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Come join Spaniard Juan Alberto Arteche Guel and his musical co-adventurers on their good ship Finis Africae on an imagined musical journey along the Amazon. This is a CD and vinyl LP reissue of their 1990 album, a rare and highly sought-after Balearic classic, Guel's masterpiece. Finis Africae was part of the musical flourishing that emerged at the end of the Franco regime, and this album, guided by the visionary Guel, captures the mature results of that era of new-found openness and freedom. Capturing Guel's production skills at their peak, "Amazonia" is informed by Jon Hassell and Brian Eno and their idea of a "fourth world" music. Arrangements which are spacious and fittingly aquatic feature electronic and acoustic instruments in thematic pieces which at times free-flowing and at others ripplingly percussive. Vividly imagined and beautifully recorded, this is a pleasant and memorable journey.

Repress

of this classic album by Kiko Dinucci (MAISS039DLP) on black vinyl.

Repress!

The 1990s "Afro-Cosmic" scene, highlighting on Munich's The New Morning project, is the focus of an in depth reissue, collected across 3 six-track EPs.

As the influence and cult of Baldelli's Cosmic sound spread out across Italy from the late 1970s, the music expanded, mixing new wave, African, funk, electro, space rock, Brazilian, jazz and dub, all delivered in a freestyle playing that became "Afro".

Adding percussion, samples and effects, the music spread north to Austria and Southern Germany, where DJs, producers, labels and parties flourished. In 1994, DJ Otti and Jay Pee started Global Rhythm Records and with friends DJ Thilo and DJ Fred released 1O EPs and 1 LP over 4 years.

The 3 EPs select the best of this output, including unreleased tracks, mixing a love of funk, disco, hip hop and house with syncopated analogue beats and live percussion. The 90-110 bpm sample heavy tracks, often running for only 3 to 4 minutes, showcase their eclectic sound collage.

More than DJ tools, the EPs were warmly received by aficionados and clubbers alike, becoming mainstays at the afro-tribal gatherings taking place throughout the scene. Secret plays for taste-making DJs since, their scarcity and value have increased considerably, bringing a new appreciation of their "Afro-Funky" sound.

Sasanami" is the result of a dialog between the Japanese photographer Yamamoto Masao and the Japanese musician Uchida Akira (with 
Miu Sakamoto at the voice) initiated by IIKKI, between October 2019 and August 2020.

After to have worked as a saxophonist for several years, Akira Uchida, in 2007 learned piano tuning under Mr. Satoshi Yoshida. Planning and holding "Sound workshop" which is to introduce how to interact with various sounds from the viewpoint of sound turning. In 2015 while he was learning from Mr. Masahiro Adachi, Akira Uchida started to create a Clavichord (keyboard instrument), invented in the 14th century. 
"Making instruments, tuning sounds, being a musician, this flow is essential for me to see the world".

Yamamoto Masao was born in Aichi Prefecture, Japan in 1957. He started to photograph when he was 16 years old. He also studied painting but later chose gelatin silver print as his media. His first gallery show in the U.S. was in 1994 in San Francisco. In 1996 he had a solo exhibition at Yancey Richardson Gallery in New York. His works have been shown in Europe since 2006. Besides Japan, U.S.A., and Europe, his museum and gallery exhibitions were held in Moscow and Sao Paulo. Media coverage includes NY Times and other major art magazines. Yamamoto lives in Yatsugatake Nanroku,Yamanashi Prefecture where he enjoys creating his work while being close to nature.

*New Artwork* Early 80s rarity 'Movin On' by Zambian band Witch finally gets a repress on Invisible City Editions!
Known for their psychedelic fuzz masterpiece 'Lazy Bones', 'Movin On' shows a different side of Witch and features a whole new sound, capturing both the spirit of the early 80s and the changing political atmosphere in Africa with a perfect blend of MJ/Jake Solo boogie, and Fleetwood Mac AOR moves. The album showcases the band at its creative peak, blending American and African influences with stellar musicianship. Featuring synthesizer work by the great Patrick Mwondela. This is the African boogie version of Band On The Run.

The happiness is back! After his debut in Future Times, Repetentes 2008 checks the third 40% Foda/Maneirissimo 12'' release as "Os Maneiros", an EP showcasing the sound that only the fail experiences of Gabriel Guerra's school years could bring. With his trademark sound of sped-up boogie and happy-as-hamtaro fusion, Repetentes 2008 packs it up four crazy tracks that are perfect for bringing up your mood. "Lucas Freire Birthday" it's that crazy instant hit accompanied by a chit-chat between two friends (Lufreire and Timidozinho) who doesn't seem to get along but love each other. Supervagabundo is flute-filled fusionness with conventions and solos that could make even Casiopea get jealous. In the B-side, "Nova Berserker" gives you the chill in a YMO-esque fashion by showing how things works when it get's the glassy and digital synth fever and "Fofo Shuffle" closes with the cute triplet groove and a beautiful and bubbly melody. Are you suffering from po-faced music in the dance floor No problem, Repetentes 2008's "Os Maneiros" is the cure, the sugar that you gives you the rush without losing the joy! GET IT NOW!

Hailing from Mali, Amadou Bagayoko and Mariam Doumbia first met as children at Mali's Institute for the Young Blind—both lost their vision at an early age. It was here that they started performing in the institute's Eclipse Orchestra, eventually marrying and began recording together in the '80s.

