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A dancefloor 12" rooted in the Latin diaspora, w/reworks of Los Amaya's "Catalan Rumba", Los Amaya's "Catalan Rumba", Rafael Cortijo's "Sorongo", Dom um Romao's "Ginga Gingou". Mucho Gusto!

JUMP UP's "78RPM style" 10" calypso series returns with a 10 track LP from France's KING PEPE, who revisit Latin and Afro-Caribbean music perfectly! It's a journey through time, from Trinidad to Jamaica, Bahamas to Columbia, and through the banks of the Mississippi. Mento/Goombay/Mambo/Highlife.

Country Soul Sisters is a second guide to the great female country singers who helped define a musical genre as artists such as Dolly Parton, Loretta Lynn and Tammy Wynette attained staggering commercial success in the previously male-dominated musical world of country music.
As well as extensive sleeve-notes the accompanying large outsize booklet also includes stunning photography from the Getty picture archive. The album features a stellar line-up of classic female country artists - Tammy Wynette, Dolly Parton, Loretta Lynn, Bobbie Gentry, Kitty Wells, Wanda Jackson and many more.
Female country artists fought hard for equal rights for women in their songs, their careers and their personal lives. Whilst groundbreaking artists such as Kitty Wells and Patsy Cline paved the way for female empowerment in the 1950s, it was in the 1960s that artists such as Dolly Parton, Loretta Lynn, Jeannie C Riley and Tammy Wynette first achieved great commercial success - a moment in time coinciding with the rise of both the women's liberation and the civil rights movements.
As well as the slipcase CD edition there is also a limited edition heavyweight double gatefold vinyl edition complete with full sleeve-notes and super-loud pressing.

This EP tells the story of an encounter between two jazz lovers and record collectors, two producers with different stories and approach to music creation

Gerardo, whose contributions to italian jazz scene went far beyond Italy's border, needs no introduction to Schema's fans.

Maurizio Bonizzoni hails from a tremendous hip hop background - under the name of Skizo, he literally paved the way for the develop of italian hip hop culture founding in 1984 "Radical Stuff", the first italian hip hop group and producing artists and crews like Genta Guasta, Frankie Hi-Nrg and Alien Army just to name a few.

The two producers met on the shared love for jazz and "real" music.

Respecting this vision, the music we present here represents the producers' ideal blend of electronic, music played by real musicians and a refined used of samples.

After a prolific studio session where they started working on some ideas, the EP had been mixed and mastered at Schema's Blue Spirit studio.

"Voices Of The Jungle" recalls Gerardo's trademark sound, a perfect mix of Afro-Cuban influences and 4/4 House rhythm ideally set in a true jungle where percussions, vocals and piano make you lose direction.

"Orient" reflects a taste for exotic atmospheres, mystery and adventure. The mood is slightly melancholic and evocative, with a catchy groove.

Jacek Sienkiewicz Already 32nd release on Recognition Records is a very special one - as two great individuals join forces for a pretty special cause. Produced together with the Goethe Institut in Warsaw, the records aims to celebrate 200th anniversary of the birth of Richard Wagner - the extraordinary composer, whose attitude towards any contemporary music medium was as much shocking, as inspiring. The label boss Jacek Sienkiewicz invited his companion Uwe Schmidt (known also as Atom ™, Atom Heart, Senor Coconut and a myriad of other disguises) to take a look at Wagner's work - and here we are, with two totally different, but equally challenging variations on a theme. Atom TM's tune is a majestic, classically-composed ambient piece, inspired by the famous Tristan Chord from Wagner's opera, 'Tristan & Isolde". This track goes a way from quiet to almost bombastic, and for any means dramatic, which makes perfectly sense here. A serious, somewhat sordid, electronic tale of loss and separation, driven to o point of stubbornness rather than resignation, it fits the theme perfectly, at the same time being a very special addition to Atom's vast catalogue. On the flipside, Jacek Sienkiewicz goes all deep techno in his epic 'The Phantom Of Bayreuth". So much different than Warsaw producers' recent, complex work, it goes straight for some haunting string arrangement, soon underpinned by a muffled, minimal groove. Both main layers shift and intertwine, illustrating, as Jacek puts it, 'the struggle, the drama, the passion one can find in Wagner's music". Neo-classical approach to a modern club rhythms Stripped-down Romantic machine music

Hailed by the New York Times as 'a bold new-music
interpreter and the violist of choice among downtown
ensembles these days,' violist Nadia Sirota has been praised
for her 'command and eloquence,' (Boston Globe) and for
being one of New York's 'brightest, busiest players' (Time
Out New York). She is best known for her unique
interpretations of new scores and for commissioning and
premiering works by some of the most talented composers of
her generation.

