Nouveautés et Sorties Vinyles Pop & Rock - News

The remarkable series of releases from the trio of Keiji Haino, Jim O'Rourke and Oren Ambarchi continues with "I wonder if you noticed "I'm sorry" Is such a lovely sound It keeps things from getting worse", which presents the entirety of an 80 minute set performed at Tokyo's SuperDeluxe in March 2014. Where their 2012 performance (BT011 and BT012) was divided into two releases, one continuing their exploration of the guitar/bass/drums power trio format and the other emphasizing new instrumental configurations, the single extended performance presented here ranges widely over terrain both new and familiar, from acoustic strings and collective chants to thunderous power trio moves.
Throughout all of its transformations, the music here is some of the riskiest and most abstract the trio have yet committed to record. Beginning with chiming percussion reminiscent of Haino's classic Tenshi No Gijinka, the first side is dominated by Haino's impassioned vocals and performance on the bulgari, a traditional Turkish string instrument. Together with the woozy, sliding foundation of O'Rourke FX-laden bass and Ambarchi's ritualistic percussion, the trio craft a sort of epic, abstracted song that moves through its spontaneous episodes with all of the fluidity of the best free improvisation.
After a haunting passage in which Haino's voice, descending from angelic high notes to guttural growls, is accompanied only by O'Rourke's roaming bass, Haino turns to electronics, gradually building a thick cloud of cosmic sludge as Ambarchi's drumming goes into free fall. The end of the second side presents a special treat: Haino's first recorded outing on the contrabass harmonica, from which he coaxes bizarre, wheezing textures against a backdrop of spacious bass and percussion. When Haino eventually picks up the guitar midway through the epic performance, the spaciousness and sense of volatility remain, with the trio often moving in an instant from crescendos of ecstatic noise to near-silence.
O'Rourke and Ambarchi rarely adopt here the classic rock roles essayed on earlier releases. O'Rourke's bass, which takes centre stage surprisingly often, is sometimes so heavily processed by his array of pedals that it becomes a shifting electronic mass, at other times his roving chromaticism suggests a sort of fuzzed-out free jazz. Ambarchi spends much of the set exploring areas of tumbling free pulse, and even when he locks into a constantly repeated figure on the set's third side, he gestures as much toward Ronald Shannon Jackson's stuttering marching band funk as toward any classic rock moves.
When the trio finally move in the final quarter of the performance into an extended passage of rock riffing, the payoff is immense, as they craft a thudding one-chord epic reminiscent of some of the early Fushitsusha classics, before Haino returns to the bulgari, bringing the set back to where it began. Continuing to explore new instrumental and dynamic possibilities while remaining grounded in the trio's previous work, this set also brings with it a unique pleasure for the non-Japonophone listener: for the first time Haino sings many of his metaphysically brooding lyrics in English.
(Francis Plagne)

Brand new chapter in the saga of the legendary french composer Francois de Roubaix: built from home recording sessions with puppet master and co-composer Bernard Maitre (involving their unique collection of crypto-instruments collected from all over the globe), this first-time ever release of soundtrack for children puppet show "Les Onix" definitely might be ranked as one of the most unusually intimate and unfettered sonic items ever produced by Francois de Roubaix. From rubber duck marching brass bands to mutant swinging pans, expect classy miniatures and raw bruitist soundscapes, hawaian interlude or proto-funky chase featuring cracked up ocarinas, obsessive rattles, vintage drum machines and a consistent amount of analog synths, all revealing a unique and playfull sense of accuracy in their use. Exclusive and previously unreleased material, digitalised from original master tapes, wrapped in deluxe package with full booklet designed, photos and detailed liner notes (english & french). Artwork & Layout by Jean-Philippe Bretin A WeMe rds and Biceps rds co-release.

The Sound Of Young Jamaica - More Early Cuts From The Vaults Of Studio One 1959-63


This is the second collection to bring together many of the visionary producer Clement 'Sir Coxsone' Dodd's early recordings made with Jamaica's most exciting young artists and musicians who helped define the world of reggae music over the decades following Jamaican Independence. These recordings were made when Sir Coxsone ruled the dancehalls of Kingston in the late 1950s and early 1960s with his number one Downbeat Sound System, where songs were tested out on dub plates at a dance to see a crowd's reaction - the most popular of which were then released commercially. Featuring early material by Roland Alphonso, Don Drummond, Tommy McCook (all of whom would form The Skatalites), Toots and The Maytals, young singers such as Bob Marley and The Wailers, Delroy Wilson, Owen Gray all captured in their formative days. The music here spans a wealth of styles - Jamaican rhythm and blues, jazz, gospel, proto-ska, Rastafarian - all of which were drawn upon to create the future sounds of Jamaican reggae that Sir Coxsone and the artists featured would soon create at Studio One which opened its doors in 1963. This collection is released on heavyweight triple-vinyl plus download code and double CD with slipcase. Sleevenotes and text is by the author Noel Hawks.