Over the span of three decades Amadou (guitar and vocals) and Mariam (vocals) developed an international following having recorded eight full-length albums and toured around the world. Their album Welcome To Mali (2008) was nominated for the Best Contemporary World Music Album' at the 52nd Grammy Awards. Tour highlights for the duo include supporting U2 on their U2 360 Tour, performing at the 2010 World Cup for FIFA's Kick-Off Celebration and performing alongside major acts across multiple genres such including Blur, Coldplay and Pink Floyd's David Gilmour.

The album also includes the hit single Bofou Safou,' which Stereogum calls the funk, the whole funk, and nothing but the funk.' The band discussed La Confusion and performed new music on a recent stop at KCRW's Morning Becomes Eclectic' during their recent sold out North American seventeen city headline tour — watch HERE. The band played major markets including New York, Los Angeles, San Francisco, Chicago, Washington D.C., Philadelphia, Montreal.

Amadou & Mariam recently released the Bofou Safou EP via Because Music. The EP includes the first two La Confusion singles, Bofou Safou' and Filaou Bessame,' alongside remixes of the EP's title track by Fatima Yamaha, Africaine 808, Henrik Schwarz and more. The term bofou safou' is a Bambara (the Malian national language) nickname given to nonchalant young men who would rather dance than work. Of the new EP, the group notes, We really like the remixes that were made for the EP. You get to hear our music in a different form, which is great. All five remixes manage to catch the essence of our song while really pushing those enticing afro pop and electronic vibes further.'

Eva Van Deuren has been wayfaring as Orphan Fairytale for the past 15 years and counting. With her electronic psychedelia that deftly teeters between the bubbly and the eerie, Van Deuren is a prolific
presence in our spheres and her music is a constant which irrefutably touches and enchants all those who encounter it. Over the past few years she has integrated the Celtic harp into her repertoire, crafting
new sounds that seamlessly meld into the narrative of her unique sonic trajectory. Tune In Tree Ears, Orphan Fairytale’s first LP on KRAAK, presents these harp pieces that were first heard in the context of open air concerts in the summer, where the delicate melodies could float into the trees above and soar beyond to spaces unhindered. The ancestral character of the instrument adds new
depths to an already complex musical universe that has always embraced tragedy and fantasy in equal measures. A bridge between the electronic elements that always defined her sound and a new direction born from a deep connection with earthly elements, Tune In Tree Ears brims with a wistfulness that uncovers new directions in Orphan Fairytale’s ever-unfolding dream world, allowing it to flourish through the natural extension of paths already paved. Released in tandem with Titania Moon, Orphan Fairytale’s latest hippietronic venture on Ultra Eczema!

Two sun shine soaked, Latin infused Eddie Palmieri joints from the 1978 album Lucumi, Macumba, Voodoo get the official, remastered reissue treatment - with original copies of the 7' trading hands for upwards of £60.

Born in New York to Puerto Rican parents, multi Grammy award winner Palmieri is a stratospheric salsa master. And for the Lucumi, Macumba, Voodoo LP he assembled a powerhouse, 30 strong jazz orchestra, featuring the likes of Dom um Romao, Steve Khan, Lew Soloff, Jon Faddis, Hiram Bullock and Palmieri's brother Charlie.

In an era dominated by disco, 'Spirit Of Love' took to the dancefloor, drawing on the glamour and magnetism of the late '70s. Palmieri's distinctive style still weaves its way through though, melding Afro-Caribbean rhythms with modern jazz. 'Spirit Of Love' is full to the brim with striking vocals, cow bells and big horn sections, blended with psychedelic guitars that riff off against clavinet touches and expressive Montunos melodies. Spirit of the salsa, for the disco dancer!

On the flip 'Lucumi, Macumba, Voodoo' is a masterpiece of Latin fusion, with Palmieri's unique arrangements squeezing that Puerto Rican flavour out of every added instrument. Trumpet blasts and sax solos marry with woops and whistles and Latin chants. Couple that with sensuous piano melodies and irresistible percussive elements and it's a recipe of Caribbean spice that'll liven up any record collection.

Killer percussion, superb jazz, odd global sound, beautiful library music. Yes, an amazing compilation of Italian library music from the SR catalogue, but we couldn't say SR or Sermi on it as it's all now owned by Cometa and they wouldn't allow it. Anyway, about £1000+ worth of music here, and not a duff track within earshot. Legendary composers too - Alessandroni, Torossi, De Masi, Marinuzzi Jnr etc.

Duppy Gun and Bokeh presents the huge debut statement from Okeme Robinson aka Gaza G Sudden, the second staple artiste in Duppy's global dancehall project. Rolling with Duppy since 2013's 'Girls Dem Need Me' debuted him into the world, G Sudden's youth fire comes of age after lighting up the Portmore scene at Reggae Yard, Stop the Crime on Violence tour and Chopdawg Sundays.

Production comes from Richmond, BC (Canada via Manila) crew Seekersinternational who clashed with Duppy on 2019's I Jahbar and Friends(where lead track 'Bunout' first appeared). On Bunout Boss EP the message is: no one is perfect but we still bun out wrongs in society. G Sudden's lyrically conscious takes on gun violence and ghetto life run all over SKRS' bubbling future riddims.