On Baroque - her Bedroom Community debut - Sirota
brilliantly performs six new pieces for viola & electronics by
acclaimed composers Judd Greenstein, Shara Worden, Missy
Mazzoli, Nico Muhly, Paul Corley and Daníel Bjarnason -
with the help of James McVinnie, Valgeir Sigurðsson and
more.

---

Sirota has previously released First Things First, which was a
New York Times record of the year. She has performed with
and for composers and groups such as The Meredith Monk
Ensemble, yMusic, Max Richter, Jóhann Jóhannsson, The
Swell Season, Grizzly Bear, Jónsi, The National, Ratatat,
Arcade Fire and many more as well as having been the go-to
violist of Bedroom Community since the very start.

new and live - legend
2 CD

Syclops is trio Sven Kortehisto, Hanna Sarkari and Jukka Kantonen. First to appear on a Bubble Tease 12 in 2001, followed by two singles for Tirk and finally with the debut album 'I've Got My Eye On You' on DFA in 20

Ocinando is one of the great lost LPs from Peru. In fact, it is one of the more rare releases from the prolific Discos MAG. Its style encompasses the many different tropical styles that were popular in Latin America in the late 1960s and early '70s. Martin Lopez was at the helm, and he hand-picked only the top musicians to play on his recordings. However, the amazing musicians that frequented the MAG studios could also be tapped for session recording as needed.
This record is a scorcher, and is in many ways a true piece of Peruvian musical history. This LP introduced the name of Martin Lopez to the ever-growing tropical music lexicon of the Peruvian public. He would later go on to form GRUPO NARANJA, which would become very famous for playing cumbia (and later on, salsa).
*During the time period this LP was recorded, Martin Lopez was living a double life. During daytime hours, he was a police officer known to his colleagues as Pedro, but when night fell, he took on the name Martin, donning aviator sunglasses, which would obscure his face while performing live music. Playing music as a police officer was considered unethical and borderline illegal at the time, and he would later lose his job over this.
*This LP boasts liner notes written by Martin Lopez himself, as well as tons of very rare photos. Masstropicas and Light In The Attic are both very proud to present and share this reissue, which was taken directly from the original master tapes and was remastered in 24 bit/96 kHz for the ultimate sound experience. We hope you enjoy it, and may this open the doors to a new world of music for uninitiated listeners.

Multi instrumentalist Gregor Schwellenbach took 20 label classics and re-recorded them as chamber music. Comes in a CD mediabook with 44 page booklet.

In 20 Jahren KOMPAKT ist so ziemlich niemandem langweilig geworden; stets wusste das Kölsche Label seinen Platz zwischen den Stühlen geographisch wie stilistisch zu behaupten. Das verdanken wir all jenen großartigen - und vor allem äußerst unterschiedlichen - Künstlern, welche ihren Weg in zwei aufregenden, manchmal aufreibenden, immer inspirierenden Dekaden zu uns gefunden haben. Aus dem Grenzland zwischem gefühltem Pop und fröhlicher Wissenschaft stößt nun auch der Kölner Multi-Instrumentalist GREGOR SCHWELLENBACH hinzu, der 20 Label-Klassiker aus dem Tanzgestein herausgelöst und sie unter kammermusikalischen Bedingungen neu eingespielt hat.

Die raffinierten Arrangements, die der studierte Komponist GREGOR SCHWELLENBACH für alles schreibt, was klingen kann, schmückten bis dato vor allem die Theater-, Film-, Funk- und Fernsehlandschaft. Nun hat der Herr über 1000 Instrumente eine populär-experimentale Expertise zum KOMPAKT'schen Repertoire erstellt und einige der sich dort zahlreich verbergenden elektronischen Evergreens radikal umgetopft. Nicht nur Liebhaber der musikalischen Synthese dürften sich verwundert die Ohren reiben, wenn landein, landaus eifrigst betanzte Technokracher wie etwa Voigt & Voigt's 'Vision 03' oder Mayer/Voigt's 'Unter Null' plötzlich als melancholische, beatbefreite Piano-Miniaturen das Frequenzspektrum umgarnen.

Dabei gehen dem Multitalent ebenso versierte Gastmusiker zur Hand, die ihre Persönlichkeit und Virtuosität in den Dienst der etwas anderen Sache stellen:
Mit Star-Flötistin DOROTHEE OBERLINGER etwa ist regelrechter Klassik-Adel vertreten, aber auch der Gitarrist CHRISTIAN BUCK oder die Harfespielerin JANE BERTHE sind anerkannte Größen ihres jeweiligen Gebietes und sonst zu hören als begnadete Interpreten von Steve Reich oder Claude Debussy. Von Instrumentenseite wird ebenfalls Verblüffendes vermeldet, z.B. die Verwendung eines seltenen DDR-Tasteninstruments namens 'Weltmeister Basset' für Kaito's 'Everlasting', das hypnotische Raunen eines alten Studio-Harmoniums auf Closer Musik's 'One Two Three (No Gravity)' und die epische Wucht des im Kölner Rautenstrauch-Joest-Museum befindlichen Gamelanorchesters 'Kyai Sabda', welches für Voigt & Voigt's 'Gong Audio' zum Einsatz kam.

