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This production is a collaborative effort of Jakarta-based DIVISI62 and DISK (Berlin). It features 4 tracks by the constituents of DIVISI62. All artworks were delivered by DIVISI62, the covers were silkscreen-printed in Bandung, Indonesia and the inner sleeves are stamped in Berlin.The approach to rhythm and dramaturgy on all tracks is rather unique and original - and so are the samples used. DIVISI62 draws from the rich musical heritage of Indonesia in terms of rhythm and sound yet the producers are heavily influenced by global club culture and bass-music. This combination adds up for the most intriguing listening experience: Strange virtual spaces mixing with all-too-real ones, creating a hyperreal spacial feel in which musical structures unfold in a highly unpredictable and deeply entrancing way!

We are both pleased and proud to be releasing a new album by Mayerling, 'Roche'. More than five years have gone by since we collaborated with the talented musician behind the project, Sylvain Bombled - who, like HITD itself, hails from Besançon, France - and put out his first brilliant album 'Cut up'.

It's more electronic and bold than the first album... less traditional, more adventurous. The guitar has given way to synths and other analogue sequencers. As for the vocals, they have all but disappeared, as though the listener should be left to be totally taken in by the beguiling, trippy graphic powers and cinematic quality of the new compositions. These ambient hymns reveal something new to the listener with each playback. The rich production and fine details guide us through arid, solitary lands, striking us like the midday sun in Death Valley.

New Cool Collective have been happily grooving on 25 years of fame thanks to their unique mix of jazz, dance, latin, salsa, afrobeat and boogaloo. Their funky, energetic and danceable music are prominent on their new compilation album XXV. The pioneers in the Dutch jazz scene selected 10 of their best songs to feature on this album. It's a fantastic overview of all those fantastic songs they recorded over the years. The band, which won an Edison in 2018, brings their enjoyable mix to your home.

New Cool Collective has received many awards and toured through Europe, Africa, Asia and Canada. They collaborated with artists like Tony Allen, Mapache Africa and Andrew Roachford.

The XXV package includes an innersleeve with liner notes by the band and a free download coupon. The album is available as a first pressing of 750 individually numbered copies on turquoise vinyl.

Tasos Stamou presents his most recent electroacoustic music project 'Musique con Crète'.

The project is the result of a three-year creative research project across Crete (GR). Starting with an artist residency the musician visited the Greek island over the course of three summers, collecting field recordings, performing with local musicians, producing electronic compositions and gathering old records and tapes of traditional music of the region. The project resulted in the assembling of a unique sound collage which reflects his personal experience as a music visitor to this part of the Mediterranean with one of the richest ancient history and living traditions.

Tasos Stamou is an electroacoustic music composer, performer, alternative music technologist and tutor. During a decade of sound performances and recordings Tasos Stamou developed a unique style of live electroacoustic composition. Long and continuous pieces are created live using a 'portable electroacoustic music studio'. His gear consists of acoustic (prepared strings, reeds, objects) and electronic instruments (handmade electronics, modular synthesizer systems soft synths). Based on sustained tonal textures and free improvised instrumental solos, his live compositions create a particular and unique atmosphere of ritual noise. He has collaborated in recording and performing projects with a wide range of free improvisers and sound experimentalists (Adam Bohman, Steve Beresford, Sharon Gal, Alan Wilkinson, London Improvisers Orchestra, Mike Cooper, Andrea Parkins, Kuupuu & Lau Nau, Terry Day, Adachi Tomomi, Ignaz Schick, Magda Mayas, Arma Agharta, Thodoris Ziarkas, etc.).

Gamelan and capoeira in dub. The collective behind this doesn't like to talk much but their music is beautifully conversational. De Leon is the most organic and percussive of their shifting identities, developed on their Aught project in small-run, clear-shell cassette tape releases over the last few years.They've appreciated a cult interest for their takes on outernational rhythm, field recording, and the tension and relief on the knife-edge of dance music; all delivered with an impressive commitment to anonymity and clarity of vision through cut-and-dried aesthetic minimalism.These six pieces of music seem formed from wood, metal, air. Dramatic, balletic flourishes and tightly woven interlocking patterns are embedded in slowly changing and "live" atmospheres. The shadow of a hand over the mixing desk makes gradual adjustments to alter the pressure and dimension of the space.Lean, organic, percussive, warmly engaging. A cracker. Bim.

Matt Karmil, Pional, Marc Piñol and Dandara shed a new light on Slowciety's previous record: Guru. Guru Remixes opens with a mesmerising and brooding interpretation of the self-titled by Matt Karmil, recalling the raw textures of the UK-producer's LP. Pional's remix comes next with a powerful treatment of Elephant, once again proving the dancefloor expertise of the Madrid-based producer. He delivers the shamanic experience from the original track and pushes it forward with soaring percussive elements & beats layered on a 90's-esque emotive pad. Marc Piñol opens the B-side with a groovy remix of Guru, described by the man himself as a 122 BPM after party tool. A heady bassline loop, as well as dry & twisted sounds beefed up by Karmil's work on the
mastering, lead the remix to a hypnotic ride, pure and efficient. Last but not least, Swiss producer Dandara brings his tribal touch to the sensual Utopia'. A slow melodic dancefloor piece which smoothly closes this third record.

Alucidnation is the audio project of Bruce Bickerton.

He's been writing and producing music since he started building up his studio equipment in the heady days of the early 1990s.

