Pop & Rock Vinyl New Releases - News

Based out of San Francisco, Extra Classic is a unique live band formed with a keen appreciation of vintage reggae & vintage sounds. The aesthetic, and certainly the skilled method of their production, is an ode to the art of that classic style as referenced to the term coined by the Cool Ruler himself. Recording in their own studio, Nopal Recording, the band employs a taster's choice of analog equipment and is devotedly tracked, spliced and mixed in-house direct to tape. However, as the group's name itself implies, there is a dose of something extra and new in this swirling mixture of space echo, heavy phase, and emotive, psychedelic California-soul.Built upon the rock of an early-era dancehall swing, their first single in conjunction with Brooklyn-based imprint Names You Can Trust entitled In This Life, is a perfect slice of lover's rock gone sideways, a decidedly left-coast piece of roots and bliss driven by Adrianne deLanda's lovely lead vocals and the steady, dusty echoes of the locked in players. Presented in the traditional format with a version as per NYCT fashion, the dub mix incorporates a soothing dose of synare beams and underwater instrumental dreams.

There's no other producer in West Africa like DJ Katapila. His album Trotro, reissued in March on Awesome Tapes From Africa, demonstrates a wild combination of breakneck rhythms steeped in his native Ga traditional dances. But the spiritual affinity his music share with the minimal sounds of early house and techno have not gone unnoticed by listeners worldwide. Ghana's tireless producer and DJ, aka Ishmael Abbey, singularly consolidates flavors. As new sounds wind their way from West African neighbors into urban Ghana - particularly the hectic and humid metropolis Accra - Katapila has absorbed and analyzed their insidious influence on local dancers and filtered them into his own works. The result is astonishing. Two of the tracks here haven't been on wax before. This 12" single made specially for DJs and collectors adds to the lore of Katapila's days-long DJ sets and intensely original and (slightly bananas) FruityLoops-crafted minimalist productions. The two previously-unreleased tracks build on Katapila's international oeuvre significantly, painting a broader picture of what the iconoclastic road warrior dj-producer has been doing the past few years: making his own kind of electronic music that's both deeply personal and wildly international. The multi-layered vocal madness on the original mix of Katapila's song 'Trotro' gives way to the previously-unreleased 'Kotulo.' On this track, Katapila interlocks the iconic 808 cowbell sample with his inimitable toasting and you can see this track tectonically disturbing a dance floor. The B-side features 'Trotro (Instrumental),' honing in on the sonic details that make Katapila's ode to Accra's intense public transport system so compelling. Second unreleased track, 'Gbe Ohe Coco,' pushing the boundaries of his extant works with relentless layer after layer building on top of relentless techno. As with all of his songs, Ghanaian traditional dance rhythms form the backbone, as the undulating toms subtly create movement towards an imaginary horizon at the edge of the party.

3 Track EP from the one and only Kaidi Tatham, on 2000Black.

Kaidi Tatham returns as a solo artist for the first time since the very sought after Japanese release 'In Search Of Hope'.This ep see's Mr Tatham explore jazz fusion,hip hop and soundtrack music with great arrangements warm analogue synths and a groove thats always strong.

Rootsy, body-rocking Gwo Ka rhythms with dashes of drum machines and electronics, from 1988-93. Dancefloor mayhem.
During this period, the 808, 909 and co were permeating music-making world-wide. From pulsating Chicago house and rough Detroit techno, to the dancehalls of Kingston and the shebeens of Kinshasa, every place and every scene reacted to the new technology in a different way.
The French Caribbean was no exception. Long the bedrock of Zouk, it was fertile ground for the new equipment and fresh sounds.Kaloukera Percussions celebrates the music of celebrated Guadeloupean singer and percussionist Erick Cosaque. Staunch activist in the name of the music, language and culture of Guadeloupe, his musical career spans five decades.

NEW ZEALAND'S FINEST EXPORT FRANK BOOKER WITH 3 SUPERB AFRO TINGED REWORKS. FOR THE MIGHTY KAT.

Formed in 1995 in São Paulo, Brazil, 15-member group Barbatuques, make music using their
bodies.

AYÚ is the groups fourth album - a fusion of styles and aesthetics, reaffirming the essence of the band's 'body music' sound. It is another chapter in their ongoing research into the body
as a source of rhythms, melodies, harmonies, timbres and textures.

AYÚ explores many inspirations from their extensive touring both within Brazil and around the world, Brazilian rhythms including carimbo, coco, indigenous toré, choro, maracatu,
baianá, rock, beatbox and kecak, as well as African styles and rhythms.

Barbatuques' members composed the majority of the record. Special guests Naná Vasconcelos and Hermeto Pascoal contributed on several songs.

In their own words: Body music is inclusive, contributes to a better quality of human relations, promotes encounters with others, brings different cultures closer together and timulates the expression of essential human values!'

Bosq (Whiskey Barons, Ubiquity) teams up w/ cream of Old San Juan: Roberto Roena, Tempo Alomar, Tito Cruz, Ray Lugo, Luis De La Rosa Solá, more to explore the intersection of Puerto Rican music w/ African styles, reggae, funk, house, etc.

