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2LP 180gr gatefold) International Feel's Mark Barrott puts together Hostel La Torre compilation. The 15-track set, assembled with Pete Gooding, is inspired by Barrott's sunset residency at the Ibiza venue, with music from DJ Harvey, Domenique Dumont, Francis Bebey, Finis Africae, Penguin Cafe Orchestra and Barrott himself.

No matter the season or the nationality, every day on Ibiza, tribute is paid to Carthaginian deity Tanit at sunset. The warrior goddess of dance, fertility, creation and destruction lords over the Balearic island, as she has for centuries. Phoenicians, Assyrians, Greeks, Carthaginians, Arabs, and even the Norwegians have conquered the island since ancient times and every summer that history plays out, a similar array of nationalities descending on the island anew. Yet the soul of Ibiza remains intact. Every sunset still ushers in her arrival. That singular, sacred time on the island, taking on the feel of a pagan ritual, a shift in consciousness... the end of the beginning.

For those who make the pilgrimage looking for this transformative experience, it requires little more than venturing away from the Vegas-like lights of San Antonio towards such sublimity. Tucked away on the west coast of the island, Hostel La Torre beckons with its beauty and 'vista spectacular', encompassing the essence of that authentic Balearic spirit, as pioneered by Alfredo Fiorito at Amnesia and José Padilla at Café del Mar in the early 80s.

But this is not an exercise in nostalgia, rather a journey that seeks to reframe Balearic music in the present moment by embracing that 'anything goes' spirit via the avant-garde of Finis Africae's Managua', rare classics like the Arabic pop funk of Ahmed Fakroun's Nisyan' and Cameroonian poetry of Francis Bebey's Forest Nativity', with the proto Ambient House of Spooky's Orange Coloured Liquid' and modern productions like Dominique Dumont's Comme ça', Andras's Gold Coast' and Mark Barrott's Deep Water'. Balearic in its truest form is all these things and much more, it's cosmopolitan and countercultural, international yet wholly specific to a singular place on Earth.

It lights upon and encapsulates all the evocative beauty of Ibiza, the sounds themselves matching the colour palette of the island. The red dirt hills and the white sands, the pink blooms of almond trees and the electric blue of the water surrounding Es Vedrà, the magnetic magic, vivid colours and raw beauty of Ibiza is all here. At its root, Balearic music is always experiential. So even if you can't get to the terrace at La Torre for the 'vista spectacular', feel free to open up the gatefold, pour a chilled glass of Belondrade and journey back within.

Awa Poulo is a singer of Peulh origin from Dilly commune, Mali, near the border with Mauritania. Largely pastoral and often nomadic, Peulh- (or Fula-)speaking peoples are found from Senegal to Ethiopia but predominate in the Sahel region of West Africa. Awesome Tapes From Africa is proud to release Poulo's newest recording of highly virtuosic folk-pop, fresh from the studio, broadcasting her vision of Peulh music beyond the grazing grounds and central markets of her remote home region in southwestern Mali. It's not very common to find a female singer performing publicly among the Peulh. But Poulo's mother's co-wife is Inna Baba Coulibaly, who is a celebrated singer most Malian music fans know. Coulibaly herself was brought into music by forces outside her control when a regional music contest required an entry from her village and she was chosen to be a singer. So, set in motion by a surprising series of events, young Poulo's entree into the music world was auspic ious as she gained popularity across the region. After several locally released tapes and CDs, this record is Poulo's first internationally-distributed record. On Poulo Warali, she and her band combine the hallmarks of Peulh music—warm flute floating over cross-rhythmic n'goni (lute) riffs and resonant calabash gourd hand percussion—with broader Malian sounds like lightly-distorted guitar and a heavier, rollicking inertia. Shapeshifting layers of rhythm and woody overtones match Poulo's commanding voice in a jocular yet deliberate dance. This is a relatively rare example of Malian Peulh music played in a modern, cosmopolitan context, reflecting the mixed society of Dilly, where Bambara, Soninke and Peulh-speaking people live among each other. Poulo's conscious lyrics about community concerns speak to the distinctive identity of her broadly-flung people. While Peulh represents less than 10% of Mali's melting pot of languages, the dynamic music here powerfully resonates well beyond the linguistic borders.

Awa Poulo is a singer of Peulh origin from Dilly commune, Mali, near the border with Mauritania. Largely pastoral and often nomadic, Peulh- (or Fula-)speaking peoples are found from Senegal to Ethiopia but predominate in the Sahel region of West Africa. Awesome Tapes From Africa is proud to release Poulo's newest recording of highly virtuosic folk-pop, fresh from the studio, broadcasting her vision of Peulh music beyond the grazing grounds and central markets of her remote home region in southwestern Mali. It's not very common to find a female singer performing publicly among the Peulh. But Poulo's mother's co-wife is Inna Baba Coulibaly, who is a celebrated singer most Malian music fans know. Coulibaly herself was brought into music by forces outside her control when a regional music contest required an entry from her village and she was chosen to be a singer. So, set in motion by a surprising series of events, young Poulo's entree into the music world was auspic ious as she gained popularity across the region. After several locally released tapes and CDs, this record is Poulo's first internationally-distributed record. On Poulo Warali, she and her band combine the hallmarks of Peulh music—warm flute floating over cross-rhythmic n'goni (lute) riffs and resonant calabash gourd hand percussion—with broader Malian sounds like lightly-distorted guitar and a heavier, rollicking inertia. Shapeshifting layers of rhythm and woody overtones match Poulo's commanding voice in a jocular yet deliberate dance. This is a relatively rare example of Malian Peulh music played in a modern, cosmopolitan context, reflecting the mixed society of Dilly, where Bambara, Soninke and Peulh-speaking people live among each other. Poulo's conscious lyrics about community concerns speak to the distinctive identity of her broadly-flung people. While Peulh represents less than 10% of Mali's melting pot of languages, the dynamic music here powerfully resonates well beyond the linguistic borders.

