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Set up by producer Ben Okonkwo in 1973, the BEN label, and its offshoot Clover Sounds, broke some of the biggest bands outside of Lagos. The Apostles, Akwassa, The Doves, Mary Afi Usuah and Aktion all got their start in the cramped studio in the commercial heart of Aba. The least known - and arguably one of the best bands on the label - was The Visitors. For a short, sweet time between 1975 and 1978, The Visitors were creating the most righteous sounds in the East. We're talking deep afro-funk with generous dollops of rock psych fuzz synth madness. My Good Friends, their second album, find them at the height of their powers. The musicianship throughout the album is extraordinary. Check out the synth and guitar wig out on 'Here We Come Brothers' and the searing guitar break that scorches the slinky groove of the title track. This album is impossibly hard to find and selling for high prices, one seller justified the high asking price by arguing that once you let this record in your bones, it's not coming back out.' Thanks to the good guys at PMG, your bones can now get the good stuff for considerably less.

- Brand new third album of this excellent heavy rock-stoner Greek band
- 800 pcs limited edition
- 180g vinyl

- 1000 pieces limited CD

Brand new third album of this excellent heavy rock-stoner Greek band
- 800 pcs limited edition
- 180g vinyl

- 1000 pieces limited CD edition

The Dreams (1964) is Bermange's collection of interviews made with people describing their dreams. The program of sounds and voices attempts to represent, in five movements, some sensations of dreaming: running away, falling, landscape, underwater, and colour. Delia's editing and repetition, together with her dissonant, often terrifying musique concrete soundbeds, make this distinctly uneasy bedtime listening.

Something is stirring in downtown Tucson. That's no great surprise perhaps: Calexico have been sending out missives from the desert for 20 years now, Giant Sand for even longer than that, and the Green on Red revival is surely overdue. Let us remind ourselves that this isn't a big city in the American sense, but that its hinterland is indeed as big as it gets. For an hour south, Mexico starts. And this is where things get interesting.

Born in Nogales, Arizona, raised in Nogales, Sonora, multi-instrumentalist and band-leader Sergio Mendoza grew up listening to the Mexican regional styles jostling for headspace in a young, music-mad mind - cumbia mainly, but mambo, rancheras and mariachi too. The border is always a fierce arena of exchange, both commercial and cultural, and so there was American music too. At one point 'rock and roll, the classics', as Mendoza himself deadpans, seemed to win out and he stopped playing those 'Latin styles' for a good decade and a half.

The return to those sounds was a strong one in 2012's Mambo Mexicano, co-produced by Mendoza and Joey Burns of Calexico - a band for which Mendoza has become an increasingly integral touring and recording member. While that record had a studied air, tentative in parts (as befits the renewal of an old love affair), ¡Vamos A Guarachar! is another beast entirely: by turns raucous ('Cumbia Volcadora', featuring Mexican electronic pioneer Camilo Lara), tender ('Misterio', surely Salvador Duran's finest moment with the band so far) and plain serious fun, as in 'Contra La Marea' and 'Mapache', it also bears a robust electronic edge, a keen pop sensibility and all the hallmarks of Mendoza's love of 60s rock, with the closing track, 'Shadows of the Mind', sure to be included if anyone decides to update the Nuggets collection for the 21st century. This is roundabout way of saying that it appears to have everything, but never too much of anything. Focused, fierce and beautifully executed by a superbly drilled set of musicians, it is a record that fully matches the band's explosive live performances.

You could, of course, take the trip to Tucson yourself, to the home of this essential set of field recordings. The scene hangs out together, so ... if the stars align and their frantic tour schedules permit, you might see any number of folks from Calexico, Giant Sand or up-and-coming cumbia rockers Xixa deep in conversation somewhere in town with a quiet young man in black. That's Sergio. Right now, in this endless game of Tucson tag, Orkesta Mendoza are IT.