The Sound Of Young Jamaica - More Early Cuts From The Vaults Of Studio One 1959-63

This is the second collection to bring together many of the visionary producer Clement 'Sir Coxsone' Dodd's early recordings made with Jamaica's most exciting young artists and musicians who helped define the world of reggae music over the decades following Jamaican Independence. These recordings were made when Sir Coxsone ruled the dancehalls of Kingston in the late 1950s and early 1960s with his number one Downbeat Sound System, where songs were tested out on dub plates at a dance to see a crowd's reaction - the most popular of which were then released commercially. Featuring early material by Roland Alphonso, Don Drummond, Tommy McCook (all of whom would form The Skatalites), Toots and The Maytals, young singers such as Bob Marley and The Wailers, Delroy Wilson, Owen Gray all captured in their formative days. The music here spans a wealth of styles - Jamaican rhythm and blues, jazz, gospel, proto-ska, Rastafarian - all of which were drawn upon to create the future sounds of Jamaican reggae that Sir Coxsone and the artists featured would soon create at Studio One which opened its doors in 1963. This collection is released on heavyweight triple-vinyl plus download code and double CD with slipcase. Sleevenotes and text is by the author Noel Hawks.

At just 22 years old, Daymé - a singer, arranger composer, and choir director is already a veteran presence in Cuban music, and is fast gaining international profile. She says she has sung all her life and recalls her four-year old self performing on every block in her neighbourhood. 'Fun stuff,' she says, 'Wearing crazy dresses and singing like a rumbera (Rumberas are the street parties in Cuba where you hear its exploding Afro-Cuban rhythms and chants - sometimes in Yoruba). She has been performing semi-professionally since the age of 8, and became lead singer with the big band Los Primos at 14. She has performed with Winton Marsalis, and was invited by the Canadian saxophonist Jane Bunnet to perform in Canada.

Daymé first came to the attention of François Renié, Communications Director at Cuban rum maker Havana Club and founder of the Havana Cultura platform. He recalls 'Gilles and I met Dayme for the first time on Gilles' first trip to Cuba, improvising a rumba session at a friends place. She started to sing and we were amazed. She was just a teenager". Considered to young to appear on the early Havana Cultura recordings, she nonetheless stayed on Gilles' radar on his subsequent trips to Cuba. Gilles recalls 'I was knocked out at her professionalism and people connection. She is so many things - a serious artist who knows exactly what she wants musically. I love her purity - she is deeply spiritual, and involved in her Santeria studies. She is also a total laugh! Yes, Daymé is the truth...'

Recorded in just a few days in London and Havana Daymé's debut album is a work of elegant maturity, showcasing Daymé's mix of influences. Her background as a choir director is in evidence on the wonderful layered vocals on tracks like Nueva Era, Niño and Madres. Madres also alludes to the Santeria chanting that have formed part of Daymé's worship since childhood. The lead single

Don't Unplug My Body shows off Daymé skill at writing an easy-on-the-ear pop tune, whilst there is humour in El Ruso (about her mother being forced to learn Russian in the Soviet supported Cuba of the 80s) and in the lament Dust (inspired by Daymé visit to Canada - she was horrified by the dust in the houses, compared to Cuba where everything is kept meticulously clean). A strong jazz influence is clear throughout the album - Daymé was advised by her teachers to explore beyond her classical latin music training and listen to more jazz: 'I started to listen to all the old singers even when I didn't like them,' she revealed: 'I don't want to sound like an old woman! The first jazz singer I really liked was Ella because she got me crazy when I listened to her scatting.' Beautiful ballads like Come to Me and Sin Empezar complete a confident and well balanced longer player. The switching between Spanish and English lyrics hinting at an ambition to reach a worldwide audience with her music. Apart from on the deep rumba of El Ruso - recorded in Cuba - Daymé is backed by a truly world class London band (Percussionist Oli Savill, Robert Mitchell on piano, and Neil Charles on bass). Production duties are split between Gilles Peterson, his longtime collaborator Simbad and Daymé herself.

The latest chapter in the long standing relationship between Gilles Peterson and the music of Cuba sees him explore the roots of rumba through a project comprising three parts: a feature length documentary, a collection of remixes and a free sample pack. Produced in collaboration with rum maker Havana Club - creator of the Havana Cultura platform to promote contemporary Cuban culture - this is another episode in a six-year relationship that's already given vital exposure to different aspects of Cuba's thriving music culture through the Havana Cultura album series. Peterson worked with the island's esteemed rumberos to record authoritative versions of the three rhythms as well as discuss what differing meanings and origins are attached to each.

The recordings of rumba's three key styles were handed to a crop of producers working in the orbit of the most interesting corners of club music, allowing for an exciting, global re-interpretation of rumba's roots. The result is Havana Club Rumba Sessions: a collection of remixes that's as varied as you'd expect from a roster of producers spread across locales as wide as South London to Japan and beyond. Japan's Daisuke Tanabe & Yosi Horikawa tease out the rhythm to a careful balance between percussion and undercurrents of bass; France's débruit ratchets up the tempo in a beautifully polished rework that slots the click of the percussion into a steady bounce; Canada-based Poirier keeps things steady with delicate melodies adding an emotive edge; and Djoyvan brings a modern Cuban energy to the mix.