Bruce's first 'proper' job was as a studio tape op, engineer and producer, and this experience has subsequently laid a solid foundation for his future music career.

The music of alucidnation played a key role in the Big Chill, the UK's first 'boutique' music festival. Bruce performed and DJ'd at pretty much every Big Chill event between 2000 and 2010, gigging in countries such as Greece, India, Japan, Korea etc. These were all significant events because they planted seeds which have since flourished worldwide. In hindsight, The Big Chill festivals represent an inspiring highpoint for music, DIY culture and live electronica-based audio performances. Bruce released two critically acclaimed albums on Big Chill Recordings; 'Induction' and 'Get Lost'. The label also released two alucidnation EPs, simply titled 'ep:01' and 'ep:02'. Bruce also undertook mixing and blending duties on The Big Chill's award-winning 'Glisten' compilation, released back in 2001.

Bruce signed his third long-player to Interchill, releasing 'Aural Architecture' in late 2013, along with a third EP, called 'ep:03', which contained remixes by scene stalwarts The Irresistible Force, Greg Hunter and Another Fine Day.

Bruce has continued to compose classic chill out and electronica, where the melodies are central and prevailing themes are calming, centred and mellow. Once he's managed to capture the sound and elements he's after (usually after the immediacy of a first take), he flattens the board - which prevents any temptation to revisit or recycle later on. It's a punk methodology which seems to work.

The new release 'Paracosmic' is imbued with the same principles and production values that have informed his large back catalogue. It's primarily an analogue affair, utilizing live takes & favouring his arsenal of old Roland synthesizers, outboard effects and 'proper' instrumentation. Bruce tends to shy away from computer plugins and fancy gimmickry - consequently this new album is whoozy with timeless electronica.

'Rhythms' is the debut album by Goatman, a new solo project by one of the mysterious members from the Swedish collective GOAT.
Recorded in GOAT's northern Swedish home town of Korpilombolo In late 2017 - the 6 tracks on Rhythms reveal a true collision of African Rock, Jazz, Reggae, Gospel and Psych, but all put through the famous GOAT filters.
Rhythms is a very apt title for the album as each track is an exploration of the 'groove'. From the Fela Kuti'esqe drums and horns jam of Jaam Ak Salam, to the frantic gospel-jazz of Carry the Load. From the fuzzed Can via the 'Bristol sound' track of Hum Bebass Nahin, to the cinematic, Spacemen 3'esqe drones of the album closer Baaneexu. The end result is quite an astonishing and very unique album, like what you would expect from an album made by a member of GOAT - an album that is hard to put your finger on, but one that you will keep revisiting, the more it's sounds reveals itself.

Goatman plays all the instruments on the album bar some additional drums by Hanna Östergren from fellow Swedish bands Hills and Träd, Gräs & Stenar, and an added horn section courtesy of Johan Asplund, David Byström. One of the standout highlights of the album though is the collection of great guest vocalists Goatman has enlisted. Tracks Jaam Ak Salam and Aduna feature the very special voice of Senegalese singer Seydi Mandoza. You will also hear the vocals of Swedish based singers Amanda Werne on Carry the Load and Amerykhan on Hum Bebass Nahin. Goatman's passion for traditional and contemporary music from around the world can be clearly heard when listening to Rhythms.

The level of authenticity and willingness for exploration that Goatman has captured truly shows a fanatical respect for the music he is greatly influenced by. But at the end of the day, Rhythms is an album that has a sole purpose, and that is for to you to enjoy, dance and have fun too!

Comes in a heavy old style silk-screened jacket with obi, postcards & inserts. Printed by Alan Sherry, with liner notes by Michel Henritzi.

During the past decade, a number of free music players in Japan have fiercely, with no compromise, continued to grapple with the questions that lay at the heart of the solo saxophone recital: how to tease and tear new formations out of the interface between human breath, human flesh and skeleton, and the instrument itself, its keys, holes, pads, reed, and brass body.
With Free Wind Mood, An'archives splits one vinyl record down the middle, giving a side each to two of the most rigorous, exciting, and committed players from the scene: Harutaka Mochizuki and Makoto Kawashima.
While there are elements of their playing that places them in a history of Japanese free blowing, from Kaoru Abe through Masayoshi Urabe to now, they both have a singular voice: Harutaka more stringent and tart, Kawashima, perhaps, more melancholy. Tellingly, they've both intersected with rock music and free sound ensembles, with Kawashima working alongside Nishizawa Naoto of EXIAS-J (Experimental Improvisers' Association of Japan), while Harutaka has worked in a duo Tomoyuki Aoki of psych-rock group Up-Tight, and guitarist Kondo Hideaki (also of EXIAS-J).
But both of them have made their most massive strides forward with their own solo releases, Kawashima's potent Homo Sacer one of the final releases on PSF, and Harutaka's Pas LP and Through The Glass CD exploring new terrain for the nexus of breath and brass. Moving on from those releases, Free Wind Mood is a devastating listening experience, blood and guts on the floor as the players fully inhabit the architecture of the space, and of the self, and play like their lives depend on it.
- Jon Dale