Corre Caballo iquickly kicks into a driving Latin funk groove building to a hypnotic swirl of guitars & funky organ. "Roberto's Lament" serves up flavors reminiscent of Chile's soul psych rockers, Los Angeles Negros. Pic sleeve CV

Krishnanda is an album in the truest sense of the word - a spiritual, psychedelic Brazilian masterpiece from start to fnish - celebrated by everyone from Seu Jorge and Kassin to Floatng Points, Madlib and DJ Nuts. These days, originals change hands for thousands of dollars. Pedro dos Santos, born in Rio in 1919, was a percussionist virtuoso, composer and inventor of instru-
ments that apparently included oddites such as the 'Tamba' (electrifed bamboo drum) and the mouth berimbau whistle. Nicknamed Perdo 'Sorongo' afer the rhythm he invented, that features throughout 'Krishnanda'. A highly spiritual man who was regarded as a philosopher by many. He worked with greats including Baden Powell, Elis Regina, Maria Bethany, Elza Soares, Sebastão Tapajós, Roberto Ribeiro, Milton Nascimento, Clara Nunes, Paul Simon and Arthur Verocai, playing on
his legendary self-ttled LP. In the same vein as Verocai and his self-ttled LP, 'Krishnanda' was Pedro's chance to shine with his own, and only, solo recording. Krishnanda was produced by Hélcio Milito, the drummer of Tamba Trio, and arranged by conductor Joppa Lins, and originally released in 1968 on CBS (Brasil). Musically, the album touches folk, samba,
afro-brazilian and psychedelia plus added efects, with a lyrical depth and diversity to match; themes including morality, percepton, existence and ego. Despite the genius of the record and the infuence that it had on musicians at the tme of release, it
disappeared into obscurity. We frst discovered the record around 2003, through a friend Julio Dui. Around that tme Brazilian funk and bossa was the favour of the day, so didn't catch our ear immediately, however it contnued improve with age and now we consider it to be one of the best albums ever made, regardless of genre or origin.

Inspiraton for this, the second LP from The Paradise Bangkok Molam Internatonal Band, is the musical experimentaton that has happened at their seminal venue in Bangkok, Studio Lam, and how that has infuenced their sound, whether it's the alternatve nights featuring individual band members (Paradise
Bangkok Rhythm Secton, Kammao & friends, Electric Piphat Band) or sets from other artsts and DJs like Andrew Ashong, Miles Cleret, Hugo Mendez, Awesome Tapes From Africa, Rabih Beaini, Kirk Degiorgio, and Phuong Dan.
The fact that Studio Lam has become a musical focal point for the city of Bangkok, has inevitably had an impact on the band itself, and this is refected in the presence of diferent vibes and styles of the LP. The sound of 'Planet Lam' has been shaped by late night jamming gigs, home made ya-dong, run ins with the police, and the swapping of ideas with like-minded local musicians and artsts.

In 2016 the world seems to be more connected in communication, yet more segregated in culture than ever. It is a time for fresh ideas about re-connecting things. David Nesselhauf, producer, composer and multi instrumentalist from Hamburg/Germany gives it a try. His new album re-visits a time in the Seventies, when innovative bands like Can were working on a rhythmic and experimental fusion of African music and German rock, which was labelled "Afrokraut".

Nesselhauf's modern take on "Afrokraut" goes beyond the standards of contemporary electronic, jazz, pop or club music. As much as the thirteen tracks on the album nod towards the dance floor as their common factor, they also address topics as migration and exclusion and take a strong stand for global togetherness. Just listen to the opening tracks "Boat Mama" and "Outer Banks" and you see what Nesselhauf is on about. Recorded and mixed on vintage equipment at Dennis Rux's ultra-cool Yeah! Yeah! Yeah! Studios in Hamburg, "Afrokraut" sounds deep, authentic and visionary at the same time. Renowned Dutch artist Chantal Rens delivered a strong statement for the cover artwork: "I am especially excited about Chantal's work for my album", says David Nesselhauf.

With a diverse catalogue of albums ranging from electro to doom to look back on, his works with funk celebrities Diazpora as their bass player and collaborations or production with Pee Wee Ellis, Lew Soloff (Blood, Sweat & Tears), Flo Mega or Faust, running his own little record label as well as his education at the Drummer's Collective in NYC David Nesselhauf is a well established player in the German independent music scene. "Afrokraut" features a range of musical guests. Amadou Bah is the vocalist on the first single "Come Along Bintang Bolong", an irresistible Afrobeat burner, Diazpora drummer Lucas Kochbeck is an integral part on various album highlights, most notably the mysterious "A Route Obscure" and the intense "Dirt Track". Then, of course, we have the sweet and groovy vocals of Kinga Lizz and Nabil Atassi on the funky "Open Up!".

"This album is something I wanted to release for a long time", explains David Nesselhauf. "I was always fascinated by this little forgotten era in the history of German popular music that was labelled 'Afrokraut'. It was full of unique vibes, never fully explored and suddenly it was gone. And to be honest, the message carried through this music is more valid than it ever was."