(180 gram pressing) Rootsy samba and hipper 70s MPB influences - all filtered down into a really unique little groove! Titles include "Reis Da Bola", "Isabel", "Bolado", "Miragem", "Fala Tamborim", "Ao Poeta", and "Eu Sou O Caso Deles"

Rootsy samba and hipper 70s MPB influences - all filtered down into a really unique little groove! Back in these early years, Novos Baianos had an inventive sound that was really a standout in 70s Brazilian music - a sense of earnest, open-handed music making that was something of a legacy from the Tropicalia years - but one that also carried with it some of the more hippie-dippy influences in the Brazilian underground of the early 70s! The style here is a bit sparer and more acoustic than on some of the group's other records - often comprised from samba percussion and guitar, but occasionally augmented by more electric instrumentation, as well as some folkloric flute! Titles include "Reis Da Bola", "Isabel", "Bolado", "Miragem", "Fala Tamborim", "Ao Poeta", and "Eu Sou O Caso Deles"

2024 Restock

(180 gram pressing) A great 70s album by Os Novos Baianos - a wonderfully youthful group that was one of the bright spots in Brazilian music after the Tropicalia years. Titles include "Sorrir E Cantar Como Bahia", "Dagmar", "Vagabundo Nao E Facil", "Cosmos E Damiao", "Com Qualquer Dois Mil Reis", and "Os Pingo Da Chuva".

A great 70s album by Os Novos Baianos - a wonderfully youthful group that was one of the bright spots in Brazilian music after the Tropicalia years. The band had a style that mixed folksy percussion with honest personal songwriting, plus occasional touches of elements gleaned from the larger influences in Brazilian rock at the time. The album has a sound that's a lot more intimate than later work, with some especially great work on guitar and bandolim, and great production on the band's vocals. Titles include "Sorrir E Cantar Como Bahia", "Dagmar", "Vagabundo Nao E Facil", "Cosmos E Damiao", "Com Qualquer Dois Mil Reis", and "Os Pingo Da Chuva".

LP with Bonus 12' in lined red inner sleeves + 8-Page Graphic Art Booklet

This third and last volume offers another fresh choice of tracks exploring the sounds of Turkey in the 1960s and 1970s. As previous volumes have shown, these sounds cannot be confined stylistically or geographically, as their blending of Western and Turkish elements and the variety of styles thrown into the mix reach beyond the borders of the Turkish republic. Here we have a Turkish-Armenian cut by Yorgantz, as well as a Greek-Turkish track by Giannis Floriniotis, offering prime examples of Turkish pop-rock music, itself a hybrid of local and global sounds, interwoven with other musical styles.

The compilation presents a wide selection of music for dancing and listening purposes, ranging from folk to funk and from oriental rock 'n' roll to deep psychedelic. Among other treats, it boasts flow-oriented pop by Nese Karaböcek and Esmeray, jazzy harmonies by Figen Han, experimental rock by O¨nder Bali 4, fluffy folk by Modern Folk Üçlüsü, brass loaded funk by Ali Kocatepe, and Anatolian rock by Beyaz Kelebekler, Fikret Hakan, and Mehmet Peku¨n.

The bonus 12' has an urban disco boogie side with Saadet Gürses and a rural folk music side with Dönüsüm and Kerem Güney.

Made by the curator of Bosporus Bridges' (Vols. 2), The Trip. Psychedelic Music from the Hippie Trail' (Pts. 1-4), and Saz Beat' (Vols. 1 + 2).

All tracks have been carefully restored and completely remastered for full sonic impact at Calyx Mastering, Berlin. Pressing: Pallas, Germany.

Second compilation from the team behind 'The Sound of Siam' and the Paradise Bangkok Molam International Band.

Containing tracks from the sought after Paradise Bangkok 45s series - vintage luk thung and molam released over the past few years, collected here for the first time with three exclusive tracks that have never been reissued before.

Exclusive insert designed and illustrated by Lewis Heriz: 'Cosmology of Paradise Bangkok' showing the musical connections between South and South East Asia, The Middle East and East Africa.

This new Oriki Music compilation includes serious 1970's Afro dancefloor hits, surely a promising favorite among deejays, Afrofunk and Tropical music revival aficionados.

Vinyl diggers can finally play some of Ivory Coast's hardest to find deep funk, Afrobeat, Manding and Tropical rhythms tunes recorded by such legends as Moussa Doumbia, De Frank Jr, or Francis Kingsley.

The consistent liner notes focus on the original label history, Société Ivoirienne du disque, based on interviews with the producer. Original unreleased pictures of the artists and 1970's Abidjan city, a great artwork and a limited press gatefold double LP and digipack CD make it a beautiful collectible object.

