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Repress.

British-Trinidadian poet/musician/author Anthony Joseph’s latest album was inspired by and echoes the fertile London scene. Anthony has surrounded himself with some of the best musicians on the local scene, including Jason Yarde, Shabaka Hutchings (Sons Of Kemet, The Comet Is Coming), Crispin Robinson (founder of the iconic acid jazz band Galliano,) and Rod Youngs (Gil Scott Heron’s drummer). Operating as a dedication to poetic ancestors and a coming together of musical generations, ‘The Rich are Only Defeated When Running for their Lives’ is also an almighty jam. Recorded live in August 2020, it shows off the prowess of a team of master musicians from Paris and London. Jason Yarde, who also produced Joseph’s 2018 album ‘People of the Sun’ is credited as producer/ composer/arranger - to startling, albeit intimate, effect. Running throughout the release are inter-connected themes: memory, place, belonging and acts of homage. Anthony Joseph has released seven previous albums - six on Heavenly Sweetness - and collaborated with Archie Shepp, Keziah Jones and Meshell Ndgeocello who produced his album, ‘Time’ in 2014. He is the author of four poetry collections and three novels. His 2018 novel Kitch: A Fictional Biography of a Calypso Icon was shortlisted for the Republic of Consciousness Prize, the Royal Society of Literature’s Encore Award, and long listed for the OCM Bocas Prize for Caribbean Literature.

180g vinyl + Deluxe hard-cardboard sleeve + OBI + resealable outer sleeve

This isn’t just a seminal album. It is an estuary. All the black rivers that would form Brazilian funk/hip-hop flow through it. Led by Paulista pianist Salvador Silva Filho – Dom Salvador – “Som, Sangue, e Raça” from 1971, one year after the explosion of Tim Maia on the scene, catalyzed the bossa nova and jazz background of its leader with the rhythm and blues of its members like saxophonist Oberdã Magalhães, nephew of samba-enredo master Silas de Oliveira and future leader of Banda Black Rio, who since the group Impacto 8 (which had, among others, Robertinho Silva on drums and Raul de Souza on trombone) had already been trying to reconcile MPB with Stevie Wonder and James Brown. Add to all this a mixture of samba, Nordestino accent, and even the black side of the Jovem Guarda represented by the authorial presence of Getúlio Cortes (older brother of Gerson King Combo, our James Brown “cover”) in ‘Hei! Você’. Alongside these elements and the presence of Rubão Sabino (bass), who still called himself ‘Rubens’, drummer Luis Carlos (another member of Black Rio), the record enlists the trumpet and flugelhorn of symphonic musician Darcy in place of the original Barrosinho (yet one more founder of Black Rio), who was traveling during the recording but would end up being a leading force of the band.



The album ‘Som, Sangue e raça’ paves the way for future generations of musicians and producers of the Carioca scene at the beginning of the 1970s. The lyrics that dealt with the question of race and the explosive fusion of samba, soul, jazz, and funk, elaborated by Dom Salvador and his troupe, Abolição, established the bases for the development of new sounds and tendencies in Brazilian music.

2024 repress.

The 2019 Stroom〰 split EP with Hessel Veldman marked the long-awaited vinyl debut of Enno Velthuys and served as a teaser for a reissue campaign of his work, shared between different labels. Finally!

In 1984 Velthuys released his classic tape ‘A Glimpse of Light’ on EXART, the label of Veldman, who stayed in close contact with Enno after hearing one of his private tapes being played on the radio by Willem de Ridder in 1980. During a live-broadcast event random tapes were played. “From Enno Velthuys, The Hague”, was written on the package. Willem introduced the tape, played it and a serene silence filled the studio. Present was a friend of De Ridder, Rob Smit, who visited Enno and his mother a few weeks later. This eventually resulted in Enno’s first release ‘Ontmoeting’ on KUBUS Kassettes in 1982. In those years, Enno was living a solitary life and rarely left his mother’s apartment. He managed to release 6 tapes of introvert, melancholic music from another dimension. Atmospheric melodies backed with sparse percussion, showing an excellent handling of the synthesizer.