Founded by Sun Araw M. Geddes Gengras and I Jahbar, Duppy Gun pairs under-cover producers with Jamaican vocalists like G Sudden, Early One & others from their island HQ in Spanish Town. Re-configuring dancehall DNA for 9 years now, Duppy has been a huge inspiration since Dayone's conquering 'Multiply' landed in 2011. This is their fourth release thru Bokeh Versions afterMiro Tape, Vybz Kartel protege Sikka Rymes' conqueringLove Di People EPand I Jahbar's debut album earlier in 2019.

Portmore, Richmond, LA, Bristol, Jamaica.Duppy Gun moves into 2020 with much new blood and energy, expanding border and sounds: Live Long and Grow Strong

Death Is Not The End issue all 18 sides recorded by the enigmatic Finnish-American Hiski Salomaa, who would come to be known as "The Finnish Woody Guthrie" for his songs of working life and association with the labour movement.

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Hiski Salomaa began his life in 1891 in Kangasniemi in the Southern Savonia region of Finland, emigrating to the USA after the death of his mother in 1909 - travelling via Hanko, to Hull, Liverpool, Ellis Island, Manhattan, and finally to a Finnish American community in the South Range of Michigan.

After taking to writing and performing songs as a young boy, Salomaa realised there was a demand amongst the Finnish immigrant set for music performed in their own language and indeed in the Finnglish dialect common at the time. With his unique vocal, he told stories of immigrant life and society which resonated with his intended audience, particularly in the shadow of the labour movement that had strong support in immigrant worker communities. Through the mid 1920s to early part of the 1930s Salomaa became a popular attraction at the Finnish Worker's House in Manhattan, and would cut these 18 sides for Columbia during this period, though his career seems to have been stymied by the great recession.

The recordings Salomaa made for Columbia found favour in Finland toward the end of World War II after being picked up by left-wing athlete (and later singer and actor) Tapio Rautavaara for airplay on Maaselä Front Radio, and later gained attention on Finland's national radio YLE. This enigmatic Finnish American performer would come to be adopted into some hearts as the country's answer to Woody Guthrie, and became somewhat of a talisman for the Finnish left.

However, it has been uncovered in Markku Salomaa's recent book on the life of Hiski, entitled Vapauden kaiho (after his most recognisable track, trans: Longing for Freedom), that this ideal is somewhat far from the real truth. Despite having once apparently been an IWW member, a picture emerges of Salomaa having merely been playing to the views of his crowd - and taking the corresponding cheque - without holding those views himself. Worse still, it's alleged that he was a card-carrying republican.

Still, hopefully you will enjoy these recordings nevertheless!

In the series 'World psychedelic classics' (that also brought forth Shuggie Otis's 'Inspiration Inspiritation) here an overview on this group's early works ('68 - '69-'70) before they turned more towards progressive rock. Very much on the Tropicalia tip, with psychedelic sounds, self made instruments; inspired by the Beatles also.

Der Soundtrack zum preisgekrönten Animationsfilm und ein Ausflug in Richtung Techno. Der US-amerikanische Multiinstrumentalist, Sänger und Komponist Peter Broderick veröffentlicht auf seiner EP "Two Balloons" den Soundtrack zum gleichnamigen, vielfach preisgekrönten Animationsfilm von Mark C. Smith, der von einer frühen Broderick-Komposition inspiriert wurde. Erst kürzlich räumte er den Preis in der Kategorie "Best Original Music Score" beim New Renaissance Film Festival in Amsterdam ab. Auf der Rückseite der limitierten 10'' findet sich eine elektronische Neuinterpretation mit dem Titel "Techno For
Lemurs". Remix trifft es in diesem Fall nicht wirklich, schließlich ist keine einzige Spur vom Original in dieser Version zu hören. "Techno For Lemurs" ist vielmehr eine Hommage an die beiden Protagonisten des Animationsfilms, die Lemure Bernard und Elba, und zugleich Brodericks allererster Abstecher in Richtung Techno. Der verspielte Track basiert auf den Kernmotiven des Scores, die er hier mit elektronischen Mitteln aufgreift.

A journey to far outlands: this is exactly what one can feel when listening to Béliz. Entitled Mémoires, the album from the band Béliz, explores new territories where the Guadeloupean musical tradition meets the harmonic universe of the harp. Béliz is the dialogue between the world of classical harpist Anne Bacqueyrisse, percussionist Olivier Maurières and multi-instrumentalist and singer Edmony Krater, fervent supporter of the Gwo Ka, the ancestral musical tradition coming from Guadeloupe. Founder of the band Zepiss, once a member of Robert Oumaou's collective Gwakasonné, Edmony Krater always had the will to open the Ka to other cultures and to incorporate new sounds. Indeed, with Ti Jan Pou Vélo, his tribute album in the memory of Marcel Lollia known as Vélo (one of the greatest drummers of Guadeloupe), released in 1987, Edmony Krater brilliantly mixed jazz-fusion, Occitan folklore, synthesizers with the distinctive Ka rhythms.

The meeting of Anne Bacqueyrisse, Olivier Maurières and Edmony Krater at the Music Academy of Montauban, gave birth to Béliz. In 2009 the group of three musicians-teachers, under the impulse of one of their pupils, decided to record in studio their project, Mémoires. Béliz, with its innovative and singular artistic approach, is a true invitation to travel. The title “Arawak É Karayib” is a vibrant tribute to the native West Indian people. “Gwadloup” - an acoustic version of the song already featured on the album Ti Jan Pou Vélo - is an ode to Edmony’s beloved island. “Natibel”, an hymn to Nature - another cover from the Zepiss band – makes sense here in a minimalist version.

