the prestigious Polaris Music Prize, TSOL won the 2011 Rap Recording of the Year at the Juno Awards. Since then, Shad has elevated his practice by emerging as a vital broadcaster. After hosting CBC Radio's q, he went on to host the Hip-Hop Evolution docuseries, whose 2016 season on HBO Canada earned both a Peabody Award and an International Emmy Award.

A Short Story About A War tells the story of a fictional world consumed by war, with various factions and philosophies clashing, and in the middle of it all, one character who doesn't believe in the power of bullets. The poetic storytelling weaves its way through themes of migration, environment, economics, politics, and most critically, the deepest parts of our spirit.

2 track Single from Skiddy & Detroit / Bunny Gale released by Rebind/Dub Store Records

This is one of the most anticipated as well as unexpected compilations from the global depths of 60s and 70s rock'n'roll: The Persian scene. Let alone coming across with a representative compilation, even solid evidences of such a scene has not been seen until now and has been largely suspected, maybe save for a select few of eager garage and psychedelic record collectors and enthusiasts of worldwide rock, who have been trying to hunt such sounds on the internet and private collectors' circles, usually to no avail. Needless to say, the most important factor in this has been the obvious hideously rare status that Iran's pre-Revolution East-West cross cultural artefacts are in right now. As with almost all Asiatic countries, the Shadows and the Ventures seem to be the true and primal influence in the Iranian music scene of the most part of 60s for the rock sound and attitude to penetrate the country's fledgeling record industry and its swinging public base. In 1964, the legendary Top4 company opened up and started releasing choice chart hits from the worldwide lists, on 4-track EPs, followed soon by MonoGram and other companies. These mixed up records featured a lot of popular songs of the day, spanning the whole European continent i.e. including what's referred to now as 'Euro pop' hits and the 'big brothers', UK and US charts. The day's youth back then was lucky: they could follow the West moment by moment now. The foremost impact of these were to feature and spread British invaders, The Beatles and The Rolling Stones, otherwise available only on radio. Come 1966, 60s was in full swing in Iran too!

After almost 15 years of peddling his own cd's and tapes on the streets of Mbale, Robert Mugamba's Kadodi finally get a proper introduction to the outside world thanks to the increasingly vital Nyege Nyege Tapes crew. 'Kadodi' pairs a transfixing percussive soundtrack with modern electronic contributions from Bamba Pana and Sun C, resulting in another remarkable document from the pearl of Africa.Extending privileged insight to the way ancient practices meet modernism near the Equator in East Africa, the 'Kadodi' LP renders a set of mesmerising, rhythmelodic percussion and crowd hollers, along with electrifying reinterpretations by local, East Ugandan producer Sun C and Dar Es Salaam, Tanzania's Bamba Pana. Placing ageless ritual music alongside its club antecedents, the results find tradition frictionlessly reconciled with modernism, drawing bridges between tribal identities and ancient belief systems, and clubs as contemporary sites of ritual enactment.
The musical aspect of the ceremony is intended to induce initiates to a trance state, readying them to transcend from boyhood (basinde) into men (basani). The twice yearly rites of passage
are such an occasion that their soundtrack has now transcended from original ritual use to find its ways into nightclubs, thanks to producers such as DMX, Papas and Sun C - the pioneer of Kadodi music's shift into electronic spheres.
On this set the ceremony starts on side A and continues into side B, documenting the Domadana Kadodi Performers brewing a bristling frenzy of polymetric percussion with hypnotic intensity
coming as a result of their natural complexity. Following this utterly unique situation, Mbale native Sun C offers a near 10 minute electronic reinterpretation of Kadodi music on 'Kaad 4', mirroring the breathless cadence and intensity of the original in its sustained pitches and intricate syncopation of pipes and pointillist percussions. And you can trust Bamba Pana to take that one step farther on 'Wateranga', where he ramps the original drums with Singeli-style pattern and pace to irresistibly energetic effect.
Incredible, unique music.

