Pop & Rock Vinyl New Releases - News

Melbourne-based, world-conquering originators of vintage Bollywood-inspired surf, spy, disco and funk, The Bombay Royale, make an exhilarating return with their second album, The Island of Dr Electrico (out July 7). From their unlikely beginnings in the suburban wilds of Melbourne, The Bombay Royale have taken their unique sound to audiences throughout Europe, UK and the USA, where their performances have been met with astonishment and critical acclaim.

The Bombay Royale's debut album You Me Bullets Love (HopeStreet Recordings, 2012) catapulted the 11-piece band (fronted by singers Parvyn Kaur Singh and Shourov Bhattacharya, and led by musical director Andy Williamson) on to the world stage. Featuring eight dazzling originals and two fascinating re-workings of long-forgotten Bollywood production numbers, You Me Bullets Love demonstrated the band's evolution from interpreters of 1960s and 1970s Bollywood soundtracks, to creators of a new and completely original music which synthesises Indian classical and folk music with Western styles such as surf, rock and disco. The album won universal critical acclaim, a place in iTunes Best of 2012, and #1 on the iTunes World Music charts. The last 12 months have seen the band debut their sound to international audiences, with tours of the US (Kennedy Centre, Global Fest), UK (Glastonbury, Secret Garden Party, Cambridge Folk Festival and WOMAD) and Europe (Fusion Festival - Germany and Sommarscen Festival - Sweden).

The Bombay Royale have provided a tantalising first glimpse at The Island of Dr Electrico by unveiled a bold new video for lead single Henna Henna. A sweeping, exhilarating romp sung in Bengali with raunchy wild-west flourishes, Henna Henna comes with a "high concept" (pun intended) film clip, directed by Kess Broekman-Dattner (The Bamboos, Hermitude, Clare Bowditch). The mischievous video depicts The Mysterious Lady and her crack team's efforts to rid the dastardly Skipper of the key to his secret lair and rescue the Tiger, and other hijinks on a private jet somewhere above the Pacific Ocean. Henna Henna is out now on iTunes and available as an instant download, along with a bonus track, Wild Stallion Mountain, with album pre-orders.

BRKLN band's sophomore release further packages disparate influences w/a unifying socially conscious voice. Their killer female front line sets them apart & propels their muscular sound like none of their peers. Pic sleeve.

Soundway's second foray into South East Asia is focused on North-East Thailand, the epicentre of Molam and Luk Thung Isan music. Hypnotic phin & khaen riffs, pulsing, electrified country rhythms and heartfelt vocals punctuate another journey into the lesser known reaches of 1970s Thai music.

The first volume of The Sound of Siam, released in 2011, was the first introduction for many to the artistry and innovations of modern Thai music. One of the most popular compilations on Soundway Records the music even made it onto the big screen with 'Mae Jom Ka Lon' by Dao Bandon featured on the soundtrack of 'The Hangover Part II'. In an interview with LA Times Mick Jagger spoke of discovering the collection that 'some nutter put together' after hearing the riff from Jumpin' Jack Flash on one of the tracks from the compilation.

In this second volume of The Sound of Siam the focus is firmly on the music the sounds of north-east Thailand, or Isan and attempts to show how a genre evolved and developed from essentially an acoustic tradition with specific geographic roots, to one that started to incorporate other instruments and influences that reached out to the Isan diaspora around the country.

The term molam is actually two separate words pushed together: Mo meaning 'expert' or 'doctor' and lam meaning 'to sing'. Hence the literal translation means 'singing expert'. Many molam records have extended intros that allow a vocalist to establish the theme of the song, as well as flex their improvisational muscles.

Luk thung (literally 'song of the countryside') is a much broader, rural style that had a bigger impact nationally. Artists like Saksiam Petchompu began fusing this style with molam, a move which propelled him to national fame. You can hear the influence of western funk, as well as Thai arrangements, on the luk thung Isan (as the hybrid became known) smash Jeb Jin Jeb Jai included here.

The Sound of Siam 2 - Molam & Luk Thung Isan from North-East Thailand 1970 - 1982 features 19 tracks, many appearing outside of Thailand for the first time. Both CD and double LP & is accompanied with detailed liner notes written by compilers Chris Menist and Maft Sai.

Amazing tropical jazz double-sider with spiritual vibes and funk-fuelled rhythms

Morenso Veloso is back with Coisa Boa his first album in 11 years out on Luaka Bop. This is Moreno's first album in 11 years!

