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Legendary Turkish psych innovators Moğollar grace the Artone Studios in Haarlem for a masterclass in the original Anadolu psych roots, cutting a compendium of their rawest hits and most-wanted psychedelic rock classics – including the J.Dilla-sampled ‘Haliç’te Güneşin Batışı’ – for the latest edition of Night Dreamer’s essential Direct-to-Disc series.

In the beginning, there was Moğollar.

Formed at the end of 1967 with five young musicians, Moğollar were the original Anadolu psych originators. They were the first Turkish pop band who tried to blend the microtonal folklore and traditional instruments of rural Anatolia with Western pop and rock; they were the first Turkish psychedelic band to achieve overseas recognition, winning the prestigious French Grand Prix Du Disque in 1971 after a period in Paris; and they coined the very phrase ‘Anadolu Pop’ with their first album release. They were radical, innovative, and hugely popular, and when the great artists of the Turkish rock revolution appeared on the scene, Moğollar were already there – stars including Barış Manço, Selda, Cem Karaca and Ersen all recorded with them or briefly joined the line-up. Moğollar were and are the undisputed pioneers of the style.

More than fifty years after first forming, Moğollar materialised in the Artone Studios to give a masterclass in fuzzed-out folklore and Turkish psychedelic roots for Night Dreamer’s Direct-to-Disc series – a fitting follow-up to Night Dreamer’s BaBa ZuLa set, coming straight from the group who laid the foundations of the genre.

In 1971, having already released numerous singles, they secured an album deal with French label Guild International du Disques. Travelling to Paris that year, they recorded their first major statement, Danses Et Rythmes de la Turquie d’Hier à Aujourd’hui, a set later released in Turkey as Anadolu Pop. The album won a prestigious French award – the Grand Prix du Disque from the L’Académie Charles Cros, an honour that had been won in the past by Jimi Hendrix, Pink Floyd and Soft Machine. Moğollar, and Anadolu psychedelic pop, had arrived on the international scene.

In 1976, after many more releases and line-up changes, and pressured by an increasingly difficult political situation in Turkey, the group dissolved for seventeen years, and various members dispersing to exile in Paris and Berlin. However, after a petition from their fanbase asked them to reform, they agreed to play a comeback concert in 1993. It was a huge success, and reunited, they went on to record some of their greatest work. Led today by original member Cahit Berkay alongside original bass player Taner Öngür, and joined by Cem Karaca’s son Emrah, Moğollar continue to push their uniquely original brand of fuzz-scorched folk-rock and crackling Anadolu psychedelia forward into a new millennium.

For this Night Dreamer session, Moğollar spent two days in the Artone studios, recording sides A and B on the first day, and C and D on day two. With BaBa ZuLa’s Murat Ertel adding contemporary sonic punch behind the boards, the band revisited their most renowned hits to lay down energised new versions, and dusted off some of the most sought-after cuts from their enormous catalogue. The result is a showcase set by a band that are one of true pioneers in global psychedelic rock, and a masterclass in the true roots of the Anadolu psych sound: fuzzed-out, committed, and straight from the source.

Highlights of the set include:
-‘Haliç’te Güneşin Batışı’, an Anadolu psych classic which was first issued as the b-side to the ‘Ternek’ single in 1970, before being recorded again for the Danses Et Rythmes de la Turquie d’Hier à Aujourd’hui LP in 1971. A tense slab of roughneck psychedelia, the final breakdown of the original recording was sampled by none other than J. Dilla for the ‘Intro’ cut on Welcome To Detroit.
-‘Gel Gel’, a 1974 song with head-nodding tempo change, originally featuring Cem Karaca. It is here voiced by his son Emrah Karaca, now a permanent member of Moğollar.
-‘Çığrık’, a 1972 cut which originally appeared on one of Moğollar’s most coveted singles, is a funky psych-rock workout with an unforgettably riff, a ringing guitar motif, and twist of Led Zeppelin.
-‘Düm Tek’, the title track of the bands second full LP (Düm Tek, 1975), a raw psych screamer, laced with hardcore davul drum patterns.
-‘Bi’Sey Yapmali’, first recorded for the 1996 Dört Renk album, became the anthem of huge street protests that took place in Turkey that year after an investigation uncovered a huge network of state, police and mafia corruption.
-‘Dinleyiverin Gari’, a hit from the 1994 come-back album Moğollar 94, addresses a notorious corruption scandal of the era.

Kasenian réak is a genre of performative art from the Priangan area of west Java, organized
during hajatans (life-cycle celebrations) and nowadays primarily held during weddings and
circumcisions. The style, known as a seni lungsuran, is part of the greater family of Javanese
horse dances, originally known in their most famous forms of jathilan and kuda lumping.
Javanese horse dances, which could be as old as animistic Java, may already have been
practiced before the eight century, travelling through the island and reaching Priangan in the
thirties, when réak is believed to have been originated and popularised by musical groups Juarta
Putra and Maska Putra. While bearing more than some resemblances with its family, kasenian
réak benefits of structures and aesthetic tracts of its own, being not only one of the newest
developments of horse dance if not the newest, but also its rawest and most extreme outcome.

