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Original year of release: 1989. Features the tracks 'Zobi La Mouche', 'C'est Pas La Mer A Boire', 'Voilà l'Eté', etc. Les Négresses Vertes was the biggest French act touring the world in the beginning of the 90's. The band has just reunited and will tour Europe this year to celebrate the 30th anniversary of 'Mlah". The album has been unavailable on vinyl since their first original pressing.

Following their massively well-recieved debut release with Moroccan musician Majid Bekkas, Banana Hill return with music from slightly closer to home. Manchester-based drummer, DJ & producer Contours joins multi-instrumentalist XOA for a collaborative 12" of deep, percussive afrocentric house grooves. "Too Much Talking" is a cosmic dancefloor heater, with dubbed-out synths, vintage guitars, fat live bass and as the name suggests, a talking drum that underpins the whole track. Things head a little deeper on "Express" with rolling percussion, heavy sub and subtle influences of afrobeat & jazz.

New York underground disco on Peter Brown's Land of Hits label (P&P affiliated), produced by Osborne Hunter and Steve Boston. Two nice versions with long percussive breakdowns, sound quality is not the best but playable.
One of the most powerful Disco Cuts in the P&P Affiliate Land of Hits' Label, New York's Movin' is
faithful to the name. A seven-plus minute Disco Gem of percussive breakdowns, a solid bass groove, classic strings, and enough guitar licks to make Nile Rodgers a little jealous. Released in 1981, Ahzz was a studio project by Osborne Hunter and Steve Boston who's better known for his work with Kenny Lehman on
Roundtree and Lemon. Despite the Backlash of Comiskey Park's Disco Demolition in 1979 and the commercialization of Disco, it was clear New York City was Still Movin' in '81. Underground hits like these were just undeniable. Like a lot of the titles on Peter Brown's labels, today New York' Movin' is a rare and highly sought after record. A holy grail for many. Go Ahead, check Discogs then thank the Disco Gods for this re-issue. Let's Keep on Movin'.

DJ Katapila's Aroo EP is the latest addition to the iconoclastic producer's catalog of fast-paced, pan-West African-influenced dance music. From a young age, Ishmael Abbey was a beloved local DJ in Accra, Ghana's competitive and rapidly-evolving music galaxy. DJ Katapila's debut release with Awesome Tapes From Africa, 2016's reissue of Trotro, ignited international acclaim for the Ghanaian DJ and producer: The New York Times, Pitchfork, Resident Advisor and FACT heaped praise on his work. Katapila launched a touring career beyond his grueling schedule of all-night parties around Ghana's southern coast and neighboring countries, heading to Europe and the UK, where he performed at festivals and clubs the pasty two years. Katapila brought Ghana's street party culture to audiences overseas, a wave of joy and happy dancers were left in his wake. The song Aroo' uses his earlier song Cocoawra' as a jumping off point and expands upon its endearing quick-rhythmed interplay of vocal hiccups and percussive clinks. Katapila thinks of Aroo' as a simple math equation: Francophone rhythms plus techno equals so hot and danceable.' While traveling this past summer in Europe, he continued to work on the minimalist electronic music steeped in his hometown rhythms that has made him a growing and singular voice in West African music. Having never travelled outside his region before, the contemporary sounds of London impacted his sonic palette, triggering new song African Techno.' He explains, In Europe and the UK they like these techno songs and house music. They have songs that sound like African music, and we have songs that sound like house music and techno music.' Ghana Baby DJ' references his ongoing development of Ga dance music style gbe ohe. It also conjures his daughter's voice and inimitable vibe and blends it with the characteristic clave rhythm of this. The EP's final cut is a track released with a an eye-catching music video this summer called "Monkey." Following radio play in Ghana and demand from fans online, this track makes its debut on vinyl. Awesome Tapes From Africa is proud to present new music from this unmistakably original artist with an honesty and unpretentiousness that feels good at this current point in history.

Mindblowing Afro-Soul music from Ivory Coast served up by Deke Tom Dollard, an obscure artist who only recorded two albums in 1979 and 1981 but who created an original funky fusion with Bété langage. A Selection of four amazing tracks recorded in Abidjan on two different records label called War Records and As Records.

The music here is a mixture of Funk with heavy basslines, traditional percussions, funky guitar riffs, nice horns section and lyrics in Beté. The song Demonde' is inspired by harmonies of the famous Dance to the Drummer Beat' by Herman Kelly.

Those two rare records were found by Afrobrazilero (aka Djamel Hammadi) and never appeared on the vinyl market. It's almost impossible to have infos about this singer and composer neither the musicians involved in the recording sessions. Most of the traces of the recording session were lost by the labels we licensed the tracks with.

Unique, pressed on a deluxe vinyl, remastered by The Carvery, this very Funky album is a must have for all the Afro Funk lovers!