Claremont 56 Continues To Champion New, Previously Unheard Talent With 'ready To Die', The Stunningly Beautiful And Catchy Debut From Bel Aka Charlie Bell - A Young, Liverpool Based Singer-songwriter, Musician And Producer Who Has A Huge Future Ahead Of Him. 'ready To Die' Is An Emotion-rich Chunk Of Catchy, Loved-up Balearic Pop With Heart-aching, Gut-wrenching Lyrics About Unrequited Love, Bell's Debut Is As Catchy, Infectious And Heartfelt As Anything The Label
Has Released To Date - As Proved By Lauren Laverne's Decision To Champion The Record On Her Bbc 6 Music Show.
Such Was His Love For The Song, Murphy Decided To Remix It For Release, Completing Extended Vocal And Instrumental Versions That Enhance The Track's Sun-kissed, Glassy-eyed Appeal. Both Mixes Are Magical, With The Vocal Version In Particular Capable Of Making The Hairs On The Back
Of Your Neck Stand To Attention.
Bell's Impassioned Vocal And Breezy Acoustic Guitar Playing Naturally
Takes Centre Stage, With The Track's Sweeping Synth-strings, Toasty
Bass And A Few Trademark Murphy ourishes - Think Well Placed Delays
And uid Electronics - On Hand To Amplify The Song's Bittersweet Mood.

Fifth album by the ANATOLIAN ROCK legend, originally released in 1977.

Progressive pop / rock sound including the 11 minute epic, Moog-laden 'Sevdan Beni'.
Original artwork in gatefold sleeve.

*Remastered sound

*Colour insert with photos

Mythologen, Aka Alexander Palmestal Follows Last Year's Debut Album 'mythologen' With The 12'' Ep 'church Music'. This Ep Is A Love Declaration To Londons Club Scenes And Some Of The Titles Are Named After Parts Of Districts In South East London.
The Tracks On This Record Are Free And Loose In Its Melodies And You Hear That Palmestal Has Worked On Pure Intuition In The Song Making Process, Inspired By The Surrounding Smells, Sounds And People. As Explosively Impressing As The Album Was, Is Also 'church Music' And The Airy, Uplifting Sound That Has Become Part Of Mythologens Trademark, Is Developed With A Sacral Touch.
Alexander Palmestal Have Since The Days Of Pistol Disco In The Early 2000's Been One Step Ahead Of Most Acts In Leftfield And House Music And Have Created An Own Musical Space To Exist In - Something Most Artist Never Achieve! 'church Music' Consolidates Mythologen's Position As Both A Guardian And An Innovator Of Modern Dance Music

First recording of Chico Buarque!

Legendary soundtrack from the maestro Ennio Morricone ranging from jazz to lounge atmospheres of mystery and suspense, with ethnic elements of Middle Eastern culture, classic surf-spy theme song, hippy bongo suspense, orchestral moods, cocktail blues, roller rink electric guitar and much, much more.

LIMITED EDITION OF 500 COPIES IN PINK VINYL!
EXTENDED EDITION OF OVER 10 MINUTES

Jessica Einaudi is a Berlin-based Italian singer and songwriter. Jessica has had an extensive musical career as half of dream pop duo La Blanche Alchimie. Together with songwriter and producer Federico Albanese she released two albums to much critical acclaim in her home country and toured extensively throughout the whole of Europe and the USA.

Fifteen track completion of deep biguines and Gwo Ka from the '60s French West Indies. The vinyl edition included a 4 page booklet + download code.

Biguine is a rhythmic style of music that originated in Guadeloupe and Martinique in the 19th century, which fuses 19th-century French ballroom

dance steps with African rhythms. Gwo Ka is found among all ethnic and religious groups of Guadeloupean society.

It combines responsorial singing in Guadeloupean Creole, rhythms played on the Ka drums and dancing. Gwo Ka is the musical and cultural product of the

region's African ancestry, forcibly brought to the Caribbean through slavery. Gwo Ka exists only in Guadeloupe, which is a very different island from much of

the Caribbean, in that it remains a 'department' of its original colonial master, France. Here the currency is the Euro and the baker sells croissants and café

au lait. This constant 'European-ising' of the island means that Gwo Ka plays a fundamental and important role in the defining of Guadeloupean identity.

'Antilles' Méchant Bateau', a low-tempo number with a bolero feel, indeed a pure case of the blues, and a terrific saxophone solo. What else would you

expect to set the tone for this selection, in which beguine regains its original colours, in the darkness of the Gwo Ka drums. This 45 by André Mahy, released

under the Aux Ondes sublabel, was recorded in the 1960s at Célini's, one of Guadeloupe's two main houses. Through its drum rolls and harrowing chant, it

recalled how, long before the mid-1960s, the Antilles' history was written in an ocean of teardrops - namely the Black Atlantic.

