Afrobeat Vinyl 12 Inch 149 Items

Mexican sensation Pahua comes to Razor-N-Tape via a huge remix project featuring some of the hottest producer names in current outer-national dance music.

Remixers on this 12” includes both staples and newcomers to the RNT production stable. Label co-head JKriv turns in a late-nite bass mix of the exceedingly popular ‘Porque Yo,’ Captain Planet delivers a percussive & thumping afro-house flip to “‘Espantapajaros’, Tigerbalm brings her chugging international disco flair to ‘Pa’lante,’ Prince of Queens digs deep with a housey dub of ‘Calla,’ and Londoner Clive From Accounts takes ‘Cana Brava’ into moody nu-disco meets amapiano territory.

With a collection of remixes as prolific and solid as these, RNT opted for an expansive 12” and 7” package which features seven of the remixes across two slabs of vinyl, with gorgeous artwork that flips the moonrise eclipse motif of the original Habita album cover perfectly in a slick device that reveals a crescent moon as the record is removed from the jacket.

This package honors the essence of the original music, while flipping it in quintessential RNT club-ready fashion.

Singer, actress and cultural conduit for peace, Liraz releases a new collection of four songs, primed with an intensity and a raw musical revolt, energising the Middle Eastern musical landscape, sung in Farsi and driven by her deep desire for positive energy and much needed global harmony and light.

Ferdinand "Maréchal" Papillon was part of the makossa wave that moved from Cameroon to France and across the African diaspora in the 80s and 90s, bringing the sounds of rhythms of Douala and Yaoundé to the clubs and dancefloors of Paris. Although best known for his Sakissa style - his own uptempo take on the makossa of Cameroon - Papillon also regularly featured zouk and reggae influenced tracks on his albums, combining Caribbean and African influences into a unique sound that has stood the test of time."Moulongo" originally appeared on Papillon"s highly sought after 1995 album "Homme fort....je suis sérieux" and was recorded at Studio de la Madeleine in Paris. The Moulongo session features a who"s who of the Paris scene of the time - Aladji Touré and Toto Guillaume from Cameroon as well as Congolese guitar greats Ngoma Lokito and Nene Tchacou - and combines dancehall, zouk and makossa elements for a pan-African dancefloor sureshot.

Red Axes are very excited to present the first part of their new project called: “Trips", a multi media venture combining music, film and travelling across the globe in pursuit of extra ordinary collaborations. Niv Arzi and Dori Sadovnik are seeking to discover new grounds and sounds, and to record local musicians, indigenous instruments and present workshops for youth music schools. In March of 2017, the Israeli duo touched down in Africa for the first time, and set up camp in both Ethiopia and Ivory Coast, yielding In Africa, a triple header EP which features three slices of contemporary body music, with both East and West African musical motifs. The project will always present a musical release, on vinyl and digital, that was created on the trip, accompanied with a documentary, showing the whole journey.

Limited to 1000 copies worldwide, only available with GUTS and HHV.

In 2022, Guts brought together his musical family for his ‘Estrellas’ album. An ambitious project that brought together musicians from: Franc, Cuba and various African countries. For a journey that was as rich artistically as it was humanly. The list of superlatives was almost endless, "Formidable", "incredible", "unforgettable" and "magical" all thrown into the pot, during these magical moments in the Dakar studio. From the seventeen tracks heard on the original album, three have been entrusted to the expert and inventive hands of four producers, who have come up with new interpretations bringing Africa and the Caribbean together for a modern dancefloor.

‘Por Que Ou Ka Fe Sa’ (Poirier Remix)

From his studio in Montreal, Canadian Poirier has opted for a strong groove and relentless bass drum to keep out intruders, putting vocalists David Walters and Brenda Navarrete in a rhythmic cocoon. Accompanied in a slightly moody bassline that adds some driving muscle to the track. The hooky guitar line eventually gives way to the saxophone that emerges from the mix to parade around the front line. The original electric piano is replaced by a synth pad that loops and spins driving the track to its conclusion.

‘Por Que Ou Ka Fe Sa’ (David Walters Remix)

Before recording this track, David Walters and Brenda Navarette didn't even know each other. So in the magic of the moment that brought them together is a genuine and sincere artistic bond. It is no longer Guts but David who is at the musical helm, and before they too can savour the connection between the two artists, the dancers will have to pass through an overheated corridor where a Caribbean rhythm resonates with percussion. Digital and woodwind swirl and clash until the vocal encounter with the artists. It's a moment of respite that's as suspended as it is life-saving, because the exit is also via the famous corridor.