As the lead singer of George Darko's legendary Burger-Highlife hit-band, Lee Dodou became the number one voice of 80's Highlife. Born in Kumasi, the epicenter of Ghanaian Highlife, he came to Berlin in the late 70's - by then the uprising epicenter of Burger-Highlife - to work as a back-up-singer for Pat Thomas. After joining and leaving Georg Darko and running his own band "Kantata", he stopped releasing music in the early 90's. Now, Philophon is proud to present new recordings of his soulful genius to the world of 2018.

Basa Basa is a song in the classic "concert party" style, as it was played in the glorious 60's. After a firey horn introduction Lee takes over in that funny and entertaining manner typical for "concert party" music. Buzz Duncker joins Lee's phrases with some gentle clarinet. Highlife at its best!

Sahara Akwantuo is anything but a classic: it's the start of a kind of philophonic Highlife, labeled as Kraut-Life. Ghanaian love of life meets German romantic melancholy. Happy rhythms meet mysterious synth landscapes. Eternal summertime and mangos are meeting a wet winter world and roast apples. Kraut-Life at its best!

Sparrow's visit of Jamaica, The Isle Of Springs', during the month of June 1963, has left him with very pleasant and joyful reminiscences of the love, warmth and hospitality of its people. From the moment his plane tipped down at the Palisadoes Airport', at a lounge in the ultra-modern terminal building he was entertained with a Rum Punch', Significant of Jamaican's ability to produce rums that absolutely no connoisseur can despise. Well! And it's from there it all started, for like Oliver Twist, Sparrow continued, where ever he went to ask for more, and, obviously when the drinks are in, the wits are out. You are therefore left to deduce whatever you may during his presentation of this contribution.

I'll Be Around (Bossa-Nova)" is a warning to one of his lovers of her promiscuous traits towards him and the retribution she would eventually suffer for so doing.

Theses two calypso songs were recorded with the famous Bert Inniss National Recording Orchestra. This single 7' is absolutely impossible to find and will warm any dances in the world.

Three cuts of Lee Perry's immortal Tight Spot rhythm featuring searing vocals by Leroy Sibbles and the great Stranger Cole, together with an instrumental version by the Bullwackies All Stars. Essential.

An exciting collection from pioneering Thai molam idol Banyen Rakkaen, featuring her most thrilling performances from the early to mid-70s, with innovative genre-bending arrangements and
production from Thepphabut Satirodchomphu.

These tracks, all originally released on 7-inch vinyl, showcase her powerful yet alluring voice, revolutionary yet rooted in tradition. Her exciting performance style was revolutionary and shocked traditionalists, but none could dispute the fact that she was a truly gifted singer, and Theppabut's visionary production skills added to the feeling of freshness and vitality.

The early 1970s saw a growing demand in Thailand for exciting and danceable music, and the recordings compiled in this release filled that demand perfectly. Banyen was one of the great singers of that era who propelled Isan music to nationwide popularity. A true star who in 2013 was designated a living national treasure, Banyen stole hearts with these hard-driving hits, while inspiring a new generation of aspiring singers. Banyen will now steal your heart.

Well timed reissue of the excellent 'Festival' record from Super Mama Djombo (Guinea Bissau). Beautiful Beautiful stuff... TIP!
Hailing from a boy scout camp deep in the jungle of late 1960s Guin-Bissau, Super Mama Djombos founding musicians have come a long way to display their wonderful music to the world! Drummer Z, singer Herculano, and original guitar players Gonalo and Taborda picked the name Mama Djombo as an homage to a local goddess revered by independence fighters.

Tiny Guin Bissau is located between Senegal at its northern border and Guine Conakry on its eastern and southern border. A former part of the mighty Mali empire, it was then one of the last African countries not to have gained its freedom from Portugal, its colonial power. Hence a fierce war for independence struck the country, until independence was eventually won over in 1974, after many years of suffering.

In the early 1970s, the Mama Djombo underground orchestra played mostly for secret political rallies supporting the PAIGC, the major Independence Movement for Guin and Cabo Verde. Adriano Atchutchi became the bandleader after independence, bringing a book full of his songs. Atchutchi recruited singer Dulce Neves, adding creole sweetness to its already heady mix of juvenile enthusiasm, candid melodies and touches of luso-tropicalism.

Some of their early songs were roughly recorded when the band played live over Guin Bissaus national radio, after the country won independence in 1975. Without a proper recording studio in Bissau, the orchestra took off for Lisbon in January 1979. For less then a month, Super Mama Djombo recorded hours of music from their vast repertoire at Valentim de Carvalho studios. The production gave the band new horizons to their music, if not for the use of the Echoplex effects on the drums which added width to the production.

Following the first release Na Cambana, the Festival album stands as a tribute to that large Cuban event from 1978. On the ten minute title track, Super Mama Djombo despises imperialism of any kind. It praises Amilcar Cabral and Che Guevara while keeping the beat alive with an almost spacy echo. In the same vein, Sociedade de malandros condemns nepotism and a thieves society. Made from the same mould, Mortos nega showcases the collective talents of the orchestra and its exceptional players. These three songs manage to speak to both the body and the mind alike. The bands sound is sharp as if the orchestra knew its time had come in this Lisbon studio.