The gifted musician with two souls silently passed away in 2009. Now we present, with involvement of the few once close to him, the first reissue of probably his most beloved work. Using the original master tape from the EXART vaults, carefully transferred, edited and remastered. Just Enno with his stripped-down compositions and fragile ambient sounds. An intimate experience celebrating bedroom-music and the glory days of do-it-yourself counterculture.

Ten bad boy digi riddims from the myspace era by Copenhagen’s Maffi crew, dubbed out into 3D space by disrupt in 2024. Raw, minimalist CyberDancehall at its best, nostalgic and oddly futuristic at the same time, this album is quickly becoming RoboCop’s favorite playlist when going to work.
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Maffi Promotions a.k.a. Maffi Boys come straight outta 1773 Kbh V, Copenhagen, Denmark. Originally founded in 1990 by the two homeboys, lazy body Moog and Junior the Rat, Maffi Promotions have been a steady producer of simple digital riddims for years. Hanging out in the streets of Hummel City Junior & Moog used to entertain their friends with the primitve riddims of the Maffi sound. Not knowing that they would do the exact same thing fifteen years later, they continued to believe that one day they would move up the ladder, break out of the underground and reach for the stars.

Now, after finally adopting a little sense of realism, the two homeboys have realised that stardom is nothing compared to spamming people on myspace. So the two stoners decided to get a couple of friends together and turn up the bass online. Together with their sound crew FIREHOUSE, Maffi deal nuff weed and gyals!

Maffi Boys are very dedicated to the art of playing Sensible World of Soccer, rolling weed joints with Manitou tobacco and keeping it real in a Vesterbro-style. So watch out! And don’t test! We’ll be putting up new riddims on a weekly basis. We have nuff things brewing – including a delicious chicken!
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Growing up in the streets of Hummel City, Vesterbro, MOOG learned the pleasures of sleeping late, playing Sensible World Of Soccer and picking up hot gyals at an early age. He has spent most of his life trying to master these crucial skills. Taking a break from the dog race, Moog is currently focused on reaching a higher understanding of reggae-science and weedology.

JUNIOR experienced the necessity of rolling well-made spliffs at an early age. Incorporating the aestethic heritage of Scandinavian design, he has spent most of his life perfectionizing this old and traditional art form. Junior is currently taking his ph.d. in digital reggae by buying crates of 80’s 7″ and selecting for his sound system Firehouse.

Comes with insert and download coupon.

Imagine a Latin remake of Back to the Future. The mad scientist is Arsenio Rodriguez (the godfather of salsa) and the young student who travels through time with him is Eblis Alvarez (Meridian Brothers). This album can only be described as the perfect soundtrack for that movie that never was.

After the massive buzz generated by his first solo album, Mentallogenic, Alex Figueira got back in the studio to work in a more collective fashion this time, carefully assembling the second album of his largest project to date, Conjunto Papa Upa; a team of 6 musicians, spanning 3 generations of some of the best talent in the Latin and avant-garde scenes.

In an era where tropical music is dominated by purely electronic and rhythmically uniform sounds, the ten songs encompassed in “Fruta Madura” (“Ripe Fruit”) wander through the most diverse tempos, rhythms, and motifs effortlessly. A real breath of fresh air that gracefully incorporates soul, funk, jazz, psychedelia, and electronics into a solid tropical, irresistibly polyrhythmic foundation, without ever succumbing to the many genre clichés.

The distinctive production and catchy songwriting of Figueira shine in a very distinctive light on this second full-length. Living up to his reputation (Miles Cleret, founder of Soundway Records, called him “one of the scene's truly authentic and eccentric producers”), he takes the opportunity to show he’s not afraid to keep walking his own path.

Taking the band for a wild ride through the traditions of Africa, America, and the Caribbean; contrasting them with a ridiculously wide plethora of vintage, contemporary, and futuristic sounds, and pivoting on the exuberant musicality displayed by his musicians; the result leaves no doubt: this album is destined to be considered a future classic of the exciting tropical psychedelic music of the 21st century.