Kompakt's Waffe der Wahl war zumeist die gerade Bassdrum, ihre minimalistische Schönheit unsere Dialektik. Doch strenge Diskurshüter eines imaginierten Grals, das wollten wir nie sein und das hat auch Gregor erkannt, der jedem der ausgewählten Track eine neue Stimme gibt, um neue Geschichten erzählen zu können. So stellt er mit überraschend umformulierten Akustikversionen, etwa von Jürgen Paapes 'Triumph' (für präpariertes Klavier), Justus Köhnckes 'Was Ist Musik' (für Streichquartett) oder Closer Musik's 'Maria' (für Klavier) gewagte Behauptungen auf, zieht unerwartete Schlüsse und schafft es doch jedes Mal wieder des Pudels ursprünglichen Kern - die Melodie, die Hookline, das Gefühl - in neuem Glanz erstrahlen zu lassen.
















Blasorchester der Musikschule Frechen

Presenting the unique sounds of Steaua de Mare
Back in December 2012 we brought you the 'Sounds of the unheard' from our Romanian ambassadors Future Nuggets. The compilation gained plaudits from across the globe and was even named by Andrew Weatherall as one of his compilations of the year.
Steaua de Mare featured heavily and the band was instantly noted for their Smokey psychedelic sound.
The whole concept of Steaua de Mare was founded on past sounds and the bygone entertainment rituals which existed before the 1989 revolution (that atmosphere extended well beyond and into the nineties). Steaua de Mare was a sixties seaside complex in one of the now fading Black Sea resorts Eforie Nord. As people relaxed in the sun and ate good food, traditional songs were played by restaurant bands which gave Steaua de Mare the idea to pay homage to this way of life by combining the sound of that era together with the new recording techniques of today.

The band: Bogdan Stoian (violin, synths) Andrei Dinescu (percussion, drums, violin, synths)

Ion Dumitrescu (bass, synths, drum-machines, drums) Horat,iu S, (synths, electric piano) Eugen Imecs (drums, percussion) came together after many years of jamming and decided to pool all resources together in two different studios around Bucharest.

Their unique sound comes from many directions. They bring elements of Prog, dub, psychedelic rock and contemporary gypsy music (Manele) mainly from Romania and Bulgaria into the mix. If you then add that they are irreversibly contaminated in analogue and early digital sounds then maybe you have a passing image of this hybrid sound.

Manele ("manea" originally meaning "Turkish song" in Romanian) is a musical genre (already known worldwide) that has engulfed the whole Balkans in the past twenty years and is just about to produce even more new hybrids. It has already spawned mature voices and local hero's such as (Dan Armeanca, Adrian Minune, Florin Salam, Vali Vijelie and Dan Dra(ghici).Manele goes under different names in countries around Romania and with delightful differences for each Balkan region, it is associated with contemporary gipsy wedding music but this is a style that has already breached the borders.
Steaua de Mare add a unique twist on local standards with the help of Roland Juno 60, Yamaha CS-5, Elektronika EM-25, Junost-21, Poly 61 and their beloved Wurlitzer electric Piano. A wide range of influences from Can to Ork Universal, from psychedelic attitudes, kraut adventures to outer national delights like Bulgarian Chalga. We truly believe that there is no other sound like Steaua de Mare right now.

Limited to 300! including Hugo Bocca Remix on B Side.

The debut album "Móntate en el Viaje" is in the pipeline: future sound from Colombia! An explosive sound cocktail Fredo himself calls 'psychedelic electrotropidub'. As the album's title ("Join the trip") promises, CERO 39 sends us on a voyage between time and space and into various sound spheres. Fredo's three special ingredients are dub, electronica and tropical sounds, especially in the form of cumbia. The styles are perfectly combined on the album.