The shows usually last up to nine hours, starting at nine o’clock in the morning and finishing
between five or six o’clock in the afternoon. the morning part is dedicated to the pembukaan
(ouverture), lasting up to one hour and dogcing or dogdog cicing (meaning playing the dogdog
on spot), while the afternoon is the time during which the arak-arakan (parade) takes place. After
the arak-arakan goes around the village gathering people and announcing the celebration, it
returns to the lot where it had begun and the show ends after a second and much shorter
dogcing. During the first dogcing it is possible to witness the dance of Bangbarongan: an
animal-like creature costume representing a spirit and an ancestor, worn by a dancer who brings
it alive for some hours. This is among the most exciting parts of the show. Sometimes it is also
possible to witness a symbolic fight between the pimpinan and the Barong.

Trance and possession obviously represent two of the main attractions of the style. The music
as a sonic signal given by the speeded tempo, along with an adorcistic practice conducted by the
ma’alim are capable of inviting spirits to enter bodies and take control of them. When possessed,
the individuals can, according to the entity they host, exhibit superhuman capacities that allow
them to eat burning charcoal and glass, open coconuts with their bare teeth and break bricks
with their foreheads.

This release aims to provide a spectrum of kasenian réak and its music. For this reason, on the
first side it is possible to listen to a classic réak ouverture, played by one of the two founding
groups, Juarta Putra. On the other side one may hear Putra Jaya Melati: one of the groups that
most attempts to push towards a contemporary, aggressive and experimental version of réak
music, without leaving the cultural and spiritual background of the style behind. In this record, it is
even possible to hear an electric guitar, gongs, a kendang and a very open repertoire of songs.

Hot on the heels of the first installment, Ménage à Trois return to Cracki with the second leg of their Australian odyssey, heading inland this time with beats from about the bush. Fully embracing the kitsch, "Byron Bay" opens the set with the rumble of didgeridoo before relaxing into a semi-spiritual new age number. "Monument" explores the outer reaches of vapourwave as reversed loops explode into an expansive chillwave anthem, topped as ever with Jonathan's cut glass vocals. Heads up R&B fans, "Bobby's Prism" sees the boys Menage drop the best space-age slo jam Drake never wrote. Tropical synths class with intergalactic melodies and super smooth vocals on the best pop-not-pop song I've heard in ages. On the flipside, "Overseas" reprises the digital island funk of "Conditional Love" but with bigger beats and more pan pipe! We get another slice of pop perfection before the night is out, don't be surprised if you see me screaming like a schoolgirl to the sounds of "Be Right Back". Cleaner than their last single, but still retaining that naive charm, this is another essential release from Manchester's best boyband.

Waves 1 is the rst release of Curd Duca since the legendary Elevator series (1998-2000). Waves is an album trilogy. Waves 2 and 3 will be released on Magazine in 2021.

If we think of Curd Duca’s Waves in terms of sound, rather than in terms of form, each track on Waves is actually like the large, illuminated, richly decorated initial letter that introduces the narrative of so many medieval manuscripts. It is as if Duca was collecting extraordinary letters, opening up an alphabet of sounds, and developing a musical phonetics between adjacent terms. From gong to gone; bell to bells minus drone; dome to father.

The real beauty of Curd Duca’s cycle lies in the fact that it opens up differently from so many perspectives. That we can understand it as a collection of treasures, as a commentary on our acoustic environment, as an attempt to dissect the world and stylize its parts. Much like a printer's typesetting box, Duca proposes an inventory of everything that sounds. Some of the pieces are exaggerations. Some allusions. Others abstractions, parodies, and trans gurations. It is often not even clear whether the music is based on a recording or a synthetic sound. Is the nightjar real or is it a synthetic imitation? Did Duca really use brass and zither sounds or simulate them on the computer? The hermaphroditic nature between reality and arti ciality is a central aspect of Duca’s sound world.

There is only one thing you must not do with this music: trivialize it or underestimate it. With Waves, Duca is exploring the very essence of sound, and its possible meanings and contradictions.

A great early album from Belchior - much rootsier than some of his later work, with a groove that almost feels like samba soul at times! Arrangements and music are handled by Marcus Vinicius - who uses quick-stepping samba elements on some of the best tracks, mixed with more modern funky styles in this really great way - which creates even more magic with the hauntingly poetic structures of Belchior's lyrics! The songforms are great - very much in the concrete poetry format used on Caetano's Araca Azul album, but with a warmer vibe overall - on titles that include "Bebelo", "Mote E Glosa", "A Palo Seco", "Maquina", "Todo Sujo De Baton", "Rodagem", and "Cemiterio".

Spare and jazzy samba work from the team of Paulinho Da Viola and Elton Medeiros - a beautiful illustration of the genre at its simple best - carried off with no pretension and a wonderful sense of grace! Instrumentation is heavy on acoustic guitar and percussion - and also includes bits of flute or trombone - all used lightly, but to provide some jazzier inflections over the top of the vocals - in a way that keeps the tunes dancing along lightly and beautifully. Elton and Paulinho alternate vocals from track to track - and sometimes do so on the same tracks, but in medley-styled format. Titles include "14 Anos", "Arvoredo", "Sofreguidao", "Perfeito Amor", "Minha Confissao", "Depois De Tanto Amor", and "Samba Original".