Addressing the most diverse themes in this new collection of songs, things take on a much more mature tone, as the title clearly suggests.

The opening track “El segundo es más sabroso” (“The second one is tastier”) sets the tone in the most assertive way imaginable, with the band boldly declaring, through multiple metaphorical references (laid upon a crazy mix of Dominican merengue, Detroit techno, classic and free jazz, dub, and electro), that the bar will be set higher with this second album.

The remaining compositions touch upon the most diverse subjects, with a fair dose of humor, sarcasm, and postmodern “magic realism”. “El Algoritmo” (The Algorithm) is a parranda-cumbia hybrid (for lack of a specific term) about the omnipresence of technology in our lives. The sophisticated Latin soul of the titling track “Fruta Madura” makes a case for the beauty of the maturity process. Some key philosophical teachings of Marcus Aurelius (the role of causality, the impositions of “the logos” and the importance of self-control) get a twisted cumbia treatment on “Reos del Deseo” (Prisoners of Desire). “No le pongas Coca-Cola” (“Don’t put Coca Cola in it”) shows us the most satirical side of the band, accusing those who mix Coca Cola with Rum of committing "sacrilege", on a powerful base of Dem Bow (the grandfather of Reggaeton), intertwined with touches of soul, salsa, and Cuban comparsa.

"Háblame Claro" (“Talk to me clearly”) is a story of heartbreak that evokes in its first part the spirit of the erotic salsa of the 80s (a subgenre deeply despised by purists), and after an unexpected samba interlude, leads to the hardest salsa of the 70s (a subgenre adored by purists), to end up in the surprising form of pure Afro-Cuban ceremonial music.

“Tu mamá tenía razón” ("Your Mom Was Right") is an attempt to exalt the spirit of the Latin American soap opera in the key of “acid bachata”, to recount a real-life case, witnessed by the band on countless occasions: the partying woman who arrives at the show accompanied by her bitter husband, who obviously does not like to dance. A very cheeky song to talk about the very serious and pertinent topic of female empowerment.

“La misma vaina” (“The same thing”) with its indescribable blend of bantú, candomblé, and Mozambique rhythms with abstract synthesizers, is an ode to adventure in favor of the aversion to taking risks and seeking predictability.

“Amigas picadas” (“Salty friends”) is another humorous song recounting another real-life case witnessed by the band on countless occasions: a love encounter sabotaged by the girlfriend's friends, who all happen to fancy the same guy. A jazzy take on the ancient Dominican rhythm of pambiche (grandfather of merengue), with generous psychedelic touches, resembling the classy late 60s releases of Guadeloupe's legendary producer / label owner Henri Debs.

“Vinimos a hablar” (“We came to talk”) takes sarcasm to the highest level, to ridicule the absurdity (also experienced by the band firsthand) seen in live music venues where people pay a ticket to go and have conversations that could be carried out much better on any bar, where no band is playing. The music alternates between a delicate melody with loose, sparse percussion and a full-on, pumping Angolan semba, with a techno kick drum included; bringing things to an apotheotic grooving finale, where the peculiar swing of Venezuelan calypso from the Callao region is thrown on top of all the precedent elements; closing the album in the most uplifting, “end of the carnival parade” feel.

The artwork is a delicate and impactful oil painting by Colombian artist Kevin Simón Mancera, who has collaborated many times with the label before (“Maracas, tambourines and other hellish things” tape and the Lola’s Dice LP).

What the experts are saying:

“Alex (Figueira) dove into this work with a brutal cohesion between lyrics and synths. Timbre poetry, sound poetry (you name it). And that, superimposed on his always impeccable percussive base, confirms the title of “avant-garde visionary of our beautiful Latin music”".
EBLIS ALVAREZ (MERIDIAN BROTHERS)
“Papa Upa's infectious quirkiness is a balm against boredom. A mature album, but without an expiration date”.
GLADYS PALMERA

“Here there is a lot of strength, drum, cadence and psychedelia, lost dance rhythms, united in an intercontinental Latin/African/and Caribbean journey, a unique winning combination that we could consider the new “Ritmo Figueira”.
DISCODELIC

Conjunto Papa Upa are: 



Alex Figueira - Timbales, percussion, vocals. 