Compiled by pioneer African music digger and respected deejay Greg de Villanova, a legend among Afro/Tropical music collectors and deejays, it signs the great return of the dormant French record label, which released such wonders as Orchestra Baobab's A Night At Club Baobab or Moussa Doumbia's Keleya.

Reggae was born in Jamaica, but since Bob Marley died, a new prophet was discovered in Africa - Alpha Blondy. He is one of the very few artists of the genre known worldwide (since his first international hit «Brigadier Sabari»).

Alpha Blondy, the superstar reggae man from Ivory Coast, should need no introduction. He has been active on the scene since the eighties, a real grower of hits turned classics, from Brigadier Sabary' to Jérusalem', not forgetting Afriki' and Apartheid Is Nazism'. And yet, in spite of his status of Commander of the African Groove, Alpha reinvents himself album after album. He has always steered clear of the pitfalls of formatting and tried to bring in something new to the mix. As was to be expected, his sixteenth studio album, Mystic Power, is no exception to the rule.

Since his first success in the eighties with the panafrican hit « Opération Coup De Poing (Brigadier Sabari) », Alpha Blondy is used to provide quality reggae music to his fans. And it is the case once again with Positive Energy, a true masterpiece. « Really, it's the album of the featurings! » says Alpha to describe this collection of twelve new songs.

And indeed, some brilliant guests are aboard on this journey: two Jamaicans (Ijahman on « Rainbow In The Sky » and Tarrus Riley on « Freedom »), the zouk master Jacob Desvarieux on « N'Teritche » and a promising young congolese singer, Pierrette Adams, on « Séchez Vos Larmes » (« Dry Your Tears »). Plus an amazing trio on « Allah Tano »: Nawfel from Tunisia, Issam from Marocco and Ismaël Isaac from the Ivory Coast.

To defend his ideas, Alpha has chosen the best warriors: his band Solar System, who started the recordings in Abidjan then went on in Paris.

On the cover of Positive Energy, he is accompanied by his grandmother in the background of the photo, like a guardian angel. « She taught me to love my fellow men. And my main fellow is God, no need to look any further. She taught me that, and I wanted to pay my respect to her ».

«This album isn't like any other I've done», says Alpha as a conclusion. He is wrong at least on one point: it is as passionate, melodic and sincere as his predecessors. With a supplement of positive energy that is the trademark of great records.

'I take my guitar and strum and sing some tings and blow people's mind. But I ain't trying to do anybody's music. I'm doing what I feel' - Shadow

When it came out in 1984 the far-out album Sweet Sweet Dreams by Trinidad & Tobago's Shadow (aka Winston Bailey) was described as 'way ahead of its time'. Undeservedly it was panned by critics and, unable to reach markets, disappeared into the dusty record collections of a few music aficionados. Now, more than three decades later that cosmic dance-floor UFO is about to take off again, change all that and set the record straight. Remastered and cut by Frank Meritt at The Carvery the album is truly a masterpiece.

But who is this Shadow behind Sweet Sweet Dreams Shadow is a man of understated magnitude. A truly enigmatic artist, he first emerged in Trinidad and Tobago during the 1970s, becoming a part of the tapestry of Caribbean music and reinvigorating calypso at the time. Calypso, the indigenous folk music of Trinidad and Tobago, has roots in West African kaiso rhythms, French Creole influences, and the hardships endured by the African slaves brought to Trinbago, whose descendants still use it as a tool for satire, self-expression, and social commentary. Calypso has also given birth to several other music genres, including soca, with its uptempo beats and festival context. Shadow effortlessly moves between both.

Shadow came from a humble but musical family and started writing songs as a youth while tending cattle in the fields. To his family's initial chagrin he chose calypso over church music but his talent and drive were undeniable. In the early days of his career Shadow's style was cramped when working with some of the more conservative music arrangers who felt that calypso and soca should fit a mould. But after a while Shadow teamed up with more innovative arrangers, including Arthur 'Art'de Coteau, who followed their and Shadow's intuitions resulting in a long line of hits.

'The first time we met for me to arrange his music we had a heated argument on the arrangement for one of his songs, I was theoretically correct but Shadow was musically right. Shadow broke all the traditional musical rules and made his own and that made him a musical giant. He changed the face of Calypso music in 1974 with the release of "Bassman" a tune in which Bass and magnificent horn line took central stage changing Soca music for ever. What Shadow did with his music was to put calypso on the International Dance circuit, giving it a totally different groove. You could take his music and swing it in any direction, Disco, Pop, Calypso, you name it. His music was different from anything that existed before'. - Carl "Beaver" Henderson, one of Trinidad's veteran producers.

This inert creativeness culminated in Sweet Sweet Dreams which was arranged by Shadow and deals with burning and ever-relevant themes like love and the ups and downs of relationships. a surprising fact for someone mainly known for his satirical and political lyrics. It prompted his manager to wonder if Shadow had written the lyrics while in a state of 'tabanca' (a word used in Trinidad and Tobago to describe lovesickness).

Sweet Sweet Dreams was recorded at the legendary SHARC studios, located on a hill in Chaguaramas (near Port of Spain) and despite a fantastic sound and monster Soca-boogie tunes like 'Lets get it together', 'Lets Make it Up' and 'Way, Way Out' the album was a commercial flop, probably due to the fact that it didn't sound like anything else coming out of Trinidad & Tobago at the time: It fused a range of different rhythms and new sounds, primarily heavy synth riffs.