RECORD COMES IN TRANSLUCENT RED VINYL, FULL COLOUR SLEEVE AND PRINTED INNERSLEEVE. LIMITED EDITION

A SERIES OF SONGS WRITTEN AND DESTROYED . . . SELF-CANNIBALIZED PRODUCTIONS SPIT BACK OUT IN ABNORMAL SILHOUETTES . . . THE ORIGINALS SHREDDED APART INTO DISCREET MOTIFS— MINIATURE RHYTHMIC PATTERNS, COLLECTIONS OF MELODIC RUNS . . . SELECTED MOMENTS OF RECORDINGS FROM MAXWELL STERLING (DOUBLE BASS) AND PETER EVANS (TRUMPET) INTRODUCED AS 'PROBIOTICS' . . . FREEFORM IDEAS SET TO FEED OFF OF THE ORIGINAL PRODUCTIONS LIKE BACTERIAL ORGANISMS . . . CREATING NEW 'GROWTHS' . . . MUTATING AND CONGEALING INTO FOREIGN FORMS.

The 1975 will release their highly-anticipated second album 'I like it when you sleep, for you are so beautiful yet so unaware of it' The follow-up to the quartet's million-selling self-titled debut. It is a bold and brilliant record made up of infectious pop hooks and sprawling electro sonics, an ambitious stride forward for one of the UK's most exciting young bands. The album will be released on standard CD and double, heavyweight LP in gatefold sleeve. Both contain 28pg, full colour booklets and the LP comes with a download card. The CD is packaged in a standard jewel case. 4* Q album review and Q cover confirmed. The ban will emabark on a SOLD OUT UK tour in March.There will be outdoor advertisng and the band will be performing on Saturday Night Live and also in the Radio1 Live Lounge

Second volume in VampiSoul's series focusing on Peruvian cumbia from the 60's and 70's. Beat and psychedelia mix with Andean and Amazonian folk to create pure tropical magic!

After years of compulsive listening, fantasising about its story, and tracking down the people who made it, it is a treat for Hot Mule & Secousse to finally share this well-kept secret amongst Caribbean music lovers in its entirety.

Composed, written and arranged by esteemed producer Alex Dorothée, this eponymous solo album of Meliza, an amateur singer hailing from Guadeloupe island, was recorded in 1984 in Paris. A Lo-fi, synth-heavy gem that is hard to categorise: Is it early Zouk? Biguine? Kadans? Calypso?

First timer ever Best Of Mano Negra on vinyl ! Double black 140G vinyl edition. 24 sons – all their hits : "King Kong Five", "Mala Vida" , "Pas assez de toi" , "Out of time man", "King of Bongo", "Sidi H'Bibi", “Santa Maradona”, “Senor Matenza”… Mano Negra are the legendary French alternative rock band whose leader was Manu Chao. Singing in French, Spanish, English & even Arabic. They toured throughout the world and recorded 4 studio albums : “Patchanka”, “Puta’s fever”, “King of Bongo” & “Casa Babylon” & a live album “In the hell of Patchinko” , all reissued by Because Music and still available on CD & Vinyl. After their split, Manu Chao started a solo carreer in 1998 with the classic “Clandestino” album.

Ltd. Edition Clamshell Box which doubles up as a DJ box for your Brazil 45's collection.

We've been toying with the idea of collaborating with a guest selector for the Brazil 45 series since its inception in 2014, but up until now the timing has never been quite right. That all changed following a recent digging trip to Brazil, where upon our return DJ Format was first into the office, full of excitement and enthusiasm (portable record player in hand), ready to bust open the boxes and see what treats we had unearthed. Straight away we knew that alongside being one of the UK's premier record collectors, producers and DJs, he had the passion and knowledge that would result in a totally unique take on a Brazil 45 collection.

DJ Format has a very distinct stamp to his own productions and mixtapes, and that can be clearly seen in the coherent theme he has applied to his selections for this release. He has chosen 10 funk-psyche-break-beat Brazilian nuggets from the '60s and early ‘70s, and included wonderful artists such as The Modern Tropical Quintet, Manito, Free-son, and Marisa Rossi, to name a few. It is a body of work that fits together perfectly and shines a light on some perhaps forgotten artists that deserve attention and praise.

This collection will appeal to fans of DJ Format, those with a knowledge of Brazilian music, and even the first time buyer just wanting to discover something new. This special limited Record Store Day 5 x 45s collection comes in a box designed by Owen Tozer.

After their critically acclaimed debut compilation, a turning point in the downtempo universe, Entropia Coletiva II is the second vinyl appearance of the international collective and record label Voodoohop. The 2xLP travels into a broader spectrum of music zones, but stays close to the hazy, ambient shadows, where smooth rhythms and hypnotic musical compositions dance in a kaleidoscopic electronic landscape.

A groovy downtempo electronica with an enigmatic atmosphere bursts out of this release like the flagrantly adorned cover art that represents it. Entropia Coletiva II is a brilliantly executed exploration of mood, that defies the variety of artists presented by being fiercely congruous.

It features Xique-Xique, M.RUX and many more in a 11 track record and still builds itself as if it was the craft of a single consciousness.

Music For Dreams are proud to announce our Summer Sessions 2020, an official Record Store Day 2020 release. Seven waxed-down tracks, five of them unreleased, from our curious camp of cohorts to get you in the mood as the sunny days roll in. As always, there's some for the tree-shaded terraces, some for the sun-drenched beaches and some for the late-night dancefloors.