Berlin based label Jolly Jams present the debut SLAVES OF LOVE. Music by British electronic duo Dean Meredith and Ben Shenton (Mindfair/ Chicken Lips). The flip side features a killer remix by LA finest TK Disko (Split Secs)

In the wake of the album St Germain released in 2015 and the two remix EP that followed on August 28, Parlophone, the label of the Parisian maestro of acid jazz , has just released a new EP . The program includes remixes of Atjazz , Terry Laird and Boddhi Satva , but mostly DJ Deep and Roman Poncet ( here under his alias Roman Poncet ) , which create a real surprise !!!!

A killer selection from one of the leading vocalists from the golden age of Ethiopian music, ranging from 1969-1975. If Ethio-funk, soul and pentatonic, Sun Ra-esque moods are your bag, you've come to the right place.

A most unusual & stunning album. Tsege Mariam Gebru is an Ethiopian nun who has dedicated her life to helping others. She has been composing & playing music on the piano since the 1960's. Her music is a unique mix of Western classcial music in the vein of Erik Satie, Ethiopian music & Religious Christian meditation music. On this reissue of her first LP, we find Tsege Mariam Gebru playing her own compositions solo on piano. She plays with restrained grace & purity & is filled with spiritual warmth.

Hi energy Ghanian contemporary Kologo' music, the West African two stringed banjo. Stripped down studio recordings push the two stringed lute into expansive territories of dance floor bangers. Cousin to delta blues, in both forceful style and strong social messages, sung in Frafra and pidgin English. Recorded in local studios in Ghana and Amsterdam, and produced by King Ayisoba. Limited 500 edition.

If there is one place on earth that has somewhat cradled, hosted or influenced almost each and everything that later formed what we call today as global culture, it is Anatolia.

If there is one community that has been (and still being) shaped with almost every kind of cultural, economic, social, and emotional contrast in the world, it is Turkish people.

And if there is one musical genre that can freely embody and disembody each and every thought and feeling that has ever come to man, it is psychedelic music.

Just hold this record in your hand, and imagine the possibilities...



Turkey has an extremely colourful musical background that is influenced by many different cultures. Below its dull surface covered with commercial productions, the freer depths of Turkey's musical ocean is still vibrant and exuberant with countless young groups pushing the limits of sound and rhythm.

Anatolian Rock was one of the most authentic and distinctive contributors of the first global psychedelic upheaval in late 60s and early 70s - and it still echoes in the works of Turkish modern rock bands. Indeed, modern Turkish psychedelia is something that is fully connected to the roots of a natively global sense of expression, which can be easily discriminated from other national products such as American Garage Bands, German Krautrock and British Psychedelia. The uniqueness of Turkish psychedelia is hidden in the historical and geographical exposure of its musical psyche.

Comprised of previously unpublished psychedelic songs by modern Turkish bands, The New Generation of Turkish Psychedelic Volume I' is the first compilation album released by Ironhand Records. In this compilation you will find new and mind blowing sounds of Turkish psychedelia:

The album opens with the aggressive rhythm and raw melodic bass lines of Profesyonel' by Yarimada, which is the only song with lyrics in the album. The second title, Lala's Song' by irtifakaybediyoruz! is a rage of melancholy amidst wisdom and despair. The third title, Floodgate' by Help! The Captain Threw Up is a moody yet fluent piece that carries influences of psychedelia and post-rock. Azim', the punchy, clear-cut last title on A side, is performed by Balina from Izmir, which -with their own definition- is a hearty band in love with dark riffs and sorrowful psychedelic sounds. The B side opens with Ran' by milankundura, takes us to a thought-provoking trip over a cloud of jazzy sounds. And the closing piece, Lopenstraat's 15-minute epic Hike', which is a nerve-shredding adventure in a dusky forest of acoustic and electric sounds.

Enjoy listening!

Upcoming Big Yard artist Richie Loop. Both cuts have been on heavy rotation in Jamaica at Kingston Dub Club

Fresh Afro-Latin rhythms! "El Lobo" is a Chalupa rhythm w/deep tambor & massive bass line. Chico Mann hooks up the remix. Screen printed, 500 copies, hand numbered.

