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Brazilian Shakedown is back!
The second release in this series brings you a collection of outstanding mixes by Rio de Janeiro's own Carrot Green.
On the A Side you'll find 'Ponto Gira', which already is an underground anthem in Brazil. The traditional chanting, combined with CG's super groovy production will certainly also smash the European dance floors this summer. Good vibes galore!
Straight after there's 'Movimento'. In this tune Carrot Green transforms roots music from the North-East of Brazil into an intense dance track, which mesmerizes with its passionate vocals and violin played in peculiar unison.
The B Side takes off with a heavy nu-disco remix of 'Mariama'. The acidic bassline, calling vocals and wide synth-chords will make you feel like flying over the Brazilian seashore. The final destination of this journey leads you to the bass heavy 'Capoeira', where the classic Berimbau and hypnotic call-and-response vocals get dirty over a stomping groove.
Badaross, who lives in the Streets of Sao Paulo created the cover-artwork for this release.

Numbering less than 1000 people, the Dayak Benuaq from the Eastern Kalimantan region of Indonesian Borneo still practice many of their traditional ceremonial customs. This album of field recordings presents the music associated with the kwangkay, the secondary mortuary ritual celebrated by the Dayak Benuaq, recorded live on location by Vincenzo Della Ratta.

According to the Benuaq belief system, upon death the soul of the human being is transformed into the liau, associated with the physical body, and the kelelungan, associated with the intellect or the head. Both the liau and the kelelungan temporarily reside in a sort of cosmic location, connected respectively with the bones and the skull of the deceased, who has entered a state of deep unconsciousness, as yet neither pertaining completely to the realm of the living, nor to that of the dead.

Music plays a key role within the kwangkay, as it is crucial for guiding the liau and kelelungan spirits to their final destinations. It is also intended to please the spirits of the dead by providing them with entertainment. This ritual includes a night dance performed for the spirits and accompanied by a musical piece known as the ngerangkau. These rites and ceremonies are often dedicated to several deceased persons and are held within a house belonging to one of their family members.

Featured here are two different versions of the ngerangkau, with their long, trance-inducing rhythmic gong patterns. There are two more tracks on the album which are not specifically related to the kwangkay. "Titi Mati" is a gong piece commonly played to proclaim the recent death of a villager. And finally, a nocturnal soundscape of a village by the river Mahakam, a channel of transport and communication which is essential for the local people of the Benuaq territories.

Limited edition LP, includes insert of text and images by Vincenzo Della Ratta.

Sublime Frequencies present a collection of music from the Bahnar people who live in the Central Highlands of Vietnam. The Bahnar are famous for their rich musical culture and this is perhaps the first-ever release to introduce the full range of Bahnar musical instruments and styles, including gong ensemble, bamboo zither, bamboo xylophone, bamboo fiddle with mouth resonator, and folk songs.
Melodic and hypnotic, this music was selected from recordings made in the Kon Tum province from 2006 to 2015 by Eisuke Yanagisawa. One of many highlights of these recordings is a most unusual and stunning instrument - the bamboo fiddle with mouth resonator - which creates an effect that is on one hand an organic auto-tuner of sorts and on the other Peter Frampton coming alive on his 1970s talk-box.



The Bahnar's music has been passed down through the ages in each village but is now endangered because of cultural assimilation related to changes in their lifestyles and living environment. These recordings preserve for us the vestiges of a traditional music culture that might no longer be heard in the near future.
Includes performances by Kaly Tran And His Ensemble, A Wen, A Thut And His Ensemble, Gong Ensemble Of Kon Kotu Village, Y Tham & A Hieu, A Thao and Gong Ensemble Of The Long Loi Village. Limited edition LP, includes insert of text and images by Eisuke Yanagisawa.