Our very own Kenneth Bager starts us off with the hypnagogic bliss-pop of 'Stones and Steel', accompanied by the silky vocals by Findlay Brown. Danish chill-out auteur The Swan & The Lake produces skyscraping ambient on 'Tinkerbell', a brand new track taken
from his forthcoming album, before Australian DJ and producer Jamie Porteus brings us back to the earthly grooves with 'Cop Milkshake Downtown', a beat you won't get tired of, unreleased as well. Our A-side is rounded off by Reinhard Vanbergen of Rheinzand's instrumental voyage on 'Blast From The Past'.

On the B-side, Danilo Braca sends Jacob Gurevitsch' rosy romancer 'In Search Of Lost Time' soaring on a magical carpet ride, first time on wax for this one that is becoming a Balearic classic on the white isle. It's followed by pure sensuous funk by one of Denmark's
finest percussionists Jacob Andersen through his project Bongo Entp, another unreleased track, that reminded this label press writer of the soul vibes of Rotary Connection. We finish off in fireworks of blitzing Anatolian energy with islandman's brand new track 'Dere
Boyu'.

Creole poetry, folk mysticism and heavy-grooving cosmic synths combine on this unprecedented survey of spiritual Martinique polymath Gratien Midonet's first four albums. For Midonet, pushing musical boundaries was less a choice than an extension of his spirit. A self-taught guitarist and composer, drawing on his childhood memories of bélé and beguine rhythms, Midonet's musical life developed in parallel to his academic and spiritual pursuits. Studying philosophy and psychopedagogy in France, it was his fascination with pan-Africanism and animism which fuelled the transcendent energy of his music. Although Midonet honed his sound in France, the four albums he released during the late '70s and '80s were heavily inspired by diasporic nostalgia, or what he describes as the "smells and colours... subliminal noises... fruity notes, the memories of funeral wakes, the bombastic organ of the cathedral and the gasps of the drums" of his childhood home on the Caribbean island of Martinique.

"Mr Bongo" is proud to present three unique reworks of Kit Sebastian.
Each of the producers featured in this package created their own
interpretation of the 'lo-fi-hi-fi’ originals and have taken the duo’s
sound into bold new directions. When it came to choosing who should remix Kit Sebastian, Natureboy Flako (Flako/Dario Rojo Guerra) was a producer at the top of our list.

Keeping true to the original, whilst leaving his own stamp on the
track, his mix adds break-beat drums and middle-Eastern guitar riffs
that transform the track into a more cinematic piece. It sounds to us
like the music from an exotica dive-bar scene in a David Lynch film -
which of course, is a very good thing.

Producer and DJ Baris K, who was behind the awesome 'İstanbul 70'
series (re-edits of classic Turkish gems), takes ‘Durma’ in a very
different direction. Totally reconstructing the track, his remix has
flipped the original and totally run wild.

The results are an epic left-field electronic workout. By bringing the spoken-word vocals to the forefront and giving the track a darker industrial vibe, it wouldn't sound out of place bouncing around the walls of a Berlin basement club at 5am on a Sunday morning.

The paring of Kit Sebastian and Halal Cool J grew after DJing together
at the alternative Great Escape party at the Mr Bongo HQ in May 2019.
They share a love for dusty old psychedelic Turkish records. Halal Cool J (aka Aly Jamal/Don Leisure) has released records on First World and is a co-member of Darkhouse Family with Earl Jeffers.

For his interpretation he has delivered a mix-tape-collage with a hip-hop aesthetic, and rather than focusing on remixing a specific song, he has cut and paste his favourite elements of tracks taken off the band’s 'Mantra Moderne’ album. Available in 2 limited-edition, hand-numbered sleeve designs.

In a world governed by stereotypes, Lachinos break down the boundaries between people and gender. It is impossible to clearly distinguish the origin, roots and cultures that are specific to each of its members. An association that turns out to be as unexpected as it is effective on their first EP America Lachina, out on Goutte d’Or, a sub-label of french team Cracki Records.
America Lachina is also and above all an ode to Latin American music. One travels to the rhythms of merengue, cha cha cha, cumbia or even Brazilian surf, always with a musical commitment to rock accents.

Recorded between 1985 and 1987, this album brings together the two founders and leading performers of candombe-beat, Ruben Rada and Eduardo Mateo. They hadn´t collaborated in a project since 1969. Both artists had reached their creative prime, with Mateo having released “Cuerpo y Alma” and Rada, “La yapla mata” (which included the classic song ‘Tengo un candombe para Gardel’). 140 gram vinyl with OBI & Insert



This initiative sprang from the artists themselves. But when it was time to create, they rarely got together in the studio, preferring to work on their own. Once finished, the album failed to make an impact, since neither of them promoted it.

This revival brings that semi-hidden treasure to light. It includes two tracks of the artists strictly performing a duet, the only recordings of Mateo and Rada working alongside each other and no one else. It also contains two additional tracks where you can relish Rada accompanied by Mateo’s guitar and Mateo backed by Rada’s percussion. It includes a track where Mateo commands the instruments (as in Mateo solo bien se lame) and another with Rada’s solo on vocals and percussion. There are instances when Rada’s band of that moment and “super-group” (with Osvaldo Nolé on keyboards, Ricardo Lew on electric guitar, Urbano on the bass and Osvaldo Fattoruso on drums), makes an appearance. Sometimes, Urbano comes forth as lead singer, completing the triad of singers of “El Kinto”. All excellent songs.

