Pop & Rock Vinyl New Releases - News

UK's Newcomer Years & Years feierten mit ihrer Debütsingle - King einen weltweiten Erfolg. Der
Track war in 62 Ländern in den Top10, in Deutschland konkret auf Platz 7 der Charts. Im britischen
Radio 1 zählt - King zum drittmeist gespielten Song 2015 und auch im deutschen Airplay überzeugte
der Track und war der viertmeist gespielte Titel. - King zählt 50 Mio. Streams weltweit und das
Musikvideo wurde über 30 Mio. Mal aufgerufen. Jetzt liefert das Trio mit - Shine einen emotionalen
und energiegeladenen Nachfolger. Verträumt singt Sänger Olly Alexander über den elektrisierenden
Beats von dem einzigartigen Gefühl des Verliebtseins und Schmetterlingen im Bauch. Online-Blogs
sind sich jetzt schon sicher, dass - Shine ebenso wie - King das Potential hat, einer der
meistgespielten Festivalsongs des Jahres zu werden. - Shine feierte am 11. Mai als - Hottest
Record In The World bei der Annie Mac's BBC Radio 1 Show Premiere und ist ein weiterer
Vorgeschmack auf das heißersehnte Debütalbum - Communion .

Everyone Alive Wants Answers is the beautiful debut album by Colleen, a magical zoetrope of ramshackle mechanics and improvised vignettes
Originally released in June 2003, only 1,500 copies of the original LP were pressed
Long out of print and very much in demand following Cécile Schott's resurgence with 2015's acclaimed Thrill Jockey album Captain Of None
Reissue limited to just 400 copies on black vinyl, packaged with a CD for the first time
Revised and updated LP artwork

THE MUNICIPAL, Salento duo composed CARMINE TUNDO and Isabella Tundo. The album is the result of an intense artistic research and comes after a sophisticated loyalty work, which has given great visibility and credibility to the project: from 2014, The Municipal has put online a collection of self-produced videos, splendid anticipation of some single on the disc. "Our wars lost" it is a collection of stories, all based on the typical conflict of a report and the difficulty of living themselves in a composed manner. The record contains twelve war bulletins: the background stations, city streets, and the worst of the province bars. TO speak their inner ghosts, intent on feasting merrily. "Our lost wars" is an intimate journey, a get naked, a pull loose teeth to make room for the new ones, it is an existential coming-out. Tell us about that period of time ranging from 20 to 30 years: insecurities, choices to be made and the future that must be built.

Three years ago, a group of renowned danish jazz musicians showed up on the Copenhagen club scene. Their goal was to put together a band which would fuse the west african music of Fela Kuti with the inimitable style of jazz bassist Charlie Mingus. The two creative directors Michael Blicher (sax) and Gustav Rasmussen (trombone / guitar) dubbed their project The KutiMangoes (TKM).

Their debut album "Afro-Fire" took off like a rocket and won the danish Grammy award in 2014 for "Best World Music Album" and also was nominated in categories for "Best Compositions" as well as "Best Alternative Jazz album". Following this success the band appeared on worldwide festivals and laid down frenetic and inspired performances in Denmark and Germany.

For DJs across the globe, the favorite cut from the album was called "Fire". Vocalist Patrick Kabre, born and raised in Burkina Faso, was the featured singer on "Fire". He accompanied the band on several concert dates and even joined them headlining a festival in West Africa. This experience convinced Kabre and TKM to record their second album in his homeland. It was generally regarded among the musicians that something really special would be created when the recording was done where the music has its origin: Africa. Michael puts it this way: "Our musical mission has from the very beginning been to get deeper and deeper into combining our own musical heritage with influences from especially western Africa. So when we met the incredible Patrick Kabre from Burkina Faso, a musical collaboration started that made it possible for us to get closer to the rich musical traditions, the vibrant energy and the unique sounds of western Africa."

TKM have composed new tunes based on ancient traditional songs (such as Tolma and M'ba) and included them alongside original afro beat and afro jazz within the tracklisting. TKM's goal is to create music together - to share and meet diverse but brotherly cultures through music. And that's exactly what you will experience when listening to this album.

