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Free Up The Herb baby:)

Rural Jamaican 50's style... The Denzil Laing Trio plays the Mento... ancestor of the Reggae... As you can feel on the Not Me flow, but not only... the big melt of styles... from spanish guitars of the Blood Shot Eyes to the country ambiance of the Who To Call your Friend... or the Biggest Maracas the Merengue is not far and the Big Bamboo goes Bachata... Excellent !!!

Das kolumbianische Label Disco Fuentes wurde in den Dreißigerjahren in Cartagena von Antonio "Tono" Fuentes Estrada gegründet. Es hat sich im Lauf der Zeit zu einer musikalischen Institution entwickelt, die in Sachen Musica Tropical weltweit ihresgleichen sucht: Disco Fuentes hat neben Salsa auch Cumbia, Fandango, Porro, Vallenato und andere populäre Musikrichtungen des Landes sehr erfolgreich und in höchster Qualität produziert und vermarktet. Ob Joe Arroyo, Sonora Carusseles, Fruko y Sus Tesos oder die Latin Brothers, die bekanntesten Musiker Kolumbiens haben alle irgendwann einmal - mindestens! - ein Album bei Discos Fuentes aufgenommen. Die Kompilation "Colombia!" widmet sich dem Zeitraum von 1960 bis 1976 und damit den goldenen Jahren von Discos Fuentes. In dieser Phase schrieb das Label mit einem unaufhörlichen Strom herausragender Veröffentlichungen Musikgeschichte. Für die Zusammenstellung, die 2007 erstmals erschien, wurden 17 mitreißende Highlights aus dem gigantischen Katalog ausgewählt. Sie decken von Cumbia und Gaita über Fandango bis Salsa und Champeta alle Genres ab, die Kolumbien zu bieten hat.

CURRO - Patuleco






CURRO - Puerto rico zumbando


Honolulu


COMBO CURRO - Traigo salsa


ORQUESTA - Fiesta de negritos

Deconstructed royal-court music from the forgotten kingdoms of the Buganda, reconstructed electronic wedding music, fluorescent pink African pop, crunched 8-bit drum machines and a 10-foot long monster xylophone are just a few of the many sounds of Ennanga Vision.

This post-modern African soundtrack follows London producer Jesse Hackett's heady musical journey into the heart of Uganda - recording with chief collaborator, multi instrumentalist and singer Albert Ssempeke and featuring assorted vocal legends from the north of the country. The music blends a fully electronic sensibility with unusual, hand-crafted, African one-string fiddles, a 200-year-old harp and an enormous, group-played xylophone. It mixes traditional Ugandan folk songs and modern pop forms into a new PLASTIC ORGANIC VISION.

Hackett is influenced as much by the music of the African continent as he is by European electronic compositions and soundtrack scores. The sounds of hauntingly-dark vocoded vocals, crushed electronics, and poly-rhythmic drum machines sit alongside chiming African fiddles, rippling harps and children's laughter. He is a member of Owiny Sigoma band having sung on and co-written a lot of their work spanning three albums. He is also touring keyboard player for the Gorillaz and has released records on Stones Throw, Honest Jon's and DEEK Recordings, to name a few.

Albert Ssempeke is the son of a prestigious royal court musician who played in the days of the old Buganda kingdom - one of more than twenty five musical siblings, Albert is simultaneously an educator, performer and preservationist of this intricate and complex traditional form of music. Here he plays over ten traditional Ugandan instruments including Amadinada (xylophone), Ngindidi (fiddle), Endongo (harp), Ennanga (flute) and many more

Nomade Orquestra return from the stratosphere via Brazil with their second offering: Entremundos (Between Worlds). Gazing outward through a kaleidoscope from the heart of Sao Paulo's jazz scene, the collective consciousness of the ten-man orquestra has dreamt up an adventurous amalgam of earth's most far reaching musical cultures. Recorded at Red Bull Studios, Sao Paulo, Entremundos is like a cosmic musical playground where Ethio-jazz, Indian classical and Oriental sounds dance around Afro-Brazilian roots rhythms and Northern hemisphere jazz, funk, soul, library music and hip-hop influences. The sheer vastness of the album is astounding, Nomade Orquestra have quite literally conquered the world in sound.

Nomade Orquestra are some the most accomplished musicians in their city. They're also avid record collectors, citing the coming-together of their expansive musical knowledges as key to their unique sound. Album opener 'Jardim de Zaira' - a tribute to the neighbourhood on the outskirts of the famous ABC region, where the band meet and rehearse - hosts a playful unison of vibraphone, guitar, horns and keyboards reminiscent of Stereolab's funkiest late '90s output. 'Felag Mengu' lies somewhere between the groovy, brooding ethio-jazz of Mulatu Astatke and Tinariwen's hazy desert Rock, and 'Olho do Tempo' is another enchanting incarnation of the band's impossible to define brand of global roots music. The album's wildest moment comes from the roaring off-road, big-band joy-ride 'Rinoceronte Blues' with hill-billy harmonica, soulful organ stabs and soaring horn arrangements further highlighting the depths of Nomade Orquestra's endless span of influences.