This album is exceptional and one-of-a-kind, an overflow of talent, musicality, swing, imagination, rhythm, spark, and transcendence.

Guilherme de Alencar Pinto

Fourteen Years is the first of three 10” comprising Charlotte Courbe’s third album. It marks her return to Honest Jon’s after two decades.

Recently, Charlotte joined Noel Gallagher’s High Flying Birds, singing and playing scissors. Her recording Born To Lie featured prominently in the TV series Killing Eve. Spotify has just voted her track Rusty amongst the best of the last decade.

After a cancer diagnosis last year, Charlotte felt the urge to produce and release new music. “It became like a vital thing.” MRI Song and Planet Ping Pong were recorded during chemotherapy. Mind Contorted is a duet with Terry Hall, also featuring Terry’s son Theodore, and Noel Gallagher on guitars, in a cover of Daniel Johnston. The song Fourteen Years is the oldest inclusion. Meant for LVC’s second album — I Wish Dee Dee Ramone Was Here With Me — it announces a fresh, freer direction.

The sleeve exclusively presents new work by the celebrated English artist John Stezaker, in the first of a triptych.

To close the 3 EP reissue series of Neville King and Lee Laing's King & City label, the all female group Charisma are presented with their summer infused Lovers cut, Everything Is Fine.

Three Lewisham friends, Angela Richardson on lead vocals, with Geselle and Janie backing, were active from 1982 to 1990, but are really remembered for the early recordings made with Neville King. Their debut, Everything Is Fine rides the Lovers sound at its peak. Written with One Blood's Lloyd Robinson, with the rest of band of Robinson brothers providing the rhythm section, this is pure South London sound system music.

Recorded again at TMC (Tooting Music Centre) Recording Studios - working alongside the likes of Dillinger, Tradition and New Musik - Everything Is Fine rides a beautiful soul reggae rhythm as Trevor (Drums) and Lloyd (Bass) Robinson set the foundations, while One Blood provide the Dub mix.

A true love's lament, a song of hope, serenity and pure vibes. Label head Chuggy slides behind the mixing desk for an extended Discomix that stretches, loops and dubs the vocal and dub back forth, to close a glimpse at this uniquely British phenomenon, taking reggae closer to it's heart and soul.

The wind of change is blowing strong again in late 2020. Wich statement fits such worldwide transformation? We don ́t know, but we keep blending & interacting different cultures. One 7“ vinyl, two sides of the story. El Mago from Greece is hooking up with south american native ceremonials. The Berlin/Thessaloniki based ritual master (down)beats all strains of cultural appropriation with smart style and groove straight outta subcultistan. Followed by Mettabbana from the divided states of America, editing sahrawi classic on liberation, hope & vision. Seductive repetitions, subtle as the saharan sands, riding on trance- inducing guitar loops, arabic percussion & harmonies. This vinyl will last longer & will survive our thoughts and needs. For any queries: the answer, my friend, is blowing in the wind.

After the warmly received JD Twitch edits on the last 12", A7 Edits Vol 3 is here, and the quality quotient hopefully remains high.

Fast rising "Running Back" bod Shan goes to work on Cameroonian Pasteur Lappe's exhuberant 1979 disco roller "Na Real Sekele Fo'Ya", with a sleek, energised, percussive floor filler the end result. Also on the A-side is the glorious Afro Disco original.

On the flip, Londoner Glowing Palms adds punch and propulsion to Joe Bisso's 1979 slinky disco work out "Mystery With Me". Shan's back to close us out with a more slo mo take on Manus Dibango's cousin Charly Kingson's 1978 trancey - funker "Manyaka" – one for early doors, or late night sessions

In 2018, the Argentinean electro-cumbia legend Chancha Via Circuito (Pedro Canale) released Bienaventuranza, an album that capped off a decade-long trajectory that reshaped the musical panorama as we know it. The album maintained the swift-yet-wild balance between analog and digital, the new and the traditional, while crossing new sonic thresholds by way of fresh collaborations and new instrumentation. Released via Wonderwheel Recordings, Bienaventuranza received critical acclaim around the globe - from NPR to the Guardian.

Now the world gets a follow-up to Bienaventuranza - a 4-track EP of remixes by some extremely special contributors who shock these tracks into a new existence with their interpretations. First up is a remix of "Alegría" by none other than Nicola Cruz, the acclaimed Ecuadorian artist and producer who the New York Times called one of this year's Artists To Watch. A longtime collaborator of Chancha's, his spin on the track adds a hypnotic energy to it, as if peeling back an entire layer of the song. Next up is one of the album's more melodic tracks - "Ilaló" featuring Mateo Kingman, remixed by Spanish artist Baiuca, who's quickly gained popularity in Spain for his unique fusions of electronic with traditional Galician music. He puts an up-tempo house-tinged spin on the track, injecting it with a heavy, danceable pulse that compliments its already-winding melody. What follows is "Los Pastores" - the album's marching opening track. Remixed by Rafael Aragon, the French DJ/producer known to fear no sound, the track takes on an entirely new feeling. With jungle-like hues and intense percussive overlays and drones, Aragon readies the track for the dreamiest dancefloor you've ever known. Capping off the EP is a remix of "Barú" by El Búho (aka Robin Perkins), the artist and producer from Northern England known for his subtle integration of nature sounds into serene and captivating electronic compositions. He's allured global audiences for years with songs that inadvertently tempt listeners into a dreamlike state; his last LP, Balance (also out on Wonderwheel), was one of NPR's top albums of its year. He's taken one of the darker, more minimalistic songs on the album and infused it with a rich array of bird songs, winds, and sitars as if to make it the daytime reflection of itself.