Ein sanftes, geschmeidiges und elegantes Album, das sich schwer greifbar der
Erdhaftung verweigert.
Gérald Toto wurde 1967 in Frankreich geboren. Seine Eltern stammen aus Martinique und besaßen eine
große Vinylsammlung mit amerikanischem Soul, afrokaribischer Tanzmusik, kongolesischem Soukous und
Makossa aus Kamerun. In den 1990ern wuchs Toto zu einem kühnen Musikabenteurer heran, der
atmosphärisch-experimentelle Alben herausbrachte und mit so unterschiedlichen Künstlern wie dem
algerischen Raï-Sänger Faudel, Nouvelle Vague und dem Elektro-Futuristen Smadj kooperierte. "Sway"
nimmt uns sanft, geschmeidig und melodisch mit auf eine imaginäre Reise in eine Welt des Innehaltens und
der Beobachtung, eine Welt, in der der frenetische Krawall der Moderne zu einem sanften Säuseln wird.
Dabei scheinen Totos Songs aus einer nie versiegenden Quelle frischer Luft und Sonnenscheins zu
schöpfen, die den Hörer in eine zeitlose Träumerei versetzen. Gute Musik lässt sich nur schwer bis gar nicht
kategorisieren, und so präsentiert sich das Album als Mischung aus akustischem Folk, Jazz, Soul, Pop und
Blues mit kosmopolitischen Ecken und Kanten aus Creole- und karibischen Anklängen. Dem Rhythmus des
Lebens leiht der Meister des Understatements seine lyrische Stimme. Sie flüstert und vibriert mit einer
eleganten Eloquenz auf Englisch sowie in frei erfundenen Sprachen.

Originally out in 1967 on Disco Fuentes, De Fiesta! is the complete singles collection by Peruvian percussionist Mario Allison. South American standards such as "Le Rompieron El Pito", Cuban traditional hits like "Bamba Cure", or "Cuando Sali De Cuba', along with '60s rock classics like "Louie Louie", all revisited in a twisted boogaloo fashion. All killers, no fillers.

An absolute milestone in South American music, Navidad Negra is a kaleidoscopic masterpiece where Cumbia, Cha-Cha, Porro, Fandango and Mambo merge all together, skillfully assembled with class by the one and only Pedro Laza Gutiérrez and his legendary orchestra. String bass player, music director, composer and arranger, Pedro was active starting in the '30s and not unlike many of his contemporaries he grew under the strong influence of the early jazz music coming off Colombian big city radio stations in those years. Pedro mixed that tradition with the Caraibic sounds coming from his native city of Cartagena, creating a special blend that made him one of the most popular Caribbean and South American artists during the 60's, along with Sonora Matancera, Benny Moré and Pérez Prado.

Limited edition of 500 copies.

After the release of their playful debut album "Worldstyle" the Budapest duo are now returning with their 2nd album "Brotherhood" and this time their message is more serious. The music if often summons blues elements but also influenced by dub, funk and a little hip-hop while the lyrics are mainly about the social and personal problems of our time interpreted by talented guest vocalists from all over the world. The guest performance of KRSA puts the point on the letter 'i' in 'Brotherhood' and in the other reggae-inspired song 'Pass It On'. Being one of the dominant figures of the Hungarian ska movement he is an
important guest on the album. As the main driving force behind the 90's very popular and recently revived British band Freak Power Ashely Slater needs no introduction. He has worked with Dub Pistols, Dublex Inc., or Fort Knox Five, and his
talents and professional performances are turbocharges three
completely different songs. 'Revolution!' has previously released in 2016 as a 7' single and features dazzling electro blues and Ashley's food for thought lyrics. In 'Life Is Love' he proves that his talent has no barriers whether he sings lonely doo-woptempo or the dub-ska of 'People Kill People' which is a unique cover of Éric Serra's seminal 80's cult classic 'Guns & People'.
Denise M'Baye known as the MC/singer of Mo'Horizons is featured in two downtempo tracks. 'Wings' is a laidback song about love while and 'All My Life Is In This Bag' smuggles back a little bit of the mood of 'Worldstyle'.Fedora is the best-known female MC/singer of the Hungarian bass music life. She made her own solo album in 2017. With 'Come Away With Me'
she proves that she's not only an bass music MC, but a great singer with deep emotions. Another guest from Hungary is the lead singer of the downtempo-funk band Mystical Plants. Bryant Goodman contributes to the album in two different tracks with his gravelly voice. 'Bad Man's Ballad is bittersweet song about the average politician of our age while 'Keep Going On' on
the other hand is full of playfulness and delivers a short but positive message.
At last but not least we have the Ghanaian M3NSA on the board from Fokn Bois and RedRed. His lyrics in 'It Works' is very motivating for everyone and spreads the message of not giving up even if the world is seemingly against you.
Savages Y Suefo's new album 'Brotherhood' is a lot different from their previous one in many ways but it remained just as eclectic as its predecessor 'Worldstyle' and still proves Savages Y Suefo's wide interest and openness in music that is needed today... and not just in music.