Shadow took the album's lack of success in his stride with usual aplomb:
'When I did Sweet Dreams I expect something could happen. But nothing big happen because I have no big market and no distribution and all this thing now. So I just cool myself and move on to another song. I wasn't doing just one song. I used to always have plenty songs at the one time. And be writing music'.

What Shadow didn't realise back then was that the proto-electronic cocktail he had mixed in 1984 would only find the recognition it deserved three decades later. Life has swung full circle: Sweet Sweet Dreams has come true and been elevated to holy grail status becoming one of the most sought-after Caribbean disco records in existence.

For this re-release we carried out extensive interviews with Shadow and the musicians and have included as bonuses exclusive photos from Shadow's personal collection and the dancefloor filler tune 'D'Hardest' was added as a bonus track.

The Guelewar Band of Banjul are a band quite unlike any other - an explosive mix of soul and funk with local rhythms like Boogaraboo and Ndaga combined with a defiant insistence on singing in their local language, Wolof. They certainly blew a young Youssou N'dour away. He cites them as his biggest influence. Warteef Jigeen marks the point the band found its groove. The title track sets the tone early with parping horns and psychedelic guitar licks. 'N.T.C. The Gambia' and 'Jilana' seamlessly blend traditional percussion and plaintive sax. 'Leen Te Koun' and 'President Diawara' showcase some of the freakiest synth ever to come out of West Africa. It was Laye Ngom's decision as bandleader to draft in his cousin as singer that elevates Warteef Jigeen. Moussa Ngom had paid his dues singing at traditional circumcision ceremonies and his rough, expressive vocals bring a level of melancholy and intensity to the album. It's a melancholy and intensity that can only come from years of watching young boys take this painful journey to Gambian manhood, a journey, in a way, that Guelewar Band Of Banjul made on Warteef Jigeen.

The Guelewar Band of Banjul are a band quite unlike any other - an explosive mix of soul and funk with local rhythms like Boogaraboo and Ndaga combined with a defiant insistence on singing in their local language, Wolof. They certainly blew a young Youssou N'dour away. He cites them as his biggest influence. Warteef Jigeen marks the point the band found its groove. The title track sets the tone early with parping horns and psychedelic guitar licks. 'N.T.C. The Gambia' and 'Jilana' seamlessly blend traditional percussion and plaintive sax. 'Leen Te Koun' and 'President Diawara' showcase some of the freakiest synth ever to come out of West Africa. It was Laye Ngom's decision as bandleader to draft in his cousin as singer that elevates Warteef Jigeen. Moussa Ngom had paid his dues singing at traditional circumcision ceremonies and his rough, expressive vocals bring a level of melancholy and intensity to the album. It's a melancholy and intensity that can only come from years of watching young boys take this painful journey to Gambian manhood, a journey, in a way, that Guelewar Band Of Banjul made on Warteef Jigeen.

In 1974, a brash young designer called Augustus Kerry Taylor had an idea. He'd gather together the hottest musicians in Ghana and record an album of the heaviest and funkiest sounds coming out of America. And this time, he wouldn't just design the cover, like he'd done with Fela Kuti, he'd even release it on his new label, Emporium, as well. Local Accra legends Joe Wellington, Jagger Botchway, Leslie Addy, Officer Toro, Oko Ringo, Soldier and Steve answered the call. They were christened the Kelenkye Band and gelled immediately. Moving World, is a funky, disparate album that exudes a rare warmth, enthusiasm and togetherness. 'Moving World' and 'Brotherhood of Man' are hard, grinding funk. 'Jungle Music' has a more soulful groove. There's also a bit of reggae, 'Dracula Dance', and old-skool highlife, 'Wale Tobite'. Accra's leading DJ, Charlie Sam, declared his mind 'well and truly boggled.' The Kelenkye Band never recorded another album. Augustus Kerry Taylor shut down Emporium and went back to designing album covers. But in Moving World they delivered a perfect moment of funk alchemy that has rightly become the Holy Grail of 70's Ghanian groove.

In 1974, a brash young designer called Augustus Kerry Taylor had an idea. He'd gather together the hottest musicians in Ghana and record an album of the heaviest and funkiest sounds coming out of America. And this time, he wouldn't just design the cover, like he'd done with Fela Kuti, he'd even release it on his new label, Emporium, as well. Local Accra legends Joe Wellington, Jagger Botchway, Leslie Addy, Officer Toro, Oko Ringo, Soldier and Steve answered the call. They were christened the Kelenkye Band and gelled immediately. Moving World, is a funky, disparate album that exudes a rare warmth, enthusiasm and togetherness. 'Moving World' and 'Brotherhood of Man' are hard, grinding funk. 'Jungle Music' has a more soulful groove. There's also a bit of reggae, 'Dracula Dance', and old-skool highlife, 'Wale Tobite'. Accra's leading DJ, Charlie Sam, declared his mind 'well and truly boggled.' The Kelenkye Band never recorded another album. Augustus Kerry Taylor shut down Emporium and went back to designing album covers. But in Moving World they delivered a perfect moment of funk alchemy that has rightly become the Holy Grail of 70's Ghanian groove.