Dragging rock drums, cutting guitar riffs and Tamasheq chants. This is the sound of the new Tuareg generation. Life in an urban context and the connection with the Saharan culture has been the feeding ground for Kel Assouf's album 'Tikounen' (release May 2016). Influenced by Led Zeppelin and today's modern rock music, we created a heavy sound that blends with the traditional Tuareg music.

The album is about peace, equality and respect for other cultures. Music is our weapon with which we stifle the noise of missiles and rockets. It is our cry out for a better world.

Alessandro Adriani has become a trusted source for all kinds of beyond-the-grave coldwave delights, from Maoupa Mazzochetti to The Neon Judgement. Aside from his work in releasing forgotten gems and up to the minute synth incantations, Adriani has also been quietly issuing out his own music as well. Primarily this has taken the shape of Newclear Waves, having surfaced on split tapes and 7's on Mannequin as well as an album on Desire back in 2012. Under his own name, production has been less forthcoming, although Adriani did pop up on Nico Fidenco's 2015 album Zombi Holocaust with a remix of the track 'The Magic Is In The Process'.
Now though it's time for the Mannequin boss to delve back into the long player game with Montagne Trasparenti, which is scheduled to land on Monofonus Press in late March. Adriani in fact collaborated with Willie Burns as Interbrain and delivered a track to the IXTAB compilation on the Austin, Texas-based label last year, but now he returns with nine tracks that further expand on his own interpretation of ghoulish body music. According to the label, the album was recorded between Adriani's native Rome and adopted Berlin, 'in various years of travelling, composing, fighting with cables and machines.'

Ultralimited (100 copies) 7" of this cult classic - with handfolded original cover art - beautifully made and manually crafted. Vinyl is the same as with unlimited regular version. including 2 important previously vinyl unreleased bonus track.

Wah Wah 45s are proud to present the first single to be taken from the hugely anticipated new album from arguably the UK's finest dub and reggae outfit, Resonators.

After a four year hiatus - mostly spent tirelessly performing at headline shows and festivals across the UK and Europe, as well as recording a plethora of new music - this almost peerless Brighton-based collective are ready to showcase their new material to an eager public.

Always thinking outside of the box, Healer started life as a psych rock tune, but somehow transformed into a beautiful piece of reggae music, whilst still retaining much of the original feel. It's a song about young love and the resurgence of a friendship in adult life. The Healer character shows us that no matter how tough the present can be, we can always look to old friends for strength - the bonds of youth can last forever.


Filled with gorgeous close harmonies, the original vocal version is a life-affirming slice of sultry summertime music, but for those who like their dub there's always the deeper, effect-heavy version on the flip!

Healer will be released digitally, and on very limited hand-stamped 7" vinyl (signed by the whole band) on June 3rd. The new album, Imaginary People, is due to drop in September.

Guitarist Rolando Bruno hails from Buenos Aires and got his start playing a raw brand of Garage and Punk with his band Los Peyotes. A few years back he took a step into the not-so-distant world of Afro-Peruvian Psicodelico that's had a recent renaissance throughout South America. What made his early forays into a more tropical branch of fuzz so unique was his accompanying band-or lack thereof. Armed with an electric guitar and self-produced and recorded backing tracks, Rolando Bruno and his Orquesta MIDI jet-setted across Europe and Japan as a mad scientist one-man band, laying down a relentless style of Chicha Classica gone loopy that earned him several tours and a full-length album with the Swiss imprint, Voodoo Rhythm. Originally recorded in 2011 and now remastered and presented by Names You Can Trust on vinyl for the first time, these two tracks are a glimpse into Rolando's prolific electric madness and a lysergic-laced pointer towards things to come from the talented six-stringer.

The next volume of Wonderwheel's long running Turntables on the Hudson series, curated by Nickodemus, heads down to the Caribbean encompassingdiverse 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 from the likes of Ocote Soul Sounds, Zeb, Corrado Bucci, Captain Planet, Hector Lavoe, Poirier, Sunlightsquare, and much more.

This post-revolution Iranian album from 1985 is so ahead of its time, so completely off on its own sonically and stylistically - that you'd be forgiven for thinking it were a hoax. In reality it's one of the most sought-after and exceptional records from the Smithsonian Folkways catalogue, here brought back to life in this facsimile edition put together by the Dead Cert imprint. Until now, it's been the preserve of a small handful of collectors who rightly hold it in huge regard and close to their chests. A syncretic traversal of Iranian folk music and modular synth strafing radio-phonic, musique concrète, neo-tanktrik and sound design disciplines, it simply sounds quite unlike anything out there (if you know better, please, please share!) and has had us, and everyone who's heard it, utterly enraptured. OK, there may be some precedents in the work of electronic music pioneer Ilhan Mimaroglu, and it has undoubtedly directly or indirectly inspired music that has come since (Keith Fullerton Whitman's 'Variations For Oud & Synthesizer', for instance), but we're sure you'll agree that the elements have rarely gelled so fluidly, phantastically psychedelic as this, before or since. It's possible to trace that combination of traditional and contemporary styles, mixed with a liberating sense of freedom and abstract expression, to the composer's history; from early enrolment in Shah-sponsored music schools and conservatories he was awarded scholarship for further studies in Holland, and when the revolution arrived in Iran he would permanently leave for the world famous Columbia-Princeton Electronic Music Center in the late '70s, all priming Dariush's tastes and skills for these recordings made during the mid '80s, late at night in the university studios with the permission of Professor Ussachevsky. It's testament to its enduring magic that listening back now for the umpteenth time we're still bewildered and vividly transported as we were the first time, lost to its roil of tangled timbres and etheric dynamism, keeling to the metallic lushness of the strings and rendered mindblown at the synchronised sweeps of modular synth and simulated environs. It's a genuine wonder of the electronic music world, and an utterly essential listen, by anyones standards.