Fortuna Records have gone all out and reissued one of the most insane, far out records to have ever come out of Lebanon. Originally released in 1980 ,Raja Zahr's "Drum Sequence" is a 'get crazy', experimental disco monster, utilizing Middle Eastern percussion and analog synthesisers, so mind boggling they would keep any dancefloor begging for more. And there is more. Two additional tracks of Lebanese percussion madness by Raja make this an essential triple banger previously known only to serious collectors with cash to burn. Meticulously remastered for club use and approved by Mr Zahr himself, this crispy 12" is one for the freaks. So go on then.

1x each customer!

Quick-strike follow up to the massive Move D supported PERSIE001!!
Persies is a party oriented edits label focused on re-working, re-touching and re-purposing an eclectic selection of gems for the dancefloor. Beefed up, pared-down and dangerous. Vinyl only white label, 300 press.

Recorded in Istanbul in July 2015 with a number of local visionary musicians, Debruit presents a synthetic and rhythmic journey inside the city's history and future. 'Debruit & Istanbul', his fourth album, is released through his own multidisciplinary label ICI.

During his 15 days in Istanbul, Debruit worked on an imaginative interpretation of the city carried by the megalopolis through its meanders. He collaborated with established artists, including leading fusion-jazz percussionist Okay Temiz, 70s Turkish-funk star Mustapha Özkent, gypsy master clarinettist Cüneyt Sepetçi, and rising and grass roots local musicians such as art-rock singer Gaye Su Akyol, Melike Sahin and Murat Ertel of BaBa ZuLa. The inspiration of sounds, rhythms, lights and tempo of the city at different moments in time have resulted in a melting pot of traditional, visionary, electric, psychedelic, futuristic, melodic and experimental music. Now set for release to the public, 'Debruit & Istanbul' is a new vision of the exciting and captivating city.

Septuagenarian Brazilian music icon Elza Soares teams up with the cream of São Paulo's avant-garde musicians for an album of apocalyptic, experimental samba sujo ('dirty samba') that tackles the burning issues of 21st century Brazil: racism, domestic violence, sex and drug addiction.

The Woman at the end of the world is Elza's 34th studio album and her first to feature previously unrecorded material, exclusively composed for her. Voted 'Best Album of 2015' by Rolling Stone Brazil it was released worldwide by UK based label Mais Um Discos on June 10

Over a sprawl of distorted guitars, squalling horns, taught strings and electronic shards, samba is savaged by rock 'n' roll, free-jazz, noise and other experimental music forms as Elza sings, spits and screams tales of a life in Brazil that is anything but a tropical paradise. A true legend of Brazilian music Elza has an incredible musical oeuvre that stretches back over seven decades mixing samba with jazz, soul, funk, hip hop and electronica, whilst her life-story is a rags-to-riches-to-rags rollercoaster of triumphs and tragedies that has made her a voice for Brazil's repressed female, black, gay and working class populations.
Born in a Rio de Janeiro favela, Elza was forced by her father into an abusive marriage aged 12. She won a radio talent show at 16, hosted by Brazilian composer Ari Barroso and by the time she was 21 she was already a widow who had given birth to three children, one of who died of malnutrition. Her music career began in the late 1950s as she sung in clubs and hotels - sometimes being forced to perform off stage because of her skin colour.
The '60s was a career-defining period with a run of classic albums for Odeon yet in 1966 this black, working-class single mother was vilified by the press for having an affair with world famous Brazilian footballer Garrincha. They were both expelled from Brazil as the military junta took power in '69, yet returned a few years later. They had a son in 1976 before Garrincha passed from alcoholism in 1983 and then in 1986 their son was tragically killed in a car crash.
Elza then faded into obscurity, before a new album in 1997 saw her named 'Best Samba Singer' at the prestigious Prêmio Sharp Awards, with international recognition two years later when she was chosen by BBC World Service to represent Brazil in its Millennium Concerts series. Since then she has toured heavily in Brazil with occasional studio outings: in 2003 she recorded the album 'Do Coccix ate O Pescoço with producer Kassin and in 2014 featured on Gilles Peterson's 'Brasil Bam, Bam, Bam'.
And so to the latest chapter in the soap opera that is Elza Soares life, her as muse to São Paulo's hyped samba sujo scene, creating an album that walks a tightrope between post-rock and post-samba, a contemporary classic that speaks of a country in a deep crisis and is a spectacular comeback from a singer repeatedly written off: I knew this album would be a bold, modern sound' she says. These songs are tense - they do not allow you to relax'.