With the contributions of 4 renowned producers from around the world, the Bienaventuranza Remix EP is a profound and fresh perspective on Chancha's original album. It'll help you hear the songs differently, all while inadvertently promising you'll listen to them a little more closely.

Untameable Anatolian feline fuzzy folk funk finally uncaged. A spontaneous Turkish-Norwegian-Dutch expedition, where seafaring jazz cats entangled with fugitive roadies and Tee-Set mods, makes the story of Durul Gence’s highly anticipated/ill-fated Asia Minor Mission group the stuff of lost-rock legend and remains one of Turkish music’s great “what ifs?” The black cat is finally out of the bag...

Having forged a celebrity status as one of Turkey’s premier percussionists and bandleaders, Durul Gence assembled the underground fusion group known as Asia Minor Mission (AMM) in early 1972 (with Irfan Sumer, Oguz Durukan and Ugur Dikmen) while trying to escape the constant daze of paparazzi camera flashes that followed him across Turkey. During a far-fetched post-gig brainstorm the group pondered relocating to Norway (based on fact that none of them had ever visited the country) when a local seaman who claimed to have recording studio connections in Oslo overheard them. Enlisting the roadie services of a streetwise Istanbul taxi driver friend on the run from the police AMM took the plunge, accepting the sailor’s offer of passage on his next sailing.
In these new idyllic surroundings, the same region that played host to fellow Turkish percussionist Okay Temiz, Durul found the peace he desired discovering a muse in Norway’s welcoming creative climate. Much like Barıs Manço and Mogollar in France, Cem Karaca and Gökçen Kaynatan in Germany, Gence’s relationship with Norway rekindled a passion for composition in ways he couldn’t have imagined in his homeland, opening doors thought previously unreachable. As a potential prodigal son for Anadolu pop Durul joined a wider pop-cultural diaspora alongside electronic pioneer Ilhan Mimaroglu, Tülay German (aka Tuly Sand) Kardasllar’s “Alex” Wiska (collaborator with Krautrockers Can) and Maffy Falay from the band Sevda.
Despite a blooming fan base and original repertoire the Nordic dream was not to be and after two years without a studio session, AMM called it quits during a tour of Holland after which Durukan and Dikmen went home to join Cem Karaca’s band Dervisan - Dikmen’s keyboards feature on Finders Keepers releases by Turkish singer Selda (FKR011). Retreating to the city of Delft to ponder his next move, Durul met Peter Tetteroo, former vocalist from successful Dutch psych-pop combo Tee-Set, who also found himself in a lonely boat after the demise of his long-running group. As an AMM fan, Tetteroo suggested they record two Gence penned AMM demos for Dutch Philips signed exotic songbird Sasi Naz at Peter’s home studio. A session was hastily arranged and a talented, yet unconfirmed, guitarist was enlisted. Durul maintains it was the work of Ferry Lever from Tee-Set/After Tea, something Ferry has denied, and with Tetteroo having died in 2002 the question remains. Upon entering the humble studio Durul stumbled upon a skeletal drum kit. Lacking hi-hat, toms or even a snare he cobbled together a bongo and a tambourine and set to work. Together, under the watchful eye of Tetteroo, the pair jammed stripped back versions of the AMM live staples Black Cat and Boo Song, with an added freak factor otherwise missing from their jazzier approach. Laid down in just 30 minutes, with Gence’s accomplished guide vocals and fuzzy overdubs, the rudimentary but professional recordings never made it to Philips execs and the tapes returned to Turkey under Durul’s arm as one of only two documented AMM recordings (the other being a live performance in Oslo’s Hennie-Onstad Art Centre in May 1973).
Unintended for commercial release, curiouser and curiouser, Finders Keepers proudly present these previously unheard tracks sourced directly from original tapes, which stand as a testament to the inimitable talent of Gence and the only studio document of the mythical AMM Turk jazz funk troubadours, representing a pop-psych Hollandaise holiday postcard which has taken five decades to be delivered. 45 revolutions later... The cat’s got the cream.

John Winston Ono Lennon would have been 80 on October 9th 2020. In celebration of his life and the incredible pleasure his music has brought to millions in his lifetime, a new Best Of will be released. A multi-format collection, entitled GIMME SOME TRUTH., this set has been personally curated by the Lennon estate and mixes the biggest hits like the classic and timeless “Imagine” with campaigning songs such as “Give Peace A Chance” and the evergreen classics like “Happy Christmas (War Is Over)” and is culled from all of his solo albums including the posthumous “Milk And Honey”.

John Lennon is simply one of the most recognised and respected musicians of the modern era. As one half of perhaps the most successful songwriting partnerships of all time he deserves his place in history. That this partnership was with Paul McCartney in The Beatles means that he is also one of the most successful recording artists in history. With every succeeding generation falling for their genius, their legend continues to grow and they dominate the pop landscape.