Limited Represses! Tubby & Lee Perry on the mix

***LP includes download code

Since 1996, John Brown's Body has been at the forefront of the American reggae scene, blazing paths with its patented Future Roots sound. This year the band celebrates 20 years by releasing its eleventh full-length release Fireflies, out on Easy Star Records September 9th, and embarking on a national tour. Since releasing Kings & Queens (2013) and its follow up Kings & Queens In Dub (2015), JBB has criss-crossed the nation debuting new material alongside classic hits in live settings such as Red Rocks, Cali Roots Festival, and Summer Camp Festival. They are now proud to premiere the first track of the Fireflies album - New Fashion' - via Billboard.
With its current lineup arguably its strongest to date, JBB's founding members Elliot Martin (lead vocals) and Tommy Benedetti (drums) are now joined by Jay Spaker (guitar / vocals), Jon Petronzio (keys), Dan Africano (bass), Sam Dechenne (trumpet), TJ Shaper (trombone), and Mike Vitale (tenor saxophone). The current group continues to push boundaries in the studio, this time with long time JBB collaborator Craig Dubfader' Welsch (10 Ft. Ganja Plant) at his Rear Window Studio (Boston, MA).
Fireflies is the perfect release to celebrate a fruitful 20-year career, encapsulating the evolution of the band while demonstrating that they are nowhere close to stopping.

Lee Hazlewood was a late bloomer. Following a meandering career as a disc jockey, producer, songwriter, label executive and solo artist, Hazlewood hit the jackpot at the ripe age of 37 with 'These Boots Are Made For Walkin',' the song Nancy Sinatra took to the top of the charts on both sides of the Atlantic.
Its success convinced MGM Records that Hazlewood was a bankable star, and they signed him as an artist in his own right the same year. But as a self-described "non-singer" whose cult 1963 debut, Trouble Is A Lonesome Town, was little more than a happy accident, they'd perhaps gotten the wrong end of the stick where Lee was concerned.

In three years on the label, Hazlewood delivered three albums and sundry odds and ends, beginning with 1966 album The Very Special World Of Lee Hazlewood. The LP found Hazlewood gunning-in as much as he ever did-for commercial success, blending country, pop, novelty, mariachi, and lounge music into something unusually of-the-moment.

Lushly orchestrated and-like the album that preceded it-half-sung, half-spoken in a way that Hazlewood made all his own, the album collected solo versions of songs made famous by Sinatra and others ('Sand,' 'Boots,' 'So Long Babe,' 'Summer Wine'-included as a bonus duet with Suzi Jane Hokom) alongside some of his career-best solo compositions, among them the Morricone-like opener, 'For One Moment.' It's a record of extremes: 'When A Fool Loves A Fool' is as light and throwaway as anything he ever laid down, while the wistful 'My Autumn's Done Come' (sample lyric: "Let those I-don't-care days come in, I'm tired of holding my stomach in") is as raw and honest.

Despite MGM's best efforts, Hazlewood proved difficult to market without a Sinatra to temper his baritone drawl, and you'd suspect Hazlewood wasn't taking it quite as seriously as they might have hoped anyway. By 1967, Hazlewood had founded the LHI imprint and was busy building his own empire-one we've been lovingly archiving for the past few years. We now present this missing link in the story, plus follow-ups Lee Hazlewoodism: Its Cause and Cure (1967) and Something Special (1968). Welcome, then, to Hazlewood's magnificent MGM years.

*8LP + 4CD + DVD + BOOK*

*RELEASED ON BLACK FRIDAY/RSD NOVEMBER 28TH. LIMITED AMOUNTS AVAILABLE.

*Seven years in the making, There's A Dream I've Been Saving is the ultimate artifact for Lee Hazlewood heads new and old. Now, for the first time, you can enjoy the entire experience on vinyl. This landmark box set contains an expansive LP-sized hard cover book detailing the label history of Lee Hazlewood Industries, accompanied by 8 LPs + 4-CDs and the never-before-released film Cowboy in Sweden.

*5/5 FULL PAGE LEAD REVIEW IN MOJO!

*5/5 FULL PAGE REVIEW IN RECORD COLLECTOR!

*9/10 IN CLASH:'A REMARAKBLE FEAST FOR HAZLEWOOD AFICIONADOS AND OPEN-MINDED MUSIC LOVERS ALIKE'

*9/10 THELINEOFBESTFIT: 'As an introduction to both Lee and his legacy, you would be hard pressed to find a more comprehensive and better presented package.'