Fresh from bringing us two incredible volumes of 'A
Journey into Deep Jazz' and providing an introduction to
Black Saint & Soul Note Records on BBE, IF Music's
Jean-Claude joins forces with Victor Kiswell for new
compilation, 'World Jazz Grooves'.
Currently celebrating 15 years of trading from his London
record shop IF Music, Jean-Claude has built an enviable
reputation over the past 25 years, as the go-to rare
vinyl vendor for some of the biggest DJs and producers
on the planet. Fellow record dealer and specialist music
expert Victor Kiswell has travelled the globe several
times over, hunting for rare records and DJing,
appearing on a Cairo edition of Boiler Room in 2017.
As you might expect, this treasure trove of music
contains a generous handful of obscure and brilliant
musical gems, carefully mined from all corners of the
globe.
'Europe, The Americas, Africa and Asia are all represented herein and hopefully a few surprises
foryou, the listener, too' say Victor & Jean-Claude,
summing up the project.
From its inspired opener: Vietnam veteran Billy
Bang's visceral New York social commentary
'Illustration' whose Watts Prophets inspired spoken
word vocal is (sadly) as relevant today as it was in
1978; through to the album's closer, a touching
African township ballad titled 'ITwenty-Five', 'World
Jazz Grooves' takes the road less travelled to
provide a jaw-dropping journey through world jazz
culture.
As Jean-Claude and Victor put it: 'Jazz will always
have its appeal: though influenced, jazz does not
need to be dictated by trends. It has been
experimented with by (almost) every population on
the planet. It is its diversity, the fusing of various
elements of different folklores, that allows jazz to
constantly evolve and maintain its relevance.'
Key Selling Points:
- 180g vinyl and premium quality gatefold
packaging
- full press campaign in UK, France and
Germany
- 2 globally respected crate diggers / record
sellers at the very top of their game, head up
their first joint venture for BBE





Improvisation*

'Exotic Other' is the debut album from London-based four-piece Animanz and Argentinian and Congolese vocalist Juanita Euka. Featuring nine infectious funk-infused tracks, the album is a dynamic

journey through rocking exotica. Available on 1xLP inc. Pantone coloured sleeve.

Flavours from rhumba, cumbia and merengue to the punk attitude and electro energy of the club-funk sound of title track 'Exotic Other' represent the fastpaced and diverse nature of their home of London.

Started as a collaborative project between childhood friends Max Rodriguez (guitar), Joshua Brandler (bass), Marc Goymour (keys) and Andrea Gucel (drums), Animanz was formed in 2013 when they threw themselves out

into London's multi-layered music scene. Since then the band have grown to encompass a genre smashing collective which welcomes guest performers from all over the world, and the musicians they've met along this varied path

have provided the band with a vehicle to help them develop their multitextured approach to rhythm. Animanz explain: 'We write party tunes, so the groove and energy are the

most important things. Everything else just fits around that.' The album is also very conscientious, and finds itself rooted deeply within our times, like London it is music to both get lost in and inspired by what the band call 'a melting pot;

an all-inclusive party for everyone'. Inspired by the relationship between afrobeat and protest which Fela Kuti epitomised, Animanz use emblems of modern technology to theorise a

systemised digital world. Tracks like 'TV' and 'Disconnect' deal with television screens and Wi-Fi as their subject matter, while 'Speak Out' is a ballad to those who complain about politics but do nothing to implement change.

(180 gram pressing) Their second album Águia Não Come Mosca (Eagles Don't Eat Flies) released in 1977 and the ensuing US tour firmly established them as a household name for rare groove aficionados worldwide. Tracks include Voo Sobre O Horizonte, Tamborim, Cuíca, Ganzá, Berimbau, Tarde, Circo Marimbondo, and many more. Essential!