It has been exactly ten years since Finders Keepers Records rst liberated Luboš Fišer's immaculate soundtrack music for Valerie And Her Week Of Wonders (Valerie A Týden Divu) from the vaults of the Barrandov Studio in Prague. As the inaugural release of an ongoing discography of previously unreleased scores from the hugely creative 'Film Miracle' that occurred during and after the Czech New Wave (CNW), this score will always retain a special place in the heart of the label as well as our listeners who consistently request an updated repress of this signi cant vinyl milestone. Having grown in status from an obscure and misunderstood socialist-era art house oddity, via the hands of risqué foreign uff merchants, to nally nd its rightful audience as a bona de surrealist cinematic masterpiece of world class standards, this 1970 lm adaptation of Vítezslav Nezval's 1935 avant-garde novella (a lm that literally cross-pollinated Max Ernst's A Week Of Kindness and Lewis Carols Alice In Wonderland) has garnered widespread critical acclaim. Inspiring ongoing generations of visual artists, musicians, writers and lmmakers - all of whom regard this truly individualistic and inimitable surrealist lm poem to be an indelible in uence - Valerie continues to impregnate their daily artistic referential fabric.

Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London

The remarkable Music, Inc. Big Band remains the apotheosis of trumpeter Charles Tolliver's singular creative vision. Rarely if ever has a big band exhibited so much freedom or finesse, while at the same time never overwhelming the virtuoso soloists on whom the performances pivot. Built around the core of Tolliver, pianist Stanley Cowell, bassist Cecil McBee, and drummer Jimmy Hopps, the music boasts the kind of give-and-take born equally of talent and telepathy -- each player seems to communicate with his colleagues on a higher plane, delivering performances to rival any in their careers. Tolliver in particular plays like a man possessed, summoning an energy and clarity that slice through the big, bold arrangements like the proverbial hot knife through butter.

Legendary Ghanain album - with one of the music iconic covers ever! - that fuses Highlife, afrobeat, folk and funk. Ambolleys debut solo album originally released in 1975, written and produced with Ebo Taylor.


Ambolley grew up during the peak of Highlife in Ghana and was a key figure in its fusion with soul and funk influences from the USA. He played in many bands including Houghas Extraordinaires, Meridians Of Tema, Ghana Broadcasting Band and the Uhuru Dance Band, for which he was recruited by his friend, Ebo Taylor. The group went to Nigeria in 1973 to play with Fela at his legendary Shrine spot.

'Simigwa' was a chance for Ambolley to release his own productions and to experiment to a certain extent. A main inspiration for this album was the work of the mighty Mr. James Brown, something that is evident from the rhythm section, horns, vocal stabs and percussion breaks throughout the record.

Goatherder is the seventh album from underground London producer Kristian Craig Robinson, AKA Capitol K. This ace manipulator of audio and punk warlord of groove has crossed a tapestry of styles and approaches with his own secret compass since 1998.

Along with everything from Chinese pop to the marching band music of the United Arab Emirates in his early musical vocabulary, the influence of rave, new wave, grunge, and noise-core would collide to create a bold new sound. His early studio experiments gave birth to his debut, Sounds of the Empire (Planet Mu, 1999) built upon a heady balance of samples and live sources that placed Capitol K at the forefront of the UK's electronic scene. The follow-up, 2002's Island Row, was released via XL Records, with lead single Pillow becoming a daytime Radio 1 crossover. Nomad Junk (2005) combined Asian field recordings into a vibrant psychedelic collage, while Notes From: Life On The Wire With A Wrecking Ball (2008) paid homage to London's squats and free anarchistic artistic spaces of which K was a part for many years. Andean Dub (2012) was an exploratory South American-influenced album of heavy synth laden cumbia sound system tracks.

The last seven years have seen Capitol K's stature as a producer elevated with his establishment of the renowned Total Refreshment Studio and recording work with musicians such as the Mercury Music prize nominated The Comet Is Coming, global dance act Ibibio Sound Machine (Merge), the pan-Arabic Flamingods (Moshi Moshi), Serafina Steer and her BAS JAN project, and contemporary folk artist Rozi Plain, among many more.

This latest work was developed and recorded in his native Malta, where he built a studio in a cave (a former goat stable). K gathered bamboo instruments collected around the world, including an ancient Quecha reeded pipe (his new-found lead instrument), and various resonating vessels and percussive objects including dry fennel storks collected from Punic troglodyte sites, and atonal flutes built from fresh cut farmland reed. Ritualistic improvisations took place over a series of seasonal visits, awakening genetic memory and plant communication.

Back in London the tracks were interfaced and expanded with post-industrial machine beat and bass guitar lock down. Homage is paid to New Age synthscapes, while a Spirit Jazz overtone arrives from K's recent years as the sonic muscle behind a plethora of luminous albums born in his Total Refreshment Studio. Goatherder follows on from the 2016 collaborative incarnation LOOSE MEAT and sonically abridges 2012's Capitol K album Andean Dub.

Outside of studio production and his solo repertoire as Capitol K, Kristian has toured as guest musician with multiple bands over the last 15 years, including Brazil's Cibelle (Crammed Discs), Archie Bronson Outfit (Domino) (whom he also co-produced), and recently Du Blonde (Mute Records).

His last project, Loose Meat, was a collaborative album of poetic dance music received lots of radio play in the UK and toured across the country for a year, performing a number of festivals.

He established the Faith and Industry record label which handled his subsequent releases and through which now he releases a number of other artists that he develops and produces.