A true fusional object, Béliz moves us to new horizons, both imaginary and poetic.

Lamunai Records is proud to announce Philosophy Gang, the 1st opus of the Indonesian master Harry Roesli, a sought-after Indonesian album, musically at the crossroads of psychedelic, soul and jazz, lightly tinted with exotic Indonesian sounds. Expect funky brutal drums, mad organ solos, fuzz guitar brillIiantly mixed to softer sounds. Another gem finally reissued!
Political activist, a prominent member of the Tradisi Baru Movement (New Tradition) who emerged in the 1970s, Harry Roesli worked with musicians, poets, playwrights who were commited to experimenting with Indonesian traditional culture.

Arp Frique is back, delivering four dance floor ready cuts in his signature style. 'Minina Bem Li' is loosely inspired by Arp Frique’s Cape Verdean connection through Rotterdam and Americo Brito, echoing the spacey 70s sounds of some of his favorite music. On vocal duties and doing em BIG is Mariseya aka Marissa Nyamekye. Dancefloor flavours with a zouk flow and arpeggiators on blast.

It's about time the maestro of edits was featured on GAMM !!

We gave Danny a carte blanche to search beyond the standard disco edit spectrum and to dig deep into his vinyl directory for something truly 'special'.
The result is a two track release entirely focused on Brazilian drums...nothing else!
This is basically a rhythm record where two Batucada sessions are reworked for your DJ pleasure.

So simple but so, so effective...Rio meets NYC.
Proper!

A lost ambient cosmic gem from Liquid Liquid founding member Dennis Young is getting a long-overdue vinyl reissue! Young, the percussionist and marimba player in the seminal New York art-wave group, recorded a series of cassette-only releases in the '80s after Liquid Liquid disbanded. A couple of these were picked up at the time for Korean release, which is where Daehan Electronics, a South Korea-based label dedicated to tracing the history of electronic music in the land of the morning calm, comes in.

Quest was one of these albums, part of a biorithmically-aligned New Age serie, each album meant to be heard on specific days of the week. DE has worked with Young to remaster the the album for this new release, bringing out the full warmth of the analog synthesizers used to create it. It is the first in a series of projected collaborations with Young, which will delve deeply into both the scarce cassette issues and other, unreleased material newly discovered on tapes. Liner notes outline the history of the record and include Young's own look back at the making of Quest.

J.Derwort (15/07/1952 - 11/02/2019) left all his flutes, old guitars, strange percussion and some weird found objects at the Chi Factory studio. Hanyo van Oosterom went back to Patmos in April 2019 to visit all the magic places where Chi once started. He recorded the basics for ‘Travel in Peace’. Playing and recording these handmade bamboo flutes without the master himself being there was a lonely and emotional journey. But along the way the magic connection returned and the last Chi Factory album was born. On ‘Santa Fe’ and ‘Last Breath’ samples were used of J.Derwort during his last weeks in Santa Fe, Spain. The Chi circle is now closed. Chi Factory will move on as ‘Sons of Chi’. A new platform for different collabs and new adventures in sound. The legacy will live on, so will we.

Hanyo: As J.Derwort explained by a dream he is now in a wonderful place far away and still so close. The dream came during the recordings when I asked him how he is and where he is. I saw beautiful and ever changing constructions of plants. Nothing else. No words and just a simple explanation: everything is created and connected by intuitive vegetable intelligence. The opening piece ‘Bless You’ is the last track I recorded, it reflects the memory of my dream the most. I almost decided to start all over again, but I did not. Hope you like the last Chi Factory album, thx for all your support, also to my good friend and soul brother J.Derwort this meant a lot. One love!

Anglo-French binational FLOX has been sowing his 'Nu-Reggae' seeds for years now in venues all around France, and a new genre has sprung up sprouted , somewhere between roots reggae and electro.
Deeply influenced by the Jamaican Culture, from LKJ, to The Police, to the more contemporary Fat Freddy's Dop, FLOX now delivers his 5th album:
HOMEGROWN.
Even though the 4 past albums already perfectly comprised the richness and diversity of FLOX's universe and personality, Homegrown takes us to a more intimate place, closer to his state of mind, revealing his endeavor to remain genuine regardless the cost, to follow his gut without compromise. More than a DIY production, Homegrown conveys a 'do-it-for-yourself' message, in which the final more honest fruit is to be shared all around.

'Chão Vermelho' (Red Floor) is a collection of ritualistic, lamenting pieces influenced by the increasingly dry ground of the surrounding area of central Portugal from where cellist and singer Joana Guerra resides.

An environment of experimentation and risk transports us to an apocalyptic scenario in which the extreme dryness of a ground where nothing can grow anymore is accompanied by dramatic, theatrical compositions. As a murmur or a pagan prayer, the pieces evoke the ever imminent possibility of regeneration: “The name of the album is inspired by the area where I live, with muddy soil. It fascinates me a lot, although the drought and its cracks make me feel terrible”, explains Joana. Perhaps because the floor covering the earth, like a skin of deep cracks, attests to the tiredness, the wrinkles, of civilization.

Small blue-metallic flowers, a white animal about to go extinct, rare stones that only exist in two latitudes, the colour red as a warning sign, ecological sound, but also as a sign of renewal, as in women in their blood cycles. All of this makes up the universe of Joana Guerra's 'Chão Vermelho'. And as long as the mycelium feels our presence, perhaps there is hope for this ground and for such a woman who in her cycles of renewal is too earthy to be holy.

