Suche:mun sing

Two years ago, Ferdi Schuster was a young multi-instrumentalist and producer
daydreaming of releasing his music on Claremont 56, one of his favourite labels.
Now he’s set to release his stunning debut album, “All One”, on Paul Murphy’s
long-running imprint.
It’s been a long time between drinks for the German producer, who last graced
C56 with his superb double A-side single, “Little River/Befreit”, in the autumn of
2017. Fittingly, it’s “Little River” – a babbling brook of audio bliss rich in samba
influenced drums, soothing acoustic guitars and spacey synthesizer licks – that
kicks off “All One”, a seductive set in which every drumbeat, piano note, guitar
riff, synthesizer flourish and freside-warm bassline was played by the man
himself.
Throughout, it’s easy to see why Murphy decided to snap up Schuster and
push the producer to record a debut album. Check, for example, the dubbed
out shuffle of “Thinking of You”, where ghostly chords, soft-focus guitar solos
and ethereal vocals drift across the soundscape, and the slowly unfurling bliss
of “The Good Fight”, an effortlessly Balearic workout rich in sun-kissed guitars,
bubbly synth lines and chords so snugly they could probably be used as a
comfort blanket.
Schuster’s greatest strength is undoubtedly the evocative and enveloping nature
of his instrumental music, which draws on a variety of complimentary influences
but never sounds anything less than original and fresh. Some listeners may be
enchanted by the loose and languid pulse of “Fading Away” or the lo-f reggae
jazz of dusty closing cut “Night Talk”, though others may prefer the stoned funk
shuffle of “Interaction” or the spacey vibrations of “Pulsa”, where intergalactic
synthesizer lines wind their way around heady bass guitar and sparse, off-kilter
deep electro drums.
“All One” is that kind of set; an atmospheric and musically accomplished
collection of cuts capable of muting the mundane and distracting from the stress
of 21st century life. As debut albums go, it’s something of a stunner

As part of their 20th Anniversary celebrations, Strut present the first new volume in their pioneering 'Nigeria 70' series for over 8 years, bringing together rare highlife, Afro-funk and juju from the '70s and early '80s. Compiled by collector and DJ Duncan Brooker, this new selection of tracks is receiving its first international release outside of Nigeria.

The compilation returns to a fertile heyday in Nigerian music when established styles like highlife and juju became infused with elements of Western jazz, soul and funk and musicians brought a proud new message post-independence. Brooker places the spotlight particularly on some of the incredible Ukwuani musicians from the Delta State region as guitarist Rogana Ottah and Steady Arobby's International Brothers Band forged their own fluid brand of highlife and soulman Don Bruce drew on the US R&B greats for a series of great albums and explosive stage shows at his residency at Hilton Hotel in Abuja.

Elsewhere, the album explores the close connection between Nigeria and Benin's music, most famously through Sir Victor Uwaifo, appearing here with a killer mid'80s ekassa jam, as well as highlife hitmaker Osayamore Joseph on 'Obonogbozu' (Joseph made headlines in Nigeria for very different reasons in 2017, surviving a one month kidnapping ordeal).

Other tracks include 'Sickness' a 1979 lament on how all countries share troubles by Prince Nico Mbarga, the Nigerian / Camerounian star behind the smash hit 'Sweet Mother'; reggae singer Felixson Ngasia switches to funk and disco for a heavy workout with potent lyrics around black identity; another major highlife great Etubom Rex Williams unleashes a punchy psych funk gem with 'Psychedelic Shoes' and Africa 70 member Pax Nicholas vocals a simmering Afrobeat groove from Jacob Lee's Saxon Lee & The Shadows International Band.

'Nigeria 70: No Wahala' iis released on 29th March 2019 on CD, 2LP and digital. All tracks have been restored by See Why Audio and mastered by The Carvery. The package features comprehensive sleeve notes including exclusive interviews with some of the original artists.

B-movie junkies, gather round and prepare yourselves for what could only be described as a cinematic speedball. Take a combined hit of two of the most potent strains of toxic cinema, dress it up in ritualistic robes and make it dance to the beat of a stoned, motoric, country commune soundtrack. Like an exploito double bill where both films merge into a single feature, this directorial debut by an ex-Roger Corman protege and future Russ Meyer art director (another heady cocktail) is the product of one writing duo's fleeting time in the driving seat as the moviedrome marathon approached its dwindling finish line.