Gerardo Rosales - Congas, percussion, vocals. 

Ramón Mendeville - Bongos, percussion, vocals. 

Randy Winterdal - Bass.

Andrew Moreno - Guitar.

Nico Chientarolli - Organ, piano, synths.



All songs written by Alex Figueira. 

Arranged and performed by Conjunto Papa Upa. 

Recorded, produced, mixed and mastered by Alex Figueira at Heat Too Hot, Amsterdam.


Deeeeeep from the Ariwa archives... all unreleased music on here. Sounding absolutely essential to us. Dates of production uknown at time of writing...

The A Side is a Mad Professor produced version of Aisha's 'Give a Little Love', given the UK treatment. The Dub is a proper roller.

Side B is the unheard African Message Dub (Parts 1& 2). Recordings ft Jah Shaka on bass, Norman Grant (Twinkle Brothers) on Drums, Sgt Pepper and Mad Professor on the desk. Masterful UK Dub from these key figures.... pulled out of nowhere.

Not to be missed!

In Craig Charles' eigenen Worten enthält "The Craig Charles Trunk Of Funk Volume 3" "19 der feinsten Stücke von super-slinky Soul, boot shaking Blues und Boogie, schillernde Discosongs und feine funky rump shakers!"

Als Dichter, Schauspieler, Radio- und Fernsehstar (u. a. in der Science-Fiction-Comedy "Red Dwarf" und der Seifenoper "Coronation Street") ist er seit seiner Jugend berühmt, und seit über 22 Jahren predigt er in seinen weltberühmten BBC 6 Music-Wochenend- und Tagesshows für den guten Groove, legt in Clubs und auf Festivals rund um den Globus auf - sein Ruf als einer der profiliertesten Botschafter für alles, was Soul und Funky ist, ist unbestritten.

Craigs neueste Kollektion mischt Up-Tempo-Club-Klassiker mit frischer Musik von der Creme de la Creme der zeitgenössischen Soul- und Funk-Szene mit einer Prise Oldschool-Klassikern. Das Ergebnis ist so, als ob Craig persönlich als DJ auflegen würde - eine Mischung aus modernem und klassischem Soul, Disco, Deep Funk und beatlastigem Rhythm and Blues.

Strut introduces a pioneering new compilation 'A Dancefloor In Ndola,' curated by revered East African DJ, Kampire. This release marks an evolution in Strut's approach to compilations, showcasing emerging DJ talent from across the world and embracing an innovative approach to musical discovery from the next wave of selectors. Forging her reputation through memorable sets for the Nyege Nyege Festival in Uganda over the last decade, Kampire now tours worldwide and is celebrated for her brilliantly curated sets spanning the full range of African music styles from the ‘70s and ‘80s to the present day.

Although born in Kenya to Ugandan parents, Kampire spent her formative years in Ndola, Zambia. ‘A Dancefloor In Ndola’ is inspired by artists and songs that formed part of her soundtrack during that time. “It is important for me to continually reference Africa’s own musical history,” she explains. “At 17, I didn’t pick up on my Dad’s music but now I love and collect those records. I’m constantly referencing them in my music sets today. I love that feeling of shared nostalgia where people recognise a song they haven’t heard in a long time. It is a touchstone for me when I’m playing.”

The compilation flows through different East African and South African genres from Congolese rumba and soukous to 1980s township bubblegum and the rich guitar-led sounds of Zambian kalindula. “There are styles of music on the compilation which are often considered unsophisticated from rural areas. I and other contemporary African artists and DJs draw inspiration from them; it is part of what makes us ourselves.” Kampire also shines the spotlight on many incredible women in African music from the ‘80s, including Congolese legends like Pembey Sheiro, Feza Shamamba and Princesse Mansia M’bila to V-Mash and Di Groovy Girls from South Africa.