With "Brasil Precisa Balançar" Rosalia De Souza goes back to her origins. Not so much meaning geographical latitudes, but rather as in rediscovering the roots of her own music. Brazil, through its culture and its philosophy of life, recalled Rosalia to a new dive into her hometown, Rio De Janeiro, from where she resurfaces more convincing than ever as artist formed from that very tradition. The Brazilian singer has recorded the whole album in the Carioca city assisted by the craftsmanship of Roberto Menescal, a true giant of original Bossa, who produced and arranged the entire album. Thus the feeling of this last work turns out completely different from the previous album 'Garota Moderna', where the sound was definitely more European. If in the debut album 'Garota Moderna' she already proved her value, with "Brasil Precisa Balançar" Rosalia De Souza achieves affirmation as Brazilian contemporary artist in perfect harmony with the rich past belonging to that particular songwriting tradition. A display that lasts the full length of the album, where Rosalia's delightful voice charms when singing cheerful and quirky with no other than Marcos Valle in 'Que Bandeira'; then persuasively interpreting 'Vivo Sonhando' by the Maestro Jobim. Between these two columns of Brazilian music, who are Internationally renown, Rosalia moves gently all along, approaching either Bossa or Samba. Courtesy also of Roberto Menescal's solid hand, author of the song "Brasil Precisa Balançar" from which the album's title is taken. A guide, that of Menescal, able to even push Rosalia towards the interpretation of a more evocative and spiritual song such as "Jogo De Roda" by 'mestre' Edu Lobo, whose tones are ancestral. Roberto Menescal, looked after every arrangement of the album with great expertise adding that extra value, which develops from experience, in-depth knowledge of music, and also from the ability to interpret a very own music genre. His CV is exceptional to say the least. In 1961 he wrote a Bossa Nova anthem composed with Ronaldo Bôscoli, "O Barquinho". Roberto Menescal funded his band 3 years earlier (1958) with Luís Carlos Vinhas, João Mario, "Henrique" e "Bebeto": the Conjunto Roberto Menescal. In 1959 he recorded his first composition "Jura de Pombo" (still with Ronaldo Bôscoli as co-writer), sung by "Alaíde Costa". Between 1959 and 1961 Menescal played a pivotal role in promoting Bossa Nova within Brazilian culture, organizing concerts and festivals at the Univeristy in Rio. In 1962 besides going on tour with Eumir Deodato, he took part in the historical Festival of Bossa Nova at the Carnegie Hall in New York, with " Tom Jobim" and "Carlos Lyra" amongst others. Between 1964 and 1968 he made his early experiences as arranger. In 1968, he accompanied "Elis Regina" in her performance at MIDEM in Cannes, and afterwards in the European tour of the singer. Until 1970 he acted as her 'stooge'. From then onwards he gained fame as producer (working with artists the likes of "Caetano Veloso," Gilberto Gil," "Jorge Ben Jor," "Gal Costa", "Maria Bethânia" and many more). The last time he did a show in Italy was 2001, when he appeared at the Fare Festival in Pavia with " Wanda Sa," "Danilo Caymmi", and "Marcos Valle". Menescal's cure for details in producing the album "Brasil Precisa Balançar" lingers in the atmosphere of each track, where Bossa interchanges with Samba. The execution by the musicians stands out, nurtured from true feeling for music, both in delicate songs as well as in engaging, choral performances. A good example is represented by "Rio De Janeiro", a tribute to Rosalia birthplace. "Agarradinhos", is a passionate sentimental song written from Rosalia with Menescal. It tells about the singer's admiration towards her Bossa guru; through this agarradinhos which means embraced. "Mar Amar" is another wonderful Bossa Nova composed by Menescal and Ronaldo Boscoli in the same period of "O Barquinho", rearranged on this occasion and enriched by Rosalia's singing. Another classic Samba from 1967 "Onde Anda O Meu Amor" written by Orlandivo and Roberto Jorge, in this album gets reworked in a more contemporary key, vaguely 'samba canção'. Thus the listener is enticed by the invitation to sambare. A potential single. Certainly a single is 1 of the 2 Marcos Valle songs: "Que Bandeira": beautiful tune written by Valle in the '70, resulting even more appealing in duo with Rosalia. The other emotional song is "Ao Amigo Tom". Homage to the Great Maestro Jobim, as well as heartfelt confession of sorrow for his loss. Four songs in the album were written by Toco. Tomaz di Cunto, aka Toco, is an inspired artist emerging from the current Brazilian songwriting scene. He has already released an album on Schema Records, 'Instalação Do Samba', produced by S-Tone Inc. Tomaz is a songwriter of wide talent both lyrically and musically, in perfect tune with the classic Brazilian tradition. In "Brasil Precisa Balançar" this is proved by the songs where he assists Rosalia on vocals: the mesmerising "Nem Que Seja A Nado"; the enchanting "Voz Da Lapa". As well as where Rosalia's vocals are accompanied by the band: the gripping "Um Novo Dia" and the lovely "Rio De Janeiro". The album ends with "O Que E'Amar" another very deep composition by Jhonny Alf, that stands as a real tribute to Bossa in the rarefied singing of Rosalia. In conclusion "Brasil Precisa Balançar" by Rosalia De Souza Is a refined album always genuinely inspired; gentle but intense. A return to foundations, to carry on dreaming over the notes of immortal music.

For her hotly anticipated sophomore album Nashville songstress Nikki Lane teamed up with Dan Auerbach of the Black Keys for a record that turns the vulnerable singer-songwriter stereotype on its ears. With songs that crucify ex-boyfriends, celebrate one-night stands (as long as she can bolt town right after) and proclaim it's 'always the right time to do the wrong thing,' Lane comes across like a modern-era Wanda Jackson, albeit with more oats to sow. 'My songs always paint a pretty clear picture of what's been going on in my life, so this is one moody record,' she says. 'There's lots of talk of misbehaving and moving on.
1. Right Time
2. Good Man
3. I Don't Care
4. You Can't Talk To Me Like That
5. Seein' Double
6. Love's On Fire
Side Two
1. All Or Nothin'
2. Sleep With A Stranger
3. Man Up
4. Out Of My Mind
5. Wild One
6. Want My Heart Back

Acoustic rock maestros Rodrigo y Gabriela are back with their new album: '9 Dead Alive'. The album was recorded and produced by Rod & Gab at their studio in Ixtapa, Mexico. Mixing was handled by Andrew Scheps (Black Sabbath, Adele, Metallica, Lana Del Rey) in Los Angeles.