Three years ago, a group of renowned danish jazz musicians showed up on the Copenhagen club scene. Their goal was to put together a band which would fuse the west african music of Fela Kuti with the inimitable style of jazz bassist Charlie Mingus. The two creative directors Michael Blicher (sax) and Gustav Rasmussen (trombone / guitar) dubbed their project The KutiMangoes (TKM).

Their debut album "Afro-Fire" took off like a rocket and won the danish Grammy award in 2014 for "Best World Music Album" and also was nominated in categories for "Best Compositions" as well as "Best Alternative Jazz album". Following this success the band appeared on worldwide festivals and laid down frenetic and inspired performances in Denmark and Germany.

For DJs across the globe, the favorite cut from the album was called "Fire". Vocalist Patrick Kabre, born and raised in Burkina Faso, was the featured singer on "Fire". He accompanied the band on several concert dates and even joined them headlining a festival in West Africa. This experience convinced Kabre and TKM to record their second album in his homeland. It was generally regarded among the musicians that something really special would be created when the recording was done where the music has its origin: Africa. Michael puts it this way: "Our musical mission has from the very beginning been to get deeper and deeper into combining our own musical heritage with influences from especially western Africa. So when we met the incredible Patrick Kabre from Burkina Faso, a musical collaboration started that made it possible for us to get closer to the rich musical traditions, the vibrant energy and the unique sounds of western Africa."

TKM have composed new tunes based on ancient traditional songs (such as Tolma and M'ba) and included them alongside original afro beat and afro jazz within the tracklisting. TKM's goal is to create music together - to share and meet diverse but brotherly cultures through music. And that's exactly what you will experience when listening to this album.

Yishak, composer and keyboard player from Addis Ababa known to his country for his innovative compositions and unique sound. His ability to transform traditional Ethiopian songs into spacey Minimal-Wave gems creates an ultra hypnotic and psychedelic atmosphere, a sound that you have never experienced before. A genuine talent who carried the long tradition of Ethiopia into another level...

Galang sees Parly embracing a tough ragga riddim track provided by Danny T & Tradesman that is reminiscent of the futurist, minimal style that was pioneered in the late 1990's and early 00's by producers such as Lenky, Ward 21, Frenchie and Steely & Clevie. As always Parly brings his distinctive vocal style to the track that perfectly rides the space and weight the riddim brings. Deliciously low slung, and punching at all the tastiest low end frequencies, this is one for the winers! This is the perfect taster for next year's eagerly anticipated debut album from Danny T & Tradesman.

AGGROLITES keyboard wizard puts his two volumes of "ORGAN VERSIONS" on wax for the first time ever. Hear ROGER lay new organ parts over original Jamaican early reggae sides, giving many of these stone cold classics a new edge. Stickered DJ sleeve. limited to 300 copies on black vinyl.

S. Job Organization (also known as SJOB Movement) was a rarity in the Nigerian music scene - a collective of equals in a world where band 'leaders' ruled the roost and 'band boys' had to make do with the crumbs. The name was an acronym representing each of the members - Samuel 'Spark' Abiloye, Johnnie Woode Olimah, Ehima 'Blackie' Ottah and Prince Bolarinwa Agba. They were music scene veterans and the nucleus of Sonny Okosuns' group, Ozziddi. Unshackled, their undeniable chemistry fizzed. Listen to a SJOB record and you can almost hear band members nodding their heads in appreciation of each others' mad skills. On Freedom Anthem, the music is deep, dark and funky. It took inspiration from the new sounds coming out of black America with a focus that was increasingly political. 'Ayamoto' calls for Africans to stand up for their rights. 'Freedom Anthem' is another funky call to arms. 'Oya' and 'Wombiliki' incorporate local folk sounds and a tinge of reggae for a distinctly African burnish. The egalitarian structure of SJOB eventually lead to its demise. Without a dominant personality to galvanize the band, they lost direction. Johnnie Woode rejoined Ozziddi. Prince Bola joined King Sunny Ade. The great social experiment was over. But in Freedom Anthem, the magic it created lives on. - Peter Moore,

Here at Scotch Bonnet Records we love Reggae music's rich heritage. Not only is it is as strong today as it ever has been, soundsystem culture has now spread to every corner of the world. To celebrate this we have compiled a few musically important releases from some of the key musicians and producers that have influenced and nourished Scotch Bonnet records since the start. Some have appeared on single, some are dubs that Mungo's Hi Fi couldn't stop playing on the Soundsystem, and there are some brand new pieces to keep it crispy fresh. The end result is Puffers Choice.