Graveola's third album Camaleão Borboleta is a musical pick-me-up with hope at the centre of the message. Fired with socially conscious lyrics concerning the power of the internet, native Brazilian-Indian struggles and issues around marijuana legalisation, Camaleão Borboleta (Chameleon Butterfly) was released 29 July through Mais Um Discos.

Graveola's unique brand of alt-pop sees tropicalia, samba, 'rock Brasileira' and Brazilian folk rhythms cannibalise international genres to create strange new hybrids they have labelled psychedelic maracatu', shamanic funaná', weird salsa', schizo-rock-fake-reggae' and melancholic internet love ballad' - all examples of Graveola's 'carnival cannabalism' approach to making music.

Oddball arrangements recall Os Mutantes in their prime with naïve melodies, a hazy sensibility and Brazilian folk rhythms giving their music a distinctly Brazilian take on indie that ranks them as torchbearers of the new alt-tropical movement in South America, alongside acts such like Colombia's Meridian Brothers and Argentina's Juana Molina.

Since their formation in 2004 the band have built a reputation as fiercely independent cultural agitators and music makers who use their music to benefit their local community. They chose to launch previous album 'Eu preciso...' not in a prestigious music venue, but with a free concert in the suburbs of their hometown Belo Horizonte to raise awareness about Dandara, a settlement threatened (and eventually saved) with bulldozing. All members of the band have been heavily involved in recent 'occupations' of government buildings against what they consider a coup in Brazil: we attend these events out of necessity,' offers Luiz, it is important for the band to be involved and to feel we are contributing'.

Album opener Maquinário is a psychedelic maracatu' (a rhythm from the north of Brazil) whilst Índio Maracanã is a shamanic funaná' (a Cape Verdean rhythm) inspired by the native Brazilian Indians who occupied the former native Indian museum in Rio in 2014 to try and prevent it being demolished in the lead-up to the World Cup. The group are joined by Samuel Rosa from legendary Brazilian rock band Skank on Talismã, where the narrator lists various symbols - peixe voador (a flying fish), caranguejo feminino (female crab) and album title camaleão borboleta (camouflage butterfly) - he encounters on a journey to personal freedom.

Arguably West Africa's best-kept secret, the band's output both in quantity and quality was astonishing. During several trips to Benin Analog Africa label boss Samy Ben Redjeb managed to collect roughly 500 songs which Orchestre Poly-Rythmo de Cotonou had recorded between 1970 and 1983. With so much material to choose from Ben Redjeb decided to split it into Volumes 1 and 2.
While Volume 2 will be material the band recorded under an exclusive contract with the label Albarika Store, the band also secretly' recorded with an array of smaller labels based around Cotonou, Benin's largest city, and the capital city of Porto Novo. It is those tracks (all officially licensed) that are presented here on Volume 1.

Four years in the making, Analog Africa finally presents the second volume of Africa's funkiest band, the mythical Orchestre Poly-Rythmo de Cotonou.

Volume One (The Vodoun Effect - Funk & Sato from Benin's Obscure Labels, 1973 - 1975), released by Analog Africa at the end of 2008, was a collection

of amazing lo-fi recordings produced for various labels around Benin. Volume Two showcases superbly recorded tracks, courtesy of the EMI studios in Lagos,

Nigeria, one of the best studios in the region. All tracks here were recorded for the mighty Albarika Store label and its enigmatic producer, Adissa Seidou

Take funk, soul, psychedelia and rumba, mix it up with a thick dose of heavy local rhythms and throw everything in a Benin grinder. The brew is then mixed up with hypnotic Farfisa solos, gritty guitar riffs, distorted bass lines, warm horns and the result, of exorcizing proportion, will lead to frenetic body movements. Some people bang their heads,others jerk their feet or feel an urgent need to get up and start shaking their hips. One thing is common, though, to everyone who submits their ears to a spinning record by the mighty Orchestre Poly-Rythmo de Cotonou: you simply can't stand still. And this new compilation is proof of that - here are 14 funky tracks by the legendary ensemble fromBenin that has been deemed as West-Africa's best kept secret,' or as the The D.N.A. of voodoo groove'.