Keeping an infectious beat, the hypnotic Tamanco is another winner. More laid back, Alma beafada displays the softer side of the orchestra, showcasing the vocal talents of Chico Karuca, backed by a strong sense of collectiveness. Super Mama Djombos saudade is highlighted on Julia, written by guitar player Miguelinho. It tells the loss of two beloved women. Tundus eerie playing, dreamy electric guitars, hints of a frail tape loop echo and Miguelinhoss mellow singing, let alone the haunting melody, make this song one the bands masterpieces.

Three more albums would follow before the demise of the band in the early 1980s, due to lack of political support. The new military power in Bissau deposed president Luis Cabral, who was a strong advocate of the orchestra. Now reunited, Super Mama Djombo make up for the lost time and stand as one of West Africas greatest orchestras. Listening to Festival is truly the best way to enjoy the music of Guin Bissaus musical heroes.

A few years ago, American composer and trombonist PETER ZUMMO discovered a 1984 recording of unreleased material from his Six Songs suite in his archive. Six Songs was the basis for LATERAL PASS (Foom 2014), his award winning score for modern-dance choreographer Trisha Brown's work of the same name. Material taken from Six Songs can also be heard on his seminal ZUMMO WITH AN X (Loris Bend, 1985/Optimo 2012).

The work is now being released as a new LP, FRAME LOOP. Recorded live and in single takes, it features a stellar line-up of longtime ZUMMO collaborators: ARTHUR RUSSELL on amplified cello, BILL RUYLE on marimba, and MUSTAFA AHMED on congas. ZUMMO plays trombone and euphonium.

ZUMMO describes the recording as 'an exercise in spontaneous arrangement'. He mainly hews close to the score, while from time to time introducing canonic lines and variations. ARTHUR RUSSELL, using his signature amplified cello sound, alternates between solos and rhythm playing. BILL RUYLE vamps on the notation, while MUSTAFA AHMED's improvised percussion drives the forward momentum. Sometimes the music takes its time traversing a sonic landscape, at other points, it jumps from one section to another. Players' decisions push and pull the downbeat, rounds emerge, then disappear.

PITCHFORK have previously called ZUMMO's trombone work peerless' and have described his music as the sound of sublimity...that sends shivers down the nervous system.' In an interview with THE QUIETUS, OPTIMO's JD TWITCH characterised ZUMMO's playing as sheer bliss.' In addition to performing his own compositions and leading his own ensembles, ZUMMO has worked with myriad bands, orchestras, composers and musicians. His celebrated trombone style is recognized as one of the most beloved features of ARTHUR RUSSELL's sound, for whom he played and collaborated with in the recording studio. Among many others are PETER GORDON and his LOVE OF LIFE ORCHESTRA, drummerproducer TOM SKINNER (Hello Skinny), cellist-composer/producer OLIVER COATES, the LOUNGE LIZARDS, including the recording of TEO MACERO's Fusion, which also featured the London Philharmonic Orchestra, and the Downtown Ensemble. He lives in New York City.

B A2 | LES YA TOUPAS DU ZAIRE - JE NE BOIS PAS [] BEAUCOUP

(FRANKIE FRANCIS & SIMBAD EDIT)









MITICOS DEL RITMO - CUMBIA DE MOCHILLA

The second album by Istanbul's clarinet virtuoso Cüneyt Sepetçi is an intense trip into modern Turkish wedding and party music. The foundations go deep into Turkey and the surrounding regions' history, which each generation innovates and develops. These days, no wedding or circumcision party is complete without the sound of the micro-tonal keyboard. A new addition, these Turkish keyboardists can play between notes, and supply banging club rhythms in wide variety of time signatures.Sepetçi uses the bedrock of Volkan Sever's synth insanity as a jumping off point for some truly crazy solos. His fluttering sheets of notes tie knots around the pulsating, fried synthesizer. For this recording session, Sepetçi brought in two drummers, Fatih Özden (tapan) and Samet Sertol (darabouka), to play along with the Turkish drum machine. A dense nest of rhythmic complexity is the result. And to further connect to this music's rich past, the ancient double reed zurna of Ahmet Özden and Yasar Uçar's European violin weave ancient melodies and incredible solos throughout.
These musicians are some of the best in Istanbul, and all of these songs are first takes, recorded live with very little planning. Sepetçi essentially leads the band through these complex arrangements as they play them.In Istanbul, one may see Sepetçi playing for change on Istiklal Caddesi, the famous Turkish walking street at the center of the city. Or one may see him on one of the TV stations, playing Anatolian songs in his inimitable style. He's even begun touring outside of Turkey—at Denmark's Roskilde Festival, and at concerts in Italy, Beirut, and Israel. I want to go to America. He says. Do they have mosques there