"Afrokraut" is released on LP, limited edition CD and digital download on Legère Recordings.

Erasures fünftes Studio-Album wurde 1991 veröffentlicht und gilt bis heute als Synthie-Pop-Klassiker. Die LP-Neuauflage ist 180 g schwer.Mit diesem Album steigen Erasure in den Top-20 der deutschen Charts ein und erhielten in England den begehrten Mercury-Prize. Mit Titeln wie "Love To Hate You" und "Turns The Love To Anger" schlug das Duo Vince Clarke und Andy Bell inhaltlich gar neue Töne an. Hits wie das Titelstück "Chorus" und "Breath of Life" gehören zu den ewigen Favoriten der Fans.

Black Spuma are Fabrizio Mammarella (Telespazio) & Phillip Lauer (Tuff City Kids / Talamanca System). Infamous for releases on Running Back, Beats In Space and Permanent Vacation, they return to International Feel with a four track EP following their critically acclaimed release last year.

WHO ARE BLACK SPUMA WHERE DID THE NAME COME FROM AND WHERE DID YOU MEET
Mammarella and Lauer. A dinner at a restaurant and the darkness of our age. Through the long deceased
Brontosaurus label, when Mammarella had the honour to do a remix.

WHEN YOU MAKE THE MUSIC WHERE DO YOU SEE IT BEING PLAYED WHERE IS THE BEST
PLACE YOU HAVE PLAYED THE BLACK SPUMA SOUND

We wish: clubs and parties with nice people listening to it. We fear: sleep laboratories use it to put their
patients to rest. E verywhere is the best place. Black Spuma has a general approach to turn lows into highs,
darkness into dawn and smart into stupid.

WHAT IS THE BEST SETTING FOR PEOPLE TO HEAR THE NEW EP WHAT COLOUR DO YOU SEE
WHEN MAKING BLACK SPUMA SOUND
Fresh air with a decent soundsystem. Mammarella would be apricot and Lauer champagne.

WHATS NEXT FOR THE BLACK SPUMA
That's still hidden in the mist of the future.. more music, coffee and many primi & secondi piatti for sure.

Der Vorläufer dieser Kompilation, die beachtete und vielgeliebte Zusammenstellung "Contemporary Jazz &
Funk Inspired by Ethiopian Sounds from the 70's", baute auf dem Ethio-Jazz-Sound von Mulatu Astatke auf.
"Beyond Addis Vol. 2" nimmt sich zwar wieder Musik aus dem Nachtleben der äthiopischen Kapitale als
Vorbild, doch im Mittelpunkt stehen nun moderne Interpretationen dieses Sounds, wie man sie Anfang der
Siebzigerjahre in jeder guten Hotelbar in Addis Abeba zu hören bekam. Bis zum Militärputsch 1974, der mit
einer Ausgangssperre der Live-Unterhaltung ein jähes Ende setzte, besaß "Swinging Addis" eine vitale
Musikszene. In so gut wie jeder Hotelbar spielten damals fest angestellte Bands, die mit Soul, Funk und Rock
zum Tanz animierten. Oft war der Name des Hotels auch der Bandname. Angeführt wurden die Combos von
bekannten Sängern, die von Hotel zu Hotel tingelten. Auf "Beyond Addis Vol. 2" finden sich junge Bands aus
aller Welt, die diesen Faden aufgreifen und mit zeitgenössischen Mitteln weiterspinnen. So sind zum Beispiel
The Sorcerers und das Anbessa Orchestra mit ihren ersten Veröffentlichungen zu hören. Wie die erste
Ausgabe wurde auch "Vol. 2" von JJ Whitefield kompiliert, Frontmann von Poets Of Rhythm, Karl Hector &
The Malcouns und Whitefield Brothers.

Manchester-based duo Shield Patterns return on September 2nd with a new album entitled Mirror Breathing. Released on band member Richard Knox's own Gizeh Records label, Mirror Breathing follows on from the critically acclaimed debut album Contour Lines in 2014 and 2015's Violet EP.
Where it's predecessors took a more stark, electronic and processed approach, Mirror Breathing is an altogether warmer, more cinematic record. The cello of guest collaborator Julia Kent (Antony & the Johnsons / The Leaf Label) introduces a new element and a new energy to the sound, pulling the songs into a more symphonic form. The electronics, drones and field recordings are intricately and painstakingly arranged by the duo, meandering between haunting vocal passages, clarinet swells and delicate synth phrases. The album ebbs and flows through hypnotic beats (Dusk, Blue Shutters, Glow), ethereal and tender piano-led songs (Bruises, Anymore) to more aggressive, heavily experimental, free-jazz elements (Balance & Scatter).
Continuing the fiercely DIY ethos adopted by both band and label, Mirror Breathing has been written, recorded and produced in its entirety by Claire Brentnall and Knox in their home studio in the Peak District. The record is both personal and universal, an exploration in sound and songwriting. The music Shield Patterns are making is difficult to place into genres or pigeon-holes. Experimental sounds are married to striking, inventive melodies throughout, it's contemporary pop music of sorts with a richly detailed cosmic edge.
Some words from Claire about the album:
"The album for me is about feeling connected, exploring what it means to be a friend, to be in love, to be an individual, to be part of a collective unconscious. It's about the beauty of imperfection, of making mistakes, and the discoveries that are made by chance as we learn to exist."