'9 Dead Alive' sees Rodrigo y Gabriela playing face to face, guitar versus guitar, bursting with melodic energy and rhythmic invention. Recorded at their Pacific Coast hideaway in late summer, the album captures the warmth and spontaneity of two great musicians riffing and jamming together; perfectly distilled into 9 new songs teeming with desire, elegance and gusto.

Each of the songs on the album is a personal celebration of individuals who have passed on, but through their deeds and words still resonate in the 21st century. Going as far back as Eleanor of Acquitaine (1122 - 1204) to Viktor Frankl (1905 - 1997), and including a tribute to one of Rod & Gab's enduring touchstones - animals and nature. This diverse and fascinating list will strike a chord with anyone familiar with the duo's passion for human rights, literature, history and philosophy.

Rodrigo y Gabriela's last album of all new music was 2009's '11:11'. Since then they have collaborated on the soundtracks to both 'Pirates Of The Caribbean: On Stranger Shores' and 'Puss N' Boots' and visited Havana to record the 'Area 52' album with a Cuban orchestra. They have continued to tour the world, playing sell out shows last year at the Hollywood Bowl and Red Rocks, Colorado.

Classic/ Piano. "THE EYE OF TIME is the Solo-Project of French musician Marc Euvrie. Euvrie's musical development is deeply connected with the French DIY punk and hardcore scene, though he has been classically trained as well. He started to play piano being 9 years old, composed his first pieces with 15 and studied cello at the conservatoire after finishing school. Euvrie used to play in several bands before, being influenced by CLAUDE DEBUSSY, PHILIP GLASS, ERIC CHOPIN, J.S. BACH, MICHAEL NYMAN just as by GODSPEED YOU BLACK EMPEROR, A SILVER MT. ZION or PORTISHEAD, he began to translate his personal reflection of our complex world into music, which initiated THE EYE OF TIME. A self titled debut record, released in Spring 2012, evolved first. For his debut Marc Euvrie's critical writing exposed a dark look on the present, past and future: Linked to machines and samples, revealing an unnatural direction of the human being's existence. His upcoming release ACOUSTIC is a consequent change of focus. Looking for the motor, the personal needs to survive, he found himself experimenting with only Cello and Piano. Apparently these classical instruments turned out to be a relevant strong signal to go back to the roots with something more natural and simple to start from. Though both records seem to go in opposite directions in terms of sound and concept, a strong underlying layer stays inevitable: The Eye of Time's compositions imply a call to fight for the things we love. ACOUSTIC might be understood as a counterbalance to The Eye of Time's debut. Where the previous record disclosed the coldness of our time, destructing everything that is meant to be our deep nature and presenting the despair of our situation, Acoustic embarks on a little glimpse of hope: Finding some strength to keep fighting for the nature of things and their vital qualities. Marc Euvrie composed six songs for six different locations and points in time, reaching way back to ancient centuries as well as taking a glance into our near future of a yet unknown place. A very personal travel through time and space, between the beauty of nature (Cisjordania, Norway) and the beauty of hope, which allows humans to dream their dreams (Spain, Poland). Marc Euvries own feelings and thoughts about his life evoke mostly in the last two tracks, where he found a form to intensify what keeps him alive. CD: digipak, Vinyl: thick covers + thick printed inner sleeves, 180g vinyl, different vinyl colours, free download.

Guitarissimo, das Ur-Werk von Peter Horton und Sigi Schwab, das in den 80gern mit fulminantem Erfolg Saitengeschichte schrieb, hat sich jetzt um XL erweitert. Guitarissimo XL bringt damit zwei zusätzliche Juwelen ins Klangbild: Tommi Müller, Bass und Andreas Keller, Drums & Percussion. Die beiden sind rhythmischer Zündstoff für die Fingerchampions Peter Horton und Sigi Schwab. Auf dieser neuen Studioproduktion erklingen sowohl die Klassiker aus dem legendären Erstlingswerk in neuen interessanten und ungewöhnlichen Arrangements als auch neue Titel und Solostücke von Peter Horton und Sigi Schwab.

SEXBEAT Records (White Lung, Eagulls, GAPS) are thrilled to announce the release of Moon Gangs, aka Will Young's, three song debut record. The tracks (I, II, & III) were recorded over three months in late 2013, edited down from ten hours

of improvised synth recordings (made entirely using looped Eurorack modular synths), into three intense movements, each just shy of ten minutes long.



The EP was inspired by John Carpenter and Tangerine Dream soundtracks, plus synth driven Krautrock like Ashra Tempel and Popol Vuh, and probably fits contextually somewhere in between modern day electronic outsiders The Haxan Cloak

and Blanck Mass, and successful diy bands; Hookworms (this EP was also mixed by Matt J of Hookworms / Suburban Studios) and Echo Lake (Linda Jarvis designed the artwork for the sleeve and record, and). All tracks were mastered by

East London producer and engineer Rory Attwell (Palma Violets, Big Deal, Veronica Falls, etc).



Live, Will performs in a variety of different set ups, sometimes solo, sometimes performing with one, two or three drummers. All live shows are performed live and fully improvised with no computers, samples or backing tracks.

Moon Gangs 'Moon Gangs' is out as a digital download and a limited edition one sided 12" vinyl. The record sleeve and the blank side of the vinyl have been screen printed onto, for this limited edition release.

Latest installment of the Kindred Spirits Mali series...
In 1977, seven years after the first wave of modern regional orchestras, the Mali Kunkan record label released another batch of classic recordings from Mali's best regional orchestras. Super Biton National de Ségou, National Badema, Mystère Jazz de Tombouctou, Kanaga de Mopti, Bida de la Capitale, Sidi Yassa de Kayes and Kéné Star de Sikasso were each given the chance to release a collection of their own recordings.