This Brooklynite follows work w/Antibalas, The Sway Machinery, Bright Moments, Akoya Afrobeat & Ethiopian keyboard legend Hailu Mergia w/his band Low Mentality; 2 quirky pop tunes that display his influences. Pic sleeve.

For fans of: Bill Withers, Sly and The Family Stone

We are both proud and excited to present this highly sought after early 80's gem, originally created as a showcase project for young artists and composers by a community music organisation in Texas.
Originally referred to as the 'Pop Music Lab', The Peoples' Workshop was formed in 1976 at Texas Southern University as a space for students to compose and perform, free from the constrains of Western classical music education.
Swiftly gathering momentum, in 1980 the organisation was granted non-profit status and in 1983, moved off the TSU campus. The Workshop has since grown in size and scope, becoming the first Black-founded organisation to present shows in major performance venues around the Greater Houston area.
Houston Talent Expo '82 features original compositions by members of The Peoples' Workshop, performed exclusively by musicians from Houston. The songs vary in style, but remain centered around gospel, funk and soul, music and lyrics with a powerful positive message. Many of the artists featured remain active today around the world, working with such acts as Alice Coltrane and The Charles Mingus Band among others.
Houston Talent Expo '82 comprises a truly special collection of songs born from the struggle, true to the spirit of togetherness that underpins The Peoples' Workshop, written and performed by astonishing young talents.

KEY SELLING POINTS
- -Highly sought after collector's item reissued for the first time
- 180 gram heavyweight vinyl pressing

* While Brazil may be famous for its larger-than-life carnival celebrations, it's a different music driven movement that's grabbed our attention. Underneath the sun, sand and sea rise a key community of producers creating a different shade of drum & bass to any other place in the world. 'The Future Sound of Brazil' is the next chapter of Hospital Record's seminal 'Future Sound Of' series handpicking the finest talents that Brazil's shores have to offer.

* We open the doors to the sound of Urbandawn, one of Hospital Record's newest signings. His perfectly polished musicality has set label boss London Elektricity in a spin, who regularly features Urbandawn's releases in his sets worldwide. His productions reflect the soul of Sao Paulo - vibrant, wide-awake and dance inducing. Urbandawn features on two tracks within the EP, a solo work 'Messiah Complex' and a paradisiacal collaboration with Bungle -'Sacred Floor' made for blue skies, beaches and sand between your toes.

* Of course, Hospital Record's original Brazilian-born signee S.P.Y had to be pulled in. Switching to the nighttime tales of Brazil's streets, S.P.Y's 'Hidden Fire' gets dizzy with industrial, warehouse depths. Family rhythms run through, we welcome S.P.Y's younger brother Unreal to the team. In the same vein, his collaboration with Alibi and Dogface 'Dropdead' scours deep into Brazil's concrete jungle.

* The sunlight creeps back in with Simplification, Translate and Amaning's vocal lead 'Get Down' featuring Ella Sopp and Nitri's funk fueled scats in 'Shiver'.

* With fiery rhythms and high-energy dance led revelries engrained into Brazilian culture, drum & bass has most definitely found its place within the welcoming nature of its city streets. 'The Future Sound of' series continues to shine a light on the global reach of the genre in this hybrid collection of Brazilian drum & bass.

Your Silent Face's second release - the first on his own label Tethys Records - continues the deep, brooding techno trajectory set by his first track on Fiedeltwo, 'A Place Where Arms Bend Backwards'. Title track Red Rain is urgent yet considered: subtle acid lines swirl and build against bright defined percussion while the bassline builds towards infinity. It reveals YSF's inspirations from Motorik music, early industrial bands like Nitzer Ebb and deep techno heroes including Sandwell District and Rrose.

Kleinian Transform takes techno to a place where Georgio Moroder meets Front 242 and Basic Channel, creating robotic space-tracks with dub disco melodies, insistent bassline and mighty crescendos. It's a late night dancefloor track influenced by DJ Hell and Francois K, but equally by Coil and New Order.

Scorched Earth closes the 'Red Rain' EP with a post-apocalyptic melancholy, a soundscape which nods to Kraftwerk and Boards of Canada. This is the track YSF wants you to hear at the end of times, recalling the blistering winds of post-nuclear fallout: darkly spacious, with a questioning melody.

The EP was mastered by Keith Tenniswood at Curvepusher.