As you are listen to 'Confidence In The Future' today, it quickly becomes clear what kind of worlds must have collided here. A stunning amalgamation of aural treats, created by making subtle compromises between Pop, Jazz, Rock and Folk, that exists in every single track acrossthe- board. Due to its stylistic complexity 'Confidence In The Future' is an album that is somehow never really able to settle on any one taste, inevitably opening up new dimensions to the listener. Imagine how this was in 1980.
Especially in Berlin's commercial music scene. And especially when the involved musicians treated the project after its completion, more like a matter of personal importance than a career move. And for Hirsch, Spinning Motion's initiator, all of this seemed to be fulfilling enough. Prophetically the record is named after the most significant song of the eight-piece collection 180g vinyl + Old School Tip On Heavy Weight Gatefold) + Download Card + Lyrics Sheet
'Confidence In The Future'. 35 years on the title finds the verification it deserves. It unleashes its bottled power no sooner than the day, Jazzanova member and Notes On A Journey co-founder, Stefan Leisering finds the record in a crate at the flea market on the Strasse des 17. Juni. Like a bottle of Château Lafitte-Rothschild unearthed after 35 years, forgotten about in an abandoned cellar, do we get to experience the quiet composure and savage intensity of a treasure brought to light. It takes Leisering another ten years to comprehend what kind of music historical treasure has been hiding in his record collection. He acquired 'Confidence In The Future' sometime in the early noughties and only by re-listening to this oddity one day in 2010 or 2011 did everything finally click into place. A lost gem of Berlin Pop history, one that could almost never have happened.
Compositions so ahead of their time that you can only understand and classify them today properly. There's a sense of inadvertent (and therefore unaffected) ingeniousness in songs like 'Devotion To You', 'Prisoner Of Life' and 'Playground Of Burial-Funds' that you have to live in the 21st Century to appreciate fully. Each of the eight tracks (maybe apart from the instrumental closer 'Elegy') has some sort of melancholy, introverted reflectiveness, and yet still always something conciliatory.
Manfred Tappert's voice lends his lyrics, written by him, but preconceived by Hirsch, something utterly personal, intimate even. Every single song, particularly within the framework of the oeuvre, tells a story, and due to this intimacy, and the adventurous arrangements touches you deeply. No matter the time or place.
To add to all of this, this incomparable record has also an entirely different facet, which only becomes apparent with today's perspective. The title track, 'Confidence In The Future', and 'Answer My Questions' remind one eerily of Kings Of Convenience, and the cosy 'Naze' resembles Turin Brakes. So evidently that you'll find yourself, while listening, in a quaint retroretro- loop, the musical equivalent of a time paradox. But this is exactly the beauty of music. Music doesn't abide by the rules of time and space as we do, and therefore each listen to each piece of music is unique and purely based on the context of the listening. And every once in a while times have to change just so music can find a new determination and new listeners. Confidence in the future ultimately means: Good music is patient, outlives everything and will sooner or much, much later find its destination. NOTES ON A JOURNEY is looking eagerly forward to finally celebrating the first proper release of Spinning Motion's 'Confidence In The Future'.

Created by industry legend, MMO Music Group founder and true godfather of karaoke (but that's another story) Irv Kratka alongside producer Eric Kriss, Inner City Records was formed in 1976. During its decade or so in existence, the label put together a formidable catalogue of jazz music and was voted Record Label Of The Year in 1979 by the International Jazz Critics Poll. As well as 'classic jazz', the label also gave a platform to more avant-garde material and dabbled in the emerging 'jazz fusion' sounds of the day. Fondly remembered by jazz lovers everywhere, the label boasts a particularly fervent fan-base in London, where many of its releases found favour in the underground dance clubs of Soho and Convent Garden. Fittingly enough, London DJ and tastemaker Kev Beadle is the man chosen to put together this very special compilation of Inner City's finest moments. Having previously curated projects for labels such as Blue Note and Cadet, Kev has dug deep in the crates to emerge with this gem of an album.

From the soaring vocals of the jazz-fusion classic 'The Other World' by Judy Roberts to the irrepressible dance-floor fire of Eddie Jefferson's 'Jeannine', 'The Best Of Inner City Records' serves as a wonderful and eclectic introduction to a label which is rightly remembered with a level of affection which borders on reverence.

- First ever retrospective of the label with full support from the founder Irv Kratka
- Coverage assured on relevant websites & magazines, with full press & radio campaign in key territories

Opening a sonic space that leads into delicate subconscious spheres, Ivan Pavlov aka COH has created his most sophisticated work up to date.