With Gilles Peterson singing their praise and rave reviews from the likes of Wax Poetics, Record Collector and Songlines, last year, Nomade Orquestra's self-titled debut album launched them from humble beginnings to international recognition. They also embarked on their first tour outside of Brazil. This summer the band are set to return to the UK, bringing their new album and raucous live show to festivals including WOMAD, Boomtown and Kendal Calling, plus a headline night at London's Jazz Café.

Nomade Orquestra return from the stratosphere via Brazil with their second offering: Entremundos (Between Worlds). Gazing outward through a kaleidoscope from the heart of Sao Paulo's jazz scene, the collective consciousness of the ten-man orquestra has dreamt up an adventurous amalgam of earth's most far reaching musical cultures. Recorded at Red Bull Studios, Sao Paulo, Entremundos is like a cosmic musical playground where Ethio-jazz, Indian classical and Oriental sounds dance around Afro-Brazilian roots rhythms and Northern hemisphere jazz, funk, soul, library music and hip-hop influences. The sheer vastness of the album is astounding, Nomade Orquestra have quite literally conquered the world in sound.

Nomade Orquestra are some the most accomplished musicians in their city. They're also avid record collectors, citing the coming-together of their expansive musical knowledges as key to their unique sound. Album opener 'Jardim de Zaira' - a tribute to the neighbourhood on the outskirts of the famous ABC region, where the band meet and rehearse - hosts a playful unison of vibraphone, guitar, horns and keyboards reminiscent of Stereolab's funkiest late '90s output. 'Felag Mengu' lies somewhere between the groovy, brooding ethio-jazz of Mulatu Astatke and Tinariwen's hazy desert Rock, and 'Olho do Tempo' is another enchanting incarnation of the band's impossible to define brand of global roots music. The album's wildest moment comes from the roaring off-road, big-band joy-ride 'Rinoceronte Blues' with hill-billy harmonica, soulful organ stabs and soaring horn arrangements further highlighting the depths of Nomade Orquestra's endless span of influences.

With Gilles Peterson singing their praise and rave reviews from the likes of Wax Poetics, Record Collector and Songlines, last year, Nomade Orquestra's self-titled debut album launched them from humble beginnings to international recognition. They also embarked on their first tour outside of Brazil. This summer the band are set to return to the UK, bringing their new album and raucous live show to festivals including WOMAD, Boomtown and Kendal Calling, plus a headline night at London's Jazz Café.

'Curao' is the frst full collaboratve album from world-renowned Britsh producer Quantc and Colombian folklore singer Nidia Góngora - who has regularly fronted Quantc's high profle live ensem-bles in recent years as well as contributng to some of his most popular tracks.
With infectously danceable rhythms, captvatng songwritng and up-to-the minute producton, 'Curao' brings a new and highly original interpretaton of the unique, rich and mystcal musical traditons of the Colombian Pacifc Coast. Combining Quantc's trademark electronic producton with the distnctve traditonal rhythms of Pacifc music the album presents itself as a captvatng body of work.
The 2 x LP editon comes housed in a reverse board double gate-fold sleeve, whilst the CD is packaged in a reverse board dig-pack.

'Curao' is the frst full collaboratve album from world-renowned Britsh producer Quantc and Colombian folklore singer Nidia Góngora - who has regularly fronted Quantc's high profle live ensem-bles in recent years as well as contributng to some of his most popular tracks.
With infectously danceable rhythms, captvatng songwritng and up-to-the minute producton, 'Curao' brings a new and highly original interpretaton of the unique, rich and mystcal musical traditons of the Colombian Pacifc Coast. Combining Quantc's trademark electronic producton with the distnctve traditonal rhythms of Pacifc music the album presents itself as a captvatng body of work.
The 2 x LP editon comes housed in a reverse board double gate-fold sleeve, whilst the CD is packaged in a reverse board dig-pack.

Strut present a brand new 12' reissue of Shina Williams' monster Nigerian disco anthem 'Agboju Logun', pairing the rare original album version (originally released on Phonodisk Nigeria) with the more sparse 12' remix which surfaced later internationally on Earthworks. This is the third release on STRUT'S new Original Masters Series.

A Collection with An Exceptional Sound and Visual Aesthetic, In Collaboration With The British Photographer Chris Steel-Perkins, The Counter-Cultures Photograph.

Drummer Amir Bresler, born in 89, has been established as one of the most sought after Israeli drummers, performing in Israel and abroad at prominent local and world stage jazz festivals.

Starting his musical education at the age of 13, Amir was first exposed to jazz music at the age of 15 upon his enrollment for the Jazz program at the Thelma-Yellin National High School of the Arts from which he graduated with honors. In 2010 Amir Joined the world renowned bass player, singer and composer Avishai Cohen, in concerts globally. Avishai Cohen is considered to be one of the most successful Jazz artists in the world today. Amir also performed alongside visiting musicians like Sam Yahel, Joel Fraham, Mark Turner, Kirk Lightsay, Dwayne Bruno. In addition, Amir played with various israeli artists Among these are, Daniel Zamir, Omer Klein, Kutiman, Nitai Hershkovits, Yotam Silbrestein, Amos Hoffman, Gilad Abro, Shai Maestro, to name a few.

