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Sublime music from Martinique — free-flowing, mystical roots, with lilting jazz, Latin and Cuban rhythms. Cilla dedicated himself to the revival of the bamboo flute 'of the coastal hills', which he fashioned by hand from a single piece of wood, according to ancient Indian traditions. In this recording from 1981 — a kind of Antillean sister-star to Don Cherry's Mu albums — it is featured alongside the traditional percussion instruments of Martinique. Good for souls.

2 track Single from The Wailers released by Fam's/Dub Store Records

2 track Single from Roy Richards / Sound Dimension released by Studio One/Dub Store Records

Anglo-Mauritan producer, percussionist, and vocalist Mo Kolours
makes a welcome return to 22a following on from his two highly
acclaimed albums on One Handed Music. The tropical Meroe EP takes you on a journey through hip hop, dub, funk and house - a choice selecton of cuts presented on a limited 7' vinyl (500 copies), with original artwork designed by the man himself!
Side A opens with 'Cerasee Doctor,' a classic Mo Kolours producton. Hip Hop meets Dub Reggae, with a catchy vocal loop throughout, equipped with a healthy dollop of dub sirens - this one is sure to grace many a soundsystem worldwide! 'Margoze' follows and takes the listener on a journey to West Africa
where cowbells and syncopated rhythms take lead whilst the distant sound of local dialogue blends seamlessly in and out of the mix, rootng it deep in its African foundaton.
Side B begins with 'Goya,' which brings about a fusion of traditonal Vietnamese folk mixed with snippets of slap bass to create a collage of worldly sounds - a technique synonymous with the acclaimed producer. The EP fnishes with the ttle track 'Meroe,' where Mo Kolours once again efortlessly fuses ancient and modern sounds to create a dancefoor winner.

Warehouse find! Last copies of this 12" from 2006. Puerto Rico's CANDELA ALLSTARS (best known for "MI SWING ES TROPICAL" with QUANTIC & NICODEMUS) get remixed by NYC's MATTHIAS HEILBRONN (a deep jazzy salsa houser and a dub mix) along with the authentic original version. Fire!!! Don't miss it.

(180gr vinyl) For the label's 200th release, Far Out Recordings proudly presents a previously unreleased album by Hermeto Pascoal and his 'Grupo Vice Versa': Viajando Com O Som (the lost '76 Vice Versa Studio Sessions). The multi-instrumentalist Miles Davis called 'the most impressive musician in the world'.
There have been few musicians to ever reach the stature of Hermeto Pascoal. A true maestro and a cultural icon, he represents the highest level of musical evolution; as a multi-instrumentalist, as a composer and as an arranger. Once described by Miles Davis as 'the most impressive musician in the world', there is good reason (beyond his Gandalf-like appearance) why he is known as "O Bruxo" (the Wizard). For the label's 200th release, Far Out Recordings proudly presents a previously unreleased album by Hermeto Pascoal and his 'Grupo Vice Versa': Viajando Com O Som (the lost '76 Vice Versa Studio Sessions).Recorded in just two days in 1976, at Rogério Duprat's Vice Versa Studios, São Paulo, the sessions featured Hermeto's go-to 'Paulista' rhythm section of the day: Zé Eduardo Nazario (drums), Zeca Assumpção (bass) and Lelo Nazario (electric piano), as well as saxophonists Mauro Senise, Raul Mascarenhas and Nivaldo Ornelas, guitarist Toninho Horta and vocalist Aleuda Chaves. Hermeto decided he would record with this particular group following a show at Teatro Bandeirantes, during which an almost spiritual musical connection amongst the group was realised. The performance lasted hours on end, without any breaks in playing, and Hermeto saw the potential for his compositions to reach a 'higher level' as the music organically moved from structured compositions to 'freer' improvisational works.In the studio, the sound engineer Renato Viola understood that things needed to happen quickly. Almost everything recorded on the first take ended up staying in the final mix. After the mixdown, Lelo Nazario would ask Renato to make him a copy of all the material, from machine to machine. As far as we know, the master tape eventually got lost over time, but Lelo kept his copy in his studio's archives, where it stayed for over forty years.
With the tape rescued and restored, this release fills a void in time. Recorded at an especially experimental period in Hermeto's career, it's a compelling insight into the incredible efforts of this group, who under Hermeto's revolutionary vision, created a unique musical language which would have a profound influence on countless artists to come.Nowadays, the 1970s is indeed considered a golden age of Brazilian music, but it's often forgotten how desperately hard it was for artists to get their music past the military dictatorship's censorship efforts throughout the decade. Yet in 1976, despite the often musically radical nature of Hermeto Pascoal's compositions, he was in a typically productive phase of his career. The year before the release of his seminal album Slaves Mass, '76 saw Hermeto amass performance credits on Flora Purim's 'Open Your Eyes You Can Fly', OPA's 'Goldenwings' and Cal Tjader's 'Amazonas' to name just a few.