MUSIC VOL. is a piece of gentle acoustic excitement. Evolving around concepts of silence and sound in a profound sense, each track reveals to the listener a different emotional chamber. The intimacy provoked is deriving from the fact that VOL. is meant literally here. Similar to classical music, Pavlov is putting variations of volume and soft progressions of sound to the fore. It is these gentle, silent tones that force us to pay attention to the inner qualities of each sound, its colour and vibration, while simultaneously revealing its tactile and corporeal qualities.

At the same time, COH is creating atmospheric settings that invite us into complete immersion. A condition, close to meditation is provoked, making us intuitively aware of slight alterations.

Subtle sensations arise from the exquisite affective dramaturgy that is operating here. Reminiscent of minimalistic film scores, COH is elaborating a very sparse sounddesign, creating a painstakingly continuous arc of suspense, never to be dissolved

One of the most pivotal figures in the history of Malian music is Sorry Bamba. His work spans five decades and his music bridges the gap between Mali's cultural traditions and new the music which arose from the musical cross overs which occurred in Mali's post-Colonial period. Bamba was born in 1938 in Mopti. This is dissected by both the Niger and Bani rivers and known for its rich cultural diversity. Bamba's father was a distinguished veteran of Emperor Samory Toure's military and a nobleman in Malian society; however, this meant young Sorry was forbidden to make music, as under the nation's caste system, music was an art form reserved for the Griots.

At the age of 10, Sorry's parents died and in traumatic times that followed the young teen found solace in music. He first taught himself to play am African six-holed flute. As he progressed he began to absorbed the rich tapestry of music of his surroundings; traditional Malian music, highlife from Ghana, local accordion master Toumani Toure, European singers and musicians. In 1957 Sorry formed his first band, Group Goumbe, named after a popular Ivory Coast dance style. In 1960 Mali gained independence from France, Bamba and his group benefited from a new openness toward local music on the state-run radio network Radio Mali. Sorry then went on to form two award-winning, further collectives Bani Jazz and later the Kanaga Orchestra. They fused Latin jazz, Western R&B, Psychadelic and funk, and traditional Malian styles made them a favourite in Mali and beyond.

In 1979 Sorry produced his third LP for the Paris based Sonafric group. Long out of print Africa Seven is pleased to be re-issuing the LP with the authorization of the newly reformed Sonafric group. The re-issue benefits from extensive restoration and re-mastering to a spectral analysis level, bringing and polishing long lost and distorted sounds.

The six track masterpiece opens with "Mayel". It blends Afro-space grooves, cowbell and swirling organ with psych guitar and punchy horns. "Kanaga 78" was named after his band of the time. Sounding as fresh (if not more so) in 2016 as it did in 1979 the hypnotic bass, expansive drums, twisting organ and snakelike fuzz-guitar all combine to create a masterpiece of African psychedelia. "Bayadjourou" closes off Side A of the LP with its pulsating, incessant organ hook-line and driving tom drums while adding in layers of Malian vocal from a female chorus and Sorry himself.

Side B opens up with "Tjamantie Kolo" which is powered by driving conga and drums layered with traditional vocals and distorted picked electric guitar lines. "N'Nebakaidi" focuses on the song writing skill and delivery of Sorry who delivers a masterful vocal over grooves which somehow manage to sound melancholy but somehow also forlornly uplifting at the same time. The LP closes with "Nani Nani" which is a brass driven wall of African sound.

Stay tuned for further re-issues of Sorry Bamba's first and second albums soon on Africa Seven.

Alsarah & The Nubatones are back! After the release of their first album, Silt, the band embarked on an an intense travel schedule that saw the band tour Australia, play a headline slot at WOMAD, sell out their London debut as well as a marquee slot at NYC's world famous Apollo theatre. After an extended sabbatical in Morroco, their sophmore album Manara was given birth, showcasing a new intimacy in the creative process for the group.

Having suffered the loss of former Oud player Haig Manoukian to a long battle with cancer shortly after the release of the debut Alsarah & The Nubatones spent the past 2 years touring, growing closer and shaping their sound with the two new members - Brandon Terzic (Oud) and Nahid (additional vocals). Banded together with stories of movement and migration in the face of the current anti-­immigrant global atmosphere, they delved deeper into defining the sound they have coined as "East African Retro­pop", rooted in the silt of Sudan and Nubia, and further inspired by the eastern coast of Africa and the diversity of its sounds and migration patterns.

The questions, "What is home" and "What does it sound like" lie at the crux of the creation of Manara. As Alsarah explains "Sometimes we leave home willingly, sometimes we are forced out, sometimes we plan to go back, and sometimes we don't know if we will ever see our loved ones again. But one thing we always know is that we don't want to forget, or be forgotten. As the sea takes us, Manara is the lighthouse anchoring our journey, and the keeper of our secrets. Not a destination, but rather a marker along the way."
This album representsleap forward and a deeper maturation of the Nubatones' sound. In the digital age of the single mp3 download, Menara was made to be listened to from beginning to end, as it weaves through various interludes and songs in the vein of classic albums such as Dark Side of the Moon, and Musicology.