All compositions are by Joana Guerra who, in addition to cello and voice, her main instruments, ventures on Portuguese guitar, prepared electric guitar and keyboard. She is joined by Maria do Mar on the violin and Carlos Godinho on percussion and objects, as well as the contributions of Sofia Queiróz Orê-Ibir and Bernardo Barata, respectively bass and voice.

Limited 2019 edition of « Clandestino », remastered for the first time on triple Vinyl + CD.
2 x 180 Black Vinyl and a Blue 10’’ (+ dedicated printed inner sleeve) with 3 new songs : « Bloody Bloody Border », « Roadies Rules » & « Clandestino » featuring Calypso Rose (2019 version).
Includes the remastered CD. Gatefold packaging. Vinyl Mastering and lacquers cut by Chris Bellman at Bernie Grundman Mastering Studio.

Mais Um announce a first coloured vinyl pressing of Minyo Crusaders and Frente Cumbiero’s 2020 hit EP ‘Minyo Cumbiero’.

Tokyo-based ten-piece and wild Japanese folk-song fusionists, Minyo Crusaders join forces with Colombian cumbia radicals Frente Cumbiero on the history-making Minyo Cumbiero, the first ever Japanese-Colombian collaborative release, and one that fuses ancient Japanese folk songs with heavyweight Colombian styles. Recorded across two days in Bogota in August 2019 Minyo Cumbiero includes versions of an ancient Japanese rap tune, modern cumbia standard and 1980s’ Chinese computer game theme-song and captures a thrilling exchange between two radical and triumphant groups. Japan and Colombia may be cultural opposites on different sides of the world, yet the countries are bursting at the seams musically and on this EP both groups stridently drive their respective music cultures and histories in exciting new directions with powerhouse horn sections, rippling dub basslines and rampant Afro-Latin polyrhythms creating carnival grooves, released here via London-based label, Mais Um.

Tokyo-based ten-piece and wild Japanese folk-song fusionists, Minyo Crusaders join forces with Colombian cumbia radicals Frente Cumbiero on the history-making Minyo Cumbiero, the first ever Japanese-Colombian collaborative release, and one that fuses ancient Japanese folk songs with heavyweight Colombian styles. Recorded across two days in Bogota in August 2019 Minyo Cumbiero includes versions of an ancient Japanese rap tune, modern cumbia standard and 1980s’ Chinese computer game theme-song and captures a thrilling exchange between two radical and triumphant groups. Japan and Colombia may be cultural opposites on different sides of the world, yet the countries are bursting at the seams musically and on this EP both groups stridently drive their respective music cultures and histories in exciting new directions with powerhouse horn sections, rippling dub basslines and rampant Afro-Latin polyrhythms creating carnival grooves, released here via London-based label, Mais Um.
For an uncompromisingly contemporary and inventive take on traditional Colombian cumbia, look no further than Frente Cumbiero. Headed by Colombian songwriter and producer Mario Galeano Toro (also a founding member of Ondatrópica and Los Pirañas), the Bogota-based crew have spearheaded Colombia’s thriving new-look cumbia movement for well over a decade, fusing cumbia rhythms and bass weight electronics with releases featuring collaborations with the legendary London-based dub producer, Mad Professor and US-based Kronos Quartet.
Following the release of their acclaimed debut album, Echoes of Japan in 2019, Minyo Crusaders - or MinCru as their Japanese fans know them as – have won-over a global audience with their unique take on Japanese folk music. A debut debut European tour in 2019 saw main-stage performances at Le Guess Who and Transmusicales and was soon followed by shows at WOMADelaide and WOMAD New Zealand in early 2020 that saw audiences intoxicated by their mix of traditional Japanese folk songs (min’yō) and Afro-funk, Thai pop, Ethio-jazz and reggae. Fronted by singers “Freddy” Tsukamoto (his nickname comes from his hero, Freddie Mercury) and Megu, with guitarist and bandleader Katsumi Tanaka, the members of the ten-piece are drawn from Tokyo’s vibrant and diverse jazz and Afro-Latin scenes. Collaborative release between Japanese ten-piece Minyo Crusaders and Colombian cambia radicals Frente Cumbiero

Following their sublime 2019 collaboration, “Sakla Beni”, production king Kutiman and Turkish songstress Melike Sahin reunite on Anatolian psych anthem, “Elmi Tut (Hold My Hand)”. And a simple revival this is not. The Turkish & Middle Eastern psych sound of Erkin Koray, Baris Manco, Selda Bağcan, Omar Khorshid & Aris San is brought bang up to date with swathes of hallucinatory synths, filtered basslines, hard-as-nail drum breaks and Kutiman’s magic touch.

Having met in Istanbul in 2017, Şahin and Kutiman rapidly developed a beautiful chemistry. Şahin’s striking voice inspired Kutiman to create a genuine yet modern Anatolian psych sound and the resulting 2019 single, “Sakla Beni”, became a global hit, championed by BBC Radio 6 Music’s Lauren Laverne. Meanwhile, the modern Anatolian sounds of bands such as the Netherlands-based Altın Gün and the contemporary Middle Eastern-influenced psych of Khruangbin, have taken the world by storm. Kutiman and Şahin’s follow-up is destined to win even more hearts!