The release of Viajando Com O Som re-writes the already remarkable story of one of the world's most supernaturally talented musicians, whilst illuminating a truly magical, yet hitherto lost and forgotten, moment of Brazilian musical history.

Dub on a boat, very tropical bass influenced.

Psychedelic Cumbia tropical Bass compilation ! MASTERPIECE §

An incredible album from Brazilian rock legend Raul Seixas - easily one of the most important artists to emerge after the Tropicalia generation - and a singer with a sound that's as striking as his image on the cover! The album's got an explosive blend of styles - everything from psychedelic samba to country rock to easy rock tunes - all bound together by the strong sense of presence that helped Seixas elevate to become one of Brazili's most controversial rock stars of the time, all with the kind of legacy you might expect from the cover image! The sound is great - very different than what American and Anglo groups were doing at the time, although with sly nods to their modes from time to time - and titles include the English track "How Could I Know", plus "As Minas Do Rei Salomao", "Mosca Na Sopa", "Cachorro", "Al Capone", and the strange electronic "Introducao".

A wild solo project from Rita Lee - done after the breakup of Os Mutantes, and offered up almost as some sort of commentary on mainstream rock in the 70s! There's a much more straightforward approach to the music here - a sometimes-glammy sound that's echoed by the band's space-style costumes and makeup - but there's also some weirdly old-style rock instrumentation too, almost like the way that an artist like Gary Glitter could fold the 50s and 70s together in his music, and come across making something very weird and new. Here, the keyboards are almost stronger than the guitars - and Rita herself plays moog, melotron, organ, and piano - on titles that include "Tem Uma Cidade", "Menino Bonito", "Mame Natureza", and "Eclipse Do Cometa".

A tripped-out batch of hard jamming tracks from ex-Mutante Rita Lee - recorded with assistance from all the members of the group at the time, but in a mode that's quite different overall! Lee is clearly the star of the show here - singing all lyrics with a much fiercer vocal approach than on her earlier solo album - pushing things hard to keep up with the jamming keyboards of Arnaldo Baptista and guitar of Sergio Dias - both of whom are working with the energy that would show up in the Mutantes styles in the years after Lee departed. One of the most compelling aspects of the record is the structure of the tunes - less conventionally rockish overall than the direction Os Mutantes were moving towards - and still with that strong dramatic flair that Lee always provided when in the group. Titles include "Vamos Tratar Da Saude", "Amor Branco E Preto", "Superficie Do Planeta", "Teimoisia", "Tapupukitipa", "Beija Me Amor", and "Frique Como".

Big remix package on this 12" for three songs of MOP MOP's latest album "Lunar Love". KALBATA, NICOLA CRUZ, DJ KHALAB and sUb_modU don't disappoint with their treatments on this single and deliver great new versions of the originals.

"It's been in February 2017, the full moon was shining brightly and a soft breeze provided a nice contrast to the days heat, when me and Ahmed Ag Kaedy spent our time sitting on a rooftop terrace located in the Tuareg-district of Bamako. We we're talking about the intentions of North Malis Tuareg to gain independence, Ahmed served sweet tea only to play me some of his new songs later throughout the night. Hours passed and we came up with an idea - relocate Ahmed to Berlin to fuse his distinct Desert Beat with influences from the cities Jazz and World Music scene. Two phone calls were enough to get the ball rolling, even though we knew that a few shows set up short term would only be able to cover his travel expenses.