Another great Reissue from Mali and already the 5th installement of the Mali Kunkan label on Kindred Spirits. Completely restored artwork and remastered sounds.
In 1977, seven years after the first wave of modern regional orchestras, the Mali Kunkan record label released another batch of classic recordings from Mali's best regional orchestras. Super Biton National de Ségou, National Badema, Mystère Jazz de Tombouctou, Kanaga de Mopti, Bida de la Capitale, Sidi Yassa de Kayes and Kéné Star de Sikasso were each given the chance to release a collection of their own recordings.

It was first led by drummer Baba Barry, before guitar player Madou 'Guitare' Sangaré took over when the orchestra changed its name to Kéné Star de Sikasso, and left behind the old « Orchestre Régional » moniker as the decade rolled on. Under the Kéné Star de Sikasso's name, the band released one eponymous LP in 1977 on the fabled Mali Kunkan collection.

Opening this record, Hodi Yu Yenyan is the Kéné Star flagship song, with the electric organ and the guitars twirling together. Sung in senufo by François Ballo, it served to introduce the band's musical aesthetics while extoling the virtues of the senufo culture, a language seldom recorded in Malian popular music of that time.

The natural strength and wellness of this region is displayed on the second number, Kenedougou Fanga, sung by the band's three singers Mamadou Diakité, Mamadou Touré, Cheick Sadibou Diabaté.
One of Mali's most beautiful songs from the decade, Fitiriwale (« an act of betrayal ») saw them again teaming up for an exercise in mellowness. Madou's guitar swirls effortlessly around the melody, backed up by some droning electric organ. This song talks about weddings, with the lyrics « nowadays marriage doesn't mean anything », advising that one has to look for a strong wedding and not for trivial pursuits.
Hypnotic and intense, another moral fable takes up the whole of side B.

Taster for follow-up to 2010's "Rio Arriba" continues on the path through the mystical outer reaches of South America with it's traditional folkloric rhythms into otherworldly electronic sounds & the vocals of longtime collaborator Miriam Garcia gently ha

This classic and groundbreaking album was recorded in Los Angeles in 1970, at a time when Sergio Mendes was at the height of his commercial status with his incredibly successful musical blend of Brazilian flavours and American pop sensibility. 'Stillness' was a decisive break away from commercial pop towards a more serious and mature sound.

Powerful new vocal songs such as Stillness and Righteous Life signified a new era in the music of Sergio Mendes. The Brazilian influence is, if anything, even more pronounced than before as Mendes and guitarist Castro-Neves - originally two central figures in the Bossa Nova scene in Rio de Janeiro in the early 1960s - dig deep into Brazilian music with amazing versions of Gilberto Gil's Viramundo and Caetano Veloso's Lost in Paradise.

But what is new about this album is the perfect blending of this Brazilian sensibility with the deep West Coast sound at the start of the 1970s. Mendes augments his Brasil '66 group with Los Angeles players to stunningly interpret songs by Buffalo Springfield (For What It's Worth), Joni Mitchell (Chelsea Morning) and Blood, Sweat and Tears (Sometimes in Winter), creating a fantastic unique and mature new sound.

Long-regarded a cult classic due to the club tracks 'For What It's Worth', 'Viramundo', and the spiritual and musical depth of tracks such as Stillness and Righteous Life, Stillness' is a tour-de-force album.

This album is the definitive statement of the Tropicalia movement in Brazil. The album's collaborators - Gilberto Gil, Caetano Veloso, Tom Zé, Nara Leao, Gal Costa and Os Mutantes - mixed psychedelic rock with boleros, sambas, bossa nova and jazz into a carnival-esque parade which first announced the new global sound of Brazilian music.

What is stunning is that this anarchic and groundbreaking release was recorded at the height of the Brazilian military dictatorship, during an era where censorship, repression and the threat of violence was a constant in all (musical and) daily life inside the country.

Rolling Stone magazine in Brazil has voted this album no.2 in the 100 Best Brazilian albums of all-time.

This classic album is Tropicália's manifesto - a fantastical syncretic fusing of psychedelic rock & pop, Brazilian traditional music and the avant-garde.

Like Richard Oliver's "Dicky Oliver", "Style" was an LP
released on the RCA Italy catalogue.
"Style", is an extremely rare album which was not conceived for
sale but for synchronisation purpose only. This was quite
common at those times, with many labels producing music for
film, radio and tv and consequently pressing limited quantities of
wax, which became rapidly collectible.
"Popoff" is a superb example of italian 70s Jazz Funk infused
with a characteristic Progressive flavour, which was a trending
genre at that time.
Among the eleven tracks of the LP "Notte a Bagdad" and
"Kimono Pop" present wicked grooves and evocative
atmospheres
Originally released in 1974 now this highly sought-after title is
again available on Schema Easy Series.

During the '70s, work days at Umiliani's Sound Workshop Studios were hectic; thousands of sessions were held in order to keep up with a very busy Italian movie industry: Hundreds of soundtracks alongside with music library were recorded and released on vinyl in very limited quantities for TV and film production use only. Those LPs are now proper collectors' items, extremely hard to find.

Filled with hypnotic bass lines, heavy drums and screaming fuzz guitars "Underground", the first LP of the fictitious group known as Braen's Machine, is one of the rarest and the most expensive of them all, always "reaching" sky high prices throughout the second hand vinyl market. A fast-beat jam with hammond scales and a twin lead guitar theme ("Flying") opens the A Side soon followed by "Imphormal", a classicfunk-beat-meetsfender- rhodes-and-psychedelic-guitar number. The music then switch to "thriller territories" with "Murder" which is based on prepared piano swells and a deeply hypnotic walking bass, reminiscent of the best Morricone's soundtracks for Dario Argento's movies. Two highly percussive songs complete the A Side: "Gap" is an improvised song with guitar and keyboards dwelling over an infectious drum rhythm while a marching snare and a vibraslap effect are the special features on "Militar Police".