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

Double A-side from the legendary Brazilian disco-jazz-funk masters Banda Black Rio. Both cuts come from their brilliant 'Maria Fumaça' LP; an essential LP in our opinion, and one that we were delighted to be able to reissue in 2016.

Regularly played by the likes of Gilles Peterson and Theo Parrish.

Tight, tough drum grooves, funk bass, horns, guitars and keys feature on both tracks.

Cut loud and proud at 45rpm - as always - for 7'.

Osage and Sol Power All-Stars do a number on these Brazilian percussion classics! Limited vinyl!

Massive 11-piece Latin American Afrobeat combo Nelda Piña y La Boa have been exploring the vast rhythms of West African music and its many branches within their home base country of Colombia for the last 3 years. Influenced by the contrasting sounds and traditions of Colombia's disparate Atlantic & Pacific coast cultures, they bring a unique twist to the familiar Afrobeat lineup that is accentuated by their cantadora Nelda Piña, a singer from the Bolivar region who was born in the 1940s. Once again, Colombia and its deep reservoir of modern and traditional musicians prove the awesome alchemy of melding the sounds and aesthetics of old and young generations.

This special release on the Names You Can Trust label takes that concept one step further as the single track on hand, Giumbele, sees Nelda hand off the lead vocals to Cali-native Nidia Gongora, a renowned singer in the worldwide Tropical music community whose hypnotic voice has already been heard on numerous records in collaboration with producer Quantic. Led by the glide of Nidia's lush lead, the result of this tune is a mid-tempo stunner that combines the airy timbres of the marimba de chonta with the powerful backdrop of the mighty brass section. In true NYCT fashion, the exclusive B-Side Instrumental mix proves a useful and unique rendition of the tune that goes deeper into a slow-motion, dark Cosmic Tropical motif, perfect for the selectors and the late-night dancers alike.

'Deep session! It is rare to hear folk music from Japan in such beautiful fidelity and incredible dynamics. This recording is intensely gorgeous and hauntingly disarming. This should open up a whole new world of adventurous listening for folks outside (and inside!) Japan.'Brian Shimkovitz (Awesome Tapes From Africa)

'Sounds absolutely great! Super interesting and engaging.'Ben UFO

'Just Give Me That Old Time Religion, It's Good Enough For Me.'Japan Blues

A hotline to the gods! Kagura is a thousand-year-old form of Japanese Shinto sacred music and dance, accompanying the chanting of myths; the word "kagura" can be translated as "god-entertainment". Passed down over countless generations, the music is rare and recordings even rarer. Shigeo Tanaka was a master of the yumi (bow), an uncommon single-string percussion instrument, which is a true bow: arrows are fired off at the end of each ceremony to fend off evil sprits. The instrument is difficult to play; it's hard to draw out the proper sound and maintain the rhythm.
Yumi kagura is the oldest of all the various forms of kagura. The Tanaka family, based in rural Joge-cho, Hiroshima prefecture, has passed down this yumi kagura tradition for hundreds of years; this lineage continues to this day in the person of his daughter Ritsuko Tanaka. The Joge-cho yumi kagura, which prays for family well-being, bountiful crops and good fortune, was designated an Important Intangible Cultural Property in 1971. The piece featured here, "Takusa saimon", based on the myth "Ama no iwato" (The Rocky Celestial Cave), is mesmeric, reaching back across ages to the time before time, with Tanaka's voice and yumi, accompanied by flute and metal percussion, drawing us closer to the primal activities of the gods. Listeners may find affinities with aspects of musics as diverse as German electronic minimalism like E2-E4, certain Ethiopian music, "spiritual jazz" and more, all tapping into the deep root of forever. Previously available only on a ridiculously obscure 1990 cassette release, Yumi kagura is the first collaborative release by EM Records and Riyo Mountains, a Japanese folk song research team. Available on LP and CD, with the CD featuring a bonus track: "Inagahachiman jinja yumi kagura hono" recorded in 2016 by Tanaka's daughter and successor Ritsuko Tanaka.

+ Direction/liner notes by Riyo Mountains
+ English liner notes & lyrics

A revered figure in his native Isan region, and indeed throughout Thailand, Doi Inthanon is a legendary producer, composer, visionary and talent-spotter, a man who combines business acumen with an unerring ability to both predict and engender new directions in Thai popular music. Fittingly naming himself after the tallest mountain in the nation, he has towered over Thai music since the early 70s, and is still active today. This compilation, the first "various artists" collection in the EM Records + Soi 48 Thai music series, is an avalanche of Doi Inthanon productions, big hits and rare treasures spanning the early 70s to the mid-80s. The songs here cover a range of genres, comprising luk thung isan, Thai funk, and molam, including examples of "lam phaen", one of several styles created by the producer himself. Doi Inthanon is highly regarded as a developer of singers, and this compilation has no shortage of greats: national icons Angkanang Khunchai and Po Chalatnoi Songsoem, second-generation molam idols such as Onuma Singsiri and Hongthong Dao-udon, soul sister No. 1 Khwanta Fasawang, and 80s-90s Isan star Thongmai Mali.
Doi Inthanon is a key figure in Isan pop music, and this essential collection conveniently gathers hard-to-find tracks which have been issued on various labels in Thailand, including Double Rabbits, Apple, Uea Aree and his own private label. Available now on vinyl and CD, with most of the tracks on the CD version making their appearance in that format.