The legendary disco producer (and drummer) Cerrone has announced the release of his new Afro EP II, that will be coming out July 29th via Because Music.
Based in France, Cerrone has sold over 30 million albums worldwide throughout his career, and won a GRAMMY Award for his first hit 'Love in C Minor' (he also has four other GRAMMY nominations).
It was not a surprise to see him come back to his first loves in 2016 with his first 'Afro' EP.
Today, Cerrone announces the release of the second chapter of his Afro series, the second return to the roots for the French disco maestro. 'African Voodoo' and 'Papa Oye' are his two new songs paying a passionate homage to Africa and its syncopated, spontaneous and genuine rhythms.

Unrivalled master of the sitar, Ravi Shankar inspired millions in the West to adore Indian classical music. This album presents a collection of classic

ragas which charts his rise to global stardom. It includes FREE download card enabling you to download the full album as well as bonus Ravi Shankar tracks

Shankar was a huge influence on The Beatles, The Byrds and countless other legendary bands and his music brought the sounds of the raga into western

consciousness and put the sitar on the musical map. George Harrison called Ravi Shankar 'the godfather of world music'. A ground-breaking artist who performed at the great pop festivals of the 1960s

including Woodstock and who was awarded India's highest civilian honour, the Bharat Ratna. This album was compiled by renowned Indian music expert Ken Hunt.

Super deep African / New Age / Minimalistic / Ambient crossover from Cabo Verde - Not the typical record, a beautiful listening experience - Check !!
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Originally conceived as a book of 6 poems that developed into a record released independently in 1986, Universo Da Ilha sits at the cross-section of many different genres. Connecting contemporary New Age and ambient minimalist movements with traditional West African and Cape Verdean elements from the past (griot voices, djembe rhythms, melancholic morna), Vasco constructed his own 'universe' where, in spite of the isolation of the island at the time, he transcended barriers and created a global record that was ahead of its time

Vasco used his own synths and drum machines, and with the help of a small group of friends (Tey Gonçalves on percussion, Neney's amazing griot voice, Luis Morais on sax and flute), he recorded this Not-Balearic-but-Atlantic Ambient odyssey on a 16-channel Peavey mixer directly to an Akai tape recorder without overdubs.

ONIPA means 'human' in Akan, the ancient language of the Ashanti people of Ghana. It's a message of connection
through collaboration: from Ghana to London, our ancestors to our children, Onipa brings energy, groove, electronics, afrofuturism, dance and fire!

Born out of deep collaboration between long time friends KOG (Kweku of Ghana of KOG and the Zongo Brigade) and Tom Excell (MD, guitarist and writer of acclaimed jazz/ soul afrobeat pioneers Nubiyan Twist), the 4 piece live show features KOG on vocals, balafon and percussion, Tom Excell on guitar, percussion and electronics, Dwayne Kilvington (Wonky Logic) on synths and MPC and Finn Booth (Nubiyan Twist) on drums.

It's a fresh, raw, fiercely energetic new sound, fusing electronics and deep afro grooves. Think Konono no.1 meets Shangaan Electro, Songhoy Blues and Débruit....

Deep late 80's percussion LP created to accompany contemporary jazz-dance classes. African instrumentation meets Western Jazz arrangements and computer technology. TIP!
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Percussions Pour La Danse was a collaboration between North American born jazz & contemporary-dance instructor Tony Kennybrew and French musician Jean-Pierre Boistel. Tony, a Washington native who had studied, taught and danced professionally since the age of 12, found himself in France in the late 80's. It's here that he linked up with like-minded musician Jean-Pierre; who had recently returned from a 6-month trip to West Africa. A trip that helped refine his craft that begun in the early 70's.

The music was created for Tony to use when teaching contemporary jazz-dance classes and to accompany live performance, allowing students to 'dance slowly, rapidly and change speeds without changing the tempo!'. This work of rhythmic research was based on the 'Balance of The Walk'; in 4 times, in 6 times, in 7 times & in 3 times. In order to reach the spatial possibilities he was striving for, Jean-Pierre would also use computer assisted programming to sample and re-play his own instrumentation. This allowed him to lay down the tempo of the track and then play live over the top, which in turn gave him the freedom to add the desired instruments and effects to each song.

Jean-Pierre's use of instruments such as the Kalimba, Talking Drum & Sanza gives the album a distinctly African feel, while contemporary Jazz-dance time signatures adds a unique perspective to these traditional instrumentations creating an ethereal balance between the old and new.

Superb album... compilting great music remixed in a generous Bass way... the travel starts with some funk and finish on reagge... Time Travel !