Without many people noticing, oftentimes its the bass players who're responsible for not only a projects groove but also the beat and its rhythm. For example we saw Kalle Enkelmann, the man on bass for Onom Agemo & The Disco Jumpers, founding the band Orion Congregation on the fly, a musical outfit both incorporating artists active in Onom Agemo as well as the brass section of the Omniversal Earkestra. They set up a highly acclaimed series of shows at Berlin Friedrichshain BLO venue featuring several guest musicians in which seemingly endless Desert Beat phrases were garnished with furious sax impro sessions or 70s space synths by Johannes Schleiermachen as spine-tingling Hammond action by Embryo's Michael Wehmeyer.

Throughout these days Onom Agemo were busy recording their latest studio album and invited Ahmed to record with them, an invitation resulting in two tracks heavily inspired by their aforementioned live sessions. The outcome is quite a journey, merging classic Tuareg rhythms with the Disco Jumper's distinct interpretation of Afro-Berlin-Jazz. Using his Stratocaster we experience Ahmed Ag Kaedi in constant search for new rhythm signatures whilst providing a thrilling guttural vocal contrast to traditional Tuareg choir passages.

Ahmed's native home is located deep within Sahara desert, way beyond the Tuareg town of Kidal. His songwriting process takes place under the nightly stars, sitting by the campfire or throughout the day when he's on the lookout for goats, camel-back riding whilst covering his face from the merciless sun and the ever present sand of the region. Always with him is his 12V amplifier, usually fastened to his saddle, his guitar on his knees, rolling along with the rhythm of his mount. So it's no surprise that he defines his personal beat as a beat that makes camels dance.

He spent his youth as a mercenary fighting for the Ghaddafi army, believing in the, never fulfillied, promises made about an independent Tuareg nation of Azawad. After realizing that he's only used as a figure in a game of chess, played by forces beyond his own imagination, he decided to replace his AK47 with a guitar. His lyrics deal with topics present in today's Tuareg society, which is looking and fighting for an identity of its own whilst being trapped between globalization and islamic fundamentalism, a set of topics and themes that's now transferred, translated to and becoming relevant for first world listeners through his collaboration with Onom Agemo.

Text by Markus Schmidt

Does this need an explanation My two favourite DJ sides from Stark reality catalog, for Say Brother I fixed the eq and made it a bit more club friendly also editing the crazy tripped out ending out which maybe controversial but always freaked the dance floor out so I cut that out to gain some extra volume and bass. On the flip we got Bustin' Out of Doors which has always been a favourite warm-up record again without the random ending. To make it extra cute I used the o.g Hoagy Carmichael's Music shop illustration.. 500 only, no repress.

Founded by Juan Campos in 1977, the Horóscopo label was the major outlet for the real Peruvian chicha sound: a surreal and irresistible blend of psychedelic fuzztone guitars, infectious echo drenched vocals, electronic keyboards and tropical / Andean rhythms.

During its 15 years of existence, Discos Horóscopo was the home of the biggest names of the chicha sound. From the legendary Chacalón & La Nueva Crema to Los Destellos, Los Ovnis, Grupo Alegría...

We present the first ever compilation dedicated to this groundbreaking Peruvian label. 11 tracks taken from rare 45s and LPs.

It was these groups that, as part of a cultural complex where Discos Horóscopo had a central role, built and developed the stage of "chicha music", filling the lives of thousands of men and women who made us of their right to joy in a changing yet greatly convulsed environment that, nevertheless, offered opportunities to build a better life in the future.' - Carlos Leyva Arroyo


*Remastered sound

*Colour insert with detailed liner notes and photos.

Limited Edition Single form the hugely successful "Interstellaires" album.
Limited in UK to 300 copies

LP Kraft Sleeve, Liner Notes Poster Inlay, Sticker Jun Fukamachi's 1986 never-officially-released highly sought after rarity NICOLE LP available for the first time ever on vinyl and CD, and made in cooperation with the artist's estate. All new liner notes by Masaharu Yoshioka aka The Soul Searcher.