A Colourful Storm inaugurates its vinyl label with a reissue of a long lost Oz classic. Formed by Brian Hall in 1982, Denial originally appeared on the legendary M Squared label, home to industrial and wave outfits Systematics, SPK, Scattered Order and The Makers Of The Dead Travel Fast. Until now, Hall's own work has only surfaced once - in 2012, under his Aural Indifference moniker on the Minimal Wave Tapes Volume Two compilation. Here, Denial's version of the Mamas and Papas' classic, and melancholy The Weatherman are presented in their original format and deservedly remastered. A Colourful Storm is a label co-run by Moopie, who contributed the second mix CD for Silent Servant's Jealous God imprint.

Friday 6th November sees global popstar Sam Smith release 'In The Lonely Hour: The Drowning Shadows Edition' - the extended version of his chart topping album containing a second CD of new and exclusive tracks.

The exciting new album features an exclusive new track 'Drowning Shadows', co-written by Smith and Fraser T. Smith and produced by Jimmy Napes and Steve Fitzmaurice. 'Drowning Shadows' elegantly opens the second disc of the extended edition and is a stripped back, heart wrenching ballad that debuts Sam's impressive vocals over cascading strings and piano. 'The Drowning Shadows Edition' also includes Sam Smith's breath-taking covers of Amy Winehouse's 'Love Is A Losing Game' and Whitney Houston's 'How Will I Know' alongside collaborations with A$AP Rocky, Mary J Blige and John Legend.

Sam Smith approaches the end of 2015 in celebratory style having sold over 9 million copies worldwide of his debut album 'In The Lonely Hour' which notched up a record-breaking 69 consecutive week in the Official Albums Chart Top 10 - the longest unbroken run ever for a debut album.  Sam has gone from newcomer to international superstar having now earnt four No.1 UK singles, four Grammy Awards, three Brit Awards, six MOBO Awards, GQ's Solo Artist of the Year, Q and AMA Awards.

Sam Smith also announced recently that he is the latest in a long line of superstars to sing the James Bond theme song. Smith has released 'Writing's On The Wall', the bond theme song for the forthcoming 'Spectre' film making it the first James Bond theme song recorded by a British male solo artist since 1965.  

Following on from their seminal Light As A Feather LP, Outubro (October) was originally released in 1980 and began Azymuth's run of prolific output for Milestone Records throughout the decade. Typifying the consummate craftsmanship of the three members' performances - each with such distinct personality and together so perfectly balanced - their perfectionist attitude to sound is maintained across the production on the album, beautifully colouring the expressionist fusion of samba rhythm, jazz progression, funk attitude and psychedelic electronics.

The album hosts a wonderful mix of tempos and styles, from Alex Malheiros' earth-shaking slap-bass on 'Dear Limmertz', which was to become a hit on London's underground disco and jazz-dance club scenes alike, to the late maestro Jose Roberto Bertrami's genial melodic Rhodes excursions on the vocoder laden, samba-jazz masterpiece 'Un Amigo', while Ivan 'Mamao' Conti's signature swing on 'Maracana' exemplifies the root of Azymuth's 'samba doidoi' (crazy samba) philosophy.

The two cover versions on the album consist of the title track which was originally penned by Milton Nascimento and Chick Corea's '500 Miles High', both of which magically reimagine the originals and further demonstrate the immense virtuosity of this cult recording. This Far Out Recordings release is mixed and mastered from the original tapes and will be released on 180g vinyl and CD.

This amazing still unheard monster album crosses many styles, from synth music merged with bel-air and gwo ka, cosmic reggae, electronic proto disco zouk and spacey jazz funk. The whole album is amazing and will please many collectors, way ahead on its time. BIG tip!
This private press was originally conceived in 1982, in a context where many French Carribean musicians were searching for their own style and fusing traditional heritage (Gwo-Ka, Bel Air, Biguine) and synthetic music. Claude Rodap's Syn-Ka sums it all up and Granit Records is very pleased to begin it's journey through music production by sharing this lp with you !
This is the first release of the new comer label Granit Records.
French West Indies continue to deliver some obscure gems and this one, after a long
waiting in the dust and anonymity, resurfaces.
This private press was originally conceived in 1982, in a context where many French
Carribean musicians were searching for their own style and fusing traditional heritage (Gwo-Ka, Bel Air, Biguine) and synthetic music.
Claude Rodap's Syn-Ka sums it all up and Granit Records is very pleased to begin it's journey through music production by sharing this lp with you !
Note : the LP come with an insert in french, english and japanese.

Misha is multi-instrumentalist/writer/producer John Chao (lap steel, violin, guitar, accordion, others) with a small set of friends (Ronit Granot, Amy Vachal). Called 'Band to Watch' by Stereogum, featured on MTV Iggy, and 'Best New Track' by Pitchfork for debut Teardrop Sweetheart, All We Will Become is Misha's second album and relaunch for Tomlab.

Written after the end of a long creative and romantic partnership, All We Will Become is a pop album about love in its many incarnations through our lives, from start to end - of rapturously falling head over heels, of togetherness, of loss and grief, and the beauty that comes after.

Recorded in NYC, Tokyo, and Texas, All We Will Become draws upon the influences of Chao's upbringing - the celebratory and elegiac sounds of New Orleans in 'Elater,' 70's Bollywood of RD Burman in 'You,' classical coda in 'In Reverse,' Tx high school drum corps of 'Optical,' and lineage of Richard Thompson and Neil Finn, juxtaposed with modern production - to create pop songs that look forward, yet are grounded in specific sense of place & tradition.