‘San Lazaro’ (Bosq Remix)

On Bosq’s mix, he’s opted to maintain things focused on the dancefloor, keeping the percussion persistent for the unleashed bodies of the dancers to smile. It's once again the walking bass line rises to the forefront of the groove, softening the shocks of the relentless kick drum. Roberto Valdes's timeless piano has disappeared, while guitars float and add to the atmosphere. The track is no longer awash in cigar smoke. Under Akemis's powerful vocals the low ceiling has disappeared, and the open roof is more a brass-lit spectacle. That doesn't make things any less overheated though, this one is sweaty until the end.

‘Medewui’ (Captain Planet Remix)

Captain Planet brings the dancer’s attention to the Afrobeat flavored jam that rocked the original, highlighting the Pat Kalla & Assane Mboup duet. Despite the track remaining mid tempo, laying back is no longer the order of the day as this mix really develops. The drums are more present jolting along with the organ in the first half. Once all the storytellers have taken their microphones, the rhythmic beats are doubled and the track is carried towards a frenzy of Afro-Latin dancing. Fired up by the brass and percussion, it’s this almost switch up that takes hold of the second part of the tune, with some righteous authority and relentless piano and trumpet.

'Kekete Bue' is the first new album from legendary Congolese musician Kanda Bongo Man since 2010, and his first vinyl release in over two decades.
The master of soukous, the infectious and uptempo guitar-driven music from the Democratic Republic of the Congo, Kanda's latest album features new tracks alongside reinterpretations of some of his classic songs.

Atangana Records is back with two afro disco groove tracks from the second album of the mythical Senegalese band Touré Kunda. The tracks "Manso" & “Touty Yolle” were originally released in 1980. The remastered track "Manso" is remixed on B1 by the duo Deni Shain & Mister Francky and B2 with the remixes add part. When Deni struck gold: "It was a warm Sunday in Guadeloupe when I went back for some for digging, after looking through 800 vinyls, I was swayed by the album E'mma Africa from Toure Kunda. Listening to it sent me back to my youth, when I used to play the K7 over and over again.As I replayed the LP, these two songs stood out and I could instantly picture the potential & the remix I could do with Mister Francky."

A 12inch single from the incredible French Afro Funk band including remixes by the one and only Osunlade under the collective name of Yoruba Soul!
Since their first acclaimed album Apiafo and its irresistible single “Pas contente”, these Lyon (France) natives never turned down the heat over 160 stages across Europe, Africa, Canada, Japan... Peter Solo has displayed his amulets, voodoo chants and charisma around the globe. When it came time for them to harness their Afro Soul sound for the second time, they turned their attention once again to their analog strengths. On the road Peter Solo and Osunlade met and could share their musical visions. It was obvious that this two will share their spiritual music experiences.
Kidayu is the name of the second opus which means “sharing”: it’s exactly what those versions of “On se pousse” are about: a true futuristic Hi-life, a great meeting of two ardent defenders of the Afro Soul sounds ! Limited press, mastered by Carvery.

We thought turning five this year would be a good reason to ask some friendly DJs and producers to go through our catalogue and select their favorite track to do an edit or remix on.
The first selection by DJ Nomad from Berlin is Barbara Hernandez' 'All Nite Tonight', written and produced by Leston Paul from Trinidad. Nomad's edit drives the song's dance floor ambition even further beyond the top. As a DJ Nomad does not necessarily put a label on his style, but always expresses love for Polyrythms, Soulful harmonies and the African drums and Percussion. He's notorious for finding fresh world music dance tracks all around the globe, before they become hits, and a massive collector of Tropical Soul, Funk and Disco.
His energetic and surprising , always fresh DJ set's earned him a residency in Paris's infamous ‚Tropical Discoteq’ Parties among the best Dj's of the genre. He is the founder of ‚Vulkandance’ Parties, Blog and Label in Berlin .. He's together with Edna Martinez cofounder of ’El Volcan’ - The first continental European Colombian Pico Soundsystem. As a Producer he's breaking ground and travelling the world together with Dirk Leyers and the transcultural Project Africaine 808, besides working as a master Editor for other artists around the globe. Keshav Singh who is part of Trinidadian/British production duo Jus Now put his hands on Trinidad's Mansa Musa's ’Beat The Drum’.
Being a percussionist in his own right he transformed the song into a housy Soca track and pure dance floor fiah! With his partner Sam Interface, he has produced soca music with EDM influence for Bunji Garlin, Machel Montano and 3Canal. Keshav commutes between Trinidad and the U.K.
The next two tracks are taken from our upcoming compilation ’Gotta Nice Buzz - The Funky Sound of Semp Studios Trinidad, W.I.’. French DJ & record collector Waxist gives Zodiac's ’I Believe’ a proper treatment. ’I Believe’, written by Francis Escayg, is an uptempo Caribbean Disco tune with a strong Giorgio Moroder influence with Denise Plummer on vocals.
Waxist, based in Lyon, France, started his love story with records as a teenager when he bought his first reggae 7 inches. If his love for Jamaican music has survived through the years, the DJ has progressively extended his interests to different, more dancefloororiented music genres like Disco, Modern Soul, Boogie or even a touch of House when needed... Being careful with the technique, as well as with the coherency of his selection, his sets are an invite to a dancing musical journey taking the audience from Disco to Modern Soul, through more Caribbean or Brazilian sounds.