‘A Dancefloor In Ndola’ is released on 2LP and CD and features exclusive new edits by Kampire alongside personal liner notes tracing her links to the music. Cover artwork montage is by Canon Rumanzi and vinyl restoration / mastering by The Carvery
Debut compilation by one of East Africa’s leading new generation DJs, Kampire.
Mix of African classics and rarities spanning 1970s – 1990s from Congolese soukous, South African bubblegum and Zambian kalindula.
Shining the spotlight on women in African music Pembey Sheiro, Feza Shamamba and Princesse Mandisa M’bila.
Exclusive cover artwork collage by Canon Rumanzi.
Worldwide DJ dates supporting release during Summer and Autumn 2024.

Original members of Sheffield’s Human League, Martyn Ware and Ian Craig Marsh left after the first two albums
and formed Heaven 17 in 1980. Named after a fictional band in Anthony Burgess’s “A Clockwork Orange”, they
recruited Glenn Gregory on vocals (who had been the original choice for lead singer of the Human League).
Signed to Virgin Records, debut single “(We Don’t Need This) Fascist Groove Thang” attracted a lot of attention in
March 1981, and a BBC Radio 1 ban. Recorded in Sheffield and London, debut album “Penthouse And Pavement”
was released in September 1981 and was certified Gold the following year, and also contained the singles “Play To
Win”, “Penthouse And Pavement”, and “The Height Of The Fighting”.
This new edition has been expertly mastered by Barry Grint at AIR Mastering from the original stereo tapes using
precision half-speed mastering. Half-speed mastering is a vinyl cutting technique that improves groove accuracy
and transient information creating an incredibly detailed stereo image with a natural high frequency response.
Presented in its original sleeve, pressed on 180-gram heavyweight black vinyl, featuring an obi strip and housed
in a poly-lined inner sleeve, with all the lyrics and credits plus photos on the 4-page insert.

Asmaa Hamzaoui stands out as a pioneering female figure in the traditionally male-dominated realm of Gnawa music. With her group, Bnat Timbouktou, she brings a dynamic and spiritual dimension to the genre, infusing it with the vibrant energy of desert blues. Despite the essential role women have played in Gnawa rituals, female musicians have historically been underrepresented. Hamzaoui, however, is at the forefront of changing this trend. Born into a family deeply entrenched in Gnawa traditions in Casablanca, Hamzaoui was immersed in this musical heritage from a young age. Her father, a master musician, and her mother, a dancer, provided a rich environment for her early education in music. She learned to play the guembri, a three-stringed lute central to Gnawa music, and began performing with her father's band on the qraqeb, metal castanets used in Gnawa music, and in the choir. Encouraged by her father, she eventually formed her own group, Bnat Timbouktou. The group's debut album, "Oulad Lghaba," recorded in collaboration with the Swedish label ajabu! Records, was critically acclaimed and nominated for a Songlines Music Award. This album, along with their upcoming release "L'bnat," showcases Hamzaoui's commitment to preserving and revitalizing Gnawa music. "L'bnat," will emphasize the female traditions and spiritual aspects of Gnawa culture. Hamzaoui's performances are characterized by her powerful voice and the rhythmic, percussive playing of the guembri. Her music not only pays homage to the spiritual and healing qualities of Gnawa but also aims to keep the tradition alive by introducing it to new audiences worldwide.

London-based producer/musician/DJ act Dub Fu Masters provides a triple delivery of high-quality funk-heavy, left-field jazz/fusion/house/tripped-out collaborative tracks featuring “NJB” with four-piece band Q3 and “Mr Frosty” with fellow London producer Son Of Abe. The EP’s three productions span a versatile sonic range of ear-wiggling treats, “Mr Frosty” is an acid-focused 303 workout, with a deeply rolling groove and hypnotically enticing bass layer. “NJB” explores a broken beat structure with the delightfully funky live band instrumentation of Q3, double bass, sax and a metric ton of groove.
The solo track “Herb Was Created” dives into the dub/reggae mood, holding a real tasty sound of old-school saturation and deeply enticing bass. Support from Âme, Damian Lazarus, Roger Sanchez, Paco Osuna, Sabo, David Guetta / Steve Aoki / Bakermat, Timo Maas,
Laurent Garnier, and Steve Lawler, Francesco Mami, Silicone Soul, Alex Taylor, Peter Kruder, Chaim, Bolam, Matisa, sim0ne, DJ Phantasy, Dan Marciano