It all began in 2007. The musician, DJ and producer Mauricio Alvarez alias 'Fredo' from Medellín packs his things for a long journey to the north of Colombia. His destination: Barranquilla, the largest port of the country's Caribbean coast. The region surrounding the Rio Madalena is a cradle of cumbia. He carries with him his production gear: computer, synthesizer, effect devices and recording equipment. There he meets countless musicians and singers from the region, among them many of the unforgettable cumbia and vallenato legends from the 60's and 70's. After one year of innumerable recording sessions, inspiring encounters and impressions, he returns to Medellín. His creativity knows no more boundaries. He becomes a sought-after arranger and remixer in the field of cumbia digital, and his mixes of Bomba Estereo, Cumbia Cosmonauts, Matia Bazar and the ZZK artists Tremor and El Remolon are celebrated in the world-wide future bass scene. His first EP 'Volador' was released in 2011 on the small Chilean label KONN Records. The unique productions receive increasing attention. Before Fredo can concentrate on bringing his album to completion, he is receiving invitations to international festivals such as 'Congreso Iberoamericano de Cultura' (Medellín), 'My World images' DNK (Denmark), 'festival Cervantino' (Mexico) and 'Latin Alternative Music Conference' LAMC (New York), as well as clubs in Washington and Miami, with the project CERO 39. Now finally, the debut album 'Móntate en el Viaje' is in the pipeline: future sound from Colombia! An explosive sound cocktail Fredo himself calls 'psychedelic electrotropidub'. As the album's title ("Join the trip") promises, CERO 39 send us on a voyage between time and space and into various sound spheres. Fredo's three special ingredients are dub, electronica and tropical sounds, especially in the form of cumbia. The styles are perfectly combined on the album. While the album opener 'Me encontré con Nicomedes en Paris' and the songs 'Morenita' and 'Junto al mar' are characterized by dubby basslines, delays and downbeats, 'Oie tú', 'Estate Cumbia' and 'Camila', with their moombahton and cumbia digital accents, are great tracks for the dancefloor. The voice of young singer Alexandra Arciniegas stands out in the songs 'Bye Bye' and 'Vamos'. Her style of singing mixed with the effects is reminiscent of early M.I.A. recordings. The single 'Bye Bye' will be released 26th of April 2013 in all online stores such as iTunes, Amazon and Juno Records along with 5 remixes by moombahton master DJ Sabo, New York's beat surfer Thornato, Copia Doble Matador Copyflex from Copenhagen, the the Cumbia Cosmonauts and dub artists liquid Rockz from Hamburg. Album with heavy 13 tracks will be released 20th of Mai.

The second in a new series of vinyl and download only releases, "from the archives...". The first, Islands Inbetween, was originally released on cassette in 1983. The second in this series, "Drumming for Creation" [Touch # T33.3V] is now available on vinyl. Originally released on cassette in 1985, this edition focuses on the recordings of Walo Shatan Gwari. The ensemble, led by Malam Walo, belongs to the Gwari people of Niger State. The performances, at London's Commonwealth Institute, also encompassed drumming sessions and instrument-making workshops...

DJ Roberto Lodola presents third 3rd edtion of " Mondo Blu ". Great Afro Funk / Disco 70's selection. 22 tracks dedicated to one of italian historical club. Roberto is a wellknown propoter of this kind of sound !!!

Initiated by DJ & visual artist Yu Sato (Lex Records), the devilish Malphino have been spreading their raw, earthy blend of Cumbia, Forró, Samba and cinematic Exotica throughout London since 2010.
This is their first 'studio' effort - recorded live at Catapulte's basement on a 2-track tape machine - featuring 3 original instrumentals and 3 beautifully sung vocal tracks (including José Barros's classic 'Navidad Negra').
While Alex Barrow's accordion and Graham Mushnik's organ deliver their merciless riffs, the rhythm section - percussion, acoustic guitar and a mad tuba - keeps the groove going. Rather than opting for the trendy psychedelic sounds of echoey guitars and synths, Malphino went for a more primitive approach with clear influences from early jazz, 50's mambo and film soundtracks (live, they often cover Nino Rota and Piero Piccioni). A catchy, soulful and butt-shaking 10' vinyl that will keep your hips busy 'hasta Lunes'!

Easy Does It is the eleventh solo album by Isabelle Antena, originally issued in 2005. Produced by Isabelle and Denis Moulin in the south of France, Easy Does It was her first pure bossa record, featuring nine new original songs as well as interpretations of classics by Henry Mancini and Antonio Carlos Jobim.
*It remains one of her most popular albums. Says Isabelle: 'The first song I recorded, The Boy From Ipanema, was a bossa track, and on every album since I have included a bossa number. I've always been very close to Latin music, maybe because I'm Mediterranean myself. The title of the album also describes my nature, and anyway I'm proud to create and listen to so-called 'easy listening' music. Having said that, some of the songs have also been missed by young DJs from around the world.'
*Bonus disc Issy Does It features eight pin-sharp remixes by luminaries such as Thievery Corporation, Buscemi, Nicola Conte, Yukihiro Fukutomi and La Malice.
 