WRWTFWW Records is proud to announce the release of Jun Fukamachi's highly coveted Nicole (86 Spring And Summer Collection - Instrumental Images) album, originally recorded in 1986 for celebrated fashion designer Mitsuhiro Matsuda's Nicole clothing brand and never officially available before. Only ever distributed as a limited promotional item offered to attendees and participants of the 1986 fashion show for the Nicole brand's Spring and Summer collection, Fukamachi's moody magnum opus has become a sort of Holy Grail for fans of Japanese ambient, jazz, and synth music alike...and rightly so! Meticulously conceived, smooth and subtle, Nicole sounds like it came from an ethereal land where Erik Satie and Art of Noise lived together, a sublimely cinematic listening experience perhaps best described by renowned Japanese music writer Masaharu Yoshioka aka The Soul Searcher: If you are driving down the Autobahn at 160 km/h, or even 80 km/h, and Jun's music starts playing on the car stereo, the windshield will instantly turn into your own personal silver screen. Nicole is available in two versions: a vinyl LP cut at Emil Berliner Studios, housed in a kraft sleeve similar to the original promo-only release, and a kraft digipak CD version. Both versions were made in cooperation of the artists's estate and come with new liner notes by Masaharu Yoshioka.

Japanese/French, girlish, mysterious, sensual, always longing, a bit out of this world, but in a way also open and frank

Superior rock steady from the vaults of Federal Records

The third edition in this universally acclaimed series including giant of the genre, Hopeton Lewis, and a scintillating selection of hit records and previously unreleased material.

Tasty highlife, jazz and funk blends, newly recorded in Accra and Lagos. Fifth in the collective's Afrobeat Chronicles series. Yaro is a coming-of-age song in the Hausa language; Afrobeat 9 is the bomb.

I remember the day clearly. I was searching for treasures in a record shop in Yaoundé, the Capital city of Cameroon, when suddenly I came across a 7-inch record with a picture of a young man wearing a traditional hat and bearing the marks of several imposing vertical scars on the side of his face, carved when he was just a boy as a reminder of his heritage in the Musgum tribe of the northern part of the country.

The record contained two songs - 'Gandjal Kessoum' and 'Touflé' - by an artist I had never heard of before named Hamad Kalkaba. Both cuts were raw classics of fuzzed-out bass, pin-sharp horns, built upon the unshakable foundation of Northern Cameroon's mightiest rhythm: the Gandjal. The shop owner - who noticed that was listening to the same record over and over again - finally said to me 'There is another single with a green cover of the same artist, if I am not mistaken'.

Over the next six years I searched for that 'green cover' and finally found it in a record collection belonging to an old bar in Parakou in northern Benin. While most of the records had been beaten and worn by a life spent in the jukebox, this one had been sitting in its paper sleeve for forty years, untouched and unplayed, seemingly waiting for us to pick it up and rip the two soulful Gandjal tunes from it, the masterpieces 'Fouh Sei Allah' and

‚Tchakoulaté'.

These two records, plus a third simply named 'Nord Cameroon Rhythms' constitute the entire discography of Hamad Kalkaba. Neglected for decades by all but the most devoted collectors of Afro music, Hamad Kalkaba and the Golden Sounds at long last gathers together the body of work of one of Cameroon's forgotten
geniuses.

But unlike many musicians who emerged from nowhere, recorded a few singles and vanished again, Kalkaba hadn't disappeared. Far from it. He was a distinguished public figure, a retired Colonel in the army of Cameroon, and a former member of Cameroon's Olympic Selection Committee. When we tracked him down he
was serving as president of the Confederation of African Athletics. And Although Kalkaba's job kept him busy, and he seemed initially dismissive of the music he'd made as a young man, he turned out to be an enthusiastic ally in this project. He arranged interviews, helped fill in the blanks and, when we finally met him in Yaoundé in 2016, provided us with photographs, lyric sheets and notes.