This release is comprised of two tracks, originally composed and recorded for Meinl Cymbals' drummers-videos-series. These tracks were later chosen by Amir to be officially released.

The first track, 'Afro Golden Line', is inspired by 70's african high-life music (specially from Ghana and Nigeria) this is an odd-meter afro-beat track. Featuring Sefi Zisling's distinct trumpet melody and Uzi Ramirez's playful guitar.

The second track, 'Fish', is taken from LBT's old mixtapes (originally with vocals by KerenDun). It was re-recorded at Amir's studio while bassist Beno Hendler & keyboardist Nomok composed the third part of the track.

Both tracks were produced with Rejoicer.

R Vincenzo is a young producer from Sao Paulo.

Sample machine. Instant collages. Mashup. Ready-made. Digital macumba. Psychedelic punch.

Livesets deconstructing and compounding tunes of african, balkan, brazilian ritualistic sounds, funk carioca, assorted cumbias, old folklores, japanese tunes and other beats creating a fusion of musical styles. Fresh & live.

Sample colector from a wide range of regions and folklores, R Vincenzo works compounding and mixing different music backgrounds,resignifying and producing new atmospheres,melting organic and electronic sounds, live, in multi-processed audio layers.

Second vinyl EP 12" to be released on June 2017

R Vincenzo is an activ member of Voodoohop collective in Sao Paulo.

ABOUT VOODOOHOP

VOODOOHOP is an outlandish art collective born from a series of underground parties. Djs, performers, dancers and visual artists together create a multi sensory tropical cabaret. Brasilian traditional heritage mix with ritualistic performance. Nomadic in nature, the collective transforms spaces from abandoned buildings to natural hideaways. Always experimenting Voodoohop is in constant flux.

Misturas e composições de ritmos e atmosferas musicais de diferentes partes do mundo (camadas africanas, balcânicas, funk carioca, cumbias sortidas, chiptunagens, cirandas, pontos de candomblé, entre outros), desconstruindo, ressignificando e compondo novas atmosferas sonoras, alterando e editando ao vivo (liveset): esse é o universo temático e de atuação do músico paulistano Ricardo Vincenzo, que pode ser visto nas pistas de danças de festas paulistanas multiculturais como Voodoohop, Calefação Tropicaos, Venga Venga, Mamba Negra, Macumbia e tantas outras.

Com formação em piano e músico de elementos tão diversos como trombone e Game Boy, de onde ele extraía sons 8Bit para o projeto audiovisual Cirko Synema, Vincenzo é um colecionador ávido de samples internacionais e outros elementos sonoros diversos (desde gravações de TV a sons de pássaros), e sua antropologia de elementos musicais é reprocessada e editada ao vivo, mutada de forma hipnótica para as pistas de dança.

First EP of Zelaian Disco Club created by the Sheitan Brothers. Based on Arabic and Maloya inspiration, this first EP of the brotherhood is a gift to a tribal dance floor mixing traditional music and electronic beats.

Record Kicks presents a new limited edition 45 vinyl by UK rock steady/soul/dub combo Pama International feat another two winners. On the A side the new single "Then You Can Tell Me Goodbye" flipped by the reggae 69 stormer "Gasoline" on the B side.
In their first 10 years Pama Int'l recorded 9 albums, 3 BBCRadio 1 Maida Vale sessions, won the Rebel playlist on BBC6, and became the first new act to sign to Trojan Records in 30 years. Their collective nature saw them work with members of The Specials, Madness, Steel Pulse, Style Council, Galliano, Kasabian, Mad Professor, Toots & The Maytals, Jimmy Cliff to name a few.
Wacth out, the 45 is limited to 500 copies worldwide.

Wah Wah 45s are proud to present the first release from Afro-dub stalwarts and brand new signings, Soothsayers. Having been fans of this influential South London based outfit for the best part of two decades now, it's come as a great thrill to finally, officially welcome them to the fold.

These four brand new recordings, issued rather beautifully on ten-inches of wax with bespoke sleeve artwork and featuring the imagery of Polish photographer Kazimierz Zagórski, draw from the kaleidoscope of influences that have forged the Soothsayers sound. For the new listener they provide a window into the world of a band that have explored myriad forms, developing the groove and philosophy that originally shepherded these musicians onto a common path. For the seasoned fan, these tracks provide a fresh take on some live favourites, including re-workings of Afro-jazz favourites, and expansive vocal versions of classic Soothsayer dubs.

Blinded Souls is a fresh recording of a bubbling Afrobeat tune, first released on Soothsayers sophomore album, Tangled Roots. Simple, direct, chanted harmonies deliver a lyrical message lamenting the "long works hours culture" and modern materialistic priorities. Gritty rhythmic horns, jazzy Rhodes and analogue synths combine perfectly with an Afro break-beat for the three part vocal blend to ride on - this version was mixed by legendary dub wizard Nick Manasseh.