In the expansive sleeve notes accompanying this superb triple-album, Analog Africa founder Samy Ben Redjeb accounts, in great detail, the epic tale of Dur-Dur Band, a Mogadishu-based deep funk outfit that took Somalian radio by storm during the early 1980s. It's a remarkable story, all told, but nowhere near as remarkable as the music contained on this essential retrospective. Redjeb has managed to license both of their previously cassette-only albums, stretching them across three slabs of wax. Brilliantly played and performed, the songs mix killer American and African style funk grooves with hooky Somalian vocals, spacey synths and occasional nods towards other styles (most notably reggae on later period cut "Diinleeya" and Juju on "Salkuu Dhigey"). Simply essential.

HEAVY Afro-funk 12'' by the Ghanaian bandleader.. All tracks are winners.. incl a alternate funk version of ''Akoko Ba'' and ''The Message'', where he plays together with Zantoda MK3.. And then there is ''Burkina Faso''.. BIG TIP!! Prepare yourself for new directions in Afro-funk. During the 1980s, ghanaian bandleader Gyedu-Blay Ambolley began to experiment with electronic instruments, and the result was a potent cocktail of highlife, funk, exploratory synths and righteous vocals, the sound of a restless genius intent on pushing the traditional sounds of highlife into a brave new future. By the end of the 1970s, Ambolley was already a legendary figure on the ghanaian music scene. A drummer, turned guitarist, turned bassist, turned lead vocalist, he rose to prominence during the late 1960s, serving with countryman Ebo Taylor in the Stargazers and the Uhuru Dance Band before launching his own career with 'Simigwa-do', the 1972 hit that propelled him to West African stardom. As a founding member of the Apagya Show Band and the Complex Soundz, he stretched the boundaries of highlife with electric instruments, funky rhythms and socially charged lyrics in Fante and English
If he had retired in 1978, Ambolley's place in the history of ghanaian music would have been secure. Instead, he dissolved the Complex Soundz and embraced the synthesizer. With a new band, Zantoda Mak III, he recorded 'The Message', a seven minute funk workout built on a highlife foundation, and decorated with shimmering synths. Recorded in 1980, the song became a hit that would change the direction of Ambolley's music: over the next decade, electronic instruments played a much larger role in his sonic experiments. 'The Message' receives a long overdue re-release on this 12' along with three other peaks from Ambolley's eighties output. The futuristic funk of 'Akoko Ba' strips down the rhythm, raises the intensity of the vocals, and adds a dose of serpentine saxophone. On the B-side, 'Simigwa Soca' sets classic highlife horns against an
unshakable bass groove, while the incredible 'Burkina Faso' is Ghana's great lost electro-funk gem, a sleek construction of robotic bass, call-and-response vocals, and fat stabs of slippery synth.

Mais Kriola' first appeared on Brazilian Beats Brooklyn compilation put together by Greg Caz and Sean Marquand for us in 2006. It's a lovely laid back mid tempo boogie/soul/fusion jam. Originally appeared on Matheus self-titled LP from 1975.

'Maita' is a wonderful piece of warm, upbeat MPB from Doris Monteiro. Originally appeared on her 'Agora' LP from 1976, released by Odeon.

A selection of singles recorded by Congolese band Shika Shika in Kenya between 1981-1984. Intricate interwoven guitar leads, bustling bass, the high-hat ticking along, saxes bleating in response to the vocals - nine-minute fables about passion, adultery, ambition, a girl's name - echoing the heartbeat of a generation.

Whoever you are! I'm much closer to you than a stranger (Andrée Chedid) We are all connected. By atoms and stardust, hearts and minds and six degrees at most. By nature. The universe. Music. Take LAMOMALI, the new album by iconic French rocker, M. Recorded in collaboration with Toumani Diabaté, that Grammy-winning kora virtuoso from Mali, West Africa, and featuring a who's who of singers and musicians from, well, everywhere, it's both a mighty slice of African pop and a testament to music's power to enchant, heal and unite. This is the record I've been wanting to make for a long time,' says M, aka Paris-based singer, songwriter, guitarist and multi-instrumentalist, Matthieu Chedid. Twenty years ago I started working with Malian musicians in Paris. A decade later I went to Mali and met musicians including Toumani. Maybe it was my African side' - Chedid is of Lebanese/Egyptian origin - but I felt like I'd come home.LAMOMALI showcases the easy empathy between Chedid, a showman whose way with a riff and a lyric has bagged him eight shiny Victoires de la musique awards (think the French Brits), and the quietly brilliant Diabaté - a member of a dynasty that has transformed the kora, that 21-string harp with its great gourd resonator, into one of the most recognisable of African instruments.Toumani and his eldest son Sidiki, who features throughout LAMOMALI, are 71st and 72nd generation kora maestros in a lineage that stretches back to the Mandé Empire, to when there was no Mali, Senegal, Guinea Bissau or the Gambia. When West Africa was unified.My mission has always been to bring Mandé music to the world, and let to let people know that music has no borders,' says Diabaté, who has experimented with technique and developed a style of playing that, while rooted in tradition, is open to collaboration.In the process he has worked across genres including jazz, flamenco and classical (he's been joined onstage by the London Symphony Orchestra), and with artists such as Björk, Damon Albarn and the late great Malian blues guitarist Ali Farka Touré - a longtime hero of M's. I don't play other people's music and they don't play my music,' says Diabaté. But always, when we put our musics together, we make something new.LAMOMALI, then. A tribute to, variously, the kora, Mali, Africa and the world, it's a record that fizzes with life and love, artistry and audacity, tradition and innovation and leftfield imagination. This is contemporary African pop delivered with a knowing, iD-style wink. A fantasy project generated by an A-list star with a knack for reinvention, a man who channels Hendrix and Bolan through his 1964 Fender Strat (among his other s-hot axes) and sends them, lightning bolts zinging, into the future.I'm like the conceptualiser and cultivator of this album,' says M with a shrug. I planted the seed and then watched it grow and bloom into an extraordinary and colourful African world. A universal world.The kora has never sounded like it does on this album, never ever,' says Toumani Diabaté. Matthieu has this production team (including Philippe Zdar of French house duo Cassius) who did an incredible job of mixing kora and guitar.There'll be a live show, of course, a spectacular in keeping with M's penchant for inclusive happenings. An aural and visual feast, all singing, all (audience) dancing, bursting with colour and connection (oh, and costumes by Jean-Paul Gaultier). A performance that will bring us home to the sort of world we'd all like to live in. A place called LAMOMALI. Here are golden voices, catchy hooks, fierce guitar riffs, like-minded collectives and modern griots with ancient magic in their fingers.Here is diversity, serendipity and invisible connecting threads. And you, whoever you are. You're here too. Welcome.