Pure Singeli fiyah from Tanzania's febrile Dar Es Salaam underground, showcasing the punkish sounds of the Sisso Records studio with a belter volley of hi-velocity missiles for Kampala, Uganda's Nyege Nyege Tapes. Hitting frenetic levels of velocity comparable with full on Soca or Shangaan Electro styles as much as Northern British takes on happy hardcore and Makina, trust there's no messing about with this one.
For us, like many others, we'd imagine, this is a bracing first introduction to the Singeli sound, whose collision of souped up rhythmic energy and breathless bars should immediately translate far beyond its east African base. Across the 14 tracks of Sounds Of Sisso we're familiarised with the sound's core producers - Bwax, Sisso, Tampa Pana and Yung Keyz Morento - and its amazing fast chat MCs - Dogo Niga and Makavelli - with a totally uncompromising style that can't help but make most other dance musics sound a bit pale and limp by comparison.
No matter where you're from, this is patently music for raving to, combining punkish, satirical lyrics about the challenges of Tanzania's youth - from police corruption to dating when you're broke - with productions that scream get mad get mad in a way that's maybe best associated with hedonistic noise or gabber. However, this is from Dar Es Slaam, and they've got some heavy style down there.
From the near cheek-pulling G-force of Bwax and S Kide's Baba Aminata Natafuta Kiki to the mental, cut-up intro and rapido attack of TMK by Suma, nobody lets the pressure gauge tick below f**king off it, pal, taking in the chipmunked Bollywood chorus and speecore pace of Dogo Niga's Polisi and the Shangaan/Soca-like hybrid Mshamba wa Kideo from Mzee + Bwax or the Nu Monkey-on-tour styles of Kimbau Mbau along with the Nkisi-esque jag of Maseke, Pasopa and Mako_Roho's Inauma. But, there are also some sweeter and hip hop styled freaks, too; check for the warped hip hop knock of Nammiliki from Makavelli, or the sugar-rush of Csso's Shobo and the hyper colourful soundsystem FX of Ndugulawama.Unmissable!

Ghanaian music legend Ebo Taylor returns with perhaps his finest album to date.
But don't take our word for it. That's coming straight from the man himself.
And he should know after more than 60 years in the business.
The 81-year-old composer, arranger, guitarist and vocalist has been a key figure in the evolving afro-funk sound since the Seventies, working with the likes of Apagya Show Band, CK Mann and Pat Thomas.
Famously, he rubbed shoulders with Fela Kuti while studying in London in the Sixties, before going on to lead the Ghana Black Star Band (featuring Osei and Sol Amarfio from Osibisa) and later the Uhuru Dance Band back in Ghana. Like Fela, he is always pushing forward, constantly reconceptualising his sound and
attuning it for a new generation. Part teacher, part messenger.
Listen to Yen Ara and you will not only hear the high-energy afrobeat, sweet highlife, jazz and konkoma influences that he's famous for. There is also a disco pulse and hard-hitting percussive edge to the tracks, which were produced by Justin Adams (Tinariwen, Rachid Taha, Robert Plant) and recorded in the live room at Electric Monkey Studio in Amsterdam. An Ebo Taylor for these times, you might say.
His group, the Saltpond City Band, are all handpicked local musicians featuring two of his sons. An appropriate line-up on an album whose titles means we'.
And they are on fine form, ripping through tracks such as 'Krumandey' (a surefire party starter) and 'Mind Your Own Business' (a simple message delivered over a frenetic drum rhythm).
Elsewhere, 'Aboa Kyirbin' will please fans of tough afrobeat grooves, while Taylor could well be inciting a riot at his next gig with 'Mumudey Mumudey', We hear him calling for 'preshaaah' and leading us into a call and response as the trumpet takes us higher. And the lift of those horns on 'Ankoma'm' evokes some
of his finest work such as 'Love & Death' and 'Come Along', the latter recorded with the Pelikans and featured on a recent Mr Bongo reissue.

None-more-vital East African label Nyege Nyege Tapes present Otim Alpha's melodic electro Acholi bangers on vinyl for the 1st time, following suit with their blazing, acclaimed Sounds of Sisso compilation resplendent in a faithful new remaster by Matt Colton.
Alpha's debut international release Gulu City Anthems features 11 songs written and recorded between 2004 and 2015 in Northern Uganda and ranges from hi-velocity bangers to more romantic mid-tempo swagger, all serving a totally infectious showcase of his plugged-in take on traditional Larakaraka wedding music that's bound to get a lot of listeners itching for a +1 invite to
one of his ceremonial sessions (crashing is always an option, too!).
Working with producer Leo Palayeng, Otim essentially computerised Acholi wedding music, weaving its traditional, see-sawing folk fiddles and call-and-response vocals with stripped, pounding drum machine polyrhythms in a sort of hypnotic, minimalist delirium. For the most part,it's properly uptempo, with some searing highlights in the likes of his wickedly off-kilter jig Kodi
Pa Barikiya (Kwan), the jabbing clash of almost cajun-style rapidfire riffs and turbo-charged toms in Toni G, or the Detroit/Chicago ghetto-compatible bang of Too Wiye Ming-Alphazo. But there's also one super-charming piece called Agiki Ne Tye which works at a relatively leisurely 120bpm with strolling bass and bright, joyful chord cadence, presumably intended to allow the party a sweet breather.
Following Alpha's recent, stellar introductory live show at Unsound '17, this collection is set to impress his sound to eager ears beyond Uganda and the East African scene, and is surely destined to be lodged in record collections somewhere between your Shangaan Electro, Konono No.1 and Caribbean soca faves - in other words; your party-starting section