Eagle Song provides some soaring spiritual jazz and is a new version of a piece that was recorded for Soothsayers' debut LP, Lost City. It's a deeply grooving instrumental that has been an energetic high point of the band's live shows. Sax and trumpet improvisation and interplay, tight ensemble playing and a gritty mix by Rhys Adams at Yesking Studios make this a highlight.

Roll River Roll is a tough yet soulful dub cut that lays the perfect sonic bed for Soothsayers' three part harmonies, paying respect to the great Jamaican vocals groups like Culture, The Gladiators and The Mighty Diamonds. The rhythm is a reworking of a version from an earlier recording, Red Earth Dub, with a vocal written in the midst of a chaotic world with a calling to get back to our roots and learn from the natural world.

Finally, Refugee, written in tribute to all resilient humans uprooted from their homeland and coping with the struggles of relocation, is a new version of the instrumental Salaam Shalom that featured Soothsayers horns, and was produced by Nick Manasseh for the Roots Garden label.

There but for the grace of God go we!

Previous radio support comes from Gilles Peterson, Jamie Cullum, David Rodigan, Don Letts, Robert Elms and many more worldwide.

Soothsayers will be celebrating this release with a full live show at The Battersea Arts Centre on May 17thwith special guests Dele Sosimi, Hector Plimmer, Wu-Lu and Wah Wah 45s DJs.

Effyzzie Music star Geniuzz releases his anticipated extended play titled "A Slice of Geniuzz".
The 10 tracker set features his label mates Yemi Alade and Soti, with production credits from Dr Sett, Drey Beatz, Emzo and Jay.
The E.P can be described as a unique and masterful blend of sounds that takes you on an adventure of smooth rhythm and melody rooted in living life to the fullest and loving life.

Jebel Tariq originally appeared in the middle of 2000 as Muslimlim 025, an MP3 only release distributed via Pretentious over the Internet.
It was an extremely well received release and has been much requested since. Here at last is the CD re-issue of this excellent album.
It has strong hand drum beats throughout but still maintains a very moody feel. It was undoubtedly these very elements that lead Jeremy Keens to state it was "balanced between the ambient and beat sides" of Bryn's work. It goes beyond just these elements though. There are whispered voices changing to strong ululations, frequent flute "samples" and then the bass. There are parts where the deep throb of the electric bass element gives a very dub feel and then there is the use of acoustic bass. The latter something very unusual for Bryn and it adds an almost jazz feel. All of this put together make this another strong, almost unique release from the incomparable Muslimgauze.

Following on from the Pasteur Lappe compilation "African Funk Experimentals" LP, we are really pleased to be re-visiting Pasteur with a repress of his second album from 1979, "Na Man Pass Man". The story begins in the 60s with a charming 19 year old Nicolas "Pasteur" Lappe becoming a sensation on Radio Adele in Douala, Cameroun. He goes on to become the editor of the Douala Gazette newspaper and become friends with other African music stars such as Tala AM, J Moboule and Fela Kuti. He also works tirelessly promoting new and upcoming local Cameroonian talent. After moving to Paris, a stint in journalism school and publishing a book of poems "Chansons Negres" he finally settles into a new life of music in Paris. His second album "Na Man Pass Man" is made in 1979 with the backing band and production collective called the Zulu Gang, which include Douglas Mbida (who went on to release several top flight albums himself) and Jacob Desvariaux (who went on to form Kassav). The album is full of diverse sounds, from driving funk, sweeping disco grooves, syrupy ballads, reggae, Jackson-five-esque pop to finger-lickin' soul. At its core though is the custom "Sekele" groove... a movement to encompass the dance, grooves and vibes from his native Douala. The album opens with Africa Seven favourite "Na Real Sekele Fo' Ya" which takes stabby moog bass synth to a whole new level of grooviness. "Follow Me To My Dreams" takes proceedings on a reggae tip as the Zulu Gang show us just how Reggae they can go. Its sleezy Rhodes and sax led jazz funk of "Mbale". Followed by "Missosi" a cautionary tale from our hero. Side B opens with another slice of slick African Reggae with "Babette D'O (Rastawoman)" - the Caribbean chops of Jacob Desvariaux getting a full exercise here. Its then "Back To Funky" with some dance funk. It features Maryse Lappe guesting on vocals too. The "Lead" track from the album "ABC" is next with its stomping afro, pop funk delightfulness. A 12" version was actually released in 1979 with a fine painting of our hero on the front cover. We close off the LP with the title track "Na Man Pass Man (Na Iron De Cut)". This features Pasteur singing and professing his tale of the trials of Africans and African Music over a rolling bass guitar groove. The nostalgic poet, with Africa at his essence Pasteur Lappe, we salute you.