Comet presents the third release of its new Disco Highlife series, featuring remastered originals by Ghanaian legends Ebo Taylor & Pat Thomas and disco re-edits by Trus’me and Tiger Tigre. On Side A, “Yes Indeed” is a heavy afrobeat piece out of the legendary LP Super Sounds Namba recorded in Togo and released in 1981 on Abotar Records. This awesome synthetic afrobeat is featuring the two biggest stars of Ghana Ebo Taylor and Pat Thomas. Trus’me Version is cross Atlantic production between Trus’me from Lisbon and Benjamin Tierney from LA. An effortless collaboration of musicianship and production, using the seductive Simmons drums, Ensoniq Esq-1 on percussion, Casio Cz-5000 on the lead & a solid Moog rogue on the bass. The additional production complimenting the original direction, whilst intoducing it to a modern day eclectic dancefllor, courtesy of Prime Numbers Records. On Side B, “Yesu San Bra” is a strong funky disco highlife anthem by Ghanaian legend Pat Thomas. This disco highlife classic has originally been released in 1980 on the Ivory Cost label Pan African Records. Tiger Tigre’s rework is a mysterious secret weapon deployed to decimate dance floors. Adding with his characteristic bleepy twist, a punchy kick drum fully acoustic, an heavy liquid bass line and transforming this disco highlife classic into a euphoric and hypnotic piece of progressive house. Vincent Taeger aka Tiger Tigre is a french artist producer, drummer, a virtuoso who just released his debut album Grrr ! to his credit for numerous collaboration as producer with international artists like Allen, Oumou Sangare, Sebastien Tellier, Charlotte Gainsbourg, Franz Ferdinand, Chilly Gonzales, Gregory Porter, Saul Williams…

Following up on their acclaimed debut EP Yagana in 2022, the 5-piece band return with a brand new offering: Backslider. Dressed as if they would be equally comfortable starring in a modern spaghetti western as they are cutting slick silhouettes on a festival stage - are Guinean singer Falle Nioke, Graham Godfrey on drums, Steve Pringle on keys, Tom Dream on guitar and Josh Ludlow on bass.´As Pigeon develop and hone their sound further, Afrodisco remains at the core while jazz and no-wave make way for new elements of electro, rock and synth pop. The introduction of sequencers and drum machines sprinkles a little more structure into the mix, however the recording process still very much embodies the DIY spirit of band members that enjoy jamming together. With previous support from Gilles Peterson, Elton John, Iggy Pop, Bandcamp, NPR, Uncut and many more, the new Pigeon will undoubtedly fly off the shelves.

From Osaka! The legendary Japanese Afrobeat band strongly influenced by Fela Kuti is finally available on vinyl!! The origin of the band was inspired by the Afrobeat movement that was emerging in Brooklyn at the time, a music of African origin in the vein of jazz, soul, funk, and other genres. The band initially had about five members, but grew to a maximum of 14. Bunvestoro's only two songs were recorded for BunBun the MC's "Tribe Called West Vol. 2" in 2007 and a 12" single cut from that album, but in 2024, the unreleased material that was recorded at the time will finally be released after more than a decade!!

French label Favorite Recordings presents the new 12" from Magic Source (from The Mighty Mocambos and Bacao Rhythm & Steel Band). Expect tropical disco and funk flavours, hypnotic percussion and a really well-produced cover of Tom Tom Club's "Genius Of Love". Tip!