The Analog Africa label delves into the amazing history of music from 1970s Benin and Togo.
This compilation highlights forgotten raw and psychedelic Afro sounds, and the well-researched liner notes tell fascinating stories to accompany the mind-blowing music. The essence of Analog Africa is clear, searching in dusty warehouses for forgotten music to keep the sound alive!

Analog Africa has now the privilege to present 11 tracks by Verckys et L'Orchestre Vévé at the height of their most funky capabilities.

Compiled over the course of many years in a land of hardship, we welcome you to the grooviest era of the Congo.

Congo's turbulent and exhilarating '70s: Nightclubs and dance floors were packed to the brim in the capital, Kinshasa. Exuberant crowds, still giddy from independence

a decade prior, grooved to the sounds of the country`s classics. In fact the whole continent was submerged into the Congolese Rumba craze. Encouraged by the fantastic

productions of the Ngoma label, vibrant radio waves had been spreading the Congo sound from Leopoldville all over the continent, becoming the countries' No.1 export.

10 track Album from Willie Lindo released by Dub Store Records

We dropped Bosq's Tumbala EP digitally late last year and the response was so wild that we decided it needed a vinyl release. So we pressed the 4 track hot pack of Multi Culti beats on a limited run of 500 jungle green records. In case you missed it, here's what the EP is all about: Soul Clap Records welcomes one of the most unique artists in the game and he goes by the name Bosq. A longtime Boston homie, Bosq (also known for his work with DJ Kon and the Whiskey Barons) first astounded us with his "Orquestra Y Madera" album (Ubiquity Records) which put a modern dance floor twist on Afro/Latin Funk and provided some of our biggest DJ bombs that year. Continuing to build the bridge we released his edit of Fela Kuti's Opposite People (Gator Boots), collaborated on "Higher" for our DOTC Vol. 2 compilation (Soul Clap Records) and we remixed his single "Bad For Me" from his sophomore "Celestial Strut" album (Ubiquity Records). This release is also accompanied by a sister record of remixes by Auntie Flo and Caserta on limited yellow vinyl.

Hailing from Reynosa, Mexico and the Lower Rio Grande Valley in Texas, Andres Aguirre has been a lifelong devotee for music and audio production. He became a radio host of an electronic music show and production director for the student-run 91.7 FM station in Austin, and his longtime passion for playing and collecting music linked Andres with the Forbidden Colours family from long ago.
Aguirre returns to Forbidden Colours - this time with a solo EP concept crafted with as much love for the dance floor as it is for the casual living room listener. Situated somewhere in the realm of deep house with a touch of techno, the rich harmonies and vivid textures take you through a hypnotic trip composed of spacey electronic tracks, smooth songs, and adventurous interludes.
My love wears forbidden colours
My life believes
My love wears forbidden colours
My life believes in you once again

The Analog Africa label delves into the amazing history of music from 1970s Benin and Togo.

This compilation highlights forgotten raw and psychedelic Afro sounds, and the well-researched

liner notes tell fascinating stories to accompany the mind-blowing music. The essence of

Analog Africa is clear, searching in dusty warehouses for forgotten music to keep the sound alive!

Like its elders, Bantu Continua Uhuru Consciousness sees its music as a hedonistic trance, but also as a weapon of political and spiritual liberation. Artistic heirs to Philip “Malombo” Tabane and Batsumi, they seek to give a contemporary voice to the ancestral traditions of indigenous peoples. Jazz sounds of 1970s and ‘80s productions have been replaced by hip-hop influences and a punk-rock energy.

It all started about twelve years ago in a community centre workshop. The format of the band hasn’t changed much since that time, but its musical language has been greatly refined. While vocals and percussion have always driven their music, BCUC found its magic formula in 2013 when they folded a frenzied electric bass into the simple drum-and-vocals mix.