The magic and majesty of Holger Czukay’s late career works for Claremont 56 is being celebrated on a new compilation. The former Can bassist – a musical maverick renowned for his freewheeling approach to composition, recording and promotion – released a string of inspired tracks on Paul Murphy’s label between 2009 and 2012, typically delivering hard-to-pigeonhole workouts, bona-fide epics and radical reinventions of some of his most beloved tracks.

The collection has been a labour of love – fitting given the sonic details and inventive musicality that marked out the late artist’s solo career – for Claremont 56 founder Paul Murphy AKA Mudd, who first reached out to Czukay after witnessing his now legendary live performance at the Roundhouse in 2009. As Murphy details in his introductory liner notes, it led to a productive working relationship between the pair that included collaborative recording sessions with Ben Smith in Czukay’s legendary Innerspace Studio – a former cinema in Cologne in which much of Can’s music was recorded.The impact of that Roundhouse gig on Murphy is reflected in the fact that two of the tracks on the collection are based on that celebrated performance. There’s ‘Ode To Perfume’, a languid and solo-laden version of one of Czukay’s most celebrated solo records that ratchets up the original’s inherent dreaminess, and a jaunty take on quirky kraut-pop number ‘Photosong’ featuring a spoken introduction recorded at the concert in question.

Murphy’s ability to coax Czukay into delving into his archives is evident across the compilation. Opener ‘A Perfect World (Remix)’ is an eccentric, ever-building masterpiece originally recorded in 1984 – but later re-imagined for Claremont 56 – featuring vocalist Sheldon Ancel and former Can band-mates Jaki Leibezeit and Michael Karoli, while ‘Fragrance’ is a subtly re-wired slab of picturesque Balearic kraut-dub which was initially recorded as a coda for ‘Ode To Perfume’ but lay unreleased for decades.

Then there’s ‘Let’s Get Cool’, a bright and breezy, French horn-sporting 2009 take on 1979 avant-disco classic ‘Cool In The Pool’; ‘My Persian Love (Remix)’, a 2010 re-take of one of his earliest solos recordings; and the near 18-minute brilliance of ‘Music Is A Miracle’. Originally recorded for his fans in the 1980s – but only released three decades later – this widescreen epic not only features drums by Jaki Leibezeit and a fine spoken word vocal by Czukay, but also numerous nods to some of his most revered tracks.

It's fitting, too, that two of the most potent cuts feature Czukay’s much-missed wife and musical muse Ursa Major: the dense, trippy and fittingly out-there ambient soundscape ‘In Space’, and the mesmerising ‘Music To be Murdered By’. Partially inspired by hearing painfully out of tune violin practice through his studio windows, the track was originally recorded for an unreleased album but finally found a home on Claremont 56’s 10th anniversary box set ion 2017. A genuinely spaced-out and mind-mangling slab of organic dub in Czukay’s distinctive style, it delivers a fine curtain call to the iconic artist’s endlessly inventive career.

Highly wanted amongst collectors for its unique sound, this Italian psychedelic percussion heavy disco single was originally only released on 7" format sometime in the late 70s on the Idea label. Quite experimental for its time, it stands out not only for the reckless use of percussion but also the use of early synthesiser sounds in very rhythmic conscientious manners, some moments almost sounding as if a pioneering example of Acid House years before its time. While it seems like all possible percussion instrument sounds are chaotically employed into the drum salad that unfolds, the clavinet and vibraphone offer a contrasting dreamy nuance via a simple and slowly moving melody. Besides the original “Parte 02a” version this release comes with a new remix “Drum Implosion (Parte 10a)” further propelling the chaos commenced in the original release with the aid of flangers and delays, already striking the fancy of DJs like Marcell Dettmann. Severely remastered at Manmade mastering, now featured in 12” format with full cover artwork.