The name 'Etran de L'Air' translates to 'the Stars of the Air,' the mountainous region of Northern Niger. They are based in the town of Agadez, an urban center renowned for the electric guitar and the

Western named 'desert blues.' In the Sahara, this electric guitar genre is intertwined with social function. It's a lucrative commerce, and gigging bands make their living in weddings,

baptisms, and political events. Etran de L'A r is one of Agadez's longest playing groups on the circuit. Yet they are also a band that has remained on the fringes, stars of the Agadez working class.

Smart bomb alert! Senegalese Mbalax derivatives in approved Dub mode

Five years into the project, with two acclaimed albums and dozens of triumphant international performances to its name, Yermande announces a thrilling new phase for this Dakar-Berlin collaboration: emphatically a giant step forward.The group of players is boiled down to twelve for recordings, eight for shows, sessions in Dakar become steeply more focussed. 'This time around I was better able to specify what I wanted right from the initial recording sessions in Dakar,' says Ernestus, 'and further in the production process I took more freedom in reducing and editing audio tracks, changing MIDI data, replacing synth sounds and introducing electronic drum samples.Right away you hear music-making which has come startlingly into its own. Rather than submitting to the routine, discrete gradations of recording, producing and mixing, the music is tangibly permeated with deadly intent from the off. Lethally it plays a coiled, clipped, percussive venom and thumping bass against the soaring, open-throated spirituality of Mbene Seck's singing. Plainly expert, drilled and rooted, the drumming is unpredictable, exclamatory, zinging with life. Likewise the production: intuitive and fresh but utterly attentive, limber but hefty, vividly sculpted against a backdrop of cavernous silence. Six chunks of stunning, next-level mbalax, then, funky as anything.Lamb Ji' is traditional wrestling, the most popular sport in Senegal, always introduced by hours of drumming, gris-gris magic and dancing (led by the fighters themselves). Born into the Momori griot clan in Tivaouane, Mbene moved as a teenager to Pikine on the outskirts of Dakar, where the late, great Ndongo Lo was first to invite her to sing at lamb events. Still a hard-core fan, here she pays hommage to all the popular fighters of recent times.Evoking the ancient cultural legacy of the griots, 'Walo Walo' is also the name of the sabar rhythm underlying this track, which features Ibou Mbaye's percussive synth-work, Mangone Ndiaye Dieng's kit-drumming, and Bada Seck's rigorous jolts of lower-pitched thiol drum.
'Simb' ('lion') refers to traditional drumming and dancing events, at which a cavorting 'faux lion' puts the frighteners on audience-members. 'This was most the most difficult one to mix,' recalls Ernestus, 'in the end the most reduced from its recording.'
'Jigeen' means 'woman'. 'Man should know every woman is your mother. Cherish a woman. Respect a woman's dignity. My friend, don't talk bad about a woman. My mother, my father, my family, my friends, it has been hard. Look after the people who were there when you had nothing.A tribute to the Baye Fall leader, Ndiguel is the most traditional cut on the album, showcasing Assane Ndoye Cisse's insinuating guitar lines, Laye Lo's super-elasticated snare-drumming, and Bada Seck playing the khine drums associated with the Baye Fall. (Short and wide, lightweight but low.) Yermande takes a former associate to task. 'Stop prompting the witchdoctor to curse us. Leave people alone and let them go their own way. Take yours, leave ours to us. Don't put anyone down without knowing what their parents have sacrificed. Keep a clean heart and don't wish anyone ill. What you wish for yourself, wish for others. Don't steal my clothes, they don't fit you. Leave badness, life is too short for that.' Like Lamb Ji and Simb, featuring all four sabar players: Bada Seck, Serigne Mamoune Seck, Abou Salla Seck and Alioune Seck. Abdourakhmane Fall's no-flim-flam bass-playing well and truly drops anchor.

Tunisian percussionist and electronic producer Nuri's debut album "Drup" is a tribute to Tunisia's African heritage, and a bridge to other traditions, replete with percussions and vocals from all over the mother continent, , but also from Asia, combined with electronic sounds to constitute an amalgam of then and now. Vinyl collaboration release between Shouka label and Rebel Up Records.