Full Tracklist:
Disc 1:
1. Nothing to Lose 2. Moonlight Dancer 3. A Rainbow (Can't Be Forever) 4. O Sapo
5. So Tinha De Ser Com Voce 6. Omerta Bossa 7. Stars 8. Your One and Only
9. Easy Does It 10. Aguas Calmas 11. Fresh 12. Obrigado 13. La Pécheresse à la ligne
14. Sweet Kiss
 Disc 2:
1. Nothing to Lose (Thievery Corporation Mix) 2. Omerta Bossa (Nicola Conte Mix)
3. La Pécheresse à la ligne (Buscemi Mix) 4. Easy Does It (La Malice Mix)
5. Fresh (Yukihiro Fukutomi Mix) 6. The Star System (Dr Drak Mix) 7. Your One and Only (Musiq for Pleasure Mix) 8. Spirituosi (Este Samba) (Shape Mix)
 

Limited edition vinyl LP in a handmade leather sleeve, with die cut cover and gold foil stamping.


DJ Day's second album finds him at his most experimental and ambitious. Though the album spans diverse genres from instrumental rock and jazz to straight-forward hip hop, it remains firmly rooted in the outsider beatsmith field Day helped pioneer with his seminal 1998 release "The Day Before" (MPM, 2008).

On 1000 Chances, Day mines a set of emotional and deeply personal events to procure a swirling mixture of samples and live playing. Executive produced by legendary Thes One of People Under The Stairs and accompanied by Kat Ouano (Crown City Rockers), Ken Belcher and a host of other top players, the album transcends the beatmaker genre and becomes a living opus. An honest, and beautiful instrumental album that is already becoming a favorite of critics
worldwide:

"Something in the energy of the desert, a magical and funky energy, just permeates through the veins of DJ Day. And you hear that in his music - it's beautiful and thoughtful and spiritual and it's a aural window into the soul of this dude. Decidedly 21st Century yet still harkens back to all the decades of history and inuence of everything that came before it. Truly gorgeous music and it strikes me to my core each time I listen to it." - Cosmo Baker (The Rub)

"Introspective yet candid. In Day's 'Land Of 1000 Chances', there's a sincerity that bares itself in every beat and live instrument throughout this masterwork, as crisp and vast as a desert night. In the current climate of over-enhanced production, Day refreshingly strips it down, leaving the natural beauty of his arrangements with no makeup - no overstating of themes, rather implying or alluding in a way that reveals itself in multiple listens. While produced in essence from a b-boy approach, there's a maturity and bravery that glows from this record, down the shady and sunny paths of his life." - Jeremy Sole (89.9 KCRW, Los Angeles)

Containing 13 rare and some very sought after recordings from Burkina Faso. Rich and fascinating stuff! The release comes with extensive liner notes and an insert with photographs of the original 7 inches the release was compiled from... TIP!
Until recently not much was known about music from Burkina Faso, formerly called the Upper Volta. It is still one of West Africa lesser known forms of popular music. A few years before the country changed its name to Burkina Faso, thanks to Thomas Sankara's dream for a new society, Voltaic music emerged as some form of true cultural revolution. Remote, poor and isolated, Burkina Faso looked to the orchestras and artists from neighbouring countries such as Mali, The Ivory Coast, Ghana, Togo and Benin. Located at its northern border, Niger is the only other West African country whose music stayed as isolated as the music hailing from Burkina Faso. Most of its bands and artists hail mostly from Ouagadougou and Bobo-Dioulasso. They infuse some of the rich local traditions, such as mossi dances or dioula singing, with afro-cuban flavours, American rhythm'n'blues, French pop or Congolese rumba. Electric guitars and organs swirl around balafon and solid horn sections. Despite the fact that the 1960's and 1970's Upper Volta lacked a proper recording studio and record pressing plant, there was a great deal of popular music produced in the country from the late 1960's to the early 1980's, mostly on seven inches.

With over thirty 7 inches released, Bobo-Dioulasso's Volta Jazz is the most prolific of those Voltaic bands. One of their hymns, composed and sung by sax player Moustapha Maiga is Djougou Malola. Praising Bobo and its inhabitants, this amazing bolero embodies perfectly the thinness, remoteness and grace of modern Voltaic music. On the same emotional level, Nogleem Nooma is one of the loveliest ballads to have come out of Burkina Faso. A short instrumental number Killa Naa Ye Killa displays the masterful playing of Semporé, perfectly at ease with his tenor saxophone, his flute and band direction.