Werewolves On Wheels emerged in 1971 in a climate where the B-movie genre of the previous two decades began to make way for the early glimpses of imported slasher films and video nasties. Entirely out of popular context in 1971, the soundtrack music of Don Gere would perhaps reveal him as the most versatile actor involved in the whole production. Until this point, Don Gere had been a pop folk songwriter and a country music devotee, but while riding with the werewolves, Don Gere became a disjointed psych rock stoner making ritualistic commune country with more coincidentally in common with Germany's emerging Krautrock scene or the more localised stoner psych of Skip Spence (whose radically ahead of its time LP OAR was recognised by Columbia Records as their lowest selling record in the company's history). Imagine guitarist Sandy Bull jamming with Munich's Amon Duul 1 or some Swedish prog outfits like Trad, Gras och Stenar or a sedated Kebnekaise. In comparison to the Curb/Allan scores, for films like Wild Angels, Devil's Angels, Thunder Alley, and Born Losers (often released on Curb's own Sidewalk or Tower records), the new music made by Don Gere, only three years down the line, sounds like it's from an entirely different generation...

"Pre-certified biker psych from the hillbilly Haxan. Amazing!" - SEAN CANTY (DEMDIKE STARE)

The Conspiracy Hailed From Mount Pleasant, A College Town In The Center Of Michigan. Originally Formed As The Allusions, They Became Nino & The Nomads Before Changing Their Name To The Conspiracy In 1966. For The Next Few Years The Group Stayed Busy On The Live Circuit. "we Were Booked All Over The State," Remembers Singer Aquilino Soriano. "every Weekend We'd Be Somewhere. We Were About Two And A Half Hours From Detroit, So We'd Go Down South, We'd Go Up North, We'd Go Everywhere. There Was This Network Of Teen Clubs Where Kids Didn't Have To Be 21 And Everybody Could Go. It Was Fantastic." In 1967 The Group Had What Aquilino Describes As "probably Our Apex Moment". Kustom Amplifiers Sponsored A Statewide Battle Of The Bands Tournament, And The Conspiracy Battled Through Several Rounds Of Competition To Make It All The Way To The Finals In Saginaw. "it Was A Statewide Thing That Culminated There," Remembers Aquilino. "question Mark & The Mysterians And A Couple Of Others That Were Notables Were Also In It - And We Won It! We Got Our Award From Bob Seger." The Prize Was Thousands Of Dollars Worth Of Gigs And A Tuck And Roll Kustom Pa System, Which The Band Put To Use As They Moved Forward Into 1968, Brimming With Confidence. A Roving Capitol A&r Man Caught Their Show In Cadillac, Michigan, And Encouraged Them To Write Some Original Songs And Go Into The Studio. So In 1968 That's What They Did. `dream World' And `with You' Were Recorded At A Studio In Grand Rapids And The Session Turned Out Exceptionally Well. "it Just Floored Me That We Didn't Sit Down And Write Some More Songs," Says Aquilino, "because I Thought We Did A Pretty Good Job." `dream World' Is Particularly Great With A Soulful Lead Vocal, An Insistent Fuzz Guitar Line, Waves Of Hammond Organ, A Catchy, Harmonized Chorus And An Insistent Dance Groove. Shades Of The Doors, The Young Rascals, The Blues Magoos And Src. A Mixdown Of The Tape Was Forwarded To Their Contact At Capitol Records, But Ultimately No Deal Was Signed. "we Were Just Starting To Separate From High School," Remembers Aquilino. "it Was The Start Of That Transition. I Was Class Of '67, They Were Class Of `68. There Was The War In Vietnam. You Could Go To College To Avoid The Draft. It Was A Lot Of Decisions And I Guess What Happened Is Nothing Really Happened From Us Recording. I Mean They Liked It, They Made Us An Offer, But I Think That The Parents Weren't Really Happy With That. I Think That There Was Some Dissent In The Band Too." The Conspiracy Broke Up In Early 1969 And The Tape Of The Only Original Songs They Ever Played Remained Unreleased And Unheard Until 2018, When Soriano Brought The Original 1" 8-track Session Tape Into Earthling Studios In El Cajon, California, Where It Was Mixed And Mastered By Mike Kamoo For This Release. "getting This Out On Vinyl - It's What We Dreamed Of!" Aquilino Grins. "even If It Took Fifty Years To Happen!" Mike Stax

Matteo (aka Zé Mateo), Musician, Script-writer, Director And One Of The Founding Member Of The Band Chinese Man, Will Release His First Solo Album In 2018. This Album Is Called Scaglia (« Scale » In Italian).
For Several Years, While Matteo Was Making Music, Touring With The Band Chinese Man, Through Life Crisis, Places He Crossed And People He Met, He Has Been Producing Music. On Summer 2017, Gathering All These Tracks Created From Those Different Places And Emotions He Experienced, Matteo Has Been Able To Create Various But Coherent Pieces Of Music That Can Match These Multiple Environments.