This is the only album by mysterious Lui Williams (Lui), released in 1978. He and his band used to play at Maui Surf Hotel along Kaanapali Beach in Maui, Hawaii. (The hotel appears in the front cover.) This is a Hawaiian album, but his original "Oh, Oh (Think I'm Fallin' Love)" got popular among Soul / AOR lovers, and now the rare original LP is traded at a high price among collectors. It includes another his original "My Lover", Hawaiian cover of jazz standard "My Funny Valentine", Hawaiian traditional "Hawaiian Wedding Song" and so on. P-Vine reissued it as CD in 2018, and now we present it as vinyl.

A Series Of Rare And Sought After 'Golden Era' 1960s/70s Brazilian Dancefloor Essentials For DJs And Collectors Previously Unreleased As Singles Or Only Available On Quieter LP Pressings Mastered Cut At High Quality & Packaged In Lovingly Produced Brazil45 Sleeves

If you don’t know Sababa 5 yet, you’re definitely missing out on one of the hottest bands on the Tel Aviv music scene.

Following their very popular debut release ‘Crossroad of Love’,
Sababa 5 and vocalist Yurika are back on the exclusive Middle Eastern Grooves with their newest double-sided 7" collaboration titled ‘Tokyo Midnight’. The record is a dazzling encounter of cultures, inspired by the funky and exotic melodies of Sababa 5 and the resplendent Japanese words of Yurika.

Title track Tokyo Midnight opens with a groovy guitar riff and continues to an upbeat rhythmic workout, complete with a funky bassline and ululating keyboards. Yurika’s enchanting voice ties things together in a soft, yet hypnotic, musical whirlwind.

On the B-side - Nasnusa - a beautiful guitar solo continues into a captivating rhythm inspired by traditional Mizrahi music. Yurika’s delicate vocals evoke a love story; a couple watches the sunset as the gates to a new world are opening. As Nasnusa fades into the light, her lover recalls her beauty and expresses fondness over the wonderful time they spent together.

About Sababa 5
Founded by Amir Sadot and Ilan Smilan, Sababa 5 have been playing together for two years and have recently built their own recording studio on the street that connects Jaffa to Tel Aviv. "We just wanted a place to record our music where the whole band could fit together in the same room... so, we built the place ourselves! Mind you, there’s not a lot of space - in fact, we’re a bit crammed in there but that’s how we like it. Additionally, we’re above the best hummus place in Tel Aviv so we couldn’t have picked a better location."

Sababa 5’s musical style has been influenced by all its members and is in continuous evolution, though always remaining very groove-centric. The sound is mainly based in surf rock and retro funk, especially Arabic folk and funk music from the ‘60s and the ‘70s and
artists from that period, such as the legendary Aris San.

Yurika is a Japanese performer who was born and raised in Tokyo, Japan. During her teenage years, she discovered belly dancing and fell in love with it. She then traveled the Middle East to discover more of this antique art; learning from choreographers of the stature of Orly Portal and performing with renowned artists Raquy Danziger, Boom Pam, and Ouzo Bazooka.

Tape / Cassette
A peculiar recollection of a haunting hallucinatory experience, narrated through spectral harmonies. In what is best described as “horror musique concrète”, Polish multidisciplinary artist and musician Samutek (Mateusz Woś) has composed a 47-minute album that emits a distinctive, hypnotic aura — intricately developed and mastered over the years.

Ingrained with echoes of gongs, chimes, crickets, drones and a plethora of haunted sounds recorded and found, “Omamy” (Polish for “Hallucinations”) is the soundtrack of a phantasmagoric spiral, summoning an unceasing terror usually conjured in cinematic works like Ari Aster’s Midsommar and The Blair Witch Project.

A recent Masters graduate with a thesis on the paranormal, centering around 19th century spirit photography, UFO photography and thoughtography, Samutek continues this expressive exchange through sound. With a towering 31 albums under his belt, “Omamy”, his first official album release on a label, is his most distinguished and fully-formed piece of work to date. Each track serves as distinct chapters in a haunting nine-part anecdote.

The trek begins with an unnamed character engulfed in a metaphysical battle as depicted in “Samospalenie” (Polish for Spontaneous Human Combustion), paralysed with an inability to distinguish reality from an unearthly torment.
The title track and first single “Omamy” sets the pace for the rest of the album, as the character eventually reaches the gateway to a tunnel, its walls pulsating with death and desolation. “Pożeracz” (Polish for Devourer), a composition scattered with deformed growls and ceremonial bells, seals their fate. The album ends with a meditative closer, “Krąg” (Polish for Ring) as the character succumbs to this inscrutable creature, with predator and prey transmogrifying into one.

“Omamy” is an invitation to Samutek’s peculiar world of horror storytelling, a result of his personal explorations of the supernatural.
Be prepared for a strange and discomforting experience that will leave you spellbound.

Eddie C's always on-point RED MOTORBIKE moves effortlessly into its 20's with another fine double A, dinked 7" !!

A beautiful lost folk-Disco frugger from Tel Aviv's Elado greets us on the A, while Eddie expertly re-jams a Turkish delight with some punchy 606 rhythms.

Pure class !