140g transparent blue and green galaxy marble vinyl housed in a matte 3mm cardboard sleeve with lyrics insert featuring photography and artwork by Hidrico Rubens. Limited to 300 copies. The creation of ‘Chrysalis’ was a retreat from a seemingly endless string of unfortunate events, a cocoon from which Zanias could weave hope from hopelessness. In each of its eight songs she has engineered unique worlds to express alternate facets of the modern human experience, from burnout and the toxicity of capitalism to processing death and the inherent isolation of personal trauma. Written and recorded between Berlin and the rainforest of Queensland, Australia, the sound design of ‘Chrysalis’ reflects the rich biodiversity of the latter environment, where she drew much of her inspiration. Her voice shifts and morphs into ghostly, alien forms between catchy hooks that plant this album firmly in the ‘pop’ genre, without losing the underground rawness and lyrical depth for which she is known. With her third full-length album, Zanias is expressing her truest form thus far, fusing her seemingly discordant influences into a genre-defying electronic artpop, as dark and evocative as it is ethereal and uplifting. Written and produced by Alison Lewis Bass guitar on ‘Lovelife’ by Laura Bailey Mixed by Ewan Kay Mastered by Alain Paul Photography and artwork by Hidrico Rubens Sigil by Nat Soba Design and layout by Alison Lewis Makeup by Eavan Derbyshire

Repress!

Far Out Recordings Proudly Presents The 1975 Self-titled Debut Album From Brazilian Vocalist And Bossa Nova Luminary Emilio Santiago. Nicknamed 'the Nat King Cole Of Brazil', Santiago Was A Master Bossa Balladeer And A Top-class Crooner. But He Is Known Equally For His Brazilian Funk, Soul And Boogie Classics. One Of His Best Know Is Album Opener 'bananeira', A Party-starting Version Of The Song Originally Written By Joao Donato And Gilberto Gil. 'brother' Is A Smooth-grooving Killer With Great Horn Arrangements And A Huge Backing Choir, While 'la Mulata' Is A Soulful, Swinging Salsa Stepper.
Originally Released On The Cid Label, The Album Showcases The Full Range Of Emilio's Talents, While Paying Homage To Some Of Brazil's Greatest Composers, Including Jorge Ben, Marcos And Sergio Valle And Ivan Lins Among Others.
The Credits On The Album Are A 'who's Who' Of Brazil's Greats, With João Donato On Keys, Wilson Das Neves, Ivan 'mamão' Conti And Paulinho On Drums, Durval Ferreira, Carlos Roberto Rocha And Helio Delmiro On Guitar, Ariovaldo, Orlandivo, And Chacal On Percussion, Danilo Caymmi On Flute, A Brass Section Featuring Victor Assis Brasil, Edson Maciel And Jesse Sadoc, And Backing Vocals From Jaime And Nair, Lúcia Lins, Jurema And Marcio Lott.

YESYESPEAKERSYES is the first vinyl release of the remarkable collaboration between Chicago foot-work founder Kavain Wayne Space (aka RPBoo) and London duo experiment XT (drummer Paul Abbott and saxophonist Seymour Wright). The trio’s synthesis of rhythms, sounds, strategies, technologies and traditions collapse genre, distance, boundaries and preconceptions into a total, and totally unique, brain-body music.

Its two 15-minute vinyl sides are cut from a 60-minute live set at Cafe OTO, London on Friday 8th October, 2021 also available as digital download. This was the fourth meeting of the trio followed, instead of being followed by*, an RPBoo DJ set.

Each time the trio play it pushes further into new technical, emotional and creative space. The collaboration needs ears, instruments, imaginations and bodies to be used in new ways. This need is transformative. Together they – and we – learn. This unique trio combination is rooted in deep conceptual foundations, that push into real and imaginary spaces of innovation and learning in a creative practice of 'interruption' far beyond genres or what is supposed to be. And what emerges each time is a trio technology - a total dance technology for any and all bodies.