Informed by Buddhism, the concept of reincarnation plays a significant role in the album thematically and sonically. Like love, All We Will Become attempts to create something unexpected and unique from universal sensation, of familiar with the unfamiliar, like something long lost and newly discovered.

"Space Echo - The mystery behind the "Cosmic Sound" of Cabo Verde finally revealed!" is the 20th release by the fabulous Analog Africa Label.

In the spring of 1968 a cargo ship was preparing to leave the port of Baltimore with an important shipment of musical instruments. Its final destination was Rio De Janeiro, where the EMSE Exhibition (Exposição Mundial Do Son Eletrônico) was going to be held.

It was the first expo of its kind to take place in the Southern Hemisphere and many of the leading companies in were all eager to present their newest synthesisers and other gadgets to a growing and promising South American market, spearheaded by Brazil and Colombia.

The ship with the goods set sail on the 20th of March on a calm morning and mysteriously disappeared from the radar on the very same day.

One can only imagine the surprise of the villagers of Cachaço, on the Sao Nicolau island of Cabo Verde, when a few months later they woke up and found a ship stranded in their fields, in the middle of nowhere, 8 km from any coastline.

After consulting with the village elders, the locals had decided to open the containers to see what was inside - however gossip as scintillating as this travels fast and colonial police had already arrived and secured the area.

Portuguese scientists and physicians were ordered to the scene and after weeks of thorough studies and research, it was concluded that the ship had fallen from the sky. One of the less plausible theories was that it might have fallen from a Russian military air carrier. The locals joked that again the government had wasted their tax money on a useless exercise, as a simple look at the crater generated by the impact could explain the phenomena. "No need for Portuguese rocket scientists to explain this!" they laughed.

What the villagers didn't know, was that traces of cosmic particles were discovered on the boat. The bow of the ship showed traces of extreme heat, very similar to traces found on meteors, suggesting that the ship had penetrated the hemisphere at high speed. That theory also didn't make sense as such an impact would have reduced the ship to dust. Mystery permeated the event.

Finally, a team of welders arrived to open the containers and the whole village waited impatiently.

The atmosphere, which had been filled with joy and excitement, quickly gave way to astonishment. Hundreds of boxes conjured, all containing keyboards and other instruments which they had never seen before: and all useless in an area devoid of electricity. Disappointment was palpable. The goods were temporarily stored in the local church and the women of the village had insisted a solution be found before Sunday mass.

It is said that charismatic anti-colonial leader Amílcar Cabral had ordered for the instruments to be distributed equally in places that had access to electricity, which placed them mainly in schools.

This distribution was best thing that could have happened - keyboards found fertile grounds in the hands of curious children, born with an innate sense of rhythm who picked up the ready-to-use instruments. This in turn facilitated the modernisation of local rhythms such as Mornas, Coladeras and the highly danceable music style called Funaná, which had been banned by the Portuguese colonial rulers until 1975 due to its sensuality!

The observation was made that the children who came into contact with the instruments found on the ship inherited prodigious capabilities to understand music and learn instruments. One of them was the musical genius Paulino Vieira, who by the end of the 70s would become the country´s most important music arranger. 8 out of the 15 songs presented in this compilation had been recorded with the backing of the band Voz de Cabo Verde, lead by Paulino Vieira, the mastermind behind the creation and promulgation of what is known today as "The Cosmic Sound of Cabo Verde".

The field of electronic music were involved. Rhodes, Moog, Farfisa, Hammond and Korg, just to name a few.

This single has recieved airplay on Radio 1 from the likes of Four Tet and BBC 6 from Giles peterson. The opening song was also featured within Four Tet's latest London Boiler Room set. Mixed by Fourtet And Floating points and masterd by Matt Colton. These songs have become a staple to their DJ sets worldwide which has created a huge buzz long before its officail release.

A superb delivery of SPY-FI and exotica/erotica tunes, taken from old movie scores and more. This release is shrouded in mystery, and comes with a license to kill and the power to thrill!

Fantastic compilation of sun drenched Balearic beauties from the great Italian singer/songwriter Lucio Battisti. Features the sublime 'Ancora Tu', covered recently to great effect by Roisin Murphy but in no way surpassing Lucio's original version, followed by the superb in-demand instrumental floor-filler 'Il Veliero'. On the flip is beautiful disco-tinged groover and big Moonboots play 'Due Mondi', one of Lucio's rare duets from his highly acclaimed 'Anima Latina' LP. Also includes Lexx favourite - the gorgeous 'Questo Amore' and finally the often-edited 'Amarsi Un Po', an absolute Balearic classic with its fat bass, soaring strings, gentle guitars and sweetly emotional vocals. Essential collection.

'It's Your Thing' is arum heavy Nu Yorican funk-soul instrumental version of the Isley Brothers classic, featuring screaming Hammond organ and FX. Very expensive now in it's original form, as released by TR records in 1974.
On the flip, Machito & His Afro-Cubans deliver a brilliant instrumental, boogaloo version of Eddie Floyd's all-time classic 'Knock On Wood'. As featured on his LP 'Viaja A Memphis'.

