quête:sahara

Etran de L'Aïr, die Sterne der Luft, die am längsten bestehende Hochzeitsband in Agadez, der Hauptstadt der Tuareg-Gitarre, kehren mit einem neuen Album mit sonnenbeschienenem Wüstenklang zurück! Ihr erstes Album, No.1, brachte ihre Musik den Kritikern und Fans näher. Ihr zweites Album, Agadez, führte sie auf internationale Tourneen. Und jetzt sind sie zurück mit 100% SAHARA GUITAR, bereit, die Welt zu erobern, mit diesen swingenden Melodien, wie ein vom Meer her wehender Sandsturm . Etran de L'Aïr sind 100% SAHARA, und das gilt auch für die Band, alles Söhne aus Agadez, darunter die Brüder Moussa, Abdoulaye und Abdourahamane,und ihr lieber Freund, der jüngste der Gruppe, Alghabid. Alle Brüder schreiben und spielen Gitarre und tauschen die Instrumente aus, während Alghabid die vier auf dem Boden hält. Mit 100% SAHARA GUITAR sind Etran de L'Aïr zurück, um den Thron zu erobern, mit ihrem ersten Studioalbum! Und was für ein Sound das ist. Aufgenommen in sonnigen Studios an der Westküste, bringen die Brüder den alten Agadez-Sound auf ein neues Niveau. Sie fügen noch mehr Gitarren hinzu und verweben Schichten von halligen Melodien und schimmernden Harmonien zu einem Klangteppich. Wie viel Gitarre können sie in eine Platte packen? Die Antwort lautet 100%.

Etran de L'Aïr, die Sterne der Luft, die am längsten bestehende Hochzeitsband in Agadez, der Hauptstadt der Tuareg-Gitarre, kehren mit einem neuen Album mit sonnenbeschienenem Wüstenklang zurück! Ihr erstes Album, No.1, brachte ihre Musik den Kritikern und Fans näher. Ihr zweites Album, Agadez, führte sie auf internationale Tourneen. Und jetzt sind sie zurück mit 100% SAHARA GUITAR, bereit, die Welt zu erobern, mit diesen swingenden Melodien, wie ein vom Meer her wehender Sandsturm . Etran de L'Aïr sind 100% SAHARA, und das gilt auch für die Band, alles Söhne aus Agadez, darunter die Brüder Moussa, Abdoulaye und Abdourahamane,und ihr lieber Freund, der jüngste der Gruppe, Alghabid. Alle Brüder schreiben und spielen Gitarre und tauschen die Instrumente aus, während Alghabid die vier auf dem Boden hält. Mit 100% SAHARA GUITAR sind Etran de L'Aïr zurück, um den Thron zu erobern, mit ihrem ersten Studioalbum! Und was für ein Sound das ist. Aufgenommen in sonnigen Studios an der Westküste, bringen die Brüder den alten Agadez-Sound auf ein neues Niveau. Sie fügen noch mehr Gitarren hinzu und verweben Schichten von halligen Melodien und schimmernden Harmonien zu einem Klangteppich. Wie viel Gitarre können sie in eine Platte packen? Die Antwort lautet 100%.

Here is the next vinyl release of The Relic.

This is the start of a big remastered reissue series of Network23 classics released from 1994.
Sahara Tekniq is probably one of the most fundamental records of this genre featuring Dutch free party icon Curley (RIP).

Reissue of this italo disco rarity from 1984.

MEILENSTEIN DES ETHNO-BEAT

Jahrzehnte weltweiter Konzerte, 30 Alben und abermillionen Streams haben den Dissidenten ein wunderbares Publikum auf dem ganzen Planeten beschert. Die „New York Times“ sah sie schon in den Achtziger Jahren als Vorreiter dessen, was später zum Begriff „World Music“ werden sollte.

Fast 40 Jahre nach der Erstveröffentlichung erlebt ihr legendäres Album Sahara Elektrik remastered auf Vinyl eine ungeahnte Wiedergeburt und vermittelt hautnah den musikalischen Aufbruch jener Jahre.

Jazz Sahara is the debut album by double bassist and oud player Ahmed Abdul-Malik featuring performances recorded in late 1958 and originally released on the Riverside label.