Hailing from Sifarasso in south west Burkina, Richard Seydou Traoré is one of Burkina's most elegant musicians, Rassemblement is a tongue in cheek number nodding to American jerk rhythm with military orders sung in French. A close friend of Traoré, Jean-Bernard Samboué belonged to the same generation of students coming of age in the early 1970's. Aïcha stands certainly as his best song. With the help of his band, Mange Kondé recorded three singles released under his own name. Beni Idjananko is reminiscent of the great mandingo songs from Guinea. Warm and fierce, Woulouni displays some exceptional groove virtues. Born in Boulsa in 1947, Pierre Sandwidi is one of the most beloved Voltaic stars. One of his stronger moment, the infectious Yamb Ney Capitale benefits from the participation of Super Volta musicians. A true highlight of Voltaic music, Super Volta's La Guitare de Tinga displays the masterful guitar playing of Désiré Traoré and the artistic maturity of one of Burkina's best bands. The same musicians are to be found on Abdoulaye Cissé's Jeunesse Wilila. He reached for fame in 1974 with A Son Magni, one of CVD first 7 inches while the b-side, L'homme à la Guitare gave him an instant nickname. In 1976, he recorded another four song session, done live at the Maison du Peuple with a simple Akai tape stereo recorder. A true masterpiece and a generational hymn, Jeunesse Wilila is an ode to the empowerment of the youth to build up the country, fifteen years after its independance. A perfect blend between afro-funk and afro-beat, Deny tologuelen is the last release of the Volta Discobel, just after owner Master Boureima's death. Intense, fresh and full of creativity with vocal interjections one could think might stem from Jean Rouch's cult movie Cocorico Monsieur Poulet, it is a true and unsung masterpiece.
The Authentique Dafra Star de Bobo-Dioulasso had the opportunity to record two full albums and a dozen singles, almost released locally on the Music Hall record label. One of the highlights of the band's repertoire is Ram Pasonayé, sung with passion by Siaka 'Elvis' Ouattara. In the same league as the Dafra Star, Echo Del Africa was one of Bobo's finest bands. Six years later, this band was able to release their first 7 inch in August 1974 under the brand Discaf, owned by Antoine D'Albin, one of the band first singers. The next release is the politically correct 1975, Année De La Femme, sung by bandleader José Thiono-By. On the b-side, the fierce younger singer Youssou Diarra stole the show with Yiri Wah, one of the hardest sounding songs from Burkina Faso in the 1970's.

Brownswood Recordings are delighted to announce the release of their sophomore album Power Punch, coming out on Brownswood Recordings on April 8, 2013. Exploring new influences from techno to electronica, the Nairobi / London based band continue to also embrace the sounds of East Africa.

The Owiny journey began back in 2009 when five London musicians, Jesse Hackett (vox / keys) Louis Hackett (bass), Sam Lewis (guitar), Chris Morphitis (bouzouki/guitar) and Tom Skinner (drums) first travelled to east Africa to record with Joseph Nyamungu, a Nyatiti master musician, and Charles Owoko, a Luo drummer.

The resulting record Owiny Sigoma Band was released in 2011 and saw the band perform at a number of top festivals including Roskilde (Denmark), WorldWide Festival (France) and Dour Festival (Belgium).

This time, Owiny Sigoma Band reversed the dynamic. The UK based musicians invited Joseph and Charles to record in London in the summer of 2012. Introduced to variety of new influences and confronted with a different recording environment, the Kenyan musicians were left invigorated. On hearing shangaan electro for the first time Charles insisted that the band played at even higher tempos. Fierce, hand-played nyiduonge drums can be heard beside Tom Skinner's dextrous stick work. Joseph's Nyatiti (a Kenyan classical instrument) is sounding at home amongst groups widening influences.

Power Punch deftly straddles continents, steering through the Luo influenced Nagalo Ni Piny Odag to acid basslines in Owiny Techno and onto the Afro pop of Harpoon Land.

TERANGA BEAT proudly presents DIEUF-DIEUL de THIÈS in their first ever edition. Three singers ASSANE CAMARA, BASSIROU SARR and GORA MBAYE together with their chef d'orchestre and guitar player PAPE SECK (an ex-member of GUELEWAR) compose traditional rhythms from all the regions of Senegal, with fuzz guitars, horn sections and hallucinatory percussion. The result is an explosive mixture of an Electric Psychedelic sound with the wisdom and superiority of the musical traditions of the region, a crossover of AFRO-MANDING and AFRO-JAZZ, in which each singer guides the 13-member band in a different direction.
Even today this 32 year old recording sounds futuristic and it is really rather weird that DIEUF-DIEUL never had the chance to release an actual album. Aw Sa Yone Vol.1 includes the biggest part of their second recording and the double LP comes in a special edition with a Silkscreen print cover with a large poster & included in the CD booklet photos and liner notes outlining the group member's careers. There was no other group in Senegal with such a variety of cultural background and a strong identity. Senegalese music at its BEST! We hope you will enjoy.

Dirty Dubsters Debut album: 'Fire it up' is the combined studio efforts of Dublin's DJ OBese + Jay Sharp. The two have been making all manner of Reggae-style Bass Music since May 2009. The album enlists the vocal assistence of MC's and vocalists from Jamaica, UK, USA, Canada and Ireland.
Since the first single which landed early this year 'Fire it up' has garned much support already with an official video for the title track with UK Hiphop Don MC Mystro which has landed on many blogs such as Monkey Boxing, Tropical Bass and getting airplay from RTE Pulse, Ireland and BBC Radio 1 UK while, the second single with Jamaican Dancehall veteran Burro Banton landed on the hype machine, Hot Press and Mad Desent blogs among others. The album sets out to represent the various genres the Dubsters like to represent in their DJ shows all with the trademark Reggae stamp on it.