The Symbol Of Chameleon Seemed Like The Obvious Choice, As Adaptation Is Its Strength. The Creative Process Is Hybrid And Progressive, Sometimes Very Personal, Sometimes Collaborative, Fully Arranged Or Inspired By A Sample. We Might Add An Instrumental Piece Later With Maybe A Mc Or A Singer.
Matteo Usually Works With Musicians Who Bring Their Own Style Or Capture Themes He Worked On And Offered Them. For The Whole Creative Process,
Matteo Also Gathered Artistic Advices From His Friends From Chinese Man And People Of Talent Who Are Part Or Collaborate With The Record Label Chinese Man Records.

Nirosta Steel is a sometime alias of Steven Hall. Musician and survivor of the `80s NYC`s art melting pot. Everybody Sing dances like Steven`s long-term collaborator and lost-way-too-early friend, Arthur Russell. As he forced irresistible, idiosyncratic, Disco-Not-Disco, out of the Ingram Brothers. Riding low rumbling bass. Phased guitar, country picking, flickering in and out of the mix. Strings, choir boy falsetto, and blue yodel, cutting through its delay-drenched, dance floor delirium.

L.A.`s Cole Medina delivers two reworks. His Heavy Disco take is intro`d by cowbell and synth swirls. Cymbals crashing like sampled surf. With Stratocaster microtones, and echoes of the original, washing over an electronically, re-imagined B-line and trip-py sequences.

Cole`s Knuckles Tribute sets poignant piano and gated orchestral euphoria against a classic Def Mix groove. Revealing the song in epiphany. Clarifying the lyric`s call for unity. Where singing your troubles away is a analogy for strength in adversity. Everybody hurts sometimes. In that, we are united. Eventually heading towards its own disorientating climax. Comin` at ya from all sides.

Mind Fair`s version goes in for some tribal thumping. Stripping the track down, before building it back up. Its big kick blowing bins like a hyped heart pumping within a giant's chest. Chicken scratches dropping in between its colossal 'lub dub', and Coati Mundi-meets-Jah Wobble-like Punk Funk..

Danach haben sich die Fans gesehnt: Nach langer Abstinenz kehren Muff Potter 2019 für eine Deutschland-Tour auf die Konzertbühnen zurück. Im Zuge dessen legt das Label Grand Hotel van Cleef vier Alben der Jahre 2000 bis 2007 auf Vinyl noch einmal auf. "Heute wird gewonnen, bitte" kam 2003 auf den Markt und katapultierte die Band mit raffinierten lyrischen Geschichten, Melodien zum Verlieben und einem kraftvollen, elaborierten und durchdachten Punkrocksound in die erste deutsche Indie-Liga. Während der Albumaufnahmen und der anschließenden Tour wurde Muff Potter von Jule März als Backgroundsängerin unterstützt. Sie verlieh den Songs, in die auch mal ein Glockenspiel oder Mellotron eingebunden wurde, eine völlig neue Note. Anders ausgedrückt: Die Tage der rotzigen jugendlichen Punkkapelle waren eindeutig gezählt. Passend dazu veröffentlichten die Münsteraner mit "Placebo Domingo" ihre allererste CD-Single. Gleichzeitig gab es mit dem ersten Videoclip eine weitere Premiere für die Gruppe zu feiern.

Last spotted tomfooling as Tryck & Ton with Edvin Edvinsson, and prior to that as Tiedye on Mike Simonetti's Italians Do It Better imprint, subversive Swede Anton Klint makes his debut on Simonetti's latest label 2MR with two more vitally trippy, heavily dub-informed originals.
'Mun' chugs at a stately 107. Rippling in places, squiggling in others, there's an unabashed FX weirdness bubbling and popping over the insistent shimmering dubwise groove. Tweaking, freaking but running at such a smooth temper there's space between the chaos, Anton is balancing some heavily hypnotic alchemy here.
'Strupe' takes things even lower and slower. A dusty bluesy chugger, unhurried-yet-relentlessly building with a great sense of cosmic drama, listen and marvel as more elements are precision introduced throughout the seven minute trip. A masterclass in modern day honkytonk.
Remix-wise we're thrusted into the later hours with a technoid twist from Andre Laos. Maintaining Anton's original's trippy charm and measured pace but re-amping it with grittier foundation, teasing risers and an insurgent synth strike, it's the perfect complement to one of 2MR's most singular releases to date. Open wide.