Stevie Wonder's legendäres, 15. Studioalbum - ursprünglich 1972 über Motown veröffentlicht - ist jetzt endlich wieder auf 180g Vinyl inkl. Download Voucher erhältlich. Legendenstatus konnte sich dieses
Album alleine schon Dank zwei Songs sichern - Songs die heutzutage auf keiner Best Of von ihm fehlen: Für den, gerade von Jack White gecoverten Song, "You Are The Sunshine Of My Life" erhielt
Wonder seinen ersten GRAMMY Award, und "Superstition" schmückte ebenso Platz 1 der Billboard Hot 100.

This releases includes "Little Goat" and "Ana Bhebak",

two middle-eastern-influenced tracks, which naturally came together for this special release.

A take-off for the fusion of the old arab classic music with the new beat making,

middle east meets west in this release, from Buttering Trio's temporary point of view.

Little Goat was conceived in 2012,

It is a fusion of styles - Pakistani Sampled melody, with hebrew goat storytelling and beat-making attitude.

This song was made especially for a project the trio took part in in 2012, making live soundtracks for short silent B&W films. Little Goat was the soundtrack for "Ali Baba And The Forty Thieves" by Ferdinand Zacca, from 1902.

The repeating phrase in the song came from a Pakistani vinyl.

On top of it lays the beat which was recorded out of an old Farfisa, at 'Spaceship Studios' near TLV.

The bass, flutes and synths were all recorded lo-fi and outdoors, during the making of a live videoclip for the song which was released in 2013.

Additional claps and farm vibes were recorded at 'Kol Hakampus Studios'.

The oud solo was sampled from an old recording from the trio's personal database.

Beno the bass player came up with the lyrics which tell of a fierce little goat who dares, although she is little.

All of these elements are brought together to form this song,

one that is out of the ordinary in the trio's repertoire, taking on a ride to the middle east.

'Figa de Guiné' is an uptempo jazzy bossa groove, laden with percussion and drums taken from the 'Semideus' soap opera. Originally released on 'Semideus' soundtrack by Som Livre in 1973. 'Alibabá Alibabou' - uptempo funky samba from the legendary Novos Baianos, big on the horns and chorus vocals. Originally released on a 4-track 7' EP in 1979, entitled 'Trio Electrico'.

Penya burst onto the international scene in summer 2016 with the carnival readied, hands in the air, hip shaking 'Acelere'. The DJ Khalab remix was hailed and debuted by Boiler Room and a firm favourite of BBC 6Music's Tom Ravenscroft.Penya are a 5-piece Afro-Latin electronic outfit led by Angelica Lopez and their debut E.P. "Acelere" (feat remixes from DJ Khalab, Mess Morize and Los Angeles producer Jose Marquez) is the full dance floor package. Hailing from the five corners Penya's global-future sound swirls with the flavours that each of its five players has picked-up on their trajectories. Penya encapsulates a heady blend of sumptuous carnival screamers and folkloric latin electro-punk. On the Corner's inimitable in-house art-ACE Victoria Topping has again brought the fledgling label's hi-impact phonic feasts to life visually.

Can you believe SEU is currently on tour performing this amazing album "LIFE AQUATIC" is a must have soundtrack,
originally released 2005, fourteen DAVID BOWIE tunes sung in Portuguese in an acoustic exotic Bossa/Samba style. "REBEL
REBEL", "LIFE ON MARS", "ZIGGY" included.

can you believe SEU is currently on tour performing this amazing album "LIFE AQUATIC" is a must have soundtrack,
originally released 2005, fourteen DAVID BOWIE tunes sung in Portuguese in an acoustic exotic Bossa/Samba style. "REBEL
REBEL", "LIFE ON MARS", "ZIGGY" included.

PICTURE DISK! LTD 300 COPIES WORLDWIDE!
Welcome to Warsaw: a city in a buoyant state of hope, opportunities and creative, cultural flux. Home to a new generation of creative minds, eager to fill the spaces left by the country's economic exodus last decade. Making the city their own with galleries, exhibitions, performances, clubs and restaurants, there's a tangible buzz of about the Polish capital that's bold, progressive and wholly immersive. It's a buzz that's been instantly imbibed by Pets Recordings founders - Grzegorz Demiaczuk and Wojciech Tarañczuk (AKA Catz N Dogz) - every time they return to their homeland. And this far-reaching, soul-smouldered EP is a celebration of two particular creative outlets they've been impressed by on every trip: U Know Me and Warsoul. A discerning label with a respected global pedigree for fine-tuned vinyl releases, U Know Me is a dedication to undiluted freshness. Established in 2002 By Marcin 'Groh"Grokiewicz as a vinyl-only JuNouMi hip hop label, in 2010 he decided to start a new, electronic chapter - U Know Me. Right now their catalogue boasts over 30 releases from the likes of Kixnare, Mr. Krime, Eltron John and Daniel Drumz. Representing the city's capacity for grooves far beyond industrial strength techno and endless sunrise hedonism sessions, U Know Me's tendrils tickle the city's most soulful underbelly. Warsoul are the consummate kindred spirits. A collective of artists, musicians, writers and promoters founded by Maceo Wyro, Warsoul have hosted some of the city's most distinctive, idiosyncratic events from silent movie festivals to monthly sessions where world-renowned artists such as 7 Samurai, Mark De Clive-Lowe, Sa-Ra, Little Drago

Cowboy in Sweden, the soundtrack to the 1970 cult classic film of the same name, is quite possibly the purest distillation of the Hazlewood sound, lush melancholy country pop with a pinch of humor
Lee Hazlewood spent a good part of the late 1960s traveling the globe, cutting records and inking business deals. A string of hits with Nancy Sinatra enabled Lee to build a mini media empire Lee Hazlewood Industries and afforded him nearly unlimited resources...for a time. By the end of the decade LHI Records had burned piles of cash, gone through a half dozen distributors and failed to achieve the kind of chart success Boots" had promised.