Their split in 1970 allowed each of the band members, by now literally some of the most famous people on the planet, to find their own voice as solo artists and to grow beyond the confines of the band. For John Lennon, this meant throwing himself headlong into life with his new wife, Yoko Ono and eventually a new life in New York City.

Being a solo artist meant that he could delve deep within himself and realise music that was both deeply personal and challenging and which sometimes required a commitment from the audience too. His songs during his solo career mixed accessible pop melodies with sometimes stark and heart-rending simplicity and all points inbetween. His lyrics ranged from deep introspection and self-analysis to subjects that were more concerned with politics (of self, of relationships, of the campaign for peace, of the place of mankind as well as global politics). After a first rush of creativity, he took a step back from the limelight to care for his son, Sean, at home in New York, but when he was ready he returned to recording with one of his most successful and impactful albums. Double Fantasy, preceded by the single (Just Like) Starting Over had been released the month before his life was tragically cut short on 8th December 1980. But this album joins the rest of his solo canon as testament to one of the truly great and truly iconoclastic musicians and personalities of the era.

Debut album of artist compiled on the acclaimed Outro Tempo compilation of Brazilian 80's contemporary music. Fully licensed reissue, original artwork and sound straight from the master tapes. Comes with 4-page insert with extended liner notes in English and Portuguese. Recorded in Rogério Duprat's (Tropicalia's maestro/producer) Studio Vice-Versa. Ayahuasca connections which puts it for some folk under the label of Shamanic music. Featured in Gilles Peterson's "Best albums of 2019" list.

Carioca's debut 1980 album, Mistérios Da Amazônia, demonstrates his early mastery of innovative musical forms – blending MPB, psychedelic folk, and even spiritual jazz sensibilities into experimental song structures incorporating instruments like the zither and tabla. Though Carioca may now best be known by collectors around the globe for his piece on Music From Memory's "Outro Tempo" compilation – his work spans over thirty releases and various other pieces for theater, dance, and film – and Mistérios Da Amazônia is a singular musical journey though Carioca's very first brilliant experimental musical expressions.

This inventive duo of brothers from the Golan Heights - Hasan and Rami Nakhleh - return with an infectious re-imagining of their sound.
Jammed full of pop hooks and quarter-tone synth lines, ”Migrant Birds” unleashes a disco whirlwind that pays homage to the Middle Eastern dancefloor scenes of the 80’s.

Retro funky meets hi-sheen contemporary.

original style !! superb LP !

From the fertile electronic, post-folk depths of Colombian music, the tasty "Colombian Singles series" has emerged to cast light on a blooming, rapidly expanding scene. The series is envisioned as a showcase for the country’s growing number of producers who, drawing upon their Indigenous, African and European roots and cultures, are creating new approaches to electronic dance music. Hailing from the countryside near Bogotá, where the huge city reaches down into its more tropical surroundings, Los Bulldozer is the perfect combo to inaugurate this new musical adventure. Led by the unearthly guitarist Fabian Morales and his mind-bending experiments, Los Bulldozer have their own particular way of bringing international influences like Soukous, West-African blues and post-punk to the already exquisite musical diversity of key Colombian styles such as Currulao, Champeta, and Reggaeton. Partly produced by the German godfather of global beats Daniel Haaksman, highlights on this first volume include the heavy indie dance cut ‘Pepa’, emotive Pacific blues guitars and eerie haze of ‘Currulaomali’, and the industrial reggaeton ‘Commin Down’. And there’s (a lot) more... Not your usual sun-kissed summer vibe, but a deeper, moody interpretation of the dualities felt under equatorial latitudes.

First ever vinyl pressing outside of Brazil. A modern electro-acoustic masterpiece of acoustic guitars and voices feat. Arto Lindsay.

1985 was one of the most important years in Brazil's recent history, when the country was freed from more than 20 years of military dictatorship. The youth took the lead and finally Brazil entered the world show business circuit with Rock In Rio festival. But the real revolution was happening in the underground and this record is a proof of that.
One of the people in charge was the musician, composer, poet, writer, scriptwriter and speaker from Rio de Janeiro Ronaldo Tapajós, who was always involved with experimental and avant-garde music. His trajectory begins in the mythical 1968, when, as part of the the duo Rô and Carlinhos, he released an emblematic single containing the song “O Gigante” - perhaps the first Brazilian bad trip recorded on vinyl and a shrewd criticism of the society's “square” habits.
According to Cinema’s LP press release: “in the era of visual music, Cinema is sound”. In terms of sound, listening to this album feels like diving into an intriguing anguish of trying to understand how the relationship between technology available at that time (1983-1984) and the more organic instruments happened, this duality between synthesizers/effects with percussion, woodwind instruments, piano and clarinet. In other words: how was the coexistence between the synthetic and the acoustic? This paradox seems to seduce collectors, DJs and enthusiasts of Brazilian music from the 80's around the world.
This fictional soundtrack has a dark mood, as if a fog of dark and ambient music insisted on staying on top of cheerful patterns of Afro-Brazilian percussion, or conceptual synth pop.

In the five years following his last solo album Moon People, Nickodemus has continued to spread his global sound through endless DJ tours, recording in studios, and scouting new music for his acclaimed Wonderwheel label. He's made some new friends along the way too, with his constant journeying helping culminate in the new full-length A Long Engagement, a sonic portrait of 25 years of connecting people through music.