And that’s the alchemy of “Africangungungu”, the name they’ve given to their “afropsychedelic” music. Both on stage and on this album (their first commercial production), their songs refuse to be formatted. Their “incantations” in Zulu, Sotho and English and their funky modulations extend over twenty minutes in a whirlwind of sound reminiscent of Fela’s Afrobeat. “Music for the people by the people with the people” – a people they refuse to box into one community, to circumscribe to one skin colour.

Discovered in 2006 thanks to Jupiter's Dance, a documentary about the new music scene
in Kinshasa, and still one of its iconic—even heroic—members, Jupiter Bonkodji makes a
welcome return with Troposphere 13, three years after the release of the exuberant Hotel
Univers. On this incredible 6-track EP, the Congolese Don Quixote defies everything, gloom,
doom, but also... the laws of gravity.
Taking it's namesake from the almost unbelievable story of The Democratic
Republic of Congo's short-lived space program, this EP is a raucous trip through the immense
wealth of traditional Congolese rhythms and the electrifying stridency of the rock inherited
from his European past spent growing up in Germany - and featuring a few friends
including Damon Albarn and long time faithful companion of Nick Cave, Warren Ellis.
Troposphère 13 breaks the sound barrier that, until now, has kept Katanga guitars and rock
energy apart, lifting the incredible Jupiter into orbit once again, a UFO of contemporary African
music inhabited simultaneously by the fighting instinct of Fela Kuti and the moralistic
fibre of Jean de La Fontaine.

On their second eponymous album released by Saravah in 1974, percussionist Nana Vasconcellos joined Mahjun's line up on the 13 :40 minutes long track « la ville pue » & « fin janvier ». Their politico folk prog sound then moved to an ethnic flavoured psychedelic fusion. First time reissue of this classic and inflential album licenced by Saravah.

Blue Vinyl Limited Edition.
On their second eponymous album released by Saravah in 1974, percussionist Nana Vasconcellos joined Mahjun's line up on the 13 :40 minutes long track « la ville pue » & « fin janvier ». Their politico folk prog sound then moved to an ethnic flavoured psychedelic fusion. First time reissue of this classic and inflential album licenced by Saravah.

Four years in the making, Analog Africa finally presents the second volume of Africa's funkiest band, the mythical Orchestre Poly-Rythmo de Cotonou.

Volume One (The Vodoun Effect - Funk & Sato from Benin's Obscure Labels, 1973 - 1975), released by Analog Africa at the end of 2008, was a collection

of amazing lo-fi recordings produced for various labels around Benin. Volume Two showcases superbly recorded tracks, courtesy of the EMI studios in Lagos,

Nigeria, one of the best studios in the region. All tracks here were recorded for the mighty Albarika Store label and its enigmatic producer, Adissa Seidou

Take funk, soul, psychedelia and rumba, mix it up with a thick dose of heavy local rhythms and throw everything in a Benin grinder. The brew is then mixed up with hypnotic

Farfisa solos, gritty guitar riffs, distorted bass lines, warm horns and the result, of exorcizing proportion, will lead to frenetic body movements. Some people bang their heads,

others jerk their feet or feel an urgent need to get up and start shaking their hips. One thing is common, though, to everyone who submits their ears to a spinning record by the

mighty Orchestre Poly-Rythmo de Cotonou: you simply can't stand still. And this new compilation is proof of that - here are 14 funky tracks by the legendary ensemble from

Benin that has been deemed as West-Africa's best kept secret,' or as the The D.N.A. of voodoo groove'.

Arguably West Africa's best-kept secret, the band's output both in quantity and quality was astonishing. During several trips to

Benin Analog Africa label boss Samy Ben Redjeb managed to collect roughly 500 songs which Orchestre Poly-Rythmo de Cotonou

had recorded between 1970 and 1983. With so much material to choose from Ben Redjeb decided to split it into Volumes 1 and 2.