The mood relaxes slightly on the opening of the B Side with a lazy jazz groove on "New Experience" but the rock influences are soon brought back on the following track "Fall Out". "Obstinacy" is all about keyboards with syncopated rhodes themes and distorted hammond sustained notes whilst the fuzz guitar is back again screaming through the left channel on the last song of the album, "Description". We could happly say that that was the golden age of the Italian music library. But who's behind the name "Braen's Machine" On the original cover the songs are credited to the composers Braen and Gisteri. Braen was a pseudonym often used by Alessandro Alessandroni, an extremely skilled and versatile musician, and one of Umiliani's closestcollaborators. He could write, conduct and arrange, he could sing (ever heard "Mah Na Mah Na"), he could whistle (ever heard Morricone's "For a fistful of dollars") and he could play almost anything: guitar, bass tuba, accordion, sitar and the list grows..... His first album "Alessandro Alessandroni e il suo complesso" (Sermi, 1969), had transformed the Italian library music from orchestral sound beds into the psychedelia we all love; the extremely fuzzy guitars are very "present" on "Underground" too. For a long time Gisteri's real identity was rather mysterious; often wrongly attributed to Umiliani. Gisteri was the pseudonym of Oronzo De Filippi, art name of Rino De Filippi, music supervisor to the Italian public broadcast company (RAI) between the '60s and the '70s. De Filippi composed other notable pieces such as "Riflessi" (Edipan, 1975) and "Nel mondo del lavoro" (Sermi, 1972).

De Filippi passed away few years ago but we were able to contact Alessandroni to talk about this LP. Remembering "Underground" recording session as one of the thousands he took part of, Alessandroni told us that this record was produced very quickly, in two days maximum. This was made possible by a team of wonderfully capable session musicians and the creative genius behind the mixing desk; this incredible combination helped to focus on the mood of each track even more. Unfortunately there are no liner notes but Alessandroni's memories and speculations, based on other music tracked in the same period at Soundworkshop by resident engineer Claudio Batussi, led us to identify this as the most probable lineup: Munari on drums, Majorana on bass, Vannucchi on keyboards and Alessandroni himself on guitar. For this reissue the sound has been restored and the cover art reproduced exactly as it was.

"Saudade" ist eine spezifisch portugiesische Form des Weltschmerzes. Es läßt sich mit "Traurigkeit", "Wehmut", "Sehnsucht" oder "sanfte Melancholie" nur annähernd übersetzen. Das Wort steht für das nostalgische Gefühl, etwas Geliebtes verloren zu haben, wohlahnend, dass es nie wieder zurückkommt. Das Album ist stark beeinflusst von Klassikern wie Antonio Carlos Jobim, Gal Costa und Luis Bonfá, aber auch Serge Gainsbourg, Ennio Morricone und modernen Künstlern wie der Electro-Samba-Pionierin Isabelle Antena. "Saudade" entstand mit Hilfe einer Vielzahl von Gastmusikern. Jeder Track wurde von eine Sängerin gesungen, die da wären LouLou Ghelichkhani, die Newcomerin Elin Melgarejo, Nouvelle Vague-Sängerin Karina Zeviani, die argentinische Chanteuse Natalia Clavier und die ehemalige Bitter:Sweet Singe/Songwriterin Shana Halligan. Weitere Gäste sind der U.N.K.L.E.-Drummer Michael Lowery, der argentinische Singer/Songwriter Federico Aubele und der Meister der brasilianischen Percussion, Roberto Santos.

The latest in Names You Can Trust's series of tropical 45s is a sublime Dub Cumbia from El Combo Chimbita, an offshoot of the fast-rising MAKU Soundsystem. MAKU and El Combo Chimbita are comprised of young first-generation New Yorkers from Colombia, and their sound combines the duel trombone attack of classic NYC Salsa with a rootsy, bass-heavy, laid back groove. Completely organic, "Puro Show" has an undeniable funky charm.


The flip sees the much anticipated return of Greenwood Rhythm Coalition, who completely hotrod the original track, adding new instrumentation while turning it into a hard charging Ska that sounds like the Studio One house band live in Cartagena. "Puro Rock" is primed and ready for the dancefloor!

Bogota's Meridian Brothers return to Names You Can Trust with a brand-new double-sided single. Having made their mark on the local scene in Colombia for over a decade, the last few years have brought Eblis Álvarez and his strange brew of tropical rhythms, wonderfully outrageous electronic sounds and unique, playful vocal style into the consciousness of a world wide audience. Building on the success of their previous album 'Deseperanza' as well as the upcoming 'Salvadora Robot' (both out via Soundway Records), Álvarez has concocted two new gems exclusively for this NYCT release.

Recorded inside Álvarez's Isaac Newton Studios, these quirky yet seductive experiments in cumbia are further proof that Meridian Brothers and their rare style are unmatched in the modern landscape. Lamento Calavera, a mostly instrumental, electronic beat and synthesizer infused study on cumbion (fast cumbia) builds at a frenetic pace until the choir (as done by Los Maravillosos) resets. El Faraón Miente, a jazzy mid-tempo cumbia, rides along effortlessly with its carousel-like melody and bubbling Peruvian-influenced guitar riffs. With a cover illustration by Álvarez himself, this is another automatic collector's piece from Meridian Brothers and Names You Can Trust.