The Kooks debut album was released 10 years ago in 2006, and on LP this was only released as a 2LP version including a live Abbey Road session. To celebrate the 10th anniversary of this release, UMC presents the standalone 1LP for the first time with

Globe-trotting beatmaker returns to soundsystems worldwide bridging continents through rhythm. Blending a styles from NY hip-hop, UK bass & Turkish psychedelic, to Afrobeat & Amazonian funk into a mellifluous sonic thesaurus.

5 x 7" BOX
Unique Soul Jazz Records' Record Store Day seven-inch box
set comprising five separate singles featuring ten killer rare
collectors tracks from Studio One Records, featuring Ska, Roots,
Rocksteady, Dub & more from the greatest reggae label of all time.

Seminal, rare and classic tunes collected together here for the first time ever.

The first of two 45s out of Chinna Smith's Inna De Yard Studio,
St. Andrew Park, Kingston Jamaica. Nadia McAnuff, daughter of long time 70s legend Winston McAnuff, backed with Brian Anu Gold.

[A] A1 | NADIA MC ANUFF - MARCUS GARVEY

'Spirit Reflection' is the third album LP from Los Angeles singer-songwriter
Gaby Hernandez. Blissful layers of instrumentation, electronics, vocal harmonies and folkloric percussion intertwine with west coast feel to create aunique, beautiful and multi-layered album.
The album features a stellar line-up of LA talent, jazz star Kamasi Washington, Stuart Howard (AKA Lapalux), Kelis and Gaslamp killer collaborator Dexter Story, plus Ninja Tune, Plug Research and Soul Jazz artist Carlos Niño, Miguel Atwood-Ferguson and Gabriel Reyes-Whittaker all accompany Gaby, with stunning results. Even before Spirit Reflection had been finished, the demo mixes caught the ear and gained support from Gilles Peterson, Lefto, Toshio Matsuura (U.F.O.) and JRocc (Beat Junkies). Born, raised and based in Los Angeles and of Chilean descent, Gaby Hernandez has been writing and recording since 2001. She was a founding member of the 'creative music ensemble' Build An Ark alongside others including Carlos Niño, Dexter Story and Dwight Trible.

Gaby was the only vocalist on Teebs' debut Brainfeeder release Ardour. She made major contributions to AmmonContact's Ninja Tune releases New Birth and With Voices, plus The Life Force Trio's Plug Research album Living Room. She was also the vocalist on Dimlite's Outernational Duet - released as part of his highly acclaimed Sonar Kollektiv longplayer This Is Embracing.
Hernandez was invited by Mia Doi Todd to sing on the Jonathan Wilson produced song Canto de Iemanja, which was included on Todd's City Zen record Cosmic Ocean Ship and the Red Hot + Rio 2 compilation, which also featured Beck, Seu Jorge, Aloe Blacc, David Byrne and Madlib. Among her main musical comrades is the prolific multi-instrumentalist, composer and producer Dexter Story, for whom Hernandez sang on the track Water Bearer from his LP Seasons, on Kindred Spirits. David and Graham from Mr Bongo met Gaby and Carlos Nino at the end of their hugely successful Arthur Verocai album launch and rare record sale at the RAPPCATS venue in LA. Gaby and Carlos passed us a copy of 'Spirit Reflection'.and we put it on the deck. It immediately grabbed us and we couldn't stop listening to it. When we got back to the UK we got in contact straight away and signed the album. We're very proud to be releasing it'... ...this is a future classic, an 'album' in the truest sense of the word. Brilliant.' says Graham.

'Spirit Reflection' is the third album LP from Los Angeles singer-songwriter
Gaby Hernandez. Blissful layers of instrumentation, electronics, vocal harmonies and folkloric percussion intertwine with west coast feel to create aunique, beautiful and multi-layered album.
The album features a stellar line-up of LA talent, jazz star Kamasi Washington, Stuart Howard (AKA Lapalux), Kelis and Gaslamp killer collaborator Dexter Story, plus Ninja Tune, Plug Research and Soul Jazz artist Carlos Niño, Miguel Atwood-Ferguson and Gabriel Reyes-Whittaker all accompany Gaby, with stunning results. Even before Spirit Reflection had been finished, the demo mixes caught the ear and gained support from Gilles Peterson, Lefto, Toshio Matsuura (U.F.O.) and JRocc (Beat Junkies). Born, raised and based in Los Angeles and of Chilean descent, Gaby Hernandez has been writing and recording since 2001. She was a founding member of the 'creative music ensemble' Build An Ark alongside others including Carlos Niño, Dexter Story and Dwight Trible.