While Volume 2 will be material the band recorded under an exclusive contract with the label Albarika Store, the band also secretly'

recorded with an array of smaller labels based around Cotonou, Benin's largest city, and the capital city of Porto Novo. It is those tracks















d

Bobo Yéyé: Belle Époque in Upper Volta From his studio in central Bobo-Dioulasso, photographer Sory Sanlé documented a nation's transformation from colonial foothold to cosmopolitan oasis. Bobo Yeye: Belle Epoque in Upper Volta provides an intimate look into the landlocked nation's pop culture explosion of the 1970s. A melange of community elders and emboldened youth spill from the brightly lit confines of Sanlé's Volta Photo into the dimly lit nightclubs of Upper Volta's cultural capital. Accompanying this hardbound monograph are dozens of rare and evocative recordings spread over three discs by Bobo-Dioulasso's musical titans: Volta Jazz, Dafra Star, Echo Del Africa, and Les Imbattables Léopards.

Bobo Yéyé: Belle Époque in Upper Volta From his studio in central Bobo-Dioulasso, photographer Sory Sanlé documented a nation's transformation from colonial foothold to cosmopolitan oasis. Bobo Yeye: Belle Epoque in Upper Volta provides an intimate look into the landlocked nation's pop culture explosion of the 1970s. A melange of community elders and emboldened youth spill from the brightly lit confines of Sanlé's Volta Photo into the dimly lit nightclubs of Upper Volta's cultural capital. Accompanying this hardbound monograph are dozens of rare and evocative recordings spread over three discs by Bobo-Dioulasso's musical titans: Volta Jazz, Dafra Star, Echo Del Africa, and Les Imbattables Léopards.

Analog Africa has now the privilege to present 11 tracks by Verckys et L'Orchestre Vévé at the height of their most funky capabilities.

Compiled over the course of many years in a land of hardship, we welcome you to the grooviest era of the Congo.

Congo's turbulent and exhilarating '70s: Nightclubs and dance floors were packed to the brim in the capital, Kinshasa. Exuberant crowds, still giddy from independence

a decade prior, grooved to the sounds of the country`s classics. In fact the whole continent was submerged into the Congolese Rumba craze. Encouraged by the fantastic

productions of the Ngoma label, vibrant radio waves had been spreading the Congo sound from Leopoldville all over the continent, becoming the countries' No.1 export.

The new 12'' release from Nyami Nyami records teams up mbira maestro Jacob Mafuleni from Zimbabwe and electro-funk producer Gary Gritness from France, who released a series of 12'' on Clone records in 2015 and collaborated with Orlando Voorn, Dam-Funk or Los Hemanos. Tip!!
Jacob Mafuleni was Chiwoniso's sideman on vocals and mbira on the label's acclaimed first release 'Zvichapera'. He recorded two new tracks in Harare with his wife Martha Thom on vocals and the traditional percussion ocho. Gary Gritness added 808 rhythms and sounds keeping the natural flow of the songs without cutting or sampling the original music. He intuitively produced the talent of Jacob's mbira ceremonies rhythmic patterns on his TR 808 drum machine.
This natural and respectful collaboration resulted in two already classic 'afro techno' tracks Atuka Mondhoro 808 and Chiconi 808.

Der nigerianische Musiker Fela Kuti gilt als Begründer des Afrobeat. Das Label Knitting Factory legt nun verschiedene Werke aus dem Backcatalogue als neue Vinyl-Edition vor. Diese entstammen ursprünglich dem von Brian Eno zusammengestellten Set "Vinyl Box 3/Compiled by Brian Eno" und waren einzeln nicht erhältlich. Schwarzes Vinyl / 180g. "Upside Down" entstand 1976 während einer der intensivsten Schaffensperioden von Fela Kuti. Als zweite Sängerin arbeitete Sandra Izsadore an diesem Album mit. Als bekannte Black Rights-Aktivistin machte sie Fela Kuti mit den Schriften von Malcolm X und Angela Davis bekannt, was das politische Bewusstsein des engagierten Musikers erweiterte und verfeinerte. Dieses neu gewonnene Bewusstsein prägte das Album nachhaltig.