Starting life as a small New York event aimed at raising awareness for Fela Kuti's musical message, Rich Medina's Jump N Funk party has now been rocking dancefloors across the globe for over 15 years. Honouring Fela's contribution to music as well as his political and cultural legacy, Medina has made his events a platform to celebrate Afro-Life across the Black Diaspora.
With guests such as Wunmi, the cast of Fela! On Broadway, Asiko and Antibalas providing captivating live performances, Jump N Funk is so much more than a club night. In creating this compilation to represent the spirit of his events, Rich Medina has chosen an eclectic selection of undeniably afro-tinged,
unashamedly life-affirming music. With most tracks either referencing, sampling or inspired by the great man, the record also includes material by Fela himself,
as well as son Seun Kuti and long-time band member Tony Allen the inventor of the afrobeat set drum syncopation that is equally as notorious as Fela and his message... The album's artwork has been lovingly created by Lemi Ghariokwu, the fabled Nigerian artist who designed some of Fela's most iconic covers. From
the record's sleeve to the music contained within, Jump N Funk is a cultural artefact with one foot in the past, the other in the future. An echo of Fela's message: a reminder to celebrate, to empower, to progress.





Benitez BV Dub)






Beat (Mutaba)

Palto Flats and New General Catalogue are partnering to bring you Awaawaa, a new record by sonic experimentalists Woo, this January 2016. Woo is the longstanding project of British brothers Mark and Clive Ives, who've experienced a resurgent interest in their catalog in recent years. Featuring never before heard recordings from Woo's archives, Awaawaa sees the band at their most evocative and psychedelic - presenting a suitelike, atmospheric collection of stunning miniatures. Recorded in South London during 1975-82, Awaawaa lines up chronologically with other Woo releases, such as 'Whichever Way You Are Going, You Are Going Wrong,' but touches upon synth, ambient, electronics, dub, and even krautrock (the Faust-like direct input guitar on 'Green Blob,' or the worldly title track, which wouldn't sound out of place on an Embryo record). Some tracks, such as the brief, trancelike 'Babalonia' sound utterly out of time and place, and represent Woo's unique and prescient vision. There are also moments of sublime beauty - 'Robots Dancing' features a repetitive analog synth line that transforms with the introduction of birdlike sounding tape and tenor saxophone. As part of the release, Palto Flats has asked several video artists to produce visual interpretations of several of the songs from Awaawaa, as well as Woo themselves. In addition to Woo providing a trailer featuring music from the title track, this month will see videos from Scott Kiernan of ESP TV, as well as Diego Cohen, who's done videos for Software, RVNG and Opal Tapes. There will be more to follow. Woo is deeply excited for the renewed interest in their music, and see this release as one of their most adventurous, forward thinking records. We could not be happier to share it with you.
















[P} B9 | Fanfare

Seit Beginn seiner langen Karriere ist der Blick über den musikalischen Tellerrand für Daniel Haaksman
typisch. Sei es das Label Essay, das der Berliner Autor, Musiker, DJ und Produzent 1995 zusammen mit
Shantel gründete, die Kompilation "Rio Baile Funk Favela Booty Beats", die Haaksman 2004 veröffentlichte
und die bis heute als Referenz zum Thema Baile Funk gilt, oder die zahlreichen Remixe für Waldemar
Bastos, Madera Limpia, Gotan Project, Phenomenal Handclap Band, Riva Starr, Schlachthofbronx oder Edu
K, Haaksman liebt es kosmopolitisch. Nachdem er sich schwerpunktmäßig ein Jahrzehnt mit Brasilien und
tropischen Musikstilen wie Funk Carioca, Tecno Brega, Reggaeton, Cumbia und Soca beschäftigt hat, geht
Haaksman 2016 den afrikanischen Sounds des 21. Jahrhundert nach. Jedoch ist "African Fabrics" mehr als
nur eine imaginäre Klangreise durch den "schwarzen Kontinent". Haaksmans Ansatz besteht darin,
nostalgiefrei aktuelle elektronische Tanzmusik aus Afrika mit Bass-Musik der nördlichen Hemisphäre zu
koppeln, das heißt südafrikanischen House, Kuduro oder Tarraxo individuell und energisch zu interpretieren.
Dabei erhält Haaksman prominente Unterstützung, zum Beispiel von den beiden Rappern Spoek Mathambo
(Südafrika) und Dama Do Bling (Mosambik) sowie der portugiesisch-angolanischen Punkband Throes + The
Shine.