Fortunately for Lee there was a land where he was still on the top of the charts, a place where women flowed like Brannvin...Sweden was calling.

While on an LHI promotional tour in Stockholm, Lee crossed paths with Swedish director Torbjörn Axelman. I met Lee through my script girl, in Stockholm in 1969,' remembers Axelman. "We noticed we had very many similarities, interests, and the same backgrounds. It led to many productions during our 38 years of close partnership and friendship.' The partnership showed Lee the way forward and allowed him an easy exit strategy from the LHI house of cards that was crumbling in Los Angeles.

Light In The Attic records continues its Lee Hazlewood series with this expanded reissue of Cowboy in Sweden. Released as the last LHI LP, Cowboy in Sweden was a soundtrack to the 1970 cult classic film of the same name starring Lee Hazlewood. The film was a surreal psychedelic account of Lee's journey to his new homeland, while the soundtrack was a perfect compilation of Hazlewood's strongest songs recorded over a prolific globe trotting three year period. The production scope of the album was the most ambitious of his career, recorded in Paris, London, Los Angeles and Stockholm with a slew of talented session musicians, producers and arrangers.

Cowboy in Sweden is quite possibly the purest distillation of the Hazlewood sound, lush melancholy country pop with a pinch of humor ("Pray Them Bars Away"), a dash of bummer ("Cold Hard Times'), some beautiful ladies to sing with ( Leather & Lace' & Hey Cowboy') and even a couple anti-war protest songs to be topical ("No Train to Stockholm' & For A Day Like Today'). The David Bitter Sweet Symphony' Whitaker arranged orchestral pop of What's More I Don't Need Her' and the stone cold Hazlewood classic The Night Before' cement the album as Lee's peak on LHI records and ironically the label's swan song.

Rare and seriously sought after instrumental album of Gay Feet rocksteady hits from 1968.

Eleven elegant instrumental tracks, and one female vocal, showcasing the tenor sax artistry of master musician Roland Alphonso, ably assisted by Aubrey Adams on organ and the inestimable Lynn Taitt on guitar, interpreting a selection of Mrs Pottinger's most memorable hits of the era.

Tigris is an Afrodelic Power-Pop band composed of five unrestrained musicians, deeply influenced by Ethiopian, West African and even Caribbean sounds from the 70's as well as modern pop, electronic and rock music.

The band strives to create an original futuristic mood-altering ear candy.

The different musical background and virtuosity of each member produces together a unique sound of a new tribe that just been discovered in the deep jungles of the universe.

Tigris have been playing in Clubs, Bars, Live Venues and Music Festivals all over Israel since 2014 and toured Germany in the summer of 2015.

Tigris debut album, "Gold", was recorded live at Tigris home studios, mixed and mastered by the band members, creating their own unique sound. The album include nine instrumental pieces, seven originals and two fresh versions of famous Ethiopian/Eritrean songs.

This is lovely. Brand-new, rambunctious, rootsy, spiritual brass-band music from Lagos, with singing, drums and home-made percussion.
Obadikah is a group of old friends who play together in the Cherubim & Seraphim and Baptist churches of the Ikeja and Isale Eko districts. A couple of them were founder-members of the Eko Brass Band; they've played with pretty much all the key Nigerian reggae artists. The tunes are mostly traditional Yoruban melodies, often sung at bed-time. The songs are mostly original, sung in Yoruba (though Jomido is an Egun song from the Badagry area of Lagos state).

The best lo-fi garage album from South America

Ahead of its time raw & homemade Sixties garage, jangly pop and basement psych sounds from Paraguay!

Originally released in 1971 as a private pressing, Pops de Vanguardia' by JODI contains tracks mostly written and recorded in 1969 (with some dating back to 1966) by brothers Joern and Dirk Wenger at their homemade Jodi Experimental Studio' in Paraguay.

Joern and Dirk, born in Paraguay but of German origin, started playing in beat / psychedelic band The Rabbits, who released a very rare EP in 1969. After the group split, Joern and Dirk travelled to Germany, were they studied arts and received musical lessons from none other than Stockhausen. The two brothers had built their own homemade studio and they spent hours and hours recording songs and experimenting to create their own sound effects (echo, reverb, etc). They called their music Spontaneous Pop'.

Pops De Vanguardia' was recorded at their own rudimentary studio with two tape recorders. Joern plays guitar, organ and he was the lead vocalist, while Dirk plays drums and percussions. From ultra-catchy garage-pop to killer instrumental Farfisa numbers and proto-psychedelic sounds. JODI could be seen as precursors of the indie-pop and lo-fi garage which would appear some decades later.