During the interview Kalkaba explained how the songs recorded in the mid 1970s were part of a movement, a movement initiated by musicians from all around Cameroon who, with the help of keyboards, drum kits and electric guitars, had started to modernize the traditional rhythms of their regions. For Kalkaba it was no different and backed by his band the Golden Sounds, devoted himself to the promotion of the sounds of northern Cameroon.

One of the aims of Analog Africa is to showcase the colorful diversity of styles that exist in Africa and its diaspora and today we are very proud to be able to give these Gandjal tunes their first worldwide release.

Zimbabwe's most celebrated young band Mokoomba is back with a new offering: Luyando. 'Luyando' means mother's love' in Tonga, a language that is spoken by the original inhabitants of the Zambezi Valley of Southern Africa. But beyond the dictionary definition, Luyando goes to the heart of Mokoomba's music. Lyrical and beautifully breezy, Luyando is also a spiritual journey into the heart of Zimbabwean society, culture and tradition.

Producer Tommy Cowans cut the first version of the 'Gone to Negril' rhythm for Devon Irons to voice the song 'Jerusalem' on. He then returned to the same rhythm for the follow to the pop hit 'Up Town Top Ranking' with Althea and Donna for 'Gone to Negril'.

Somewhere along the way, prompted by Bob Marley, Cowans took the tapes up to the Black Ark. Anyone who was coming from another planet who wanted to know what Lee Perry was about would be well advised to listen to the all out audio assault of 'Crazy Negril'.

Like a careering car that Perry just about maintains control of, 'Crazy Negril' screeches whirls and zooms from one side to the other of the musical track. Possibly because it was a 'mix' that he was asked to do for someone else from the outside, Perry throws caution to the wind and adds a simple rhythm box as well as whistles and a cow bell to amazing effect. It's an inspired version, and adds to the slightly commercial song on the A side. Although 'Gone to Negril' has its lyrical moments as well. Anyone who rhymes 'Adam and Eve, without their leaves' and 'Feminine gender, ranking agenda' is alright by us.

The 10' comes in a one off recycled sleeve, made from the cover of 'Life Goes in Circles', the Tommy Cowans compilation on Pressure Sounds.

Heavyweight (180gr.) gatefold LP, including a download code.
The first-ever reissue of Jon Hassell's "Fourth World" masterpiece originally released in 1981.

Collaborators include Brian Eno and Daniel Lanois (U2, Peter Gabriel) and Michael Brook (Nusrat Fateh Ali Khan).

Beautifully re-mastered, with a bonus track ("Ordinary Mind") and liner notes written by Hassell himself.

This cut of Lloyd Parks's classic 'Slaving', often referred to as the 'Steppers version', was recorded around 1980, when the song was re-recorded with added embellishment and more emphasis on the bass drum. Hard to find and a favourite with DJs and the cognoscenti. A first time reissue, it comes housed in a hand stamped bag.

In the early 1980s, Alice Coltrane Turiyasangitananda formed an ashram in Agoura Hills, California. There a beautiful, multi-ethnic and multi generational religious community grew up around her. The highpoint of living in this very special and loving environment took shape on Sundays when Alice would lead the community in a musical ceremony, mixing both gospel and Indian chant, to create a music she wholly invented - it was something extraordinarily powerful. The Ashram is still there today. There are still some who live there and there is still a weekly Sunday service that is open for everyone.The folks who populated the Ashram world of Alice Coltrane Turiyasangitananda were a very special group of people. Many of the adult members were musicians before having moved there, and many of the younger followers have become musicians and film makers as they grew older. One these amazing artists is John Panduranga Henderson.Panduranga played organ, piano and sang with Ray Charles in the 1970's where he was a star performer in Ray's band. When he joined the Ashram, he became in essence a star performer there as well, though of course there were no 'stars'. Alice sitting at the organ would say, Panduranga' and John would come to the front and let loose one of his amazing gospel-esque solos praising Rama or Vishnu or Jesus, Muhammad, Moses and more. He made one record under his own name - a record so obscure it's not listed on Discogs, nor found on the interweb what! Today, for you dear listener, we would like to present Panduranga Henderson's Ocean of Love.' Om Shanti.