Nickodemus has been active touring the entire globe since the mid 90s, as a producer he's released three albums, remixes for everyone from Bob Marley to Thievery Corporation, and 10 Turntables on the Hudson compilations that have established him as a seasoned musical traveler who excels most when playing in diverse settings that thrive on vibrant sounds. His new work is the latest chapter of his musical vision, offering global rhythms rooted in deep, introspective electronic moods built for the dancefloor.

Throughout the 13 tracks of A Long Engagement, Nickodemus reflects on his rich history working in NYC club music and around the world, including some fresher analog sounds alongside collaborators new and old. Highlights include a new track with Carol C, who sang on cult classics like Cleopatra in New York' and Mariposa," three tracks with Brooklyn's afro-beat group Antibalas, and the soulful house keys of Brooklyn native Victor Axelrod. You'll also hear Grammy nominated Innov Gnawa on the thumping dance-floor version of "Mystic Molay,' while Ninja Tune revered vocalist Grey Reverend lends a soulful vocal to album's finale 'Music Man.' Like all of Nickodemus' past musical gifts, A Long Engagement is another worldly musical journey that pays homage to the artist's city roots and decades of hard-working curation across the world's continents.

Synth ambiences, acoustic landscapes, deep songwriting and subtle candombe percussions combine in most of the musical output released in Uruguay during the 80s. A very unique sound was developed within the narrow boundaries of Montevideo by just a small group of very talented artists. These sounds reverberated in singer-songwriting, jazz fusion approximations, experimental music and the work of musicians at the intersections of these worlds.

In “América Invertida”, ethereal vocal arrangements and acoustic guitars cohabit with synthesizers and drum machines; Candombe and Latin American music form a fellowship with new wave and dream pop.

"América Invertida" is presented with obi strip, deluxe artwork finishing and insert including extensive liner notes and previously unseen photos. Most of the tracks are reissued here for the first time.

This compilation is the fruitful output of a collaboration with Montevideo based label Little Butterfly, the first of many to come

Tape / Cassette


'Scribble' is truly a befitting name for this collection of miniatures created by composer and sound designer Jacob Sachs-Mishalanie. Recorded at his home this past Summer, the short, sweet pieces really are like aural scribbles in a notebook. Slightly chaotic and seemingly unintentional, the 7 tracks exhibit a childlike wonder, a fascination with how various sounds or rhythms work (or don’t work) in tandem.

At the time of writing, Sachs-Mishalanie was particularly interested in exploring loose evolving patterns, utilizing sounds that feel both natural and synthetic - for instance atmospheric field recordings, uncanny MIDI xylophones, and clumsy samples of his own voice. The resulting pieces each explore a singular environment, in which various elements (often quite literally) bounce off each other. There is no obvious logic to how these pieces evolve and behave, but there is something uniquely captivating about these recordings - they are surreal, yet eerily familiar.

Jacob Sachs-Mishalanie is currently a PhD candidate in music composition at the CUNY Graduate Center, where his research focuses on the music of Pierre Schaeffer. He also teaches Music Technology courses at Hunter College and Brooklyn College, creates Max for Live devices, scores and sound designs for theatre, and records and mixes chamber music.

All Sounds by Jacob Sachs-Mishalanie. Recorded at Home in Brooklyn, NY, Summer 2020. Mastered by Angel Marcloid A/V. Artwork and layout by Paulina Ufnal & Janek Ufnal.

Field Recordings: (1) G Train 9.18.2018 / (2) Roasted Carrots at Home 3.8.2020 / (4) Arcade in Kyoto [7.25.2019] / (5) Backyard Bugs at Home [8.12.2020] / (6) Rain at Home [5.1.2020]

Formidable 3 track 12" from the far north. Sabothoka on the side A delivers a real cry for freedom in the form of an afrobeat disco dancefloor crowd pleaser that will make you smile, this track was a Rune Lindbaek floorfiller at the infamous Club Nomaden in Oslo, Norway. On Side B Changeling kicks off and does not disappoint,
with its peak time acid house guitar loop,
heavy head nodding drums and vocal it's a surefire winner.
Finally on B2 we have Strong, a carnival style dubbed out reggae vibe with some cheeky effects and subtle flows.
Long Live The Wild Pitch!

Rarely does a record so perfectly encapsulate the essence of Hawai‘i.

During the 1970s and 1980s, Hawai‘i’s live music scene was at its peak. Countless clubs, lounges, and bars filled the islands. Musicians embraced and experimented with all manner of ideas.
Among them were Steve Ma‘i‘i and Teresa Bright, a harmonizing guitar-and-bass duo that floated somewhere between nostalgia and an unassuming island sound. They could fill a concert hall or bring the family together at a backyard kanikapila with their music.
Both singers share backgrounds rooted in native Hawaiian culture; Steve once the bassist for musician/ activist George Helm, and Teresa the daughter of hula dancer Carol Bright and musician Daniel Bright. Together, they crafted a refreshing approach to jazz standards, traditional Hawaiian tunes, and hapa-haole classics.
Steve and Teresa enchanted every listener they encountered, including engineer Rick Keefer, who convinced the pair to record at his Sea-West Studios in nearby Hau‘ula.