Field recordings of the Mijikenda tribes, made in different spots in and around Mukunguni village, coastal Kenya, throughout September 2011: mostly healing music (especially for mental problems), but also love-songs, and spiritual contributions to weddings and burials; mostly in the Sengenya style which evolved in the early twentieth century, adding pace, new Tsikitsi rhythms and extra drums to the traditional Dumbwi forms of the Duruma tribe.Besides the Sengenya drums — bumbumbu, dahdahe, chapuro, vumi, ngoma — there are lungo and dena (metal rings), kayamba (raft rattle), njunga (bells), ukaya (metal tray), bamba (metal guiro) and bottle-tops. Our album opener is solo dena, played to sound like a bat and heal the village sick, with the ear for frequency and timbre of a stringent minimalist. There are the piercing, reeded nzumari oboe and bung'o horn, sounding like fierce free-jazz improvisation; and two gently stunning marimba solos, with complex, overlaid melodies and rhythms, played in polyphonic accents, almost like talking drums.Most of the recordings here are songs, with strong tunes, robustly delivered, different solo voices leading the group — to heal; to chase away Pepo Mlume, the devil who poisons the imagination; to get you on your feet, dancing; to celebrate dowry payments and weddings; to bring the Mijikenda cultural inheritance to life. Matatizo — 'Worries' — was recorded spontaneously at a bus-stop, waiting for a ride: it's a Swahili love-song, with a plaintive female vocal performed to the accompaniment of five or so people rubbing their palms together in tight rhythmic patterns. 'The lord conferred this love on us, my sister. Is it human, or from the angels Flowing out of binoculars... or computers I can't figure it out, but my heart aches so badly.'
The vinyl set is two ten-inch records, plus the CD, in a gatefold sleeve. Besides photos, both formats contain the musicians' own introductory notes, snatches of translation, and brief track-by-track commentary.

two great dancefloorfriendly songs with brazilian beats and hip hop attitude by ANDY TAYLOR !

Shango by Peter King is an album loaded with history. Originally recorded in 1974 in a Camden studio session funded by money from a TV soundtrack recorded by King a few years earlier, it remained unreleased for close to 30 years despite King releasing five albums in the years that followed, the band touring America, Europe and Japan and King establishing himself in the West as one of Nigeria's finest multi-instrumentalist. It finally saw release in 2002 by which point King had returned to his homeland to found the Peter King College of Music and continue his lifelong dedication to seeing 'how far I can go with Highlife fusion.'

Musically the album is equally loaded. Headed by King, who wrote and played saxophone and flute, the band included David Williams on bass, Paul Edoh on congas, James Menin on drums, Arthur Simon on guitar, Mike Falana on trumpet and Humphrey Okoh-Turner on alto sax. Together they fused funk, jazz and afrobeat and added hard-hitting vocal messages including calls for freedom in Africa - album closer Watusi is about the struggle for freedom and democracy in Angola during the 1970s - and references to African history and the Yoruba religion. Shango is the foremost Yoruba deity, god of thunder and storms, and on this album his energy is clearly channelled into the horn lines and devastating grooves found throughout the eight tracks.Having stood the test of time for close to 40 years, Shango is a lost classic and one of King's finest, most refined works. It is being re-issued by Mr Bongo's Classic African Recordings series.
The LP features fully reproduced original artwork and heavyweight 180 gsm vinyl.

It's the SKA BOOTS series! Check out these 2 TONE sounds from DURY's early BLOCKHEADS period with "ENGLAND'S GLORY" recorded LIVE IN AMSTERDAM, plus rare KILBORN & HIGH ROADS 1975 studio cuts: "THE CALL-UP" and "THE ROADETTE SONG". 2 TONE mocked art of course!

This album is the work of the highly artistic Ukrainian anti-totalitarian gang "STALIN UND HITLER KAPUT" led by anthropology professor OREST LYTIY. The first album of the project "TENDER UKRAINIZATION" in which most odious Russian pop songs are "Ukrainised". Fans of GOGOL BORDELLO should check it out. Picture sleeve with CD. (SALT PORK) WORLD HEADZ
NOT RECOMMENDED LISTENING TO THIS ALBUM â€' to the grumpy people with the syndrome of the soviet imbecility, people with a lack of culture and education, people afflicted by paranoid delusions and suspicions, adepts of totalitarian ideologies, prone to terrorism, domestic violence, xenophobia, homophobia, racism, et cetera.