Dave Stewart und Annie Lennox vermischten auf ihrem vierten Studioalbum Be Yourself Tonight' (1985) härtere Rock-Elemente und R&B-Passagen mit ihrem etablierten Synthie-Sound. Als Gastmusiker sind mit an Bord: Aretha Franklin (auf Sisters Are Doin' It for Themselves'), Stevie Wonder an der Mundharmonika (auf There Must Be an Angel (Playing with My Heart)', dem ersten Nummer-Eins-Hit der Band in den USA) und Elvis Costello, der Adrian' im Duett mit Annie Lennox singt.
Die erste Singleauskopplung Would I Lie to You?', auf der sich laut dem Rolling Stone der Rocksound der Kinks mit dem R&B-Feeling der Supremes paarte', war ein Riesenerfolg in den Staaten. Die vierte Single It's Alright (Baby's Coming Back)' wiederum rief Erinnerungen an eine berühmte britische Sängerin der 60er Jahre wach - an Dusty Springfield und ihr Album Dusty in Memphis'.

The Four Tracks Composing All My Time Reveal A Unique Bird's-eye Perspective Over The Contemporary Pop Landscape, With Its Ambiguities And Fictional Public. By Developing A Personal Approach In The Bosom Of A Universal Notation, Mechatok Informs Naturally His Compositions With A Deep, Emotional Insight. Ornate But Undisposable, All My Time Glides Through The Skies Of Today's Music With A Rejuvenating Melody. Limited Edition Vinyl. Includes Dl Card.Timur Tokdemir Aka Mechatok Hails From Munich But Now Calls Berlin His Home. With His 2016 Debut 'see Thru' Ep On Staycore The Young Producer Exhibited A Rare Gift Of Honing A Distinct And Unique Style At Quite A Young Age. The Title Song Was Accompanied By A Captivating Videoclip Shot By Benjy Keating On The Stairs Of Athens' Panathenaic Stadium, Able To Reflect Both The Wide Scope And The Intimacy That Defined The Compositions. Mechatok Also Attracted Attention Thanks To The Single 'still Life' (co-produced By Toxe) Which Scored The Kenzo Fw 2016 Prints Presentation. The Allure Of Mechatok's Compositions Can Be Partly Traced Back To The Fact That He's A Classically Trained Guitarist, But A Distinct Expertise Can Also Be Recognized In His Dj Sets, Where He Instinctively Juggles Melodic Pieces With Club And Pop Music, Conveying Feels From Vulnerability To Bliss. In His Mixes For Dazed And Mixmag, Mechatok Tells Stories Of Melancholy, Always Radiating With A Moving Energy. Mechatok Has Also Shown His Face As A Top-notch Pop Producer, By Providing The Instrumental For Uli K And Yung Lean's "schemin" Or By Remixing Sinead Harnett's "rather Be With You" Or Mr Mitch And Palmistry's "vpn", Which Got Recently Published On Planet Mu.