Kavain, Paul and Seymour share a fascination with the musical history of Chicago – a source of which is of continual nourishment to their ongoing practice. While Kavain’s pioneering footwork work develops the rhythmic structures of Chicago house and the samples, grooves and melodies of 60’s/70’s Chicago soul, disco and R&B, Seymour and Paul share a fascination with these musics, and bring to this lineage a long-term engagement with Chicago’s jazz traditions, from Baby Dodds to the AACM through their unique prism of club, dance, free-jazz and improvised club structures, technologies and musics.

The LP was expertly mixed by Billy Steiger and mastered by Amir Shoat. Every purchase comes with a bonus download of the full, unedited live set from Cafe OTO.

The album includes artwork by Benedict Drew and text by Edward George.

Pedro Vian and Merzbow release their first joint work, an unbounded expression of creativity and experimentation. Over the album's forty-minute duration, listeners can experience a blend of field recordings made by Pedro Vian at the DIA Bacon Foundation in NYC, specifically inside Richard Serra's sculptures. These recordings are interwoven with the ambient percussion and melodies characteristic of Vian's work, alongside the piercing and sharp computer frequencies produced by Merzbow, one of the most acclaimed artists in the global noise scene.

"Inside Richard Serra Sculptures" is both a complex and spontaneous piece, an abstract journey into the unconscious that may be difficult to grasp for closed minds. This work stands as a masterpiece of contemporary expressionism, merging ambient sound and noise in a way that challenges and redefines the boundaries of sound art.

The collaboration between Vian and Merzbow is notable not only for its innovation but also for its ability to transport listeners to a space where sound becomes an immersive and visceral experience. The use of Richard Serra's sculptures as a source of inspiration and sonic material adds a unique dimension to the project, emphasizing the interaction between physical space and musical creation. Photo by Alba Ricard

1983 Post-Punk/Reggae masterpiece from Khartomb becomes the eighth release on Jason Boardman's indispensable BiD label !
A Balearic secret weapon now available for aficionados everywhere !
Synkro & Talking Drums deliver outstanding reworks too - ESSENTIAL !!

UFO Space presents “Clod Soul,” an EP masterfully blending House, Techno, and Break Beats.

This record is a pure injection of energy. Each track envelops you with powerful rhythms, dynamic textures, and hypnotic vocals, showcasing the artist’s true identity: versatility. “Clod Soul” offers a variety of soundscapes in different styles, but always with the same focus: rock the dance floor. A must-have for any DJ looking to make their mark.

40 Years ago, Hunting Lodge was nearing the peak of its fertile 'tribal' period. In celebration of this anniversary we are releasing a book-style 3LP set including Nomad Souls, 'Tribal Warning Shot' (expanded) and The Harvest (live/expanded). All of the included tracks have been lovingly remastered from the original reels and cassettes, restored by Grant Richardson and mastered for vinyl by Sion Orgon. The Nomad Souls LP was originally released in the autumn of 1984 on S/M Operations in the USA, and in the following spring on Side Effekts Records, UK. The 'Tribal Warning Shot' 12” 4-track EP was released early 1985 on S/M Operations (USA). The title track was remixed with drums added for a 12” 45 release on Normal Records (Germany) soon thereafter. This version, along with the other three EP tracks appear on the second record in the set. A new remix of the 1983 7” 'Night From Night' b/w 'Untitled' is also included, along with 2 tracks that appeared on compilation albums and one previously unreleased track. To round off this LP we launch into a track from original The Harvest live cassette, to ease you into the album to come. The Harvest cassette was a collection of live Hunting Lodge tracks circa 1984 which has never appeared on LP until now. To make for a more cohesive theme we have separated the two LP sides by shows: Side A from Chicago, where the original 'Tribal Warning Shot (live)' was recorded, while the other side features a Detroit show which bears the distinction of being the only time Roselle Williams (The Wolf Hour) sang live with the band. Each side features one song that was NOT included on the original The Harvest release This set features a replica of the original S/M Operations' Nomad Souls cover, and of the original Normal Records 12” art on the second LP. The third sleeve features a newly designed back cover by Rolaid Alpo Cola, and an inner panel including the original promo poster artwork along with an essay from Graeme Revell.