Besides Sugar's International Herb, this 1980 dub album is engineer Douglas Levy's finest work. Many of the rhythms are derived from a tape given to the studio by Sly and Robbie, containing their versions of recent Joe Gibbs hits. And there are brilliant treatments of Tribesman Dub — the rhythm for Tyrone Evans' Black Like Me — and Wayne Jarrett's definitive interpretation of Every Tongue Shall Tell. Elsewhere Jah Batta takes deejay duties — likewise Prince Douglas himself. But the deadliest cut of all reworks another gift, Steel Pulse's Handsworth Revolution, which arrived in a parcel of records from England the same weekend as the session: March Down Babylon Dub, with Bullwackie himself at the microphone in his Chosen Brothers guise, steely, apocalyptic and timely.

These four edits are imbuing you with uplifting and lovely vibes but also a fragrant and sensuous melancholy. A looking back to old times and its optimistic, forward-tending spirit.

This is the remix edition of Dino Sabatini's recent second album "Omonimo" (April 2016, Outis Music).Like the recent album, this EP "Concentrica" features renowned Italian veteran pianist/accordionist Antonello Salis on the tracks "If" and "It All Ends Here", albeit here in different versions. Out of these two tracks the former is on "Concentrica" reworked by Dino Sabatini and the latter in a collaborative live variation between Salis and Dino Sabatini. Simultaneously with the announcement of "Concentrica" was it announced that Dino and Antonello are launching their new live project: Dino Sabatini & Antonello Salis present 'Electronic Opera Concentrica'. Howie B is veteran producer mainly known as a purveyor of early trip hop, having produced cuts from Tricky's debut album, Björk's "Post" and "Homogenic" as well as other major like U2.
After inaugurating the 'Opera' sub-series of his Outis Music label with the sublime 'Omonimo' double LP this April, Dino Sabatini has invited some choice allies to help define the vocabulary and expand the vision of the new imprint. The aforementioned album, which wove together Sabatini's atmospheric conjuring skill with the piano flourishes of Antonello Salis, already exhibits the label's commitment to dismantling the 'either-or' logic of contemporary genres by successfully merging a variety of supposedly irreconcilable styles, talents, and worldviews (e.g. both mythological and the technological perspectives). The follow-up EP, 'Concentrica', draws on the material from 'Omonimo' and delivers it into the hands of additional remixers in order to continue the Outis Opera voyage.

Death Is Not The End present a two-part collection centred on two emigrant Greek artists recorded in New York during the 1920s and 1930s.

'Greek Blues in America' explores the recordings of George Katsaros and Kostas Dousas, who mainly recorded solo, accompanying themselves on guitar in a unique finger-picking style. This, along with the sub-cultural subject matter of the rebetiko, reflects somewhat of a cross-continental echo of the American blues - captured in the USA following a wave of immigration from Greece and Asia Minor, just as the new demand for regional and ethnographic music in the recording industry was beginning.

Death Is Not The End present a two-part collection centred on two emigrant Greek artists recorded in New York during the 1920s and 1930s.

'Greek Blues in America' explores the recordings of George Katsaros and Kostas Dousas, who mainly recorded solo, accompanying themselves on guitar in a unique finger-picking style. This, along with the sub-cultural subject matter of the rebetiko, reflects somewhat of a cross-continental echo of the American blues - captured in the USA following a wave of immigration from Greece and Asia Minor, just as the new demand for regional and ethnographic music in the recording industry was beginning.

20 year old Jean Ondeno from Gabon is one of many African singers who found joy in the Parisian Afro-disco scene of the late 70s. Blessed with the voice of Africa's sweetest angel, Ondeno caught the ear of the French radio presenter Alphonse Marie Toukas who in turn introduced him to producer Philippe Brejean. Together they released 4 tracks, of which 'Mayolye' has become a sought-after dance floor rarity over the decades.

Containing all the essential ingredients of any afro-disco floorfiller, 'Mayolye' seduces sweetly, rhythmically and fast, with the percussion and wah-wah guitar on full throttle, and vocals insistently hypnotic from start to finish. The sax is possibly the only languid element on the record until the break comes along for you to catch your breath.