One of Rudy Thomas' few roots tunes. The Kingston born singer was better acquainted with softer lovers material than this lament for Paul Bogle, the Jamaican nationalist and leader of the Morant Bay rebellion. A lovely tune, with a flute nagging away, giving the song an unusual feel. Rudy Thomas worked at Joe Gibbs' studio as an engineer and percussionist, before moving on to a successful career as a lover's rock artist. Produced by Lloyd Parks and comes in a hand stamped bag.

A complation of classic tracks produced by legendary UK soundman Lloydie Coxsone. Includes the essnetial 'Prophecy' by Fabian, Ras Midas' 'Good Old Days' + Burning Spear's 'Jah No Dead' amongst others.

Toy Tonics going Afro House. The MUSHROOM HOUSE compilation series part brings 4 unreleased tracks. Including two of the most relevant names of the growing scene: AUNTIE FLO from UK and mysterious producer HYENAH. Hyenah is a favourite of the scene's main man Black Coffee and DJ's like Dixon and the Innervisions circle are heavy fans. Also on this EP a new track by Toy Tonics very own ZHUT & KAPOTE. Kids from Berlin with a good buzz right now. Inside their track Afro Rico an Senegalese child choir meets some Zappaesque Marimbas going crazy... And as a bonus track you find Munk's Nigerian Jam: A Nigerian Funk band rolling over an heavy disco beat. Very deep, but very effective.

Last year's On the Corner underground smash release, the 12' EP Santuri's Embaire Umeme, introduced Uganda's Mugwisa International Xylophone Group (M.I.X.G) to the world.
The recordings center on the Embaire, a giant xylophone native to Ugandan folk music, which is dug into a pit for a natural, earthy bass resonance as gargantuous as the instrument itself. The instrument performs a key role in village life, with ceremonial playing sessions lasting for hours on end.
These recordings may be esoteric in nature but they add important context to the Santuri's Embaire Umeme 12' and are a vital documentation of the Iganga village's culture, as well as that of Uganda. Jones has artfully chopped the epic session into a series of short evocative chapters to create a pioneering masterpiece. Remix duties are led by Griot House innovators, The Diabolcal Liberties, who have raved-up some Sun Ra frequencies for the cosmic junglist crew.
Last but never least, Victoria Topping has created beautiful artwork using the session photography taken by Jones during the recordings

After the success of DJ Khalab & Baba Sissoko's afro-futurist masterpiece "Khalab & Baba" LP, and winning the Track of the Year award at Gilles Peterson's Worldwide Awards, K&B return to Wonderwheel with two remixes of tracks from the album on a limited edition 7". First up, Black Acre labelmate Clap!Clap! delivers an absolute monster that veers into 4/4 territory with hints of classic jungle vibes, while Brownswood recording artist Nikitch delivers a devasting, bass booming footwork inspired reflip of "Lenke"

Welcome to our second celebration of the sounds of Bombay Disco, which digs deeper into the recordwallah shops in the bazaars of India. As fans of our first collection will recall, disco arrived in India in 1979, shortly after its mainstream popularity had peaked in the West. Disco songs remained in vogue throughout the subcontinent for a dozen years, in many ways because of the "cabaret scene" or "item number," a mainstay in South Asian cinema that dates back to the 1920s. Back then, these scenes depicted traditional courtesans or nautch (dancing) girls, but by the early 1960s dance sequences became much more surreal, with visuals inspired by Busby Berkley and music infused with jazz, Latin, and rock 'n roll. This tradition continued with an East-meets-West fusion of funk, disco and electro, to the hip-hop and EDM influences popular in South Asian films today. Disco songs continued to flourish after its early '80s ubiquity, often in the more tawdry films such as the horror movies that were immensely popular as the decade wore on. As the '90s continued, the cabaret sequences began to bear a closer resemblance to MTV videos. The music in these scenes changed to a similar style while the perennial love songs continued to entrance listeners. We haven't delved into the more massive film hits here, since the majority of those songs have been anthologized elsewhere. We prefer to dig deeper into the thousands of dusty, mold-encrusted records found in the back alley shops in India's teeming cities. For your dancing pleasure, we've cleaned off and polished up these vintage disco delites for your manoranjan (entertainment). Enjoy a cocktail and get on the dance floor! From the extensive liner notes, which by the way includes incredible cocktail recipes to enhance the Bombay Disco 2 listening experience

Warehouse Find!