A1. Anthony Joseph
A2. Mr Complex
A3. Greenblood meets Akilignouma
B1. Bosq & Laflamme
B2. Colours Afrobeat Foundation
B3. Pablo Moses

Now known as Zekkariyas and Zeriiya, partners Cecil and Linda Womack, two eminent members in an extensive lineage of music artistry (i.e. Bobby Womack was Zekkariyas' brother, Zeriiya is Sam Cooke's daughter) engaged in one of music history's most successful and exciting singing and song writing partnerships in the early 1980s.

Zeriiya says her process with Zekkariyas flowed like water, their shared complicity and talent led them to write and produce strings of chart topping hits and classic albums as Womack & Womack but also for other renowned artists of the time such as Patti Labelle, Teddy Pendergrass and the O'Jays to only name a few.

The original version of Missin' Persons Bureau was first released in 1988 on 'Conscience' (Island Records), a classic album with impeccable instrumentation and thoughtful and relatable narratives that reflect on the nature of life, true friendship, love or in the case of MPB, it's subsequent loss.

Following the release of the LP, Island records founder Chris Blackwell introduced the idea of getting Missin' Persons Bureau reworked by House legend Frankie Knuckles and whilst the Womacks weren't originally set on the idea of having their songs remixed by other artists, Blackwell who Zeriiya describes as a 'record label manager seriously involved in making sure the project is what the creators really want it to be' had earned their trust.

With these remixes, Frankie managed to turn a radio hit into underground club classics. The Paradise Ballroom mix conserves the essence of the original, reinterpreting the rhythm section whilst drawing it out over 8 minutes, with expert tension building and release clearly aimed at the dance floor. The Folk Version presents a beatless interpretation of the Ballroom mix, focusing on the uplifting vocal arrangements and mesmerising guitar performance, truly beautiful!

Over the course of the last decade, Black Pepper label boss Jose Manuel has proved to be one of electronic music's finest contemporary alchemists, conjuring percussive, intoxicating and otherworldly musical treats for such labels as Tusk Wax, Kinfolk, Kill The DJ, Optimo Trax and Music For Dreams.

The genius of Manuel's productions lies in the Italian's ability to conjure cracking cosmic compositions out of a diverse range of global rhythms, instruments and influences. Rarely has this been more evident than on his debut release for NuNorthernSoul, a four-track serving of dancefloor mysticism that puts mind-altering rhythms and saucer-eyed instrumentation front and centre.

Track, for example, the light and dreamy wrapped sumptuous Balearic synthesizer chords and melodies around gentle hand percussion and drifting Zambian vocals on the sublime 'Journey in Lusaka' followed by the feverish, trance-inducing African rhythms, delay-laden chants, psychedelic acid lines and jangling Jew's Harp motifs of intense opener 'Journey in Lusanda', a ritualistic Afro-Cosmic onslaught ripe for peak-time plays. If the EP opener is all about being flat on your back and staring skywards, the follow up is all about druggy, heads down sweatiness!

Manuel's deep love of Indian music is explored on 'Journey in Mumbai', where exotic sitar lines, fluttering clarinets and echoing, densely layered female vocals rise above a thick, tabla-fired groove. It's naturally hugely evocative and atmospheric - a fine dose of emotion-rich spirituality capable of inducing hallucinations in the straightest of listeners.

To complete the EP, our hero travels even further east for 'Journey in Osaka', a fittingly percussive exploration of Japanese music's past and present that also includes audible nods towards the poly-rhythmic drums of West Africa. It's a superb combination of traditional instrumentation, 21st century electronics, heavyweight rhythms and mood-enhancing melodic flourishes.

Like the rest of the Journeys In...EP, it's both hugely alluring and impeccably produced.

A cry that is as soulful as reggae music ever got. Wounded and sore Philip Fullwood pleads 'just not the way it should be, we all want to be free. This tune has bucket loads of vibe and bounces along with its spiritual message nailed down by a great rhythm track. Its only real problem is should have been longer! Co-written with Winston Rodney (Burning Spear). Comes in a hand stamped bag. Killer.

Crisp Limited Edition 45 Of The Classic Roots Lament From Philip Fullwood. 'i Gave You My Word' First Floated In From St Ann's Bay Around 1979, But It Had In Fact Been Recorded Some Time Before Then. A Deep Roots Tune (arranged By Burning Spear) That's Improved With The Passage Of Time. Not Been Repressed Since The Early 80s. Comes In A Hand Stamped Bag.