ECM-era Don Cherry global jazz meets contemporary electronic avant-garde, true world dance music for the next millennium.
.
With guest turns on every track, Georgia explore a new approach to studio production, incorporating the sounds of world and jazz music into their digital funk and combining and processing improvisation and composed elements to create a unified, distinct voice. This approach can be heard on Ama Yes Uzume,' as a primally incandescent vocal from Caroline Polachek (Chairlift) blends with glistening waves of piano and synth to form a euphoric rhythm that materializes out of curved air. Blending live performance with sampling and editing, Georgia constantly revise and revisit their work, breaking down, collaging, and
refracting sounds.

On lead track Slow Dance,' vocals by performance artist India Menuez waft over a loping bass line
(sampled from a performance by Matt Werth of RVNG) while digital flutes cluster in the background. The outcome is a kind of new age mutant funk, not unlike the sound of Annette Peacock or 23 Skidoo jamming in the studio with Jon Hassell. Additional collaborators include avant-garde harpist Mary Lattimore, saxophonist Wednesday Knudsen, and Gabonese vocalist Abang Essone Sarah Maya. As the title suggests, this is music of many multitudes.

The next volume of Wonderwheel's long running Turntables on the Hudson series, curated by Nickodemus, heads down to the Caribbean encompassing diverse music made for the dancefloor. TOTC touches on the culturally rich shores of Cuba, Puerto Rico, Haiti, Jamaica, Belize, Mexico, Colombia and the USA and beyond with Island inspired vibes.

This double 7" taken with our favorite cuts from the compilation features tracks from DJ Jigoe, Captain Planet feat Chico Mann, Corrado Bucci, and Poirier. On the A side, Afro Cuban artist and recent US & UK Press Darling DJ Jigue gives us the stripped down, Cuban house stomper that is "RIVE", while on the B side Italian producer Corrado Bucci teams up with the classic Columbian group Los Corraleros de Majaguel for a brand new modern take on their Cumbia classic "La Cuidad De Eterna Primavera". On the C side, Captain Planet & Chico Mann's tropical AfroLatin dancefloor smash "Aguacero" finally sees vinyl release, while on the D side, Montreal producer Poirier delivers a jumping Haitian/Creole tune "Pale Mal" with Fwonte on vocals to round out the compilation.

Erstaunlich, dass sich in den alten Plattenkisten auf dem Dachboden und im Keller immer noch so viele Disco-
Schätze finden, die nur darauf warten, vom legendären Al Kent gehoben zu werden. Umso schöner, dass der
Glasgower nicht müde wird, die schönsten Fundstücke auf seiner Kompilationsreihe "Disco Love" zu
veröffentlichen. Mittlerweile ist er bei der vierten Ausgabe angelangt. Sie erscheint wieder als Doppel-LP im
Klappcover sowie als DJ-Mix-CD. Damit werden DJs und Heimhörer gleichermaßen perfekt bedient.
Abgesehen davon eignet sich der durchgängige Disco-Mix von Al Kent hervorragend dazu, die nächste Party
zu beschallen. Und nicht nur das, wie auch bei den vorherigen Kollektionen hat es sich Al Kent nicht nehmen
lassen, bei einigen der Songs seine Re-Edit-Fähigkeiten unter Beweis zu stellen. In diesem Fall hat er fünf
der insgesamt 15 obskuren Tracks exklusiv für den Dancefloor von heute fit gemacht. Wer seine Disco gerne
funky, deep und soulful mag, wird mit "Disco Love 4" vorzüglich unterhalten. Party on!
***

10 track Album from Anthony Red Rose released by Dub Store Records

Adventures in all a capella songs of Soul, Blues, Pop and Experimental. Edwin Mathis White (from the band Tonstartssbandht) creates the a capella gospel that is Eola.