Gaby was the only vocalist on Teebs' debut Brainfeeder release Ardour. She made major contributions to AmmonContact's Ninja Tune releases New Birth and With Voices, plus The Life Force Trio's Plug Research album Living Room. She was also the vocalist on Dimlite's Outernational Duet - released as part of his highly acclaimed Sonar Kollektiv longplayer This Is Embracing.
Hernandez was invited by Mia Doi Todd to sing on the Jonathan Wilson produced song Canto de Iemanja, which was included on Todd's City Zen record Cosmic Ocean Ship and the Red Hot + Rio 2 compilation, which also featured Beck, Seu Jorge, Aloe Blacc, David Byrne and Madlib. Among her main musical comrades is the prolific multi-instrumentalist, composer and producer Dexter Story, for whom Hernandez sang on the track Water Bearer from his LP Seasons, on Kindred Spirits. David and Graham from Mr Bongo met Gaby and Carlos Nino at the end of their hugely successful Arthur Verocai album launch and rare record sale at the RAPPCATS venue in LA. Gaby and Carlos passed us a copy of 'Spirit Reflection'.and we put it on the deck. It immediately grabbed us and we couldn't stop listening to it. When we got back to the UK we got in contact straight away and signed the album. We're very proud to be releasing it'... ...this is a future classic, an 'album' in the truest sense of the word. Brilliant.' says Graham.

Deeply impressed by the music of Congolese collective Kasai Allstars, French-Senegalese director Alain Gomis drew inspiration from their music, and from the voice and character of their singer Muambuyi to write and direct his new fiction movie, entitled 'Félicité'. The film's eponymous protagonist is a proud, free-willed woman who sets out on a breakneck race through the streets of electric Kinshasa to save her son. Her profession: singer with the Kasai Allstars!
The band wrote and performed most of the soundtrack, and appears onscreen playing their own part. Muambuyi's voice is omnipresent, and is being heard every time Félicité (played by Congolese actress Vero Tshanda) sings in the bars of Kinshasa, backed by Kasai Allstars.
The film was presented in competition at the Berlin International Film Festival 2017, where it obtained the Silver Bear Grand Jury Prize. Theatrical release in France & Belgium will take place in late March/early April, other countries will follow.

The 'Around Félicité' album includes the film's main pieces, performed by Kasai Allstars and by the Kinshasa Symphonic Orchestra (who specially arranged three works by Estonian composer Arvo Pärt), alongside new tracks by Kasai Allstars, as well as interludes consisting of fragments of dialogues and sound bites taken from the soundtrack.

'Around Félicité' comes with a companion piece: 'Félicité Remixes', a collection of ten remixes of Kasai Allstars tracks by electronic music producers from Europe, North America and Africa, including reworks by Clap! Clap!, Daedelus and Africaine 808. 'Félicité Remixes' is available as a bonus disc included in the CD version of the album, as well as a separate digital album available on all streaming and download platforms.
'Around Félicité' also comes out as a vinyl double-LP including the album plus five of the remixes.

Deeply impressed by the music of Congolese collective Kasai Allstars, French-Senegalese director Alain Gomis drew inspiration from their music, and from the voice and character of their singer Muambuyi to write and direct his new fiction movie, entitled 'Félicité'. The film's eponymous protagonist is a proud, free-willed woman who sets out on a breakneck race through the streets of electric Kinshasa to save her son. Her profession: singer with the Kasai Allstars!
The band wrote and performed most of the soundtrack, and appears onscreen playing their own part. Muambuyi's voice is omnipresent, and is being heard every time Félicité (played by Congolese actress Vero Tshanda) sings in the bars of Kinshasa, backed by Kasai Allstars.
The film was presented in competition at the Berlin International Film Festival 2017, where it obtained the Silver Bear Grand Jury Prize. Theatrical release in France & Belgium will take place in late March/early April, other countries will follow.

The 'Around Félicité' album includes the film's main pieces, performed by Kasai Allstars and by the Kinshasa Symphonic Orchestra (who specially arranged three works by Estonian composer Arvo Pärt), alongside new tracks by Kasai Allstars, as well as interludes consisting of fragments of dialogues and sound bites taken from the soundtrack.

'Around Félicité' comes with a companion piece: 'Félicité Remixes', a collection of ten remixes of Kasai Allstars tracks by electronic music producers from Europe, North America and Africa, including reworks by Clap! Clap!, Daedelus and Africaine 808. 'Félicité Remixes' is available as a bonus disc included in the CD version of the album, as well as a separate digital album available on all streaming and download platforms.
'Around Félicité' also comes out as a vinyl double-LP including the album plus five of the remixes.

Um die Wartezeit auf das nächste "reguläre" Fink-Studioalbum zu verkürzen, veröffentlicht Fink im März "Fink's Sunday Night Blues Club, Vol. 1" auf seinem eigenem Ninja Tune-Sublabel R'COUP'D. Dies ist die erste, reine Blues-Veröffentlichung von Fin Greenall. Produziert und gemischt wurde das Album von Fink und Flood (U2, PJ Harvey, Warpaint), aufgenommen in Greenalls Studio in Berlin. Jeder Song wurde dabei in kurzer Zeit live mit einem Vintage-Mikrofon und -Verstärker aufgenommen. Manchmal braucht es eben einfach nicht mehr. Greenall sagt darüber: "Most of this record is one take, from all of the guys who helped me get there ... New Orleans legend David Shirley on drums and the weird and wonderful Colin Stetson also really brought the heat to the table. "My love of Blues has always been there, before I even knew what it was. Records by John Lee Hooker, T-Bone Walker and Chuck Berry really spoke to me. For two springs, in 2015 and 2016, I immersed myself in the blues, scouring record stores whilst on tour to inspire and educate myself ... to do something raw, rough, and live, a record that just was, for its own sake. You'd think that writing blues was easy - but it isn't ... It's easy to copy, sure, and to cover, definitely, but to write original blues that is more than just a photocopy of the past actually turned out to be equally challenging and natural..." - Fink

150 minutes of rare treasures from the golden age of African pop music from 1956-1982. A comprehensive collection of the highly divers African music, originating from the independence-movements of the African continent in the mid 20th century. Featuring songs of legends such as Youssou N'Dour, Salif Keïta, Idy Diop and many more.
Available for the first time on vinyl.