Legend' is lofty praise that is often used lightly, however, Mike D from the Beastie Boys certainly is one in the truest of spirits. We are delighted after over 30 years of being involved in music to finally release a project involving such a hip-hop pioneer and icon as Mike. In keeping with the maverick attitude of the Beastie Boys, you don't always get what you expect. For this release there isn't a hip-hop beat, instrumental-funk or hardcore-punk joint in sight, rather an electronic-African club banger. Mike took it upon himself to rework Malian artists Idrissa Soumaoro and L'Eclipse De L'I.J.A. and their track ’Nissodia', which is taken from the 'Le Tioko-Tioko' album originally released in 1978 on the German Democratic Republic (gdr) label Eterna. The song was also featured on 'The Original Sound Of Mali' compilation released on Mr Bongo back in 2017. It was November 2019 and the day before a Mr Bongo 30 years celebration event in Paris at the Pedro party in the 'New Morning' club, when out of the blue the remix landed in Dave Mr Bongo's inbox. We loved it straight away and decided to road test it the next night in the club. Whether it be a remix/re-edit/rework, it doesn't matter, what does matter is that it works spectacularly in the club and had people jumping on the stage to dance at the party. A sensational track and one which leaves a beautiful memory of good-times from a night out in Paris (and one which is in retrospect is even more poignant as the late-great maestro Tony Allen was in the club that night), and we are sure it will light up many more dancefloors to come.

Born in a Gambian griot family, kora virtuoso and afro-fusion pioneer Jally Kebba Susso has been active in the UK music scene for twenty years. While based in London, he has tirelessly, through both personal and collective endeavours, built a singular musical identity by working hard on making the timeless Mandinka kora, an instrument he's been playing since his youth, sound like never before, combining the ancient West African strings with forward-thinking aesthetics and myriad of musicians and producers from the thriving London music scene such as Onipa, Dark Sky and Kay Suzuki. Jally Kebba Susso has already released two albums as a solo musician ("Malaye Warr", 2012 and "Banjul - London", 2017), as well as a member of the successful afro-fusion band Afriquoi, whose latest EP has garnered a very wide support, culminating in several million streams and performances on some of UK's biggest festival stages (Boomtown, Glastonbury). Freedom! A heartfelt shout expressing the newfound joy of an African musician whose working conditions, despite his long-standing roots in the London music scene, have sometimes been precarious. A newfound freedom to be able to look ahead and fully persue one's need of self-actualisation. Hence this new EP, written with the help of Jally's accomplished band members (Yuval Juba Wetzler, Nim Sadot and Oli Arlotto) and produced by Tom Excell (Onipa, Nubiyan Twist), whose 4 tracks all deal with topics (identity, homesickness, family, social justice) which are dear to Jally's heart as a Gambian native and West African musician settled in Europe. A pleasant atmospheric opener, "Wulu Doula" rides on a classic Afrobeat groove, while Jally reminds us how we are only what we become, no matter where we come from and who we inherit from. "Justice" is a stomping mandinka funk hit, in which "freedom, equal rights and justice" are claimed by Jally for all fellow artists and musicians from the West African diaspora working in Europe. Clearly anchored in Gambian music tropes and reminiscent of the pioneering mandinka fusion of Ifang Bondi, "Fakoly" tells the story of Jally's family lineage, as a member of the 74th Susso generation. As Jally puts it, "being a griot is a way of life". Homesickness can be a bitter feeling. But you can turn it around. That is exactly what Jally achieves with "Banjul", a cheerful, funky tribute to the Gambian capital, in which Jally grew up, learning words of wisdom from his elders.

All I Need is a 15-minute electronic jam produced by Dion Monti and is accompanied by the vocals (lead and loops) of South African Artist Nonku Phiri. Created in 2015 in their Johannesburg studio, this recording depicts the beginning of their sonic journey and a development of their joint sound. The track evolves from a very subtle beginning towards an emotional climax whilst referring to lyrics of Radiohead’s ‘All I need’ and ‘Ideotheque’. For this release, they are joined by South African Producer Jakinda & Cologne’s Christian S (Cómeme). Jakinda forms half of the duo Stiff Pap and describes his sound as Afro-future electronica, a sound containing elements of Gqom, Tribal-House, Ethiopian Electronica and Kasi-Tech. Christian S makes use of his distinguishable style and creates the most abstracted version of this track, not scared to heavily cut up the vocals and apply his pitched drums. In addition, the release is hand-stamped with a drawing by Nonku.