+ Compiled/liner notes/cover art by Soi 48
+ English liner notes & lyrics

The land of the holy Balearic Blah Blah posse present another great limited package! First up is Angel - an ultra-rare demo version of a track by Italian pop legend Luc Bat. The original version of this track came out as a B-side of a 1973 single and is a fierce critique of the Catholic Church. This demo version only surfaced in the 2011 on unofficial CD for a mag dedicated to rare Italian music and was limited to 500 copies. Whereas the original had a sweet pop/tribal psychedic feel, this longer studio jam version has a totally different more ambient arrangement and atmosphere. Mars & Jupiter deliver three superb versions - the cleaned and tweaked 'Numero Uno Vocal Mix', the hypnotic loopy 'Never Slave Mix' and finally a long instrumental 'Moonboot Footprint Dub' which rises to a great crescendo. Also included is a chugging dreamy floor-friendly dub version of an Italian songstress's Balearic classic. Don't miss - these always sell out fast.

Rumored to be an alias project of 1 of the most famous DJ/producers in Japan. 4 tracks include a tribal Latin jazz funk edit, a long edit of a breakbeat funk classic, a tropical boogie edit, & a folky, mellow downtempo edit. Very useful stuff.

Label debut explores the connection between traditional Gnawa music of Morocco & club culture. Formed in Morocco, now based in NYC, IG offers 2 tracks, 100s of years old + Mr Assister's Assisted Version on the flip.

FEEL INTERNATIONAL = INTERNATIONAL FEEL.

IT'S BRAND NEW GOOD FOR YOU.

JUAN MARCO MAKE MUSIC FOR DAYDREAMERS.

THEY ARE NEW TOO.

LOVE LOVE
X.

LIMITED 300 COPIES Limited Edition, Reissue, Remastered Remastered reissue of one rare folk-disco project coming from Lebanon. The producer Ziad Rahbani (a great Lebanese composer) released only one disco project for the Zida label and was pressed in avery limited run in 1978 of about 500 copies only (due to some difficulties coming from the political situation that occurred in Lebanon), so today it's not easy to find original copies in nice conditions and you have to consider that the original pressing quality wasn't at the highest levels. We have now the opportunity to buy again this masterpiece remastered and repressed in Europe at high quality levels. Ziad Rahbani (born January 1st, 1956) is a Lebanese composer, pianist, performer, playwright, and political commentator. He is the eldest son of Fairuz and Assi Rahbani. His compositions are well known throughout the Arab world, especially because he is responsible for Fairuz's musical works from 1980s onwards. Many of his musicals satirize Lebanese politics both during and after the civil war, and are often strongly critical of the traditional political establishment.

A neighboured and befriended imprint of the Borft posse present it's first EP! Four great tracks going from dark techno up to left-fielded house!

Marshall McLuhan's once futuristic idea of the 'Global Village' has long since become a reality. Only now in pop music are we in many ways learning and experiencing what the legendary media theorist had already formulated at the beginning of the 60s. Through digital technological advances, the majority of pop genres have acquired a worldwide, global dimension. Hip-hop, blues, and jazz are all evolving in hundreds of regional varieties, far from their original roots. The music of Malia can without a doubt be seen as impressive evidence of this worldwide fusion. Moving from the southern African republic of Malawi to London at the age of fourteen, the singer spent her teenage years in the Big Smoke. Malia has recorded three albums in France with Andre Manoukian: Yellow Daffodils (2002), Echoes of Dreams (2004), and Young Bones (2007) - all originating in Manoukian's Paris studio.

In 2010 she got to know the Swiss producer Boris Blank, who, since the 80s as part of the
avant-garde duo Yello ('The Race', 'Bostich') with Dieter Meyer, has enjoyed great success.
In 2012, Malia published a tribute to Nina Simone, Black Orchid, which won that year's
ECHO Jazz Award. In 2014, Boris Blank produced the eleven electronically shaped songs of
her album Convergence.

Malia's sixth studio album, Malawi Blues/Njira, sees her clear, incisive voice again amplified in a soul-jazz context. 'A record that I've long wanted to make... Right now the time feels right for this... I wanted songs that reflected my awareness and ancestry', she sums up the vibe of the ten tracks on Malawi Blues/Njira. The album features thoughtful, mostly slow-paced originals, with sparingly orchestrated piano supported by guitar and percussion, amongst them an almost minimalistic cover version of the classic 'Moon River'. Right from the outset, Malia with Malawi Blues/Njira looks back to the sound of her childhood.
Not only in the rousing 'Love Is Holding Both Our Hands' are the local vibes of the Kwela- and Kwasa-Kwasa traditions heard. 'I consider it in all humility my duty to pass on the rich traditions and stories, in the same way my ancestors did, in the way my grandparents and parents did as we sat around the fire in the evenings in Malawi, eating nsima with pumpkin leaves and peanut sauce.