Based in the Havana Nightclub, in the central plateau town of Jos, the Sahara All Stars of Jos weren't part of the Lagos scene or the one in the east. Their leader, Dan Satch Ayo, had played with Dr Sir Warrior in the Orientals. He'd jammed with Mohammed Ahidjo and Sonny Akpan from The Funkees. Together with the All Stars he took the best of both scenes and created his own tight, hypnotic groove. First released in 1978, Sahara All Stars of Jos is a musical journey through all of those influences. 'Freedom For Africa' is a potent rallying cry sugarcoated with a sweet reggae vibe. 'World People' is an Afrobeat gem that condenses a night out at The Shrine into 10 min 43 secs. You can almost feel the steam coming out of New York manholes on 'Take Your Soul.' And the Highlife-tinged 'Alikali Adajo' brings it back, full-circle, to the Jos Hotel, just off the roundabout, where it all began. Engineered by Fela Kuti's regular knob twiddler, Emmanuel A. Odunesu, Sahara All Stars of Jos is a tight, funky sonic gem and a timely reminder that, in 70's, the groove was strong all over Nigeria.

Ross Alexander first came to our attention with Memorias Vol.1 - Bugandan Sacred Places, released back in 2017 on Sucata Tapes, it featured a mind altering mix of recorded sounds from a series of visited sites considered sacred within the Bugandan kingdom and session recordings with Ugandan musicians Albert Sempeke and the Nilotika Collective layered with his own original composition using the Yamaha DX7 and programmed FM synthesis. The result being an unique reconfiguration of new age vocabulary with East African traditional sensibilities. The tape quickly sold out and the new Volume of Memorias presented here arrives now on the mother label Discrepant, on Vinyl with an expanded sound palette appropriate to the format.

Memorias Vol.2 - High Atlas To The Sahara Desert is the logical progression of Volume 1. - based on a series of field recordings Alexander made during a trip through the High Atlas Mountains and into the Sahara Desert in 2018. The aim of the trip was to visit a gathering of nomadic musicians at an oasis close to the Algerian border. Like Memorias Vol1. the recordings made on the trip were then later processed, layered and arranged with original compositions. Where Vol1. had clear nods to New Age music this volume explores the more ambient side of 80’s Industrial sound.

Strut present a definitive vinyl edition of the groundbreaking compilation 'Nigeria 70'. Originally released in 2001, the collection set the benchmark for a new generation of archive labels and releases mining the vaults for rare Afro funk and Afro jazz fusions and helped to paint the wider picture of the 1970s Lagos scene beyond Fela Kuti's catalogue for a legion of soul, funk and dance music enthusiasts. This definitive reissue features the original LP remastered and pressed on 180g triple vinyl in a gatefold sleeve.
Narrated by Wunmi with commentary by the late Nigerian academic "Elder" Steve Rhodes, this one-hour piece is an essential snapshot of the 1970s Lagos scene and the cultural and political context from many of the key players of the time. It includes interviews with Ginger Baker, Fela Kuti, Ebenezer Obey, Segun Bucknor, Joni Haastrup of Monomono and many more.

As the lead singer of George Darko's legendary Burger-Highlife hit-band, Lee Dodou became the number one voice of 80's Highlife. Born in Kumasi, the epicenter of Ghanaian Highlife, he came to Berlin in the late 70's - by then the uprising epicenter of Burger-Highlife - to work as a back-up-singer for Pat Thomas. After joining and leaving Georg Darko and running his own band "Kantata", he stopped releasing music in the early 90's. Now, Philophon is proud to present new recordings of his soulful genius to the world of 2018.

Basa Basa is a song in the classic "concert party" style, as it was played in the glorious 60's. After a firey horn introduction Lee takes over in that funny and entertaining manner typical for "concert party" music. Buzz Duncker joins Lee's phrases with some gentle clarinet. Highlife at its best!

Sahara Akwantuo is anything but a classic: it's the start of a kind of philophonic Highlife, labeled as Kraut-Life. Ghanaian love of life meets German romantic melancholy. Happy rhythms meet mysterious synth landscapes. Eternal summertime and mangos are meeting a wet winter world and roast apples. Kraut-Life at its best!