For this special 12 inch release, Rocafort Records have grouped the original version alongside a Nik Weston Official Mukatsuku edit.

Kindly issued from the vast afrobeat collection of Soul Koffi.

In the past decade, there has been an explosion of ethnically Tuareg rock bands on the world music stage. Built around the electric guitar, the genre ranges from stripped down minimalist nostalgia filled ballads to distortion heavy tracks for dancing. Known collectively in the West as desert blues' for it's pentatonic scales and finger styles that recall Americana, in the Sahara it's simply known as guitar.' The style has emerged as contemporary pop music back home and today there are hundreds of bands, playing locally in weddings and public celebrations. The effect of the world music industry is not lost on the Sahara however, and the Western music market still maintains dominance over the Tuareg guitar scene. For the majority of Tuareg guitar' bands, success still comes via the West. Artists travel abroad to record albums, and there are no shortage of indie-rock heavyweights anxious to jump into the role of producer.

An exception to the rule is Kader Tarhanine's group Afous D'Afous.' This six person rock outfit from Tamanrasset in southern Algeria is by all accounts unknown in world music circles. However, at home in the Tuareg community, they are without a doubt the most celebrated, famous, and in demand group, second only to Tinariwen. Kader Tarhanine rose to popularity in 2010, with his recording of a song Tarhanine Tegla' (My Love is Gone). The track, a low-fi love ballad, recorded with a crunchy electric guitar over a pacing drum machine, went on to become an anthem throughout the diaspora (earning Kader the nickname Kader Tarhanine'). In 2015, Kader formed his group Afous D'Afous' and traveled to Algiers to record the full length debut Tenere.' The 9 track album was released on CD in a limited run in-country, accompanied by a huge press rollout. The band appeared on Algerian national television, quickly becoming a country favorite and representative of the Tuareg ethnic minority. The album quickly disseminated throughout the diaspora, traded on cellphones in the conflicted Azawad, beamed through private WhatsApp pirate networks, and soundtracking smuggler's routes, blasting from Land Cruisers at high speeds through the border zones of the open desert.

Tenere' is a departure from the rest of the contemporary Tuareg rock albums. Of the myriad of Tuareg releases that have caught the ear of the West, only a tiny few are produced at home, sans Western producers. Tenere' offers some of the most complex compositions in the genre to date, tightly arranged and polished. There is something sonically throwback, though Afous D'Afous crawled out of 70s rock studio album. It is long cited that Tuareg rock styles are largely inspired from heavyweights Dire Straits. This may be the most true to form rock album to date, and there is certainly a few riffs that recall Mark Knopfler. The electric guitar, front and center, drives the tracks with uptempo rhythms, all led by the soulful voice of Kader, measured and balanced with the chorus call and response. In addition to this classic rock aesthetic, the production adds some unlikely elements, reflective of contemporary globalism - layering pitch bending North African synthesizer, reverb saturated dub, and even Indian tabla and sitar!

While Tuareg guitar has become a commodity in the world music industry, Afous D'Afous has continued to in relative obscurity, all while remaining one of the most popular guitar outfits amongst Tuareg fans. They tour constantly throughout the Sahara to sold out crowds in Bamako, Niamey, and Agadez. They have yet to tour abroad. The irony is not lost on the band, and we're excited for the opportunity to partner with them to correct this glaring oversight.'

12 Rhythms as the name already suggests, is a Collection Series on Alma Negra Records. Each Issue is dedicated to a specific rhythm based on its groove stemming from its cultural origins. In a world surrounded by a plethora of grooves and rhythms, we have selected those which influenced us or just simply liked the most.

The first Issue and first release on Alma Negra Records is dedicated to the unmistakable rhythms of Brazil. Growing up surrounded by the rich sounds from traditional to totally experimental; Brazilian Music has heavily influenced our own sound and direction.

Vision
This issue aims to distinguish itself from other compilations and demonstrates important atypical Grooves of Brazilian Culture. Instruments like the Berimbau used in the "Capoeira" or "Berimbau" itself or the carnival strong Batucada Beat has been combined with the mysteries of brazil experimental music heard in the track "Vision".
Hypnotic Experimental Vocals, dub chords combined with an own interpretation of a Batucada Rhythm recorded live in our Studio in Basel, "Vision" is clearly a one of those tracks heard in the heart of the night which is sure to keep those feet moving
to its pulsating beats.

Capoeira
Capoeira is a Dance (Fight) originating from Angola and was developed by Brazilian Slaves to better defend them against violence inflicted by their Masters. As they crafted this martial art, the perfect cover was to create a "dance to music." Every dancer is singer and musician so no one is restricted to any set role. The creation of the unique sound is normally through three Berimbau's and two Pandeiro drums. This demonstrates a classic Capoeira Groove, with this Alma Negra Edit setting out to strike every dancefloor.