I think the album's a goddam classic,' Ry Cooder said afer producing Buenos Hermanos, the second solo album by the Buena Vista Social Club singing star Ibrahim Ferrer.
Released in 2003 when Ferrer was 76 years old, Buenos Hermanos now gets a welcome reissue on 180 gsm vinyl and today sounds more like a 'classic' than ever - the ultmate Latn record', as Cooder described it at the tme. I don't think anybody other than Ibrahim would or could make a record like this.
It has every kind of nuance and subtlety that it could possibly have, as well as muscle,' he added. Like the original Buena Vista Social Club release and his 1999 solo debut, Buena Vista Social Club presents Ibrahim Ferrer, the album boasted the same producton team of Cooder, Nick Gold and engineer Jerry Boys and confrmed Ferrer's place among the all-tme great voices of Cuban music. Ferrer was to die two years later, leaving Buenos Hermanos as the boldest achievement of his long
career. Firmly rooted in traditon, at the same tme the album expanded the horizons of Cuban music in new and excitng directons. Combining both Cuban and American musicians, the hand-picked core band, comprised Orlando 'Cachaíto' López on bass, Manuel Galbán on electric guitar, piano and organ, Chucho Valdés on piano, and Miguel 'Angá' Díaz on congas augmented by Ry Cooder on guitars and veteran rock drummer Jim Keltner and Joachim Cooder on percussion.

The 3rd Generation band was formed in the late 70's led by 'Rockson', who was a soldier at the time. The band recorded only six tracks, all for Essiebons, including the two featured here - 'Because of Money' and 'Obi Ye Saa Wui'.Our man Gary Johnson bought a 7' from a dealer in New York on digging trip some years ago. He knew 'Because of Money', and was delighted to find that the B side was just as strong. 'Because of Money' was originally released on Essiebons - EB 398 7' and was featured on Soundway's excellent 'Ghana Soundz' compilation. The record is extremely rare - yet to make an appearance on either Discogs or even Popsike.This reissue is a replica 7', including the picture paper sleeve, carefully restored by Andrew Edwards.

Re-release for this JAMES VINCENT McMORROW 2014 Album !!!!!!

Available on CD and 180gram heavyweight gatefold LP.
Noura Mint Seymali hails from a Moorish musical dynasty in Mauritania, born into a prominent family of griot and choosing from an early age to embrace the artform that is its lifeblood. Yet traditional pedigree has proven but a stepping-stone for the work Noura and her band have embarked upon in recent years, simultaneously popularizing and reimagining Moorish music on the global stage, taking her family's legacy to new heights as arguably Mauritania's most widely exported musical act of all time.
Arbina is Noura Mint Seymali's second international release. Delving deeper into the wellspring of Moorish roots, as is after all the tried and true way of the griot, the album strengthens her core sound, applying a cohesive aesthetic approach to the reinterpretation of Moorish tradition in contemporary context. The band is heard here in full relief, soaring vocals and guitar at the forefront, the mesmerizing sparkle of the ardine, elemental bass lines and propulsive rhythms swirling together to conjure a 360 degree vibe. Arbina refines a sound that the band has gradually intensified over years of touring, aiming to posit a new genre from Mauritania, distinct unto itself, music of the "Azawan."

Supported by guitarist, husband and fellow griot, Jeiche Ould Chighaly, Seymali's tempestuous voice is answered with electrified counterpoint, his quarter-tone rich guitar phraseology flashing out lightning bolt ideas. Heir to the same music culture as Noura, Jeiche intimates the tidinit's (Moorish lute) leading role under the wedding khaima with the gusto of a rock guitar hero. Bassist Ousmane Touré, who has innovated a singular style of Moorish low-end groove over the course of many years, can be heard on this album with greater force and vigor than ever before. Drummer/producer Matthew Tinari drives the ensemble forward with the agility and precision need to make the beats cut.
Many of the songs on Arbina call out to the divine, asking for grace and protection. "Arbina" is a name for God. The album carries a message about reaching beyond oneself to an infinite spiritual source, while learning to take the finite human actions to necessary to affect reality on earth. The concept of sëbeu, or that which a human can do to take positive action on their destiny, is animated throughout.

Lyrically, the Moorish griot tradition is complex and associative. Poetry is held in a continuum between author and audience in which a singer may draw on disparate sources, selecting individual lines here or there for musicality to form a lyrical patchwork expressing larger ideas via association. A griot may relate her own thoughts and poetry, sing poetry written for and about her by a third party, and transmit lines from one party addressing another in the course of a single song. With this ever-fluid narrative voice, stories are told.