Of course that is just one aspect of her rich oeuvre. Her songs are characterised by artistic experiences and experiments, an amalgam that has shaped Malia's life, and a lasting effect of her time on the club scene in London, where she was able to sharpen her sense of timing in small bars in front of small audiences. Here she was always able to adjust her sets live and directly, evening after evening. This musical diversity is now to her benefit, when, on 'Chipadzuwa' (a slang term in southern Africa for pretty woman), she switches between the regional language of Chichewa and the world language of English with mellifluous ease. With the support of the virtuoso pianist Alex Wilson, comes a sound that is cool and yet warm-hearted. Malia has arrived in a global musical world which she works and fights for. 'To all the quiet warriors of this world', concludes Malia, 'Malawi Blues/Njira is for you!'

Step into Arabxo Ishara: Abu Ama's dubwise tales of Turkish traditional song, sufi ghosts, Syrian locked grooves and Indonesian field recordings. Snatches of UK pub talk strung together with rumbles of sub add to the disorientating lack of place - wherever you are, you're arriving here for the first time.

Abu Ama lives in West-Germany, talks of his gypsy roots and vague links to Spiral Tribe. He can often be found teaching local refugees English at the weekends. Arabxo Ishara follows releases on NY based darkwave collective Hexx 9. After some discussion he sent Bokeh Edwards almost 500 demos: 'pick some' he said.

The sixth release for Bokeh Versions follows 4 sold out tapes, Album of the Week on Bleep for the Seekersinternational LP, and a mix for the esteemed Blowing Up the Workshop series. With the help of their monthly NTS slot, Bokeh Versions is exploring new directions in dub and beyond.

Early support coming from Inverted Audio and Bandcamp Weekly

'Ela Mandou Esperar' is a stomping, soulful Brazilian funk taken from Cassiano's sought after 'Imagem E Som' LP from 1971. A big hint of Northern Soul to this one to!

'Uma Vida' - big drums, piano and lush backing vocals as you would expect from Dom Salvador - a dramatic start that flips into joyous call-and-response funk/ soul. Taken from the awesome 1971 'Som, Sangue E Raça' LP.

Hurting, spiritually-charged, Creole genius from the island of Réunion in the Indian Ocean, east of Madagascar, recorded in the 1970s and 80s.
Gorgeous songs seamed with Eastern mysticism and the Romantic sublime — about childhood, eschatology, sufferation, fishing, favourite island haunts — explore the existential homesickness of the Creole wanderer, at the crossroads of African, Indian and European cultures.
Gently hypnotic percussion, Fender Rhodes, ngoni, two plastic bags rubbed together... A one-of-a-kind blend of blues, maloya and outernational roots, with strains of reggae, prog and free jazz.

Sold out on vinyl for six years, we are happy to present a limited re-issue of Chicago Underground Duo's Boca Negra album for Record Store Day 2016. The LP is limited to 500 copies worldwide, pressed on virgin vinyl and packaged in an uncoated stock jacket with paste-on photo art card and free download coupon.

Chicago Underground Duo has been part of a new generation of music improvisers that emerged in Chicago in the 1990's. Made up of cornetist Rob Mazurek (Exploding Star Orchestra, Isotope 217) and drummer Chad Taylor (Marc Ribot, Iron and Wine), Boca Negra is the duo's fifth release originally released in 2010. Sold out on vinyl since that time this limited edition vinyl re-issue is available for Record Store Day 2016. As with the previous four Duo records it contains both composed and improvised music. The recording contains powerful grooves along with ambient sound structures, folk song simplicity and polyrhythmic bursts of energy with lyrical melodic vignettes. It also combines high energy music with slow moving ballads. Boca Negra was recorded in Sao Paulo, Brazil at Rocha Studios making it the first record not created in Chicago. It is also the first record that contains a 'cover', that being Ornette Coleman's 'Broken Shadows'.

'More Early Pakistani Dance Music From Original 7" Vinyl 1965-1978' - The music on this compilation is quite different from the filmy music that was featured on the Karachi airwaves at the time. Bands like The Bugs, The Thunders, The Fore Thoughts, The Panthers, The Drifters, Incrowd, The Talisman, etc. played at parties, local hotels, dancehalls or wherever they were invited. They made the hip crowds take the dancefloor and move to the groove. Those were exciting days like we may never see them again.

'More Early Pakistani Dance Music From Original 7" Vinyl 1965-1978' - The music on this compilation is quite different from the filmy music that was featured on the Karachi airwaves at the time. Bands like The Bugs, The Thunders, The Fore Thoughts, The Panthers, The Drifters, Incrowd, The Talisman, etc. played at parties, local hotels, dancehalls or wherever they were invited. They made the hip crowds take the dancefloor and move to the groove. Those were exciting days like we may never see them again.