"it Sounded All Right Through Two Walls, So What's The Problem" The Final Words Of 'two Walls', The Fast And Very Catchy Leading Track Of Dj Marcelle's New Record, Sum Up An Aesthetic Almost Lost In Today's Musical Climate, Where Often A Pleasing Attitude And Overproduced Music Sadly Rule, Even In So-called 'alternative' Circles.The Quote Comes From The Late Mark E. Smith (1957 - 2018), Legendary Frontman Of The Fall, And Is Taken From Some Of The Conversations Marcelle Had With Smith Over The Years. Smith Is Referring To A Recording Process But For Marcelle His Words Stand For Something Bigger.Although The Fall Have Been With Marcelle During Her Whole Musical Life (which More Or Less Started In 1977 During The Punk Wars) And She Has A Deep Love For Their Music, It Was Especially Smith's Attitude That Inspired Marcelle.Smith Was An Iconoclast, A Surrealist Dadaist Breaker Of Conventions In Music And Art More Generally. A Magically Creative Individual, A Brain-twisting Wordsmith. An Attacker Of The Pretentious And Dishonest Elements In Society And Music Scenes. An Autodidact Whose Singular Vision, Fired By Both Humour And Sharp Observation, Found A Voice In A Body Of Work Unlike Anything Else.The Day After Marcelle Heard Of Smith's Passing She Created A New Track, Lauding Smith, Whose Name Was An Institution In Itself: Mark E. Smith! Therefore, The Repetitious Use Of A John Peel Sample Pronouncing Smith's Name Celebrates The Life Of This Totally Unique Artist.This Track Opens With Another Smith Quote: "you're Probably Right, Marcelle". And Indeed, The Dutch Producer / Dj Shares Many Of Smith's Attitudes In That She Tries To Stay True To Herself, Doesn't Think Too Much About Audience Expectations And Always Tries To Stay Ahead Of The Public. 'punky' Energy Combined With The Avant-garde And Always Going Forward With Fresh Productions And Dj Sets. To Make And Play Music Which Reflects The Present And Doesn't Rest In The Comfort Zone Of One Dimensional Party Music.There Are Five More Versions Of 'two Walls' On This Ep, But They Differ So Much From The Original That You Can Count Them As Different Tracks. 'dubai Muezzin Dub' Was Partly Recorded In The United Emirates When Marcelle Played There Earlier In 2018. 'problematic Dub' Is Pure Industrial Techno Torn Apart By The Wildest Dub Effects, Its Coming And Going Of Sounds Equals A Ride In A Calypso. 'studio Door Dub' Celebrates The Repetition Of The Fall And The 'emerson, Lake & Palmer Symphony Dub' Is Both Pure Avant-garde And Hilarious Fun. And Belp, Who Owns The Jahmoni Label, Comes With A Wicked Abstract Noise Remix. The 'for' Ep Is The Fourth (get It) Vinyl Release Of Marcelle On The Munich Label Jahmoni Since 2016. As Always, Sleeve And Label Are Very Colourful. Both Labels Show Special Photos: On One Side We See An Old Picture Of Smith Embracing Marcelle, The Other Side Depicts The Label Of A 1985 The Fall Test Pressing That Once Belonged To John Peel But Which Was Stolen Out Of His Car In Amsterdam. Later Marcelle Found The Record On A Flea Market, Recognising Peel's Handwriting. "when I'm Dead And Gone" Smith Sang In The 1979 Song 'psychik Dancehall', "my Vibrations Will Live On, In Vibes On Vinyl Through The Years. People Will Dance To My Waves."Now We Can Listen And Dance To A Vinyl 'for' The Incomparable Mes, Made With Total Commitment And Which - Like The Fall - Defies Comparison.

Miss Kittin & The Hacker are the Electro duo of Caroline Hervé and Michel Amato from Grenoble, France. The pair met during the early 90s at a rave and soon after bought turntables and began DJing. In 1996, they started writing music heavily influenced by 1980s synthpop and post-punk bands like Fad Gadget, DAF, Liaisons Dangeuresues, and Yazoo, as well as Italo Disco. Bored by the techno scene at the time, they set out out to lighten the serious tone and bring a campy sexiness to the dour musical landscape. Upon hearing their demos DJ Hell signed them to his Munich-based International DJ Gigolo label and released their first 2 EPs in 1998 and 1999. Their debut album 'First Album" was released in 2001 followed by . in .

Lost Tracks Vol. 2' contains 4 previously unreleased demos recorded between 1997 and 1999. The duo fused 80's European New Wave/Italo Disco with 90's Detroit Electro acts like Le Car and Dopplereffekt. By utilizing verse-chorus structures, they playfully shook up the loop based hard techno and electro that was popular at the time. Their studio set up at the time was a Korg MS-20, Roland SH-101, TR-606, TR-808, Siel DK80, and Boss DR-660 drum machine. The songs are direct, spontaneous, seemingly improvised in places. Miss Kittin sings about falling in love in the new millennium, snuff movies and controlling the unknown trip to death, all in her cheekily derisive French accent.

All songs have been transferred from the original DAT tapes by the band and remastered for vinyl by George Horn at Fantasy Studios. The vinyl comes housed in a glossy jacket featuring a black and white photo of the duo taken in 1996. Each LP includes a postcard with liner notes from Miss Kittin and The Hacker designed by Eloise Leigh. As Miss Kittin says of these demos, We were naive, innocent, adventurous and we didn't expect anything in return'

Only those who read all the credits on record liner notes will know the full details: Areski is of course Brigitte Fontaine's partner in life, but also her creative alter ego, and the composer of the music of most of her songs. Even though it was his wife Brigitte and not him who wrote the lyrics, Areski is a poet in his own right. Furthermore, he is polyvalent: composing, arranging, singing, improvising, playing every possible instrument and even acting! Areski, to sum up, is the perfect mix of the tradition of Munir Bashir with the European sophistication' of someone like Jean-Claude Vannier, one foot permanently in Versailles (where he was born) and the maghreb. Areski, is left bank French songs without the stylistic effects, revised and updated through contact with arab-andalusian music. He is a Living Theatre style happening with a dose of cosmic free jazz, surrealist poetry viewed through the prism of Kabyle culture... All that and a lot more!