The first 12 inch release by Berliner label Späti Palace sees them team up with the Flennen collective from Berlin and Numavi Records from Vienna. Two bands, 6 songs and almost 30 minutes of guitar-laden post-punk pop with a dose of kraut on top, this is the result of the collaborative atmosphere which permeates their local scene in Berlin, borne out of necessity and passion, beautifully showcasing a vibrant underground scene.
Girlie's melodic-frenetic pop-noise is perfected on Interregnum with opener Terms & Conditions showcasing their recent love-affair with krautrock which has by now become a live classic of theirs.
Pigeon's more direct post-punk approach is a powerhouse display with driving bass riffs and a wall of guitar noise, albeit of the melodic and controlled kind. Darker in places, as in closing track Skids, it's middle track Douglas that steals the limelight, never getting carried away with its own euphoria, and leaving you wanting more.

Among Sun Ra's most famous and jet-propelled anthems, "Rocket Number Nine" is heard here in one of the earliest renditions from a marathon June 1960 session, with a staggering, swaggering, hip-bop beat. Ignition. Liftoff. "Rocket Number Nine Take Off for the Planet Venus, Zoom Zoom! Up in the air! Zoom! Up!" Paired with originally unknown recordings, including the driving, bossa nova-infused "Ankhnation" from 1959 and "Project Black Mass" from 1962. More energized and driving in contrast with the rather laconic subsequent versions appearing elsewhere, "Ankhnation" features a feast of traded solos from assorted Arkestral all-stars such as John Gilmore, Pat Patrick, and Hobart Dotson. "Project Black Mass" is straight from the Vaults of Mystery: Voice of the Cosmos in spirit-science precision. Romping, rumbling low tones, glittering, twinkling stars, wanderful wondering. Architecture of moments, milestones of Blackness. Extension out.

"The Lady With The Golden Stockings" is a propulsive, forthright groove - a decisive, deep-space, pre-dawn party jam, emitting golden sparks from the black hole center which begat "Africa" and "Watusa." Quantum-elasticity of temporal equations, bubbling bass, trumpet dancing on light waves, tenor sax serenade across the galaxy, signaling yonder... vessels... beings... femaliens... Pure poetry in sublime, delicate, rhythmelodic motion becomes "Spontaneous Simplicity.' A centerpiece among the gently blissful, tender works in the Sun Ra canon, heard here in a "missing link" super rare, compact version freshly excavated from the '58-'59 era - this is the first appearance of the tune (pre-dating by a decade the stretched-out live version first known from Pictures of Infinity). Ra's electric piano bass and the roots-heavy organic beats characteristic of the seminal Nubians sessions providing ballast, Marshall Allen's flute flutters butterfly wings, guiding the ship steadfastly beyond the eternal, to the everpresent, the other side of the end of time. The title "Love in Outer Space" first appeared in 1962 on the Saturn album Secrets of the Sun. The backing track here is from the intimate Night of the Purple Moon, originally a 1970 album instrumental, with David Henderson's vocal overlaid and issued on a Saturn 7-inch 45 in 1975. Henderson (known for 1960s work with Umbra collective and the Black Arts movement, performance on Ornette Coleman's Science Fiction plus early scholarship on Jimi Hendrix), provides his own lyrics, singing: Sunrise in Outer Space, Love for Every Face.' With the emergence of this vocal version and the ascension of the Sun Ra Arkestra's mid-seventies popularity, onstage the tune became a quintessential Ra anthem, a vehicle for frenzied acrobatics and organ-asmic drum-orgies of hyper ecstatic proportion. Utopian yearnings of space commune Sun Children, escape velocity

"Nuclear War," Sun Ra's groove-infested x-rated warning, was an early 80s underground hit when it appeared on a 12-inch (plus the Saturn album A Fireside Chat With Lucifer). Ra and crew expose the deathly horror with deadly serious call-and-response, leavened with funk and a pinch of humor for better digestion, eyes gleaming in a laid-back, lilting, cosmo-gangster-lean. "Outer Reach Intense Energy" and "Twilight" are originally unreleased works, sonically extending the radioactive theme. "Outer Reach" (1977) is a soundclash of explosion and fallout, planetary screams, whistling missiles, eternal agony, detonation, damnation. Dashed hopes and dreams blasted to the farthest nebulae. Twilight," recorded at the Tip-Top Club in 1963, exhibits Sun Ra's xylophonic electric piano laced with clouds of mournful horns, teetering on madness, an impossible circus, bordering on redemption in the wilderness of the Sun's possible return.