The relaunch of EM Records' Thai music series. Paradise Bangkok, Soi 48 and EM Records have teamed up to deliver a new series showcasing the extraordinary performances of some of Thailand's greatest musical legends.
The first release is the seminal album Isan Lam Plearn released in 1975 by Angkanang Kunchai. This album represents a crucial moment in Thai musical history when the performance styles of Molam1 and Luk Thung2 were fused together for the very first time.

Born in the province of Ubon Ratchathani in Isan (the northeastern region of Thailand), Angkanang Kunchai was a young female prodigy who emerged on the Molam scene, and became one of the first generation of Molam performers who were able to 'sing' popular music3. From an early age she was mentored by renowned national Molam artist Chaweewan Dumnern, and in her mid-teens joined the legendary musical troupe the Ubon-Pattana Band as the lead vocalist.

This twelve-inch is the first in triple that will make up the vinyl version of Mr Raoul Ks album 'Still Living In Slavery' - his first album on his own label. The second twelve-inch will be release in a picture sleeve that will be able to hold all three records. Recently, Mr Raoul K started to add some kind of soundtrackesque touch to his tracks. On this release, this development is represented by 'Intelligent Revolution' - an epic thirteen minute plus rollercoaster ride of a track without any dominant kickdrum. Traditional African instruments fuel an irresistible groove that keeps pulling you in and in. Don't take anything for granted and stay alert. That is what the Peul-Flute melody keeps saying over and over - never losing its groove or its grip and keeping on pushing. On the flipside, veteran producer Ron Trent flexes his remix muscle on 'Sene Kela' and applies his trademark warm deephouse sound to this vocal driven track. The catchy vocal is accompanied by a very lively baseline and some strings to keep the dancers' feet moving. Up next is Simbads treatment of Dounougnan Magni (Chapitre 3) - a track that features Kuniyuki Takahashi on piano and Sossoba Keita on vocals. The remix pushes this already dynamic track even further and heads toward a climax that melts European and African soundscapes into an outburst of pure dancefloor magic. Enjoy.

Following Afrobeat Makers Vol.1 (Sold out), Comet is pleased to announce the second volume of the Afrobeat Makers Collection, due for release in June this year: The Tony Allen' original Afrobeat Patterns revisited by few of the best international DJ/producers, with among them: Doctor L (Paris), Thiago Franca (Sao Paulo), mps PILOT (Amsterdam), or GnoWee (Paris)

Late fifties recovered music from Congo. Comes with a 28-page booklet. Limited to 500 copies. TIP!!
After the first release on Grand Kalle & l'African Jazz , for Planet Ilunga the quest continues to recover the Congolese music history. With this new compilation we delve into the back catalogue from Esengo, one of the labels that operated in the former Leopoldville in the fifties. In a five-year time span (1957-1961) this publishing company - named after the Lingala word for 'pleasure' - released over 400 records, all issued on 78 rpm records. This compilation focuses on the recordings of two of the most important and earliest ensembles of Esengo: Rock-a-Mambo and l'African Jazz. Their recordings were characterized by a very melodic thinking and were often drenched in Afro-American rhythms. It resulted in an unparalleled joie de vivre, lots of pidgin Spanish and extremely danceable tunes.

Please note that several tracks on 'Souvenirs from Esengo' are remastered from the original 78 rpm records pressed in former Leopoldville. These have now been reissued for the very first time. Planet Ilunga collaborated for this release with a few 78 rpm and vinyl collectors. I would once again like to thank them for sharing their rare records.

2. Baila
3. Mi Cancion
4. Toca Mi
5. Oye Jacquy
6. Rossignol Cantador
7. Siempre Mi
8. Serenade Sentimentale
9. Lily & Germaine
10. Pesa Ngai Falanga Na Masanga
11. Babalou
12. Bakoule Bidama
13. Iyele
14. Mioto Na Likolo
15. Bolingo E Gagne
16. Elie Violette
17. Maria Rebecca
18. Ngai Mpe Elombe
19. Leo Se Leo
20. Charley Pull
21. Tembe Nye
22. Chauffez African Jazz
23. Brigitte
24. Besame Moucho Jacquelina
25. Rica
26. Titi
27. Ya Biso Pembeni
28. Ba Nzambe
29. Panchita

Appeal and magic, sensuality and mysticism. These are just some of the feelings expressed in the new album by the Brazilian artist Rosalia De Souza, who relied uponLuciano Cantone's artistic production, co-founder of the Schema Records and producer of the multi prize winner album 'Handful Of Soul' by Mario Biondi. 'D'Improvviso' recalls places and tastes connected to the Brazilian music of the past and in particular to the sixties. A genuine album touched by a singular Afro-Jazz sound, whose compositions show several aspects expressed by the different essences of the huge Brazilian music tradition. Slavery, politics, cultural movements of the 50's-60's, shanty-towns and the importance of the mixture rhythm/harmony where the Brazilian music is more intensified than the other ones. Bossa nova, afro, jazz, pop. We are in front of a multiform project where valued instrumentalists like Fabrizio Bosso, Lorenzo Tucci, Pietro Ciancaglini e LucaMannutza took part. This latter also performed in the arrangement phase of the record. The pieces in this album, whose recording phase ended in April this year, celebrate love for life in all of its shapes. The work was planned entirely around a multifaceted tessiturawhich comes from jazz, such as considering 'Ondina'. This song both recalls the big tracks by Tom Jobim, well known as the master of the contamination between jazz and samba, and keeps a 'fil rouge' with the previous artistic choice of 'Brasil Precisa Balançar'. The project also reflects a typical traditional sound thanks to the four unreleased tracks which bear the signature of Toco: 'Samba Longe', 'Dias De Carnaval', 'Coisa Séria' and'Acorda Manè'. Other music influences such as the boogaloo, the most famous Latin sound in America of the '60s, influenced the production of 'Carolina Carol Bela', the explosive single of the album which became successful thanks to Jorge Ben. Also 'LuizaManequim' shaped up that style, showing also an interesting and genuine rhythm'n'bluesside of samba. This track will certainly express its essence in the clubs from all over the world. Typically afro-jazz are 'Amanha', another track written by Toco, 'Banzo', which bears the signature of the brothers Marcos and Paulo Sergio Valle, and 'Candomblè', written by Antonio Paulo, Danilo Caymmi and Edmundo Souto. Furthermore we find a tribute to all of those Brazilian trio/quartet bands of the sixties like Tampa Trio and BossaTres, whose sound was acoustic but also strong at the same time. To them are dedicated'Sambinha' and 'O Cantador', written by Dorival Caymmi and Nelson Motta.