*4/5 LEAD REVIEW IN Q : 'What a fascinating bastard, and what a wild trip'

+ 172 Page Hard Cover Book

* LP-sized cloth bound book with gold foil stamp

+ Over 150 Rare & Unseen Photos

* In depth liner notes documenting the label's history, album-by-album breakdown, 27 artist profiles, LHI timeline, and interviews with Lee, along with dozens of LHI artists and key players.

+ Cowboy in Sweden the Film on DVD (1970, 60 mins)

* First time available

* New digital transfer from the original 16mm master negative at the Swedish Broadcasting Co.

* Fully restored in HD with re-mastered sound

* Region Free

8 LPs + 4 CDs (107 tracks in each format)

* Everything Lee recorded for LHI, including every 45 single and album (Cowboy in Sweden, Forty, The Cowboy & The Lady, and Requiem For an Almost Lady), plus a handful of unreleased tracks.

* Key tracks from the LHI stable of artists, including Suzi Jane Hokom, The Kitchen Cinq, Ann-Margret, The International Submarine Band, Honey Ltd., Arthur, The Aggregation, Sanford Clark, Lynn Castle, The Surprise Package, Virgil Warner, and Hamilton Streetcar, amongst many others.

* 14 unreleased tracks

* LPs housed in gatefold "tip-on' jackets

* All LPs on colored wax (4 variations)

* Foil stamp numbered 'tip-on' slipcase

* Lacquers cut by John Golden Mastering

+ Meticulously Re-Mastered

* Analog transfers captured at 24-bit/96-kHz. 95% of transfers from original analog master tapes (remainder transferred from mint vinyl).

+ From Lee's Personal 'Stache

* Flexi disc feat. 10 mins of unheard Lee 'studio chatter' ('Play it like a cowboy song')

* Reproduction of Lee's original embossed LHI business card
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* 18' x 24' full color poster

Inuit artist Tanya Tagaq won the Polaris Music Prize for best Canadian album in 2014, for Animism. Those who thought she had then made her definitive artistic statement are in for a surprise. Also in for a shock are those who thought international success, playing to major festivals and packed houses all over the world, would lead to a mellower sound, or a more laid back approach.
Tagaq follows up Animism with Retribution, an even more musically aggressive, more aggressively political, more challenging, more spine tingling, more powerful masterpiece. This album is a cohesive, whole statement. Why sugarcoat it This album is about rape. Rape of women, rape of the land, rape of children, despoiling of traditional lands without consent. Hence the chilling cover version of Nirvana's song "Rape Me."

Addis 1988 is the document of a moment in time when Mulatu Astatke was not yet
the global Ethiojazz superstar he is today, but a change was gonna come for him,
and for the whole world. In Ethiopia, the Derg had started to tumble and fall; Europe
saw the wall between East and West gain more and more holes until it came down;
Southern Africa witnessed Apartheid taking its final lap before Nelson Mandela was
finally set free. With Ofra Haza's Yeminite Songs and Mory Kanté's 'Yéké Yéké' high
on the international charts, music of the wider world finally entered the house of
Western pop, giving high hopes and deep inspirations for many musicians who were
previously excluded. Fuelled by Mulatu Astatke as artistic director, composer,
arranger and collaborating musician, Ethio Stars and Tukul Band's Addis 1988
recordings vibrantly sustain the innocence of these musical originators, yet hold up
to modern standards with timeless aplomb. The album also helps to fill a gap: the
period when Mulatu and his music were largely forgotten outside of his homeland.
First released in1992, available for CD only and out of print for many years, Addis
1988 is now remastered and available as limited edition on vinyl for the first time, a
stunning reissue 180 grams for audiophiles and collectors.