Berimbau
A smooth sailing track with variations of Berimbau, that create a trance like vibe when combined with harmonic flutes. This creates the perfect accompaniment as your musical ship illuminates with the sunrise. Underneath, a strong percussion beat brings everything together; a perfect late night track.

Future Tuareg music from the female led avant-rock group Les Filles de Illighadad. Mixing traditional percussion with electric guitars, Les Filles brings ancient village folk music into the modern era.

Drawing on traditional tende music, the forgotten inspiration of Tuareg guitar, Fatou and Les Filles breath new life into the genre. Hypnotic guitar riffs, driving rhythm, and polyphonic resonant vocals combine to create organic sound, that is both timeless and natural.

A wholly original project, from a band that just last year had never left their village. Their first studio production

"Mystiphonic" is the third release from Roland P. Young on EM Records, following "Isophonic Boogie Woogie" which was originally released in 1980 and re-issued by EM in 2005, and the 2009 "Istet Serenade."
"Mystiphonic" is the fruit of two years of recordings at Young's Isophonic Sound Laboratory in Brooklyn, "comprovisations" which are more electronic than the previous EM releases, and yet this new CD retains Young's emotional life-long horn playing, a romance which began in his youth in Kansas City. Also carrying on from previous releases is the all-encompassing warmth and organic/oceanic feeling of Young's music, a rootedness that has been present since his early exposure to Charlie Parker, on through his San Francisco years and ever forward, linking past, present and future through deep American soil to his world-embracing current music, all united through his "Isophonic" philosophy.
The "Mystiphonic" blend of electronics, percussion and horns is one of subtle beauty, sure to please Young's fans while attracting new admirers.

Blissed out electronic Hip Hop from the Sahara. Gao's hyper-localized genre reinterprets western hip hop into a sound unlike anything else in the world. Auto-tune, melodic synth, and PC-based beats combine in abstract home studio experiments. Droning takamba meets Hausa synth pop, with a healthy dose of ragga. Obscure music that thrives on the local MP3 trade, this compilation highlights some of the most ambitious recordings of the past 10 years. Limited to 500.

Reissue of killer album from 1980 - the album's first reissue on vinyl, it will include a booklet with various documents, as well as previously-unreleased recordings !
Originally released in January 1980, the second album from (Crammed founder) Marc Hollander's band was the first record bearing the Crammed logo (although the label only really started to exist at the end of that year). More intense and experimental than the first Aksak Maboul album (yet often as playful), containing complex written section, free improv, and a wild variety of elements, "Un peu..." was recorded with a band comprising revered UK musicians Fred Frith & Chris Cutler, and is described by All Music Guide as a pinnacle of the RIO movement (RIO being Rock In Opposition, the late-'70s radical, pan-European coalition of bands, of which Aksak Maboul was part). "Un peu de l'âme des bandits" reached #3 in the NME's top ten European albums of 1980 (after Yello and The Nits, before Steve Reich and Faust!).

When HAVANA MEETS KINGSTON - when Cuba meets Jamaica. This idea was born thanks to Australian globetrotter producer Mista Savona. In 2015 he decided to bring together all the best from
Kingston and Havana. So, Sly & Robbie,Bongo Herman, 'Bopee' Anderson, Ernest Ranglin, Rolando Luna and Barbarito Torres from BUENA VISTA SOCIAL CLUB, Los Van Van, Havana Cultura and many more met together and experimented with young musicians from the two islands. An histrorical intergenerational and intercultural exchange!

Drawing from the styles the islands are best known for - roots reggae, dub and dancehall on one hand and son, salsa, rumba and Afro-Cuban on the other - 'Havana Meets Kingston' sees an incredible team of musicians come together to bend and twist genres effortlessly, and the results are exceptional.

Subtitled 'Classic Latin Tunes Became Salsa Hits' LP 12" Black 140 gram vinyl (+CD)

"This is the second volume in our series on the roots of salsa...The main criterion was to pick tracks that sounded adequate for today's DJs to play at a gig, or were sufficiently interesting (or enough of a surprise to fans of the later version) to merit inclusion. The other measuring stick was that they needed to come from the old-school, before the more modern era (from 1962 on) and all of its recording innovations and marketing strategies...for now, listen to these dozen gems and then go back to their more familiar cousins from recent times and compare and contrast, and we're sure you'll be enlightened and entertained." Pablo E. Yglesias, aka DJ Bongohead