*Ultra rare and obscure album from Paraguay reissued for the first time

*Insert with detailed liner notes in English / Spanish and rare photos

*CD includes 5 bonus tracks (1969-1970), including 3 fantastic previously unreleased ones plus one track from a super rare private EP and another from The Rabbits EP (the killer beat-fuzz-psych Buscándote')

*LP version includes digital download coupon featuring the album plus the bonus tracks

"Echoes can be distinguished from The Monks, the Velvet Underground of the two first records, The Kinks, T-Rex, the mid-60s American garage and some psychedelic and Kraut rock that might have influenced the Wenger brothers in their land". - Juan Esteban Jorge

Welcome to 'Pops De Vanguardia': prepare your mind to be blown by a work without precedents.' - Eduardo Bubbling Minds'

Cowboy in Sweden, the soundtrack to the 1970 cult classic film of the same name, is quite possibly the purest distillation of the Hazlewood sound, lush melancholy country pop with a pinch of humor
Lee Hazlewood spent a good part of the late 1960s traveling the globe, cutting records and inking business deals. A string of hits with Nancy Sinatra enabled Lee to build a mini media empire Lee Hazlewood Industries and afforded him nearly unlimited resources...for a time. By the end of the decade LHI Records had burned piles of cash, gone through a half dozen distributors and failed to achieve the kind of chart success Boots" had promised.

Fortunately for Lee there was a land where he was still on the top of the charts, a place where women flowed like Brannvin...Sweden was calling.

While on an LHI promotional tour in Stockholm, Lee crossed paths with Swedish director Torbjörn Axelman. I met Lee through my script girl, in Stockholm in 1969,' remembers Axelman. "We noticed we had very many similarities, interests, and the same backgrounds. It led to many productions during our 38 years of close partnership and friendship.' The partnership showed Lee the way forward and allowed him an easy exit strategy from the LHI house of cards that was crumbling in Los Angeles.

Light In The Attic records continues its Lee Hazlewood series with this expanded reissue of Cowboy in Sweden. Released as the last LHI LP, Cowboy in Sweden was a soundtrack to the 1970 cult classic film of the same name starring Lee Hazlewood. The film was a surreal psychedelic account of Lee's journey to his new homeland, while the soundtrack was a perfect compilation of Hazlewood's strongest songs recorded over a prolific globe trotting three year period. The production scope of the album was the most ambitious of his career, recorded in Paris, London, Los Angeles and Stockholm with a slew of talented session musicians, producers and arrangers.

Cowboy in Sweden is quite possibly the purest distillation of the Hazlewood sound, lush melancholy country pop with a pinch of humor ("Pray Them Bars Away"), a dash of bummer ("Cold Hard Times'), some beautiful ladies to sing with ( Leather & Lace' & Hey Cowboy') and even a couple anti-war protest songs to be topical ("No Train to Stockholm' & For A Day Like Today'). The David Bitter Sweet Symphony' Whitaker arranged orchestral pop of What's More I Don't Need Her' and the stone cold Hazlewood classic The Night Before' cement the album as Lee's peak on LHI records and ironically the label's swan song.

The most soulful Salsa record you will ever hear, from the sweetest singer ever, good from start to finish, check 'mae mae', Venezuelan Salsa as good as it gets - quality Japanese reissue, limited to 1000 copies, liner notes by Roberto Ernesto Gyemant

Jaw-dropping Highlife all the way, the type of record that will not sleep on your shelf for too long, such a good listen, sounds like nothing else - quality Japanese reissue, limited to 1000 copies, liner notes by Uchenna Ikone

Limited Represses! Recorded at Black Ark, Ariwa and Channel 1

This collaboration by Tokyo producers/musicians Shintaro Sakamoto and VIDEOTAPEMUSIC is the first of two EM Records 12" only "tribute releases", in support of the film "Bangkok Nites", produced by Kuzoku. Based on samples from Dao Bandon

Alogte Oho is the number one Frafra gospel artist from within the explosive music scene of Bolgatanga in Northern Ghana. His international debut was the 2014 single Zota Yinne (Philophon PH45002), which has already become a collectors item. Alogte Oho is, as always, accompanied by his powerful female choir, the Sounds of Joy, comprised of Lizy, Patricia and Florence - all fantastic gospel performers in their own rights. The A-side, Mam Yinne Wa, is pure future gospel: a swinging rhythm with pumping synth bass and playful horns that weave around the eulogising choir of the group. As a highlight, the chasing flute solo of Free Jazz great Sabir Mateen (Cecile Taylor, Sunny Murray, Hamid Drake) catapults you into another dimension! On the B-side, Yu Ya Yumma, the rhythm section is driven by reggae master Josie Coppola on drums and gives a solid foundation for the brilliant performance of the singers. The title means: let's sing a song. And that is exactly what the group is doing.

The newest record produced by the group of three - Ghedalia Tazartes, Pawel Romanczuk, and Andrzej Zaleski - is the result of only a few meet ups and a shared passion for music that shapes their perspective. The long play was recorded at the Rogalów Analogowy studio in the eastern part of Poland. It's worth noting that the space and surrounding countryside did not influence the sound itself as the record drifts away from the traditions of chamber music.