The sound sources in Klein's work are rooted in personal relationships. Klein worked for a New York church's audio ministry; she mixed the choir, recorded the sermons and services, and later, knowing who was shouting, put parts of them in her MPC. Klein interviewed intellectuals in person to extract deep house messages from the conversations. Klein brought a close friend's hypnotizing Detroit deep house beat to the patio of a Senegalese Sabar ensemble to ask if they wanted to respond to it. Having learned the piano and jazz theory in her youth, Klein composes all the keys on her records. If a sound feels right, let's go with it, is her position. Excellence of technique isn't crucial for selecting sounds. Klein was tempted to study jazz though she ended up studying art. Her sound is a reaction to living in a world in which words are said to be powerful when they are far from adequate to describe many relations. She was shaped by spiritual jazz, mostly from the 70s, polyrhythmic environments, and the Detroit sound at the turn of the millennium. On a scholarship in Detroit in 2005, she was welcomed by Aaron-Carl (R.I.P.) in his studio and witnessed studio setups used as tools for survival. Back in Germany, Klein missed hearing those forms of house on dance floors, so she started spinning as a kind of transatlantic communicator. Community centers were turned into one night clubs quite a lot under the Bring Your Ass name of Klein's celebration series, which brought the ambassadors of Detroit house in person. That's how she gives thanks for the hospitality she has received in Detroit since 2005. One guest told her all Saturdays should be like that. Klein is an unofficial pupil of David Mancuso's craft. We'll take care of the details - come as you are. Coming from Frankfurt, an early influence on her sound was her fellow student Frank Metzger, the former vocalist of Oval. After moving to Cologne in 1998, she was part of the record distribution Groove Attack for a couple of years. Stecken night club was the place for her regular DJ appearances. A-Musik is her adopted music family in her hometown Cologne. When Klein is spinning records, she is used to going from Don Cherry to Detroit's experimental house to Tama Walo to ESG to Jaco Pastorius to Wendy & Lisa to Aby Ngana Diop to a Salsoul Acappella layered on a rough bassline to Jaki Liebezeit to Justus Khncke to Hypnotic Brass Ensemble to Yusef Lateef to whatever she wants to say - she is definitely not holding back. Celebrating the openness of sound is what the new record and collaboration with Florent Kandety and Georgia Anne Muldrow does for sure. Like standing in a sound corridor between two or more clubs. Kandety gave a Senegalese sound expressing astonishment as well as his falsetto to Klein's Zoom recorder and a personal chant through a long-distance internet phone call. The US American Muldrow tests the range of our perception with her interpretation of empathy. Klein composes keys, plays and arranges organ, bass and drums to cherish the vocals sung for her.

Caiphus Semenya, AKA Mr Letta Mbulu, is a South African legend, and Listen To The Wind, his iconic debut album, is simply a superb modern-soul/boogie album. It’s also incredibly rare, especially in good condition, so Be With is delighted to present this reissue.

Now a revered composer, musician, and arranger, Caiphus left apartheid South Africa in the 60s for self-imposed exile in Southern California together with his wife, Letta Mbulu. Settling in Los Angeles he started working with the likes of Hugh Masekela and Miriam Makeba and other exiled and semi-exiled South african artists, as well as, of course, his wife Letta.

Caiphus also found himself working with and composing for a broad range of jazz and pop artists, including Lou Rawls, Nina Simone and Cannonball Adderley. His facility with both jazz and African forms served him well. His LA stay was also the beginning of an ongoing collaboration with Quincy Jones, the fruits of which can be tasted in Caiphus’s African compositions for the scores to Roots and Spielberg’s adaptation of The Color Purple.

Given his decades of work behind the scenes, it’s no surprise that it took until 1982 for Caiphus to get around to putting out the first album of his own. But all that experience shows. Listen To The Wind is a deeply impressive synthesis of early 80s US production and instrumentation together with his traditional South African musical roots.

It’s stylistically diverse but the ingredients are never diluted. There are elements of boogie, soul, funk and jazz, all shot through with pan-African flavour, and moving effortlessly from uptempo floor fillers to more meditative, slower soulful tracks. Produced by Caiphus himself, he makes full use of a stellar line up of session musicians including Nathan East, Michael Stanton, Sonny Burke and Paulinho DaCosta. And of course, there are Letta’s show-stopping vocals. To our ears, Listen To The Wind is just one big party, and lord knows we need that more than ever right now.

Opener “Angelina” is one of Caiphus’s most beloved tracks at Be With HQ. It’s a breezy, feel-good SA boogie-funk classic. Harmonic and horn heavy, it sounds as fresh today as it would’ve done in the early 80s. If this one doesn’t make you move, you may need your pulse taking. The drum breakdown alone, a little over halfway through, is sensational.

It’s followed by the gentle reggae lilt of “Play With Fire”. A real melodic slo-mo delight, carried by the tropical vibes and, above all else, by the extraordinary performance of Caiphus himself and his backing singers.

Closing out side one, the spectacular “Umoya” is driven by triumphant horns and slick bass. With its proto-Graceland vibes, we reckon Paul Simon must’ve been listening. Hard. Caiphus trades verses with the unmistakable tones of Letta, and it sounds divine. Yes, it’s as good as anything on Letta’s canonical In The Music… The Village Never Ends. A wide-eyed wonder, made for unity and togetherness, it’s all infectious, smiling faces for nearly nine minutes. But never mind nine, we could party to this for ninety minutes and “Umoya” would leave us re-energised for ninety more.