Crazy Beautyfull Cheezy Vibes ! A Pure Pleasure ! Needed !!!

Retro-futuristic electro cumbia synth wave from Brussels via Mexico by Mexican musician Memo Pimiento and his electronic orchestra. This album is a personal product of Memo Pimiento's life between Belgium and Mexico, different worlds that are opposites. 'A Todo Dar' contains a tripping wave sound with contrasts and human senses inside, bringing the sun and heat to Belgium together with the cerebral creativity of popular music from Mexico.

With this second release, Hawaii Bonsaï Records proves once again that they are your number one destination for all your Latin Bass needs ! Few labels have the insight necessary to gather all those producers and deliver a comprehensive and exciting picture of what tropical and latin bass is today as it grows in the hands of South-American, European or US producers. Think some blends shouldn't exist Listen to this incredible mixture of dub, cumbia, trap, traditional Andean music, beats, latin pop, folk, Zouk, and think again as this compilation sets yet another landmark in this expanding musical family.

In Sudan, the political and cultural are inseparable. In 1989, a coup brought a hardline religious government to power. Music was violently condemned. Many musicians and artists were persecuted, tortured, forced to flee into exile — and even murdered, ending one of the most beloved music eras in all of Africa and largely denying Sudan's gifted instrumentalists, singers, and poets, from strutting their creative heritage on the global stage.

What came before in a special era that protected and promoted the arts was one of the richest music scenes anywhere in the world. Although Sudanese styles are endlessly diverse, this compilation celebrates the golden sound of the capital, Khartoum. Each chapter of the cosmopolitan city's tumultuous musical story is covered through 16 tracks: from the hypnotic violin and accordion-driven orchestral music of the 1970s that captured the ears and hearts of Africa and the Arabic-speaking world, to the synthesizer and drum machine music of the 1980s, and the music produced in exile in the 1990s. The deep kicks of tum tum and Nubian rhythms keep the sound infectious.

Sudan of old had music everywhere: roving sound systems and ubiquitous bands and orchestras kept Khartoum's sharply dressed youth on their feet. Live music was integral to cultural life, producing a catalog of concert recordings. In small arenas and large outdoor venues, musical royalty of the day built Khartoum's reputation as ground zero for innovation and technique that inspired a continent.

Musicians in Ethiopia and Somalia frequently point to Sudan's biggest golden era stars as idols. Mention Mohammed Wardi — a legendary Sudanese singer and activist akin to Fela Kuti in stature and impact in his music and politics — and they often look to the heavens. A popular story is of one man from Mali who walked for three months across the Sahel to Sudan because the father of the woman he wanted to marry would only allow it if he got him a signed cassette from Wardi himself. Saied Khalifa is said to be the one of the few singers to make Ethiopian emperor Haile Selassie smile.

Such is the stature of Sudanese singers and the reputation of Sudanese music, particularly in the "Sudanic Belt," a cultural zone that stretches from Djibouti all the way west to Mauritania, covering much of the Sahara and the Sahel, lands where Sudanese artists are household names and Sudanese poems are regularly used as lyrics until today to produce the latest hits. Sudanese cassettes often sold more in Cameroon and Nigeria than at home.

But years of anti-music sentiment have made recordings in Sudan difficult to source. Ostinato's team traveled to Ethiopia, Somalia, Djibouti, and Egypt in search of the timeless cultural artifacts that hold the story of one of Africa's most mesmerizing cultures. That these cassette tape and vinyl recordings were mainly found in Sudan's neighbors is a testament to Sudanese music's widespread appeal.

With our Sudanese partner and co-compiler Tamador Sheikh Eldin Gibreel, a once famous poet and actress in '70s Khartoum, Ostinato's fifth album, following our Grammy-nominated "Sweet As Broken Dates," revives the enchanting harmonies, haunting melodies, and relentless rhythms of Sudan's brightest years, fully restored, remastered and packaged luxuriously in a triple LP gatefold and double CD bookcase to match the regal repute of Sudanese music.
A 20,000-word liner note booklet gives voice to the singers silenced by an oppressive regime.

Take a sail down the Blue and White Nile as they pass through Khartoum, carrying with them an ancient history and a never-ending stream of poems and songs. It takes two Niles to sing a melody.

Born at Scotland's post-Punk crossroads in 1979, Boots For Dancing kicked down the boundary walls of a played-out scene and introduced the UK to a more funky way of doing Punk. Hugely popular as a live act, often wiping the floor with the bands they were supporting, Boots was something genuinely ahead of the epoch's curve and played an important part in the vanguard of the burgeoning Post Punk and Punk-Funk movements. Sadly, Boots For Dancing's light shone brightly but briefly. Though the band had connections with, and cross-pollinations between, better-known acts such as The Rezillos, The Human League and Josef K.

Their boundless energy and undeniable talent never proved quite enough for great success. Great songs, even bolstered with good looks, are no guarantee of success in the fickle music business. Ultimately, business got in their way and the group disbanded in 1982 with just a few single releases in its canon, though a wealth of potential hits had been put to tape. Athens of the North is proud to present the band's 1982 album-that-never-was - an album that surely would have made them. It still sounds as fresh as it was when recorded.