The musicians, together as well as separately, avoid any mainstream influences. Thus, the acoustic record is peaceful, spiritual and presents a wide variety of notions and emotions. The diversified vocal articulation and tone of Tazartes intertwines well with Zaleski's percussive play and Romanczuk's multi-instrumental skills. The rhythmic pulsation is constantly taking new directions, eventually turning into noise at some point. The voice, somehow dramatic, traps the listeners and sends them on a journey through non-existent quasi-stories. Here we are, facing an elusive romantic magician personified by a carp-headed cat.

French cult artist Ghédalia Tazartès is an uncompromising character who defies categorization. He recorded alone a dozen of albums, calling his way of working Impromuz' for lack of a better term. Before the years 2000s, his public appearances remained exceptional events. Ghédalia Tazartès' music has always been a mystery. It switches from musique concrète to - existing or invented - ethnic music, from poetry to noise, or from loops and collages to sad and extremely beautiful tunes in a second, but it constantly is in flux and coherent.
In 2004, Ghedalia finally decided to do live performances again. He first worked with other musicians (Les Reines d'Angleterre, David Fenech & Jac Berrocal, Norscq & Black Sifichi, Nicolas Lelièvre) and is now a solo performing artist (although his very young son sometimes joins him on stage!).
Since 2009 Tazartes played many shows across Europe. After performing a cinemix to the strange Haxan' film in 2008, he presented in February 2013 a new solo show at CTM in Berlin Festival to a packed HAU2. The new show is based around the music of Tazartes' lattest album 'Coda Lunga.' Says Tazartes: 'I thought I had only played for 5 minutes in Berlin... then I realised I had been going on for more than one hour!'

Pawel Romanczuk - musician, composer. Since 2006, he works within the field of unusual sounds sources. Romanczuk is a founder of the Polish artistic group Male Instrumenty with whom he recorded 10 albums. He composed several film soundtracks and collaborated with significant theatre houses. He's also famous for the various instruments, sound and audio installations he builds on his own.
In 2010, he published the first study on the history of the instrument toy piano.
In 2013, he wrote the book "Domowe eksperymenty z instrumentami muzycznymi" that was published together with his band's album Samorobka'. The publication became a guide to the process of creating hand-made and experimental musical instruments. He collaborated with Pierre Bastien, Margaret Leng Tan, Piotr Kurek, Nao Nishihara, Ksiezyc and Za Siódma Góra, Cezary Duchnowski, Andrzej Bauer.
He conducts workshops, lectures and develops exhibitions on the role of instruments and sound experiments. His music collaboration with Andrzej Zaleski and Ghedalia Tazartes started back in 2014, however, he was familiar with their music for quite a time.

Andrzej Zaleski - musician, filmmaker, curator.
He collaborated with: Ghedalia Tazartes, Aspec(t), Joe Giardullo, Eugene Chadbourne, Charles Hayward, John Hegre, Tatsuya Yoshida, Pavel Fajt, Sylvie Courvoisier, Vinz Vonlanthen, Male Instrumenty, Johannes Bergmark, Ralf Wehovsky, Jerzy Mazzoll, Andrzej Przybielski, Komora A, Jacek Staniszewski, Robert Nizinski (Ksiezyc) among many others.
He also played in bands like: Multicide, Mitch and Mitch, 3 Metry, Za Siódma Góra.
Cofounder of the theater group Komuna Otwock, collaborated with the Gardzienice Theater and Akademia Ruchu Theater.
Filmmaker ( The nature documentary series for Animal Planet and TVP2 ), experimental films.
Since 1993 he works as music curator of the Program Strefa', at the Center for Contemporary Art, Ujazdowski Castle in Warsaw.

* First taste of Nickodemus' upcoming new album* Featuring vocals by Sudanese-American singer Alsarah, whose new album Manara was released to critical acclaim in September* Remixes come from Sweden's Andreas Saag (Local Talk / Freerange) & Portugal's iZem (Soundway Records) * Targeted PR and Radio campaign for the single & remixes

While we wait for the follow up to last years heavy hitting Tayi Bebba the 'Tuscan speedball' returns with a new EP of sizzling world beats to reignite Summer!In contrast with common thinking Clap! Clap!'s beats are as indebted to the Inuit tribes of Alaska as they do the Staccato footwork of Chicago and LA's low-end theory. Cristiano's music features traditional Italian folk rhythms and melodies mixed with a global harvest of found-sounds smashed through an electronic beat machine mindstate. With all these disparate influences it would be easy to lose form and style but our fully-fledged Jazz practitioner adds his own unique gait to each track. The Simple EP is a return to the basics for Clap! Clap! Brave and exciting music for your carnival.

Kiss Each Other Clean, Iron and Wine’s fourth full-length record, was originally released in 2011 and came three years after his biggest selling record up to that point, The Shepherd’s Dog. The bands two earlier albums had been sparse, intimate solo affairs that offered no hint of the direction he would take with records three and four. Like The Shepherd’s Dog, Kiss Each Other Clean is layered with textures, poly-rhythmic sounds and a more is more approach.

The album's 10 tracks were recorded in Chicago and Beam's hometown of Austin and produced by Brian Deck and sounds like the music people heard in their parent's car growing up. clarinet and saxophone on the album comes courtesy of Dave Sitek collaborator Stuart Bogie. Beam has also experimented with other genres on the record as well as classic AOR. There are straight-up jazz, blues, and african elements.