Tango Style Vol. 1 is the latest work of distinctly creative World Music DJ and producer Gülbahar Kültür. Inspired by Tango's passion and sensuality and with a broad, inclusive taste, the selection showcases samples of Tango Fusion where ambient, jazz, pop, funk, techno and electronic elements are perfectly blended. Tango, the dance itself is not just some initial inspiration; the intricacies and interplay within the music itself are the whole lifeblood of dance... This goes exactly the same way for the album: smooth, loungy tunes meet hot dancefloor burners at sharp turns and whimsical nostalgia of pure Tango shines through New-Tango magic created by the new contemporary beat treatment. The line-up of the album consists of artists and groups who have started the Nueva Tango fire and keep it intensely burning... The European Lounge and Nujazz project Club Des Belugas is one of them... and Gotan Project is another name in Tango Style Vol. 1, who, starting their story in 1999, have popularized tango music again at global scale. More to name: there is Oslo, Norway based Sverre Indris Joner's project Electrocutango; Spanish/Argentine Neo-Tango group Otros Aires from Barcelona; Argentine music collective Narcotango; and many times an award winner Debayres. 17 track album undeniably includes the most solid names of the style and their great performances...

1st of 4 7"s drawn from production archives. 2 tracks f/words spoken by Bill Russell, friend of Sun Ra's. Timeless sentiments over world-flavored downtempo beats on the A, jazz drums w/spiritual words, flute & trumpet, bass, on the flip. Custom series sle

Chris McWayne's productions tie in his hip hop & jazz themes then pushed to the outer realms much like his friend Afrikan Sciences. Includes the title track, and the gorgeous winding "Islands of Dust". Afrikan Sciences chimes in with a remix for "Islands

TERANGA BEAT proudly presents DEXTER JOHNSON & Le SUPER STAR de DAKAR in their last performance before their departure to Abidjan in 1969.
Mastered from the original tape this recording captures the energy and quality of these most spectacular performers. The group was led by the inimitable Dexter Johnson, a saxophonist whose unique timbre influenced generations of horn players in Senegal and who can stand with pride next
to the great jazz musicians.

Nigerian born he came to Dakar through Bamako & left his mark from the first night he arrived in the city with the GUINEAN JAZZ, in 1957. Later he played with the STAR BAND de DAKAR & finally with the SUPER STAR de DAKAR where he made a great duo with the singer LABA SOSSEH in the club À l'Etoile

Live À l'Etoile features many great Afro-Cuban classics, two
killer boogaloos and a cover of Wilson Pickett's "Something You Got". The recording also shows for the very first time the capacity of Dexter after the departure of LABA SOSSEH. This gave him the opportunity to become the absolute frontman & to have the singers JOHN GOMIS,
WILLIAM & MAISSA NGOM accompany his tenor saxophone.

The 2LP comes out in a deluxe '60s style cover with a bonus track &MP3 download code. Both LP & CD booklet includes photos & linear notesoutlining Dexter's musical career. We hope you will enjoy.

01. Angelitos Negros
02. Para Que Bueno
03. Mayeya
04. Something You Got
05. Soy Hijo Del Siboney
06. Caminho de São Tomé
07. Borinquen Tropical
08. Mujer de Oriente
09. Guaguanco a Mantilla
10. El Corazon
11. Malonga
12. Soy El Rey