After much online hype shrouded in mystery, Soundway presents the first in a new series of 12” releases which will make available many hard-to-find and in-demand dancefloor tracks on loud, DJ-friendly pressings.
On this first 12” are two late 1980s Ghanaian highlife cuts taken from the catalogue of Nakasi Records. Nakasi was run by the late producer Nana Asiedu (Big Joe) - a well-known figure in the Ghanaian and African music community of 1980s London.
The A-side showcases a track from Jon K’s second solo album, which was a re-working of a traditional Fanti language Asafo company song Asafo Beesuon. Made famous by C.K.Mann on his seminal album ‘Funky Highlife’, this version very much reflects the more westernised late 1980s sound of highlife music recorded in the UK, Holland, Canada and Germany for both ex-pat Ghanaian audiences and those back home in West Africa.
The album features the stalwart session musician Alfred Bannerman, the go-to Ghanaian guitarist known for the classic cut of ‘Let Me Love You’ by Bunny Mack, among many other tracks over the last 40 years, including his work on contemporary releases for Soundway such as Konkoma and Ibibio Sound Machine.
On the B-side, Pat Thomas (the brother in-law of Big Joe) needs little introduction having been touring the world extensively in recent years with the Kwashibu Area Band. Somehow this dancefloor-heavy cut has eluded recent compilations and reissues. With horns arranged by long time friend and collaborator Ebo Taylor, it’s an instantly recognisable sound that also features Rex Gyamfi - himself a well-known purveyor of 1980s ‘burger-highlife’.

New Parisian label, Disques Messager, presents its new and second release. As its name suggests, the label has a simple leitmotiv: to place itself among the best messengers for rarities and sought-after gems of the international rare groove. A mission which began like fire last year with a 7inch reissue release including two Brazilian Disco bangers by Cristina Camargo. For this second efforts, the label doesn’t deviate from the artistic and quality path taken, however also making quite a U-turn, this time presenting 2 underrated kind of musical UFO, both from the French scene. Not many info can be found about Yoanson & Karamie, two young artists from the French African diaspora, who randomly met with Nessim Saroussi and his label Ness Music in the late 80s. Nessim himself doesn’t remind much about the 2 guys, except that he quickly offered to produce them, which resulted in their only EP release, Kalimba (1988). Part of this EP, “African Leaders” is a stunning track melting Afro-Tropical percussions, Disco bass, Early-Electro beats and Leftfield vocals in a way that could remind of Doctor L or Arthur Russel productions. On the contrary, Philippe de Lacroix-Herpin (aka Prof Jah Pinpin) has a long musical career started in the mid-70s and became a renowned saxophonist playing and recording for many famous French acts such as Jean-Jacques Goldman, Alain Chamfort, FFF, or even rap band NTM. In 1994, he moved definitely to the Reunion Island where he quickly launched the Prof Jah Pinpin 4tet, in his own words willing to play “free/funk/jazz/rock/tropical” music… Quite a vast and large musical tag, but which immediately make sense when listening to the surprising “The Final Bird” track. Only released as CD in 1996, this instrumental production has indeed a unique sound and flavor mixing all kinds of elements together (even samples of Weather Report). Well as you can understand, words are not the best way to describe these 2 hidden treasures, so we strongly recommend the spinning to make your own view!

Reissue of the 80s 12” single from Trinidadian musician Oluko Imo (Black Truth Rhythm Band), featuring Fela Kuti and Femi Kuti. Recorded between Lagos and New York in 1988, the tracks sit at the fault line of the Trinidad-Yoruba connection, blending calypso heritage with the Afrobeat and jazz of Nigeria. On the A-side, title track ‘Oduduwa’ is a brooding slice of peak-era Transatlantic Afrobeat, blending a heartfelt plea for social justice and equality with a haunting piano line, shuffling drums and ethereal sax solo. The song takes its name from Oduduwa, the founder of the Ife Empire, who is also seen as a divine Orisha (deity) in Yoruba culture, one that is often evoked by musicians and activists in Trinidad as a signifier of Yoruba heritage on the island. On the flip, ‘Eyes Are Getting Red (Were Oju Le)’ is a long-lost slice of low slung Afrobeat featuring both Fela and Femi Kuti. Classic Nigerian horns and keys combine with Oluko Imo’s Caribbean-influenced guitar and Fela’s virtuoso sax solo, bridging the musical gap between Lagos and Port of Spain.

Hotly anticipated remixes for 'Ti Chuong' now finally available on wax!