Elegantly firing up side two is perhaps the album’s best known track. “Without You” is a heavenly slice of modern soul, an end-of-nighter to end them all. Smooth strutting, disco-fied funk with that unmistakably South African sound, it’s just sublime, with those lyrics that keep coming back to smiling faces and community, “without You the sun won’t shine”. Big with the likes of Rush Hour’s Antal, this is aural perfection.

“Ziph’inkomo” is a soul-soothing, swooning epic. Gently building throughout, its final few minutes are genuinely stirring as the backing vocals and instrumentation swell. Jaw-dropping. The irresistible groove of frantic, percussive workout “Gumba Boogie” closes out what must surely be one of the greatest artistic statements of the 1980s. If his friend Quincy wasn’t feverishly taking notes for Thriller, then you could’ve fooled us.

With Simon Francis handling the mastering of this Be With edition, you know it sounds as fantastic as ever. The cover art, as breezy as the music, has been faithfully restored. All that’s missing is you.

Volume part 2/4 solo album set. (Monstruos Y Duendes). The music of Myrddin goes through marrow and bone and is both complex, passionately rhythmic and profoundly emotional. He fully masters the compás of flamenco, which gives him the freedom to converse with elements of jazz or classical music.

Beautiful contemporary African music. Deep percussion with great guitar playing and vocal chants on top. Driving basslines all over the album. Spiritual feel! Tip
.
Son of the legendary Dr Philip Nchipi Tabane and heir to the malombo sound that he originated and pioneered in the early 1960s, Thabang Tabane has been touring the world playing with his father's band and other South African luminaries (such as Thandiswa Mazwai, Madala Kunene and Mabi Thobejane) since he was 8 years old.

Emerging into his own with his debut solo album, Matjale, this energetic percussionist carves a driving, joyous and worldly version of the malombo genre that takes in his continental travels. The album brims with ambition and an appetite for life. Employing brisk tempos, nimble basslines and intersecting polyrhythms, Thabang crafts songs cognisant of the hardships of life, but chooses to deliver them with an irrepressible optimism.

Expanding parameters of what is essentially an artform patented by his father, Thabang and his cohorts seem unburdened by pedigree, infusing the sound with a modern sensibility. His reverence for the vibrational resonance and drive of the bass guitar, not to mention his explosive bursts of hand drumming, gives the album an undeniable, cathartic exuberance.

Janet Erskine Stuart said that “Egypt was full of dreams, mysteries, memories”. Her music, like her architecture is somehow hardwired into us, more than we know. When Oum Kalthoum was at her zenith, Egyptian music circled the world on shortwave, picked up and marvelled over by millions who didn’t understand a word she sang but understood the emotion in it.

Something different might be said about an astonishing single by Mohamed Mansour, now issued by Staalplaat as a limited edition 7” single. Many will know the words on the first side, because they come from the Eurhythmics song “Sweet Dreams Are Made Of This”, its glorious, operatic line translated into Arabic as “Ahlamna el Helwa”. When the Lebanese singer Mayssa Karaa re-recorded Jefferson Airplane’s White Rabbit in Arabic for the American Hustle soundtrack, many were reminded that the sheer beauty of the original song went beyond limitations of language. So it is with Mansour’s version of the Dave Stewart and Annie Lennox classic, a soaring line over a universal beat.

To make the single doubly special, the flipside is Mansour’s reworking of Woody Guthrie’s “All You Fascists Bound To Lose”, a song that had resonance when it was first performed but which seems ever more relevant today. Mansour’s version is called “Hatehhsare”, but its message remains the same: evil never prevails for long. Mansour’s music is a compelling synthesis of European, American and Egyptians styles and sounds. It is genuinely international. Just as shortwave radio fans used to twiddle dials to find Oum Kalthoum phasing up and down in the ether, so Mansour’s music has a global presence on the internet, but how fine to have it in physical form too, in a beautifully designed sleeve by Staalplaat.

Mo is a lyricist, vocalist and physicist from Egypt, Scotland and Kuwait, who has never worked on the 1st of May.

Nkumba System, new project led by guitarist Guillo Cros (Romperayo) provides a vibrant fusion of catchy percussions, Afro-Colombian songs and Cameroonian guitar picking style linking Central Africa to the Caribbean! Nkumba System is about to fill the dancefloors with debut album ¡Bailalo Duro!, recorded between Bogotá and Paris.
On the imaginary highway of Guillo Cros, makossa crosses paths with cumbia, Zairean rumba combines with that of Cuba and last but not least, currulao melts into Malian desert blues. Cros' journeys led him to meet the Cameroonian singer Mama Ohandja, alongside whom he trained for several years. Thereafter, he resided in Bogotá from 2014 to 2019, collaborated with Pedro Ojeda in the band Romperayo and “Los Propios Bateros” (7” NYCT). His current project Nkumba System was born in 2018, inside Colombia's effervescent tropical music scene. The original line-up includes bassist Jhon Socha (Romperayo, la Makina del Karibe), singerpercussionist Leonel Merchan (La Phónoclórica) and Kike Narvaez on drums. Several singles were
released on local labels Tambora Records and Palenque Records, preceeding the arrival of Cameroonian guitarist Simba Daniel Evousa in the band. The drummer Pedro Ojeda, travelling companion in Romperayo, is invited on the track “Mujer hermana”, as well as the Malian singer Mamani Keita on “Paisano”. The album is mixed in
Amsterdam by sprawling musician Alex Figueira (Fumaça Preta, Conjunto Papa Upa, Music With Soul), in his studio Barracão Sound, and comes as a Limited Pressing.