The stunning 45s from the Brasilerio box set now available for individual sale !
When Greg Caz and Deano Sounds teamed up to create The Brasileiro Treasure Box Of Funk & Soul they created a collection of vintage Brazilian music that stretches across the scope of funk, soul, and psychedelic.

Co-compiler and Brazilian music aficionado, Greg Caz says: Without necessarily having a central theme other than funky nuggets from the first half of the 70s, we believe this compilation displays its own particular sense of logic, and that these songs ultimately all sound fantastic together. Regardless of one's familiarity, or lack thereof, with artists like Antonio Carlos & Jocafi, Os Incríveis, Toni Tornado or Celia, the material on these 45s speaks its own truth and justifies their inclusion here. Many of these were originally available as singles, while others were taken from albums, but all are guaranteed to find their way into many DJ boxes and playlists.'

Ahmed Malek was one of the most important musicians of the Algerian scene of the 1970s. His sountrack works that were composed for various Algerian movies of the time fuse Arabic influences with jazz, psych and funk influences. Dark cineastic soundscapes meet african Jazz at times reminicent of Mulatu. Original copies of his vinyl releases have been sold for enormous amounts. For this release we combined the strongest tracks from his releases with a selection of unreleased material straight from the families archive. The vinyl edition comes with a 8 page 12" size booklet, the cd version with a 16 page booklet with lot of unseen photos, an interview with the artist from 1978 and an introduction to Algerian cinema.

Introduction: I still remember the first time I heard Ahmed Malek. It was 2012. Back then I didn't know much about Arabic music, but I was about to leave Berlin for a couple of weeks to go to Tunisia. I was working as a project manager for a music recoding session which ended up being released by Jakarta Records as the "Sawtuha" release. I knew I would have some time off during my stay and I was certain that I would dedicate some of this time to diggin. I askesome people whether they knew of any titles that I should look for. Roskow, who also ended up re-mastering this release, told me about an Algerian composer called Ahmed Malek whose music was also released in Tunisia.

Fast forward three years: Arabic records have become my number one hobby and luckily I got my hands on a copy of Ahmed Malek's "Musique Originale De Films" album. I already knew some of the tracks but listening to the music the way it was originally released, and not as a crappy Youtube version, made me fall in love with Malek's compositions all the more. It manages to create this very special mood: melancholic and reflective, emotional and touching, but never depressing. Even without having seen any of the pictures created for this, it immediately brings visuals to one's imagination. Around that time I became captivated with the idea of reissuing some of Ahmed Malek's music. I knew some people had tried to locate his family but, but with no success. In the end it was an incredible amount of luck that made it possible for you to read these words and listen to this record. I had a DJ gig in Beirut playing old Arabic records and I mentioned my passion for Ahmed Malek's music to a friend. She said she knew one person in Algier, and as much as it would be a shot in the dark, she could ask her if she had an idea of how to find Malek's family. Two weeks went by before I heard back, and what I got was incredibly good news. Her Algerian friend was the neighbor of Ahmed Malek's daughter! I'm not a spiritual person, but it felt like the universe wanted to see this release happen.

Australia's runaway success ROYAL HEADACHE are responsible for records that have resonated worldwide, and what more proof of this than a SITAR INSTRUMENTAL TRIBUTE to two of their biggest hits, ELOISE and DISTANT AND VAGUE All performed by an anonymous, masked, groovin' Australian combo! Agitated managed to track these Sitar slingers down, and could not put their groove down. A 500 copy 7' release was brokered...and here ya haves it folks.

You'd be a complete IGNORAMUS to be able to sit still throughout the revolutions of this white-hot double hit platter.
250 copies for sale in the Europes alone.
Black vinyl, 'company' sleeve, plenty of spicy shake goin on!

Flamingods are set to return with 'Majesty', the band's third album and debut release on Soundway
Records, out June 10th. 'Majesty' is the follow up to the band's critcally acclaimed 2014 sophomore
album 'Hyperborea'.
With this new album the fve-piece have taken their sound in a new directon with a rich and
mult-layered album brimming with diverse infuences that refect their mult-cultural backgrounds.
The shimmering 10-track album crosses blissful psychedelia with a rich spectrum of the band's sonic
inspiratons.
'Majesty' was writen and arranged with a conceptual narratve, cohesive both musically and lyrically,
following the story of protagonist Yuka on his journey of enlightenment. The record is split in two,
morning/light/good (tracks 1-5) and evening/dark/evil (tracks 6-10) that unravels track-by-track as the
record plays out.
'New Flamingods making our ears very happy on BBC 6 Music' Steve Lamacq.