This album provides a window on the golden age of African music, presenting the finest works created during the era of decolonisation when the Black Continent looked forward to a brighter future. In Volume 1 of Golden Afrique, we take a look at some West African countries. Some of them (Mali, Guinea, and later Guinea-Bissau) tried a socialist' path, while others, such as Senegal, Gambia and Ivory Coast, looked to the capitalist' model. Today, we find that both these approaches have led to an economic impasse. Never-theless, both have produced outstanding artistic achievements.

In Abidjan, Dakar and Banjul, it was the chance of earning a living by music that brought traditional musicians and modern instruments together. It went something like this: to earn a lot of money, you need to draw a big crowd, and when a big crowd starts dancing, all that can be heard of the traditional instruments is the drumming. And that, as they put it themselves, somewhat tongue-in-cheek, was the last thing they wanted to hear now that they had come to the big city. So the club owners bought electric guitars, amplifiers, saxophones, trumpets and horns, and employed musicians - both traditional local musicans and traveling modern musicians.

Whereas Pontiak's 2014 album Innocence tore through rowdy riffs and melancholic balladry in a neat half hour, it's immediately clear from the reverb-heavy trip of
opener 'Easy Does It' that Dialectic of Ignorance is altogether a different beast.Euphorically defying spatial constraint, brothers Jennings, Van and Lain Carney instead opt to guide each song along its own cosmic trajectory: confdent in the
outcome, but even more excited to enjoy the ride.
Bloody-knuckled basslines bring a snarling Desert Session groove to 'Ignorance Makes Me High' and 'Herb Is My Next Door Neighbor', whilst woozy Gilmouresque vocal harmonies imbue 'Hidden Prettiness' and 'Youth and Age' with a
psychoacoustic dose of cerebral inertia. Those who have seen the brothers perform live know of their ability to harmonize, but Dialectic of Ignorance is the frst album in which this talent is showcased in every song. 'We Fucked Up' is a pedal to the
metal stoner-psych opus, while 'Tomorrow Is Forgotten' burns hot and slow, potent from the frst note whilst relentlessly cranking up the intensity. Pontiak grew up and live on farms in rural Virginia. Dialectic of Ignorance's expansive structures echo the rugged, hazy climbs of this Blue Ridge Mountain
setting, but don't be fooled, this is no mere collection of pastoral instrumental landscapes. Having opened their own brewery in August 2015, the Carney brothers have had the opportunity to reassess their creative process through brewing. The
lessons learned from this experimentation have had a formative effect on the both the process underlying and subsequent sound of Dialectic of Ignorance. 'There's a defnite dovetail between brewing and music,' explains Pontiak guitarist
and lead vocalist Van Carney. 'Both are creative processes that are full of immediate possibility. In the studio you face logistical, technical and creative challenges that are constantly evolving, it's on you as the creator to decide which path you want to
take. Brewing is no different.' An expanded awareness of process has emboldened Pontiak's musical explorations
on Dialectic of Ignorance. 'There's beauty and truth and goodness in all hardships, and it takes strength to see that,' Van adds. 'We learned that there's limitless opportunity ahead if you're ready to pursue it.' Literary inuence was also
important, with particular inspiration drawn from Karl Ove Knausgård's sprawling confessional style, and the expressive, highly visual approach mastered by writers such as Bohumil Hrabal and Leo Tolstoy. With post-truth politics implementing lasting change through manufactured narratives, the creative ownership Pontiak display on Dialectic of Ignorance is
both elevating and empowering. Still, 'it's not a political album,' Van asserts. 'The message we want to get across is the importance of being present in the moment.
Maybe everything is fucked. But you can do something about that.'Dialectic of Ignorance was recorded between January and October 2016 in Pontiak's own 'Studio A' in Virginia. 'Running the brewery defnitely stretched the process out, but that was a good thing,' says Van. 'It gave us time to think, mull
over things, and throw stuff away when necessary. We'd come in to the brewery early each morning, put on what we'd recorded the previous day, listen to it while we worked, and shoot ideas at each other. It was a meditative, owing process.'