Joe Bataan has always been a favourite of Jazzanova. His unique blend of latin, soul, funk and jazz is an inspiration, not only for Jazzanova. Bataan was born in 1942 to a Filippino dad and Afroamerican mother in Spanish Harlem, New York. In this vibrant melting pot of vast cultural influences he soon developped his own style and became one of the biggest star of the booming boogaloo scene. With his hits for the imprint, he helped Fania Records to become the biggest Latin label by the late 1960's and founded Salsoul Records in 1974, which he later sold to the Carye brothers. In 1982, after recording 10 albums and numerous singles, he retreated from his music career. Only in 2005 he came back with an new album and is touring since then on a regular basis. Throughout this all, Bataan's signature song has remained one of his earliest: 'Ordinary Guy,' first recorded back in 1966. An original composition, the song bespeaks Bataan's around-the-way demeanor and self-perception. For all his career highs and lows, he's remained, at the core, just an ordinary joe: 'It's been my moniker for a long time. You know, hey, I'm an ordinary guy. Don't expect anything else. I mean, that's me, and I've always been that way.' He recorded at least four versions of it over the years and is also a great entry into appreciating how he innovated the whole Latin Soul genre. The rework by Jazzanova, with newly recorded vocals by now 70-yeras old Bataan, is much more than just an update of this timeless classic. The swining back groove is a modern interpretation of 60's soul/funk that takes you back to the golden days of Motown, Stax and Fania. The fantastic drum break in the middle of the track and the kinky rhythm guitar licks as well as the lively bass (provided by Jazzanova live band members Arne Jansen and Paul Kleber) are so right on the money that probably even Booker T. & The M.G.'s wouldn't have done a better job.

Eclectic & exotic pairing pours native vibes to club floors. Badume's Band is a French band charmed w/Ethiopian magical grooves. Oki is a Tomkori (string) player from N Japan. Misako Ooshiro is 76 vocal legend from Okinawa

The word of mouth success story of 2009 return in 2010 with the third single to be taken from their Gold selling debut album, Sigh No More. 2009 proved to be not just a commercial breakthrough for the band, but a critical one too - the band have been nominated for best new act in the NME awards, and best debut album of 2009 by Xfm. In fact their success hasn't been limited to just the UK with Sigh No More going platinum in Australia and Little Lion Man being made triple J's hottest track of 2009. The Cave will be released both as adigital download and on a limited edition 7", with brand new song Untitled backing up the single. Tv advertsing and UK tour in March

Soul Jazz Records/Universal Sound are reissuing jazz composer Oliver Lake's 'NTU: The Point From Which Creation Begins', his stunning rhythmical Afro-centric deep spiritual jazz debut album originally recorded in 1971. This classic spiritual deep jazz album has been digitally remastered and is available in bespoke original exact reproduction artwork on hardboard Japanese-style boxcase CD, very limited (1000 worldwide) heavyweight 180gm audiophile vinyl, and digital download. This album features in Gilles Peterson/Soul Jazz Records' own 'Freedom, Rhythm And Sound' large-format book of revolutionary jazz.

'Singing in Unison" is the latest in a series of recordings from acclaimed sound artist, composer and performer Yoshi Wada. Recorded live over two nights, March 14 and 15, in 1978, at New York City's legendary performance space The Kitchen, "Singing in Unison" is a dramatic yet meditative work: modal improvisations for three male voices, singing, with great gravitas, in purposeful unison.

These previously unreleased recordings, featuring vocalists Richard Hayman, Imani Smith and Wada himself are extremely powerful, with a glacial majesty and a sense of timeless wonder. Wada's earliest musical memories are of hearing Zen Buddhist ritual chants in his native Japan, and those memories are reflected in the deep vocalisations here; also evident is Wada's period of intense study with Indian master singer Pandit Pran Nath. Thus there is a definite "Eastern" feeling to "Singing in Unison", with further elements added by Imani Smith's Sufi background and Wada's interest in Eastern European vocal styles, but the music is also informed by Wada's experiences in the Fluxus movement and as a member of the New York avant-garde community. The edgy atmosphere of 1970s New York City pervades these recordings, adding a hint of menace. Despite the fact that this is purely vocal music, fans of the slow-moving heaviosity of Sunn 0))) will appreciate "Singing in Unison".

Yoshi Wada has four previous releases on EM Records: "Lament for the Rise and Fall of Elephantine Crocodile" [EM1074CD]; "The Appointed Cloud" [EM1076D]; "Off the Wall" [EM1078CD]; and "Earth Horns with Electronic Drone" [EM1081CD]. "Singing in Unison" is available in two formats: a single CD of the March 15 performance, with gatefold sleeve; or a triple LP set featuring a complete version of both performances, March 14 and 15.
"Singing in Unison" is a massive, monumental, monolith of vocal sound. Unstoppable!