Rare 1986 Italo Disco classic , original pressing sold for over 300,00 Eur finally repressed for the 1st time in 400 units

The Last Poets' fierce performance poetry inspired generations of musicians!
The Prime Time Rhyme of the Last Poets, Vol. 2 compiles tracks from the Last Poets' mid-'70s and '80s albums, and it serves to unearth some unfairly neglected cuts from the group's less famous era. "E Pluribus Unum" is as scathing an excoriation of American society as anything in their catalogue, set to minimalist African beats, while "Tranquility" has a thick massive wall of jazzy pianos and saxophones to back its message of self-empowerment.
Also included is the three-part "Beyonder" suite from Delights of the Garden, an impressive showcase of both the band and guest drummer Bernard Purdie.
The real gems, though, are the cuts rescued from the Poets' Oh My People and Freedom Express. Recorded long after the band's commercial fortunes (such as they were) had waned and the group was viewed as relics in the wake of the hip-hop explosion, the albums were ignored, unjustly since the Last Poets had lost little in the intervening years. "What Will You Do" musically and lyrically could easily fit on the classic This is Madness album, and the ferociously jazzy "Tough Enough" actually benefits from the group's advanced age, since the usual rage about social injustice is tempered with enough hard-won wisdom to strip away any of the self-righteousness that sometimes marred earlier Poets cuts. The last song, 1988's "Unholy Alliance," is a very long history of Europe's colonization of Africa that never seems boring even at 12 minutes. Prime Time Rhyme uncovers some ignored classics from the Last Poets, and fans who don't already own the albums containing these selections should seek it out

Limited Represses! Backed with Peter Tosh A Little Melodica

180g Vinyl LP (OBI) (VINYL ONLY) Following the recent reissue of Jose Mauro's Obnoxius, Far Out Recordings presents the second release in the treasure trove of the Quartin catalogue, Victor Assis Brasil Plays Jobim.

Following the recent reissue of Jose Mauro's Obnoxius, Far Out Recordings presents the second release in the treasure trove of the Quartin catalogue, Victor Assis Brasil Plays Jobim.
Over the course of the 60s, Roberto Quartin released more than 20 albums in Brazil on his label Forma, by artists including the likes of Eumir Deodato, Quarteto Em Cy, Baden Powell and Vinicius De Moraës. Selling the rights of Forma to Polygram in 1969, Quartin struck out for pastures new at the dawn of the 1970s with the launch of his self-titled label. Significant works and high-water marks for Brazilian music overall followed in that decade's first year, with Victor Assis Brasil Plays Antonio Carlos Jobim and the aforementioned Obnoxious. These singular gems in Brazilian music, difficult to categorise yet compellingly haunting, have for too long gone unheard.

Unlike Jose Mauro, whose biography is almost completely shrouded in mystery, Victor Assis Brasil's tragically short life is a better known story. He passed away aged just thirty-five, but by this point his status was already cemented as one of Brazil's top players. Gifted his first saxophone by his aunt at the age of fourteen, his debut LP was recorded just four years later, alongside some mercurial greats of Brazilian jazz, Tenorio Jr and Edson Lobo. Following the release of his first two albums, Victor was granted a place to study at Berklee College of Music, and it was during this period he recorded toca antonio carlos jobim upon returning to Brazil in the summer of 1970. At a time in Brazil when the smooth n' easy groove of the bossa beat no longer reflected the inflamed politics of a nation under the cosh of military dictatorship, Victor Assis Brasil morphed Jobim's soothing originals into raw, deep jazz cuts, with the help of Brazilian legends Edison Lobo, Helio Delmiro and Edison Machado. The album's influences spans both American continents, finding a meeting point for Latin jazz and North American post-bop, with Roberto Quartin's perfectionist approach to sound elevating the already incandescent music to divine new heights.

Like all Far Out reissues, the album has been remastered from the original tapes, and pressed to high quality heavyweight vinyl. A second Victor Assis Brasil release Esperanto will appear later in the series, alongside another Jose Mauro release A Viagem Des Horas and Piri's long forgotten gem Vocês Querem Mate

Once again singer extraordinaire ANTHONY MILLS and soundscape master FREDDIE CRUGER aka RED ASTAIRE return as WILDCOOKIE and this time, they sound more diverse and doper than ever. This 7-track "MAXI-EP" is part soul, part hip-hop and completely bananas! On HOMEGROWN.