Areski honed his talent observing the stars of traditional chaâbi, testing it out in bars and dives before meeting, during military service, the singer Jacques Higelin with whom he would record his first cult album, and who would present him to his wife-to-be, Brigitte Fontaine. Between 1969 and 1980, with her, Areski would contribute an essential chapter to French underground music including classics such as Comme à la radio (with the Art Ensemble of Chicago), Je ne connais pas cet homme, L'Incendie, Le Bonheur and Vous et nous. For all that, Areski has never really tried to have a career under his own name, in spite of the wonderful Un Beau matin first published in 1970, and which it is high time to de (re)discover (better late than never). Those already in the know will not be surprised to see, especially, Jean-Charles Capon, author of the inspired L'Univers-solitude, Brigitte Fontaine of course, or Daniel Vallancien, author of a no-less inspired duo with saxophonist Philippe Maté. All contributing to an acerbic poetic universe, concerned but never militant, and open to worldwide influences long before they became a fashion.

Inspired, poetic, in a word essential: Un Beau Matin is one of the best albums of the French underground produced by Pierre Barouh on his label Saravah, alongside those by Maurice Lemaître, Catharsis, Claude Yvans, Mahjun, Barney Wilen, Cohelmec Ensemble et Michel Roques.

Tune after tune, Coops consistently delivers truly original and unique music, his newest single 'Jetpack' taken from
the recently announced 'No Brainer' project is no exception. Twist up a paper plane and take ight with Coops as he transports us out of the mundane into completely uncharted territory with this perfectly executed audio/visual experience. At High Focus Records, we are rm believers in artistic freedom, so when an artist as versatile as Coops delivered this 14 track project, it was a 'No Brainer' to share these highly innovative creations with the
world. 'Jetpack', alongside previous singles 'That Jazz', 'Bob Dylan' & 'What You Want' can all be found on Coops'
forthcoming 'No Brainer' project which is now available to pre order on limited edition splatter vinyl, CD, cassette tape and on all digital platforms. This forthcoming record showcases Coops' versatility and creative approach to his craft displaying a broad palette of sounds and moods. The cosmic cover art shows the two sides of the brain, representing the different approaches Coops has taken when crafting this project, ranging from experimental modern soundscapes to that classic Hip Hop sound. 'No Brainer' isn't really a album but more an experiment... I made most of these tracks alongside music I'd been making for an album... People have always tried to categorise me as a "Boom-Bap artist" but that I have never been. I am constantly making music of different styles and never work on one project at a time. Sadly some of these tracks never see the light of day, even though they are still of high quality and sick, so this time it was a 'No Brainer' that I put some of these tracks out.' - Coops
Coops - 'No Brainer' is offcially released on the 27th of April 2018 on High Focus Records.

Seven years ago, Max Tundra sent Daphne and Celeste a tweet, asking if he could write and produce their comeback single. Four years later their song You & I Alone ripped through the internet. Today they announce the forthcoming release of the most unlikely comeback album of 2018.

Three years after their comeback song, 'BB' arrives online as their new album's appetiser, an uncompromising takedown of the anodyne and anonymous. BB stands for Basic Busker,' explains Max, any one of countless identikit instigators of mundane melodies that have brought the mood down in recent years. Pop music should lift the spirits - so why are the airwaves full of these mundane strummers'

The world has changed a hell of a lot since Daphne & Celeste stormed up the charts with their effervescent earworms U.G.L.Y. and Ooh Stick You, back near the birth of the 21st century. So you'd be forgiven for failing to predict the fruitful union of D&C with a maverick electronic producer known for his records on Warp and Domino Records. But Max Tundra has long held an ambition to become a pop producer, and this new album is an addictive combination of the eccentric, creative and melodic.

After an initial sharing of tracks and ideas around the release of that first single in 2015, Max Tundra set about writing an album's worth of material, inspired by the unique kinship, born of shared experience, between Daphne and Celeste, and his own unexpected part in their story. Last year, Tundra brought his suitcase full of songs to a desert retreat near Joshua Tree, where he joined D&C for the 'working holiday' that produced Daphne & Celeste Save The World.

A full-length album of giddy, ridiculous, genre-bursting pop, 'Daphne & Celeste Save The World' finds our friends in fine, soaring, melodic voice, with Tundra's restlessly inventive production a toothsome, chordy, maximalist feast. These 13 songs touch on subjects as varied as time travel, succulents, pipelines under the ocean, cabins in the wood, unadventurous guitarists and different regions of the brain, but above all the sweet, enduring friendship of those two people who, long ago, told us all to Ooh Stick You.