A1. Sujétate La Lengua - La Sonora Matancera (1954) Covered by: Eddie Palmieri Y La Perfecta (Ismael Quintana), Willie Rodríguez And His Orchestra (Adalberto Santiago), Agustin Arce Y Su Nuevo Sonido , Papo Y Su Combo (Pachito Nalmy), Alfredito Linares (Panchito Nalmy, Koky Palacios, Rolo Bernal), Eddie Palmieri (Hermán Olivera)
A2. El Paso Del Mulo - Conjunto Colonial de Nelo Sosa (1950) Covered by: Orquesta Riverside, Celia Cruz And Johnny Pacheco
A3. Micaela Me Botó - Chappotín y Sus Estrellas (1958) Covered by: Pete Rodríguez, La Lupe (with Tito Puente)
A4. Nadie Se Salva De La Rumba - Trío Matamoros (1960) Later covered by: Los Guaracheros De Oriente, Los Armónicos, Ray Barretto And His Orchestra (Celia Cruz, Adalberto Santiago)
A5. La Familia - José Curbelo and His Orchestra (1953) Covered by: La Sonora Matancera (Carlos Argentino), Ray Barretto And His Orchestra (Tito Allen)
A6. Salsa - Flores Valdéz y Su Conjunto Musical (195) Covered by: La Sonora Del Caribe (Daniel Santos), La Sonora Habanera, La Playa Sextet, Conjunto Sensación (Pete "El Conde" Rodríguez), Johnny Pacheco (Pete "El Conde" Rodríguez), Johnny Pacheco and Monguito
B1. Hay Cráneo - Tito Rodríguez y Los Lobos Del Mambo (1951) Covered by: Fallo Cabrera Sus Voces Y Su Conjunto Ritmico, Bobby Valentín Y Su Orquesta (Marvin Santiago), Los Soneros Del Barrio (Frankie Vásquez)
B2. Fania - Estrellas de Chocolate (1960) Covered by: Johnny Pacheco Y Su Nuevo Tumbao (Pete "Conde" Rodriguez), Chamaco Ramírez, Negros Star De Dakar, Poncho Sánchez, Pancho Amat
B3. Yo No Quiero Piedra En Mi Camino - Pacho Alonso con Bebo Valdés y Su Orquesta (1960) Covered by: Cortijo Y Su Combo (Ismael Rivera), Orquesta Estrellas Cubanas, Ismael Rivera y Sus Cachimbos, Celia Cruz, Orquesta Ritmo Oriental, Willy Chirino
B4. Corta El Bonche - Conjunto Kuvabana de Alberto Ruíz (1947) Covered by: Tito Puente And His Orchestra (Chivirico Dávila, Santos Colón), Los Blanco, Grupo Folklorico Y Experimental Nuevayorquino
B5. Tumba Mabó - Conjunto Niágara (1945) Covered by: La Sonora Ponceña (Luigi Texidor), Los Soneros Del Barrio (Frankie Vásquez)
B6. Llora Timbero - La Orquesta Siboney de Pepito Torres (1944) Covered by: Arsenio Rodríguez Y Su Conjunto (Miguelito Cuní), Mariano Mercerón Y Sus Muchachos Pimienta , Machito And His Afro-Cubans (Machito), Senén Suarez Y Su Conjunto, Tito Puente Y Su Orquesta (Santos Colón), Chico O'Farrill (Miguelito Valdés), Tito Rodríguez And His Orchestra, Manny Oquendo Y Su Conjunto Libre , Estrellas De Areito, Rubén Blades, Virgilio Martí, Sierra Maestra, Willie Rosario Y Su Orquesta , La Sonora Gloria Matancera

Personnel: Robbie Basho, acoustic guitar Overview: Basho (1940-86), who died young after a stroke, never got his due in the culture at large, but steel-string guitar enthusiasts have known for decades that he was one of the greats of "American Primitive." Technically adept and compositionally imaginative, fusing the music of many cultures into a mesmerizing solo style, he has been an inspiration for many; his music has generated a surge of interest in recent years. This 1982 concert was part of a four-show Italian tour. It took place at the 18th-century Palazzo Gaddi that housed the local music high school and was mostly used for classical concerts, in an intimate space co-organizer Mario Calvitti (whose memories of the events surrounding this concert make up the bulk of the liner notes) says Basho called "one lovely little room where I could play all night." Only previously released incompletely as a download, this show can now be heard in its full glory.

- 180 GRAM AUDIOPHILE VINYL
- FEATURING GIN-GO-LO-BA' (DRUMS OF PASSION), AKIWOWO' (CHANT TO THE TRAINMAN) AND MORE

Drums of Passion was the first album released by Babatunde Olatunji (1927-2003) in 1960.

Olatunji was a drummer, social activist and musician, born in Ajindo, Nigeria. In this album he has recaptured some of his early impressions in his drum beats and giving them new zest. The African drum rhythms are not only musical melodies and songs but also ways of communication. For instance, the first track Akiwowo' was the name of a train conductor who shouted his humorous cry against the fading rhythm of the freight train. Baba Jinde' is a dance play and the title track Gin-Go-Lo-Ba' was sampled by many contemporary artists (Santana and Fatboy Slim amongst others) and covered in 1979 by latin jazz/percussionist Candido for his disco chart smash Jingo'.

Drums of Passion is mainly a danceable album and often cited as one of the first African albums recorded in (then called) stereophonic sound in the United States in 1960.