Astray is the Sublabel of Away, Berlin. Tracklist A Wild Hunt AA Sahara Pump Theory B Wild Hunt (Mark Broom Remix) BB Hell For Leather INFO H4L After Discrete Circuit kicked off ASTRAY, another offshoot of the Berlin party series AWAY, the other half of their joint venture AWAY Soundsystem is in charge for ASTRAY's third installment. H4L, the Berlin-based live studio project, explores some tougher, jam-driven experiments resonating from two decades of warehouse reverberation experience. INFO Wild Hunt EP The title track starts off the release with a dusty, stripped-down pursuit. Marching forward with impelling kick drums, H4L creates an overall organic groove incorporating percussive, distorted sound particles, glancing up in and out of the mix like misty voices. 'Sahara Pump Theory' follows a more robust approach driven by vivid stab sequences and gnarly acidic bass elaborating a vibrant exchange of flow and energy. One of these unfolding weapons that know how to tickle that genuine peak-time madness. Speaking of weapons, UK producer Mark Broom is no stranger to that discipline after hitting dance floors with his ensouled workouts for more than two decades now. Following his old-school compass by calibrating the essentials of groove and melody, Broom's remix of 'Wild Hunt' throws the originals' core parts overboard to empower his highly effective hi-hats as the driving force rocketing into a distant atmosphere. 'Hell For Leather' tops off H4L's package with an unexpected hit-and-run sonic attack. Whether the competing broken and off beats, the IDM rooted drum patterns or the leftfield yet industrial jazz design - this reckless trip is by no means an easy finish, more like a feral crash course about an (almost) forgotten principle: electronic music is either an adventure or nothing at all.

Scissorgun are a two-piece soundscape project from Manchester comprising Alan Hempsall (of Crispy Ambulance) on treated guitars, vocals, prose and trumpet, and David Clarkson (formerly of Triclops and Illuminati) on synths, keyboards, drum programming, rhythms and percussion.

The duo came together in the summer of 2016 with a view to creating spontaneous music, and by November had laid the foundations of Assault Two, their debut release, so named because it is the second release on Aural Assault Records, whose first outing was the debut single by Crispy Ambulance way back in April 1980.

This special 10' and CD package is released in a limited edition of 500 copies. The extended CD features longer versions of the five tracks on the vinyl disc as well as two bonus cuts. The artwork is by Pascal Blua.

After Maghreb K7 Club – Synth Raï, Chaoui & Staïfi (1985-1997) and Maghreb K7 Club Disco Singles Volume 1, 2, and 3, Sofa Records and Les Disques Bongo Joe team up again for a new project exploring funky, synth-driven tape music from the Maghreb.

This compilation brings together eight songs —delivering a Saharan pop sound melted with reggae, dub, new-wave and funk — by Yassine (Ahl) Nana, the iconic figure of Mauritanian pop music in the 1980s and 1990s. Yassine and his band recorded songs between Nouakchott, Paris, and Rabat, resulting in only a pair of rare cassette tapes. This music was definitively part of the vibrant wave of African sounds sweeping across the continent at the time, from Abidjan to Oran and Kinshasa.

This compilation features previously unreleased recordings, along with liner notes, interviews, and exclusive iconography.

On Lila, his debut LP, Moroccan artist Karim presents a series of undulating electronic rhythms laser-etched into tessellated form: drumless techno from the pre-Sahara, built for communal psychic expansion.

Drumless, yes, but not percussionless. There are shakers, castanets, stabs, plonks, thuds. There are insistent basslines propelling forward, pulsing with energy, rippling in time. There are tones interlocking, rolling, fluttering, pattering. Dancing within, around, between each other. Considered in terms of sheer geometry, Lila is a techno record, unmistakably. But it sounds quite unlike any other techno record you've heard lately.

To write the album, Karim borrowed from the music of the Gnawa, a religious-spiritual musical tradition descended from West African peoples brought to Morocco as slaves hundreds of years ago. Now integrated deeply into Moroccan culture, the centerpiece of Gnawa music is the lila—or "night," in Arabic—an all-night-long ritual of rhythm designed to induce participants and musicians alike into a healing trance state. Which, if you're a dedicated raver, may sound familiar, yes?

Crafted entirely with modular synthesizers, Lila conjures a range of textures and moods. The show opens with "Bakh," a blissful exercise in beatlessness, clear and crystalline. On "Philipoussis," "Kiyex," and "Sonic," arpeggiated synths approximate Gnawa chants while interlaid percussion keeps time in multiple meters. "La" and "Kille" pulse in half-time, ideal for creative mixing. "Joul à lèvre" bristles with electricity, the sound of a charged lightning rod. "Pamil," woozy and lurching, feels like being shipwrecked on a forgotten island. Last and absolutely certainly not least, on the final track, "Miloir," Karim faces West and unleashes the album's only kick drum for a ten-minute psychedelic techno masterpiece. The mind warps; the body moves. 

Lila is released on Tikita, Karim's own record label, founded in 2014. Tikita's discography, spare but tightly curated, features artists from across the globe pushing outwards into techno's deepest reaches. Karim's album pushes even farther. Listen for yourself.