Mondo Groove celebrates Italo-Disco in fine style delighting us with the most important tunes from the legendary Phantom Records; a ride deep into the world of the label that has not only produced renowned music, but has been acknowledged as a serious influence on modern disco sounds. Emerging in the late 70's to early 80s, Italo bridged the gap between disco and house, and was a staple of seminal Chicago DJs like Frankie Knuckles (who pioneered many of the drum machines and synths that are still in use today).

I-Robots, a true connoisseur of the genre, hailing from the Piedmont area of Italy, curated and carefully selected the tracks on this compilation.

This eleven track collection features originals and rarities, officially repressed here for the first time, and 2 tracks re-edited by I-Robots. The LP comes with the original Phantom Records logo on the front, scans of original 7-inch and LPs covers, as well as photos of the era on the back.
The sequence begins with "Come with me" by Carlotto. Roberto Carlotto was a keyboard player and singer who was very active since the 1960s. His solo recording career began in 1971 with a 7-inch release, and was followed by the progressive rock cult album "Dedicato a Giovanna G." signed under the pseudonym Hunka Munka. At the time he was distinguished by its remarkable technique and the high quality of its equipment that included an incredible number of keyboards and even the first examples of electronic measures. "Come with me" is an astounding unique Rock-Disco tune pressed only on 7-inch and highlights all of its instrumental and vocal prowess in a tight rhythm.
Comet Music Hall also came out as a 7-inch as a promotional edition for the homonymous discoteque - a kind of psychedelic-disco still currently produced by Enzo Draghi, a key figure of the Phantom, among others.
Roberto Ferracin is the man behind the Music One project, the name by which he produced only one LP of short electro-disco jingles. Included here are four of the most powerful cuts.
Every Italo Funk-Disco collector knows "Radio Cosmo 101", a soulful jazzy-disco-funk number produced by the homonymous radio station that was based in Alessandria in 1975, and spawned from the mind of Tony De Giglio, his two brothers, and a group of friends. At the end of 1974, Tony saw "American Graffiti", which instilled the desire to create a free radio format which became very popular in Italy. The programming took place at De Giglio's house and the wavelength was, in fact, 101 Mhz. The show immediately became quite popular, with programming that began in the morning at 10am and ended at 11pm. Included in this LP are the vocal and instrumental versions, as well as a long-version edit by I-Robots.
Don Luigi Bernini is a Piedmontese priest who has devoted his life to music. His father played the organ in church, and in those days the electric organ did not exist, therefore the father used little Luigi to push the bellows. The boy soon learned to play it as well. He then entered the seminary but continued to study music and graduated from the Vivaldi Conservatory of Alessandria in piano and choral composition. Later, he became a teacher of music education at the State School. He was introduced into the world of pop music by producers Riccardi & Albertelli and debuted with a single in 1977. Of his discography, his most interesting work is undoubtedly the weird "Telepatia" of 1979 - an experimental album, electronic, psychedelic, with the theme of good and evil always in the foreground. Featured in this collection is 'Whirlwind', which was recorded by Roberto Ferracin (Music One) and Enzo Draghi.
For all Italo maniacs!

Carl Gari is a group of three from Munich: Jonas Yamer, Till Funke and Jonas Friedlich. They released their well received and idiosyncratic debut (NPR mentioned it as one of the 50 best albums in 2016) on The Trilogy Tapes, for which they collaborated with Egyptian singer and spoken word artist Abdullah Miniawy. For the second release on Permanent Vacation they perfected their unique blend of psychedelic ingredients, dubbed out drums, drony sounds and a general hazyness. The mystic chants of Abdullah, who is also featured on two tracks, weave themselves into the band's lively sound texture. Apart from that Carl Gari showcase the diversity of their analogue driven and melodic approach to electronic music through four beautifully detailed tracks.

It's just over 3 years since we launched the Africa Seven label in Paris and London. Our first release back then (Airways One) is still our best seller and had to be repressed 4 times so far. Forty or so releases later it is time to take to the clouds again. Being the unimaginative bunch we are, the fourth installment of our African sky filled musical cornucopia is called African Airways Four (Disco Funk Touchdown - 1976 - 1983). This time around all tunes have the Disco flavour. As ever it's all about the music... the skies are wide and funky and the air is filled with musical goodness. Your flight is about to leave.

Your flight opens with a punchy disco funk assault from Paris based Cameroonian Tala AM. Here with his drive bass and guitar funk riff 1981 stomper "Get Up Tchmassi". Next up and staying with the Cameroonian connection is Eko with "Bowaa Mba Ngebe". The lyrics talk of accomplishing the things in life for your family and yourself. The sweeping strings and gloriously uplifting music matching the sentiments of the words perfectly. Uta Bella began singing in the 60's and by the time disco hit in the 70's she was already established a singer in her native Cameroon, here the locked on groove of "Nassa Nassa" is a perfect snapshot of the sound and the African disco times.