Fatima Al Qadiri is a multidisciplinary artist and musician from Kuwait. In just a few years, she has quickly built a reputation as a conceptual artist, exploring themes informed both by her own background and global pop culture, through a number of highly acclaimed EPs, multimedia projects and writings. She is also a founding member of the production team Future Brown. Fatima's debut album is called 'Asiatisch', and as the track titles suggest, the record provides a simulated road trip through an imagined China. Musically, the album is an homage to that quietly influential sub-strain of grime, often loosely termed 'sinogrime' due to its preoccupation with Asian motifs and melodies, pioneered by the likes of Wiley and Jammer at the beginning of the 2000s in East London. 'Asiatisch' is a provocation which asks more questions than it answers. The title is the German word for Asian. Unlike its title, however, the music on 'Asiatisch' revolves around the fantasies of East Asia as refracted through pulpy Western pop culture, in particular Hollywood, literary fiction, music, cartoons and advertising. Fatima asks what is meant by the term 'Asian' in a digital age of viral interchange and the hi-speed trading of cultural bytes; the concept of 'shanzhai' proves pivotal, a term whose meaning stems from a wild, out of control zone of banditry, but which has come to be used to refer to the Chinese counterfeiting of Western brands and goods. While a number of producers have made takes on 'sinogrime' over the last few years, 'Asiatisch' is really the first record that attempts to articulate this weird complex of sonic interchanges between the West and China. With the exception of the opening track, 'Shanzhai', a haunting cover of 'Nothing Compares to You' with nonsensical Mandarin lyrics, and the shimmering 'Loading Beijing', 'Wudang' and 'Jade Stairs' which sample and distort classical Chinese poetry staging an epic confrontation between China's ancient soul and the onslaught of the industrial factory machine, most of the tracks blend mallets, bells, gongs, flutes, steel drums and choral atmospherics with the searing synth-brass and the skittering drums of grime, playing melodies that are inflected as much by classic R&B as to synthetic versions of traditional Chinese music. On "Dragon Tattoo" for example, stereotypical iconography of imagined China is slotted into a threatening, robotic R&B format. The carefree pirating of Western brands blurs into a soft-synth pirating of Chinese musical signs.'Asiatisch' is wrapped in pristine artwork by Babak Radboy from Shanzhai Biennial, and the music was given a 3D sheen by in demand mixer Lexxx. Proclaiming both its love of both ancient and imagined China, 'Asiatisch' is a rare album that is both icily beautiful and conceptually layered.

Like the parent label, Optimo Trax will release music by new artists and excavate forgotten classics.
Optimo Trax is an offshoot label of Optimo Music for tracks aimed at DJs/dancefloors. Yes, we know there are too many record labels already, but we felt an overriding desire to start another one as so much music that didn't seem quite right for Optimo Music (i.e. music that was specifically designed for dancing) kept coming our way. Like the parent label, Optimo Trax will release music by new artists and excavate forgotten classics.


Michele Mininni is from Southern Italy where he says people are not interested in his type of music so he was forced to reach out to Glasgow where it turns out some people most defintely are. Citing his influences as kraut, post rock, new wave and electronic amongst others, this is his debut release and most accomplished it is too. Lowering the tempo somewhat compared with previous OT releases, Tupolev Love is a sub 100bpm cosmic trancer while Telekomdisko raises the tempo and heads off into sun drenched space territory. The EP is completed by Michele's fellow countrymen, Boot & Tax's great acid-inflected remix of Tupolev Love.

01. Best Day Of My Life (Single Version) - American Authors
02. Best Day Of My Life (Gazzo Remix Extended) - American Authors

16° volume for this incredible serie, firmed by KAY RUSH, the RADIO MONTECARLO DJ, also this time with HARLEY & MUSCLE. Best dance music for coktails & chic DJ sets . In this number Miguel Migs, Chris Forman, Nina Provencal, Harley & Muscle, Sandy Rivera, Quell, .... and many more !!!

CD:1 UNMIXED
01. JULIUS PAPP & LISA SHAW 'MIRACLE' jarred's quiet storm mix
02. MIGUEL MIGS feat. MESHELL NDEGEOCELLO 'TONIGHT'
03. FRED EVERYTHING 'STREET LUV' original mix
04. DJ KENT feat. NANDI MNGOMA 'BREEZE'
05. HARLEY&MUSCLE feat. MR.V. "HOUSE MUSIC"
06. GORGON CITY feat YASMIN 'REAL'
07. KLEMENT BONELLI feat. ROBERT OWENS 'WILD' rocco remix
08. THE LAYABOUTS feat. PORTIA MONIQUE 'COLOURS OF LOVE' the layabouts vocal mix
09. CHIEKO KINBARA feat. JOSH MILAN 'HIGHER LOVE' souldynamic vocal remix
10. ROCCO feat. KHENSY 'STILL WATER' original mix
11. YOUSEF feat. CHARLI TAFT 'I SEE'
12. RALF GUM feat. JON PIERCE & KAFELE 'NEVER' louie vega eol mix
13. NINA PROVENCAL 'SOUL SAVIOUR' bang the drum vocal mix
14. KENNY SUMMIT & REELSOUL 'THE RIGHT WAY' original

CD: 2 UNMIXED
01. DJ KENT feat. MALEHLOKA HLALELE 'FALLING' black coffee remix
02. LEM SPRINGSTEEN feat. JAMELLE J. 'SELFISH LOVER' deep french vocal mix
03. HARLEY&MUSCLE feat. KENNY BOBIEN "I LOVE YOU"
04. THE LAYABOUTS feat. IMAANI 'FEARLESS' andreas saag holy remix
05. TORTURED SOUL 'I MIGHT DO SOMETHING WRONG' quentin harris cheating re-production
06. AUDIOWHORES 'FACTS' feat. STEE DOWNES original vibe
07. TIMMY REGISFORD FEAT. LYNN LOCKAMY 'AT THE CLUB' sean mccabe's slummin mix
08. QUELL 'ARMY OF LOVER' miles maeda mix
09. CHRIS FORMAN feat. TERRANCE DOWNS 'I LEFT IT ON HI' no-solo mix
10. STEVEN STONE & WENDY LEWIS 'NEW LADY' n'dinga gaba remix
11. COLETTE 'HOTWIRE' sonny fodera classic mix
12. DOLLS COMBERS feat. JAMES LAVONZ "THIS AIN'T REAL" deep xcape mix
13. SANDY RIVERA feat. L.Z. HALL 'IMAGINABLE' sandy rivera & c. castel's liquid mix
14. TAVO 'I'VE BEEN WAITIN' FOR YA' club mix