Austrian musician, painter, and filmmaker Kimyan (formerly Kimyan Law) combines sound and visual design in an impressively direct way to create a comprehensive artistic experience. He takes an open, intuitive approach to his compositions, connecting the
resonances of traditional instruments and rhythmic patterns from Central, North, East, and Sub-Saharan Africa with sophisticated production techniques. Kimyan's current album,
“Coloria,” in which he explores the concept of timbre in a multifaceted way, marks the pinnacle of his artistic development to date.
For his Live -concerts, Kimyan relies on the organic element of playing, using instruments such as electronic drum pads and MIDI controllers.
This gives his pieces a spontaneous, physical presence on stage that goes far beyond mere reproduction and makes his performances a lively interplay between improvisation and structure. In conjunction with his self-designed artwork and videos, corresponding audiovisual worlds are created in which cultural influences and identities, moods and timbres shine together radiantly. Kimyan's works tell stories in many colours, yet always in one language: his own.






f B2 Chara Joy 03:50

“The group has no niche, it doesn’t fit in anywhere,” explains Necessaries drummer Jesse Chamberlain in a 1980 Melody Maker interview. “We just state the facts about life in America, like The Clash did about England, but we’re not so heavy about it.” The Necessaries rose from the ashes of Harry Toledo & The Rockets, a little-known New York art-rock band playing gigs at Max’s Kansas City during glam’s metamorphosis into punk. —From the liner notes by Michael IQ Jones The Necessaries came together in 1978 and in the too-brief lifespan of the band counted among their members, Ed Tomney (Rage To Live, Luka Bloom), Jesse Chamberlain (Red Crayola), Ernie Brooks (Modern Lovers), Arthur Russell (The Flying Hearts), Randy Gun (Love Of Life Orchestra). First championed by John Cale on the strength of Tomney’s songs, Cale produced their first single for Spy Records (under the I.R.S. umbrella) which was released in 1979. With the forward momentum brought about by the single, the band set about tracking demos intended for Warner Bros., but The Necessaries ultimately would sign to Seymour Stein’s Sire Records. These rough demo basic tracks lacked overdubs, mixes and any finishing touches that would have made them viable for commercial release, but due to tour commitments, the band had to put the sessions on hold to hit the road. While on tour, the band was shocked to discover that Sire had issued the unfinished tracks as their debut album Big Sky (issued in 1981). The band had Big Sky withdrawn and replaced with Event Horizon (issued in 1982) which included half the original tracks from Big Sky and continued to record throughout 1982 aiming for a follow-up. It was not to be and their final studio sessions remained unissued until now. Completely Necessary (Anthology 1978–1982) is the first authorized collection of recordings by The Necessaries and includes 37 tracks, 28 of which are previously unissued. Completely Necessary represents the most accurate musical history of the band laid out across three albums. Disc one is the band-approved first album Event Horizon, followed by Pilots Facing North, a disc collecting studio recordings spanning 1978–1981 and disc three finally sees the release of their final sessions, Songs From The Blue Colony. Album notes by Michael IQ Jones trace the history of the band for this compilation produced by The Necessaries’ Ed Tomney and Cheryl Pawelski (Omnivore Recordings). The audio has been restored and mastered by Michael Graves at Osiris Studio, and both the 3-LP and 2-CD sets feature previously unseen photos across the package. Finally, an essential missing piece of the late ’70s/early ’80s New York scene that was just slightly ahead of the college alt-rock soon to come, is finally available to rediscover—this time it’s authorized and absolutely necessary. BUY! HERE’S WHY! • The first authorized and comprehensive anthology by The Necessaries. • Mid-’70s/early ’80s New York rock/punk/art scene band included members: Ed Tomney, Ernier Brooks, Arthur Russell, Jesse Chamberlain, and Randy Gun. • 37 tracks, 28 previously unissued. • Liner notes by Michael IQ Jones, plus unseen photos.

Repress!

Deluxe Edition of PDM's massive Exotica LP features 2 x Purple Vinyl, 2 x Printed Inner Sleeves in Embossed Gatefold Sleeve with A2 Poster includes full Exotica album plus 3 bonus tracks: “In The Dark” with Sophie and the Giants “Rise” featuring Tasita D’Mour “Twisted Mind” featuring Agnes. Limited Edition.

Collecting Orders For 2025 Repress

The gift that keeps on giving, Purple Disco Machines’ ‘Exotica (Deluxe Album)’ is being treated to some epic remixes of your favourite songs now available on vinyl.

First up a Club Dub version of ‘In The Dark’ and Monte Remix of ‘Can’t Get Enough’ which are both guaranteed to get you on your feet.