Charly Kingson (cousin of Manu Dibango) is next with his "Nimele Bolo". Recorded in Germany with the cream of Munich's session musicians the bass synth is out in force on this one. Punchy brass, rock solid grooves and jazzy Rhodes add all the right ingredients for a fine disco synth excursion. Next is the musical heavyweight from Cameroon cousin Manu with his 1978 Disco, jazz funk masterpiece "Sun Explosion".

Side two opens with a blast of Elvis Kemayo and his piano and guitar funk bomb "Biram". Next Momo Joseph gives us "Africain". Best known in France as an actor, this disco funk groover was released on his self pressed LP "War For Ground" in 1983. A true gem indeed. Nigerian, ex Funkees member Jake Sollo is next with "Tinni Yanana". Recorded in the UK in 83 its slick and smooth with a hint of "at the car wash" groove. Pierre Didy Tchakounte follows on with his soul funk 'golden years' style groover "Soul Magabe". Produced by one of our favourite Parisian producers Slim Pezin. We close off our journey with the tribal chant disco-funk special from the Monstars "Funny Saga".

Ladies and Gentleman, we have landed at your destination, please remain seated until the aircraft has reached the terminal. We look forward to welcoming you aboard Africa Airways again soon.

Bewitching Avant-Pop album from impromptu supergroup built around acclaimed Japanese duo, Tenniscoats. Featuring members of Notwist, Jam Money and Joasihno.

In these dark and uncertain times, there's an ever-growing collective of peaceful, loving types, bound together by an understanding of one peculiar word: Tenniscoats. Aside from being the name of an influential Tokyo-based duo, it represents fun, artistic freedom, experimentation and - perhaps most important of all - inclusivity.

A Tenniscoats gig is rarely the audience watching the performers. Instead, Saya and Takashi regularly shun the stage in favour of any particular spot that takes their fancy, whether it's an empty seat in the auditorium or the roof of a neighbouring cafe. In the world of Tenniscoats, music can happen anywhere, and everyone is invited to join in.

During the winter of 2016, the music happened in Munich. As a long-time fan, Markus Acher (Notwist) jumped at the chance not only to put Tenniscoats on the bill at the Alien Disko festival he was organising, but also to invite Saya & Takashi to a small apartment studio, together with Mat Fowler (Jam Money) and Cico Beck (Aloa Input, Notwist). This is where Spirit Fest was recorded over the following 14 days.

Tenniscoats are known for their collaborations - some of their finest work was done in conjunction with Tape, The Pastels, Jad Fair and many others - so making good use of the time and friends available was natural to them. For me, timing is important,' Saya said. We met in season, and the song flowers are now blooming!' Mat Fowler recalls the Spirit Fest sessions taking place in an idyllic, festive atmosphere. Every morning we'd all share breakfast, chat and learn about German Christmas customs. We'd catch the bus in the morning and walk home in the evening. The journey ran parallel to the beautiful flowing Isar River that bubbles, ebbs and flows right through the middle of Munich.'

While Tenniscoats sit at the heart of proceedings, it isn't their album alone. Markus, Mat and Cico also brought songs, providing a solid base on top of which the artistry could evolve. Mat explains that, a melody would begin, and slowly, each of us - in our own time - would find our way into the music.

Producer Tadklimp would sensitively set-up around us in this narrow window of time, so as to document that first and intuitive moment of collective discovery.' Nearly everything was recorded live,' agrees Markus, playing and singing together in one room with piano, guitars, percussion and some keyboards.' The collaborators came from Germany, Japan, the UK, Greece and beyond. That sense of inclusivity is palpable.

From the tender beauty of Markus's River River' and Saya's Mikan' to the electro-Merseybeat of Tenniscoat's Nambei' and the half-crazed pianica-reggae of Shuti Man', the resulting album is a testament to the manner of which these musicians are able to channel their songwriting through their spontaneity. It's also a snapshot of a gentle and intuitive moment in time - a beautiful meetup that expands this community, happily, even further.

Jon Willks (Grizzly Folk)

Here at Scotch Bonnet Records we love Reggae music's rich heritage. Not only is it is as strong today as it ever has been, soundsystem culture has now spread to every corner of the world. To celebrate this we have compiled a few musically important releases from some of the key musicians and producers that have influenced and nourished Scotch Bonnet records since the start. Some have appeared on single, some are dubs that Mungo's Hi Fi couldn't stop playing on the Soundsystem, and there are some brand new pieces to keep it crispy fresh. The end result is Puffers Choice.