Enduring ambient and soundtrack specialist John Beltran has finished another full length album for Delsin Records. Entitled Espais, it lands in summer 2015 and features 17 beautiful tracks that range from dreamy and heavenly to more meaning and moving. Emotional from start to finish, it once again finds Beltran using moderns tools and techniques with classical musical values. Part synthetic and machine made, part organic and natural, it is another fine opus from the Michigan man. Barcode: 8718754951111.

All tracks of the EP are accompanied by Idil Meºe's soft as summer rain vocals and lyrics rhyming on stories of streets. The EP will be released under Kanto Records label, the newly established contemporary platform focused primarily on experimental music and the arts, founded by Oceanvs Orientalis himself. Featuring many esteemed musicians such as Ilhan Ersahin, Idil Mese, Hasan Gozetlik and Ali Ceyhun Kartalsuna, 'General Tales of Ordinary Madness' EP consists four tracks, recorded over a year in New York and Istanbul.

The 3rd Release on Alma Negra Records is dedicated to the music of Eritrea, a small (in African terms, that is) country nestled in between Sudan and Ethopia on the south end of the Red Sea. Drawing from its native spiritual roots as well as the christian and islamic influences of conquering factions, this multiethnical country is home to an amazingly diverse plethora of cultures and musical styles.

On this EP, we are happy to showcase the music of the Saho People from the Region of Zula, which is located in between the coastal lowlands close to the Dahlak archipelago. The word "Saho" roughly translates (translated) as "Nomad", pointing towards a lifestyle where tradition and culture is being passed on orally over generations.
The exact source for these edits of the Saho Sound are thus lost to the murky depths of history, as they are based on traditional folksongs.
With kind permission of Colophon Records, we were able to work on this great Material and are now very happy to shed some light onto the wonderful music of this region and its people!

A-Side : Alma Negra - Haleto lale lalô (Saho)
Complete with that global clarion call of partying it up, the ululate trill (google it), this is again a call & response vocal pattern, seemingly at odds with the somber backing track. Exploring a deeper, jazzier mood, we added moody piano chords and a balafon, with a subtle but big bassline and some hefty 808-thud holding everything together.

B-Side : SOL - Erytrea Nèdègé (Saho)
The B-side packs a previously unreleased edit of the band SOL. They gave us this tune two years ago and it has ignited dancefloors between Belgium and Croatia since, so we are proud to finally release this beauty to the world. A minimalist percussive belter, driven along by an eerie vocal-loop, until a male vocal introduces the main melody that eventually bursts into a full call & response chant with a female choir.
Never underestimate the power-combo of nothing but drums and vocals. No more words needed, feel for yourself.

All Samples used courtesy of Colophon Records

In 1963, John Coltrane recorded a studio album that has Remained unknown and unheard until now. The album was recorded at Van Gelder Studios, the 'Abbey Road' of Jazz, with Coltrane's Classic Quartet and at the height of his career. The music on this album represents one of the most influential groups in music history performing in a musical style it had perfected and reaching in new, exploratory directions that would affect the trajectory of jazz from then on. In short, this is the holy grail of jazz.

'Ekuka' is a mesmerising survey of Ekuka Morris Sirikiti's thumb piano performances broadcast on radio stations in North Uganda between 1978-2003. All previously unheard beyond the stations'
range of transmission,
Hailing from the Langi tribe of Lira, Northern Uganda, legendary local griot Ekuka Morris Sirikiti performs his music in various situations - festivities, market days, and other gatherings - on a
homemade foot/drum contraption coupled with the Lukeme, a small, handheld thumb piano that produces flurries of metallic rhythmelody under deft digits, and is maybe best known as an Mbira in its heavily distorted use by the DRC's amazing Konono Nº1, as well as myriad other recordings from the vast Central and East African region.
Entirely comprising home recordings of the original radio broadcasts made on various devices, the music on 'Ekuka' is understandably distorted to differing degrees, resulting in a broad
spectrum of fidelities that are both unavoidable and inherent to the music, its reception, and its perception by those who didn't catch the broadcast as it happened. The 12 songs selected zig-zag across the timeline 1978-2003, with an alternating patina of ferric noise that camouflages their chronology - it's difficult and unnecessary to discern their recording dates, as the songs serve a timeless social purpose, from everyday reminders to be a good husband, take your kids to school, and don't disturb the wife of your son, to Government commissioned warnings about venereal
diseases, drinking alcohol and paying taxes.
Considering this all took place against the backdrop of tribal warfare and cattle raids by rebels, the raucous laughter on 'In Boloney For Ayinet' demonstrates the humour and pathos behind the songs in a way that may literally escape listeners elsewhere. And in that context 'Ekuka' is quite unlike most other vintage recordings which resurface outside of Africa beyond, say, Honest Jon's 'Something Is Wrong' and 'Bellyachers, Listen' sets, which admittedly document a much earlier period c. 1938-1957, but were also selected from recordings not specifically or even vaguely conceived for the international market. As with Nyege Nyege Tapes' previous dispatches from modern day Tanzania, Uganda and Kenya, 'Ekuka' provides a genuinely street-level, unfiltered perspective on unfathomably long-rooted traditions in a way that sounds incredibly fresh, unfamiliar and hugely interesting to keen ears.

A Side includes a Reissue of sought after 2015 LL Edits". Ltd 400!