Inspired by the music of Fela Kuti and his Africa 70 project feat. drummer Tony Allenl, "The Devil Made Me Do It" is pure downtempo afro beat in its original version, the first remix here included, the "Invisible Cosmic Echoes", has a slower pace and is characterized - as the title suggests - by reverberations and space sound, while the "Invisible Astral Wave" is perfect for a DJ remix and has got a slightly accelerated pace, with an emphasis on the percussive / tribal element.

An ingenious blend of showmanship and intelligence' - Sunday Times

'Upbeat, witty and rather beautiful' - Sunday Express

Evening Standard Albums of the Week

'Clever, and enormous fun' - Guardian

4/5 in Scottish Daily Express 'Far more akin to the lively new Orleans marching bands, this thrilling nine-piece group amalgamate the sounds of trumpet, trombone, sax, sousaphone and marching percussion with keyboards and rock and jazz sensibilities to ensure their parties go with a swing'.

i - 3/5 'Hackney Colliery Band offer an infectious tumult of horns and drums on Sharpener'

3/5 in Big Issue North 'Favourites of Gilles Peterson and Rob Da Bank, East London's Hackney Colliery Band have won praise for their lively reinvention of the brass band sound.'

'Their sound is getting richer' - UNCUT
Quotes: Times - 'Redefining the brass band format for the 21st century' Observer - 'The most fun, enjoyable music I know of' Craig Charles - 'Amazing' Huey Morgan - 'One of my favourite bands' Jamie Cullum - 'One of the best live bands we have in this country' Songlines - 'some seriously great musicians playing some seriously great music'
* After the stunning success of their critically-acclaimed third album Sharpener, which reached number 3 in the jazz charts and number 14 in the independent music charts, London's brass juggernauts Hackney Colliery Band blaze back onto the scene with their first live album, released 12th May.

* With BBC Radio 2 describing them as 'one of the best live bands we have in this country', their live shows have become legendary, selling out venues across the UK and Europe, and playing main stage festival shows (Womad, Wilderness, Love Supreme, Field Day) to huge popular and critical acclaim.

* Recorded over three shows in 2016 and early 2017, the recording captures the band on peak form. Playing largely original material from Sharpener and their second album Common Decency, they also dust off some crowd favourites including their unique mash up of Prodigy covers, rousing versions of Blackstreet's No Diggity and Nirvana's Heart-Shaped Box, and concluding with an acoustic version of Toto's Africa as they parade through the crowd at the end of the set.


* Hearing the band playing live is a very different experience from listening to their three studio albums; it becomes immediately obvious that, far from locked-down studio heads, these are some serious jazz improvisers, here stretching out on extended solos, and with a restless energy for pushing the groove and form in new directions. But this consummate musicianship and skill is always worn very lightly: the band have always managed to present complex music in an extremely playful, fun way, and to a very broad demographic, which on these recordings takes in young east London hipsters and Oxfordshire retirees with equal ease. Front man Steve Pretty's interactions with the crowd, particularly towards the end of the set, raise the energy levels still further, and those with a good ear can listen out for some heart-warming moments from the audience, like the somewhat slurry man a little bit too close to the sound desk microphone singing along to Heart-Shaped Box, or the room gradually falling silent during the mesmerising introduction to the album's only ballad Reawake.


* Alongside main stage sets at festivals like Field Day and Love Supreme and collaborations with Amy Winehouse, Fyfe Dangerfield, Eliza Doolittle, Jamie Cullum, Andreya Triana, Williams Fairey Band, Rhodes and DJ Yoda, they have performed live sessions on BBC Radio 2 and Jazz FM, and their performances have been festured on BBC Two (The Culture Show), Sky Arts (Brass Band Wonderland) and live at the BRIT, Mercury and Mobo Awards.

* And it's these quirks, these little imperfections, that make this album special. Rather than going through the recordings with a fine-tooth comb removing the trumpet cracks, sax squeaks or drum mishits which are inevitable in a 90-minute power set with seven brass musicians and two drummers, the production is minimal. This gives a rare 'warts and all' insight into how the band sound live.

* Steve Pretty, the band's frontman said: 'We've always prided ourselves on putting on a really great live show, and the exciting thing about live gigs is that anything can happen. Unfortunately, that means that if I missed a note somewhere, that will now live with me and annoy me forever, but we wanted a really honest portrayal, with no overdubs or excessive production, just capturing the energy of the room'.

* With the brass band revival in full swing, Hackney Colliery Band manage to occupy their own very distinctive space. Washes of Scandinavian-influenced electronica collide with extended contemporary jazz improvisation, dancefloor-friendly beats contrast with pounding rock rhythms, and Balkanesque melodies nestle up against soul and hip hop grooves. This set owes as much to modern European jazz and American alternative rock as it does to New Orleans second lines or the traditional British brass bands to which their name pays tribute.

* To celebrate the release of this unique live record, Hackney Colliery Band are playing their biggest headline show to date when they hit the legendary KOKO in London on 26th May. With all of their recent London shows selling out months in advance, including the 800-capacity Village Underground, and a few surprises and tricks up their sleeve, their KOKO show will undoubtedly be a real highlight of 2017, and a chance for fans to hear the real thing in person in one of London's most iconic venues.