Flamingods are set to return with 'Majesty', the band's third album and debut release on Soundway
Records, out June 10th. 'Majesty' is the follow up to the band's critcally acclaimed 2014 sophomore
album 'Hyperborea'.
With this new album the fve-piece have taken their sound in a new directon with a rich and
mult-layered album brimming with diverse infuences that refect their mult-cultural backgrounds.
The shimmering 10-track album crosses blissful psychedelia with a rich spectrum of the band's sonic
inspiratons.
'Majesty' was writen and arranged with a conceptual narratve, cohesive both musically and lyrically,
following the story of protagonist Yuka on his journey of enlightenment. The record is split in two,
morning/light/good (tracks 1-5) and evening/dark/evil (tracks 6-10) that unravels track-by-track as the
record plays out.
'New Flamingods making our ears very happy on BBC 6 Music' Steve Lamacq

Confusion is good sometimes. It's a way to start thinking about whatever you are confused about. This is what Ilhan Ersahin's Istanbul Sessions do since 2008. They managed to fire the stages all across the world: from New York to Istanbul, from Paris to Sao Paolo, from London to Skopje...

It's a simple fact Ilhan Ersahin, being one of the rare moguls of New York City underground scene via his club and record label (nublu), is traveling all around the world. It's possible to see him jamming with Red Hot Chili Peppers in Sao Paolo, featuring Bugge Wesseltoft in Blue Note Tokyo and/or playing a beautiful oriental set with turkish gypsies in an elegant concert hall somewhere in Europe. His Newyorker energy is with him all the time.

Upon listening to the record for the first time, one word overrides every other emotion and devours the mind: Cinema. More specifically, "cinematic." Ersahin's sax sounds like it was recorded in the Alps. Or in the sweeping sand dunes and Oasis's of the Middle East. It's just that W I D E. On "Falling," Ersahin's sax is practically 3-dimensional. Double tracked and bathed in a healthy dose of reverb, the saxophone and rhythm of the band evoke a story-like narrative. From the mad-man trills strewn throughout the track, to the soaring, almost stadium anthem chorus.

Devilishly hot and bothered, the dry night air caresses your face, stirring a primal urge that excites as you step out into the glow of the Turkish metropolis. An Istanbul session, awaits.

This album at hand by prolific legend Martin Denny is the one which gave a name to an entire genre. Released for the first time in 1956, 'Exotica' does have more than just a historical importance. The songs are all outstanding. Based on jazz and folk this is an early example of mind altering music , because the album sets you in a dreamy state with all its haunting melodies and the sound effects that remind of wild animals in the jungle trees. The rhythmical base is rooted in Latin music, from mambo via samba to bossa nova you find all the Latin American forms of dance music combined with the bebop elements. Asian percussion instruments and harmonies also find their way onto this album. There are colorful tunes that make you think of Japanese folk but when you listen closely you will recognize melodies that would fit well with US western movie soundtracks. The easy listening sound of the 50s comes as the last ingredient and the icing on the cake. Right at the same time when this album came to see the light of day another movement named 'space age' happened with an equally dreamy style but more science fiction oriented. A few of these pulsating electronic influences did pass by composer and conductor Martin Denny while creating this masterpiece and so you might feel like flying away from time to time, but the journey always ends on a beautiful island in the South Pacific ocean where pretty girls and boys dance to hot blooded savage rhythms. And this savage soul burns deep within the music to be found upon 'Exotica'. When you desire to rest your mind beneath palm trees and have a sip of your favorite tiki-cocktail, this is the ticket to your plane.
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This LP combines the first two volumes from the 'Exotic Blues & Rhythm' compilation series named 'Katanga!' and 'Ahbe Casabe!'. This album is a colorful garden of delights consisting of R'n'B and rock'n'roll based songs from the 1940s to the early 1960s that all have this slightly exotic, dark and mystical feeling from the melody structures and instrumentation. Most of the tunes at hand sound astonishingly fresh and timeless. EDDIE COLE & THREE PEPPERS with their hypnotizing groover 'Police' for example present a Caribbean mento with a mambo and rhythm'n'blues feel. The beat will drag you directly from your seat and make you swing on the dancefloor. This piece finds its roots in the late 1940s and demonstrates impressively how far even the predecessors of rock music already got in their development. The simple yet haunting lead vocal harmony makes this song a steaming hot all-time fave. And this is only one out of 26 rare gems. The album already starts magically with a gloomy bluesy tune named 'Green onions' played by German composer and conductor Claus Ogermann, a cover of a BOOKER T & THE MG'S tune from 1962 with a rather specific basic melody that will stay with you forever. There is much more simmering popcorn rock and enchanting exciting pop from those old times to be found on this compilation and when you reach the 'Ahbe Casabe' this is where the strange and quirky charme of exotica music captures your soul even more. The title track for example is a song from the late 50s written by proto hippie Ehden Ahbez that combines a Latin groove with a vocal melody speaking of dark backstreets in oriental cities. The album is rich on colors and the view behind the obvious you are allowed to take will open an entirely new world for you. The 1940s, 1950s and 1960s had much more to offer than what we already know and this is a field of diamonds you get to dig in when you spin this record. Tracks like "Shadow Street" leave you once more somewhere in between the jungle and a haunted oriental café in a town near the desert plains of Egypt. Next to master Ike Turner (still without his later wife and coming legend Tina) with his exotic surf instrumental 'Katanga' from the first part, good old rock'n'roll pioneer Bill Haley should be the most famous contributor to this musical treasure chest. The sheer sensual stimulation you receive from these 24 songs will make you groove your mind away. Regardless where you are, these catchy Rhythm and Blues tunes will turn any place into a vintage dancefloor!