Salvador Ricardo General Purpose AKA Len Leise and Salvador Ricardo release a sub series label 'Also Known As'. Featuring the much awaited repress of Len's LL Edits from 2015 on the A side. The B Side follows with a fresh new edit Concetro de Chasse by General Purpose that channels tribal party rhythms ready to set fire to any dance floor. Finishing on Salvador's Cha Cha Flamongo, a spicy number sure to add a touch of romance to any occasion.

Repressed on transparent sea-foam green vinyl, it includes a booklet that tells the story of Smalls Lighthouse, a download of the LP and the bonus mini album 'Flotsam' - that was included with the initial CD release on Second Language.

"A murky neo-classical album, Music For Smalls Lighthouse plays like a salt-soaked requiem, perfectly capturing the inevitable breakdown when you're alone with a body 20 miles off Wales."
[Drowned in Sound]

With the five year anniversary of its first release on Clay Pipe approaching and the original fetching high prices on discogs, it seemed like the right time to make more copies of Plinth's Music For Smalls Lighthouse available.

Plinth's, Michael Tanner is a musician from Lewes in Sussex who has recorded under a myriad collection of names and guises these include Cloisters, Taskerlands, Thalassing, part of the duo The A Lords - on Mark Fry's 'I Lived in Trees', and with Irish improvisers the United Bible Studies.

"Music For Smalls Lighthouse fosters a subliminal mixture of arcane atmospherics and mournful chamber music....Tanner seals six exquisitely evocative pieces together into one bleakly alluring whole..."
[DOA]

Smalls Lighthouse, is located approximately 20 miles west of St Davids Peninsula in Pembrokeshire Wales. Engineered by a violin- maker and standing on flat rocks battered by the sea, the original lighthouse resembled a squat hut on giant stilts. In the year 1800 two men Thomas Howell and Thomas Griffin, well known locally for their drunken spats and quarrels, boarded a fishing-vessel to spend six months together as lighthouse keepers on Smalls Rock. During this time Griffith was killed in an accident and Howell was left alone to fend for himself struggling to stay sane in the isolation of the lighthouse. The music on this record soundtracks the events that took place with beautiful and often gruesome clarity.

Listening to the music of Al Doum & Faryds is always like staying in the pristine nature of an exotic desert island, in the sacred harmony of a New Organic Society; imaging all brothers and sisters singing and dancing in the unity of the brotherhood. This is the message of love and joy that seems to pervade the fourth album of the Milanese band.
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Compared to previous works, the substantial characteristics of the sound remain a powerful rhythmic basis and the prestigious skill in the poly-rhythmic dynamics; everything is however moved towards accents of more markedly jazzy ancestry. Basically the Faryds absorb and re-elaborate with remarkable insights disparate elements and influences of certain Electric Jazz or Rock- Jazz-Blues of the '70 (Miles David, Dr.John, Graham Bond, Jeremy Steig) and Spiritual Jazz (Sun Ra, Pharoah Sanders, Don Cherry, Brother Ah), marrying them with the forceful instances of certain Afro-Free (Pyramids, Alkebu-Lan) and the more Freak-Jam plots typical of Space Rock. The sense of complete unity is also rooted in the balanced synergy and chorality of the instruments, which enjoy a perfect osmotic reciprocity and complementarity. A very important role is played by the entry of Fender Rhodes that chromatically emphasizes the parts as counterpoints and hypnotics ostinatos chased by the dense timbral mixtures of alto-sax and flute (Light Up) and roaring wah-wah guitars with flowing acid trajectories. The Holy Magic of the Faryds can lead to states of hypnotic trance in the inner abyss of infinite echoes (Drums Odyssey), open spaces of whirling freepsychedelia
with unbridled and hyper-vibrating dilatations (Satieva), give moments of intense ritual concentration with accurate inserts of choral-religious invocation (Unity Is Brotherhood and Weed And Love) or more solemn orchestral sections with precious brass arrangements (Solchi). A pure joy scented with warm oriental radiance is reached with a touching final Raga-Folk (the titletrack) for sitar, acoustic guitar, percussions and rattles, chant and clapping hands. It's the ideal evocation of music for the heart, mind and body in a journey of total pranic breath. Spirit Rejoin is the celebration of a new collective soul, a great cathartic ritual and an endless party with birds, plants and all the animals in the circle of devotion.

New 45t from Altin Gun Turkish psych heroes: A side features the killer first song of their album Tatli Dile Guler Yuze B side features the unheard yet instrumental track Hababam

Second proper studio album - originally released in 1976 - by the king of Turkish psych/Anatolian rock.
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Recorded in Belgium with help from session musicians related to Placebo, Janko Nilovic and Mad Unity among others, Nick The Chopper features lyrics in English, huge orchestral sections, and re-arrangements of many of the melodies from his masterpiece 2023.



Baris spent his whole life trying to communicate to the wider world outside Turkey. This was his last attempt at doing so with an album before turning to a travel television show to visit faraway places and talk to the young and old, one on one. Every production trick of the glorious 1970s was deployed to push Baris up the European charts, and now they can push him right into your brain instead.

Turkish guitar master Cengiz Coskuner with an album full of exotic / oriental belly dance instrumental sounds. Originally released in 1984, here's the first ever vinyl reissue.

Exciting compilation featuring some of the best 45s, released 1974-77, by Anadolu Pop singer Gulden Karabocek.
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On these tracks, originally released 1972-77, you'll find a mix of traditional Anatolian melodies and instruments like Baglama and zurna mixed with synthesizers, wah-wah guitars and psych-funk arrangements.