The first-ever dedicated album release by pioneering female Italian film music composer/arranger/multi-instrumentalist Giulia De Muittis (aka Mrs. Alessandro Alessandroni). Rare undercover pseudo-ethnological studio sessions made under her experimental alter ego Kema (The Pawnshop/Abnormal Sensations) combining the ethos of Can's Ethnological Forgery Series (EFS) with the studio trickery of Delia Derbyshire and unshakable credentials as one of the founding figures of Giallo film music and Italian psych soundtracks.

Perhaps best known amongst fans of Italian production music and Giallo movie soundtracks as the wife of the legendary Alessandro Alessandroni, composer, vocalist and multi-instrumentalist Giulia De Muittis was an equally formidable force who emerged from the formative years of the aforementioned anti-genres and rose to a monarchic status within the country's vibrant, and seldom rivalled musical secret society. The cliché behind every successful man, there is a strong woman' might not do Alessandro and Giulia's long-running creative unison justice but one thing that rings true that in the shadows of Senor Alessandroni's limelight (illuminated by his work with Ennio Morricone for the films of Sergio Leone and Dario Argento) remained a darker musical feminine force which in time has come to represent the duo's finest and most sought after sonic artifacts. In a career that spanned four decades until her untimely death in 1984 Giulia's collaborative work as a reliable creative all-rounder and pop polymath has stood the unshakable test of time like few other musicians resulting in projects like The Pawnshop, Femina Ridens, Revolver, Questo Sporco Mondo Meraviglioso, The Night Evelyn Came Out Of The Tomb, Angoscia, Inchiesta Giudiziaria and Witchcraft '70 (Angeli bianchi Angeli neri) earning increasing Most Wanted' status on the collectors' market. It is of no coincidence that Giulia's nom de plumes, Kema and De Muittis, have in recent, more educated years, become trusted seals of approval which connect top choice composers such as Raskovich (aka Sorgini), Stelvio Cipriani, Morricone, Braen (aka Alessandroni) Amedeo Tomassi, Piero Umiliani and Bruno Nicolai amongst select others. It is, however, De Muittis' seldom heard self-initiated solo work for small independent Italian library music imprints that reveal a unique multi-instrumentalist female composer working at her most intimate and uncompromised best

Puzzle Muteson is the alter ego of an enigmatic songwriter from the Isle of Wight, rendering his music in a tremulous tenor over a finely spun web of fingerpicked guitar. Born in London, Isle of Dogs, the southern English island
provided unexpected shelter for the shuddering transformation into one-man band Puzzle Muteson. His grade-school music teacher was first to recognise his unrivalled vibrato, and a little while later a parade of chance and
coincidence led him to inhabit Puzzle Muteson, and start shaping a body of songs.

A double pack LP set of the album on vinyl. Combining huge beats with uplifting strings and soaring vocals, Sigma have carved out their own sound and captured the hearts and imagination of UK dance and pop fans alike. The album features the hit singles inclduing guest vocals from Ella Henderson, Maverick Sabre, Paloma Faith, Rita Ora and Labrinth

Sonthaya Kalasin was the male lead singer in in the molam section of legendary producer/impresario Surin Paksiri's beloved musical troupe Tidso Lam Phloen, his female counterpart was Phairin Phonphibun (EM1147CD/LP). These recordings, the very best of Kalasin's work with Paksiri, cover the period from the mid-70s to the early 80s and showcase Kalasin's mastery of the traditional male molam lower vocal range. Also highlighted here are Paksiri's production skills and his penchant for pushing the boundaries of standard molam arrangements and instrumentation, always trying to fuse new ideas with tradition. An uncredited Phairin Phonphibun makes an appearance on a few tracks here, giving lucky listeners a glimpse of the singers' Tidso Lam Phloen dynamism: Paksiri's genius, a long-standing backing band, and simpatico vocal styles honed in the crucible of performance. This is the first CD release of any music from Sonthaya's years with Surin Paksiri and as such represent a valuable document, with accompanying English lyric translations, but more than a document, "Grade A Guy" is grade A music.