Optimo Music is delighted to release a first album by Fantastic Twins (formerly known as The Twins). We'll let them tell you the story behind this inspired and beguiling record -
Obakodomo (Au Balcon Du Monde) is a soundtrack I created for a piece of contemporary dance, performed by two dancers for a young audience from the age of 4. It is the story of an imaginary journey in Antartica where two explorers go on an adventure. They encounter a colony of penguins and will progressively learn to understand their habits and respect their environment. Essentially, Au Balcon Du Monde is a metaphor of how to exist next to each other, how to share a territory, how to learn to live together and share resources.
The scenography and stage accessories were designed in a minimalistic and non-obvious form to leave all the space for imagination. The penguins were made of translucent material to provide light effects and were programmed to move in a swaying motion, allowing interaction with the dancers and the music. LED system could be wireless piloted.
With the soundtrack, I wanted to create an atmosphere that would immediately transport the children into this terra nova - a poetical space, like a cold sphere, where the strange meets the frightening and the playful. Translating the immense vs the small, the far-off vs the near, the collective vs the individual, the strange vs the familiar or the cold vs the heat. My intention was to follow the thread of the story in a narrative, yet non-caricatural way. Music for children doesn't have to be 'childish'. Children love to be scared or even just challenged. They love to love and react instantly to what they hear through their emotions. Ultimately, the soundtrack aims to provide different levels of 'reading' so that it becomes something more universal. So we, adults, just have to accept the invitation.

Two classic DJ tracks licensed from the Disco Fuentes catalogue . First up some irresistible percussive and brass heavy latin rhythms offset by those killer vocals on A La Memoria Del Muerto by one of the most successful latin outfits worldwide.... Fruko Y Sus Tesos. On the flipside an explosive, hypnotic cumbia from Combo De Los Galleros with the dancefloor winner of 'Soledad'. Essential.

A compilation of uniquely Kenyan acoustic guitar songs, recorded in the homes and yards of Luhya musicians. In 2016, Cyrus Moussavi set out to learn the origins of Omutibo, a playing style invented by George Mukabi and adapted by his neighbors in a region that proved to be truly fertile for guitarists.

These are the songs and stories of a golden era Kenya on the brink of independence, beautifully resurrected by the songwriters themselves over 50 years later. LP comes packaged in a deluxe metallic spot-color jacket, with an 8-page full color booklet featuring interviews, photographs, and lyrics in English and Luhya. Co-released by Raw Music International and Olvido Records.

One for the heads! A rare female vocal double header, starting with Dalila's 1968 gem 'Canto Chorando' originally released on a sort after 'compacto' 45 on Copacabana.
On the flip - a Copacabana 7' release in the form of Neyde Alexandre's 1971 song 'Perplexidade', with a fantastic break intro, horn stabs and lush vocals. One of our favourite Brazil 45's.



 

Sol Power Sound is proud to present their first release of 2016, a 3-song EP by recent Finnish expatriate, Tom of Brooklyn. After a massive release on Razor-n-Tape in 2015 (and slight change of moniker), the ever-mysterious Tom delivers a 3-song EP of breezy disco grooves inspired by his recent cruise of the islands.

On Theme Song from Deep Cock, Tom double-teamed with Deep Sang (of the Sol Power All-Stars). The tag-team duo came up with a tight and groovy title sequence for a film that will likely never see the light of day.

Look at Me is a moody slice of disco goodness that Tom put together for his now-legendary sunrise sets on the ship.

Make Me Wonder is a warm-weather jam that fills the B-side of the record. A seemingly endless funky groove, it was Tom's secret weapon at his all-day beach parties in port. He tells us he can't wait to play it at outdoor jams in his new home of Brooklyn, NY (and at Fire Island soirees this summer).