There is always a good backstory to the music that Emotional Rescue releases and this EP is a case in point. It comes from Betty & The Code Red and Betty was the girlfriend of Tunde Obazee, a Nigerian-born artist who used music as a "non-violent tool to express his socio-political opinions on global injustice." The pair would entertain people on campus by playing anything they could get their hands on, informed by the old Edo folk songs they had grown up around. They went on to live in Italy and the US and start a family as well as lay down self-released songs that have become cult classics. A selection of them feature on this, the first of two EPs from the pair.

The third release from Canopy features the title track from a tough to catch Afro funk 7” originally released on private press in Benin in the 1980s. While information on the mesmerising Tomede Ehue remains elusive, she is backed by the Beninois powerhouse, the truly almighty, “TP Orchestre Poly-Rythmo de Cotonou”.

Electrifying cosmic voodoo disco grooves, heavy bass pulsing, blistering horns and spooky organ riffs set the tone on this transcendental dance floor afro funk cut.

A modernised tropical disco remix from bosq & an Afro - acid version from Sam Redmore revitalise this mysterious dance floor incantation and launch it into the present day.

These tracks strike a balance between moody afro psych-funk and more punchy electronic aesthetics, while maintaining the subtleties of the original composition and performance.

Charly Kingson, (ps. for Charlie Kingue Soppo) is a legend of afro-funk who managed to shake the entire continent up with his infamous 1978 LP, Born In Africa. Often forgotten when conversations turn to Afro-dance, and the likes of Tony Allen or Fela Kuti, he has been an incredible source of inspiration to many musicians exploring the funkier side of jazz-dance, and this album itself goes way beyond any traditional notion of tropical discotheque. "Born In African" itself is a funky groover for the dancefloor and here is the original 1982 Remix, made by Dutch legendary percussionist Eddie Conard available again, featuring “Nimele Bolo” on the flip-side. Released in 1982 on Ariola/Fleet, but also pressed on the original Fleet label. The latter (remarkably with identical catalog-number) never saw daylight. But, we got them all! All in all, this hard to find 12” (at Discogs copies on the Ariola/Fleet label go for around 250 euro) was recently re-discovered, and now you can finally enjoy it again.

Born out of an impromptu post-pub jam session in Margate, the 5-piece group Pigeon swoops onto the scene with their blistering debut EP Yagana.

As the tracks cross effortlessly between Afro-disco, grunge, no wave and jazz, the cohesive symbiotic relationship of the band members is obvious from the start. The powerful vocals of Guinean singer Falle Nioke are complemented by a wealth of talent from Graham Godfrey on drums, Steve Pringle on keys, Tom Dream on guitar and Josh Ludlow on bass.

Having moved to the UK from West Africa in 2018, Falle Nioke has recently been in the spotlight with EPs heavily supported by indie radio and BBC 6 Music playlisters. On Yagana, he continues to sing in a multitude of languages, but this time shifts towards a more organic musical direction, showcasing his incredible versatility as a vocalist.

This new path can be attributed to the pedigree of the rest of the group – veteran musicians Steve Pringle and Graham Godfrey are key members of Michael Kiwanuka’s band, the latter also performing with Little Simz, Cleo Sol and Sault, among others.

Furthermore, Tom Dream and Josh Ludlow are electronic artists in their own right – with a number of artistic projects in the works, as well as having performed together as ambient duo Soma World. Both used to play in metal and grunge bands in earlier years, an influence which has made its way into Pigeon’s distinctive sound.

The Yagana EP is an emotionally-charged offering, exploring themes of lust, saudade, homesickness, and hope for peace. The title track ‘Yagana’ translates to “it’s been a while”, and though its up-tempo disco rhythm and wild synth solos lend a cheerful disposition, the lyrics describe a melancholic yearning for Africa. Nioke sings in Susu, Wolof and Malinke – as he describes the struggle of being separated from one’s family, as well as hustling to support them financially from afar.

As a teenager, Nioke would train his voice by the great river Rio Nunez in Boké, among the remnants of the slave trade, pathways and crumbling buildings being swallowed up by the forest. While most Western teenagers grew up with traditional pets, Nioke disclosed to his band members that his closest animal friend in West Africa was the pigeon – and so the name of the group was chosen.

Moving through the record, ‘Nothing Grows’ follows on from the Afro-disco opener, bringing down the tempo and intensity. The heavily swung jazz rhythm is driven by the drums, while soft guitar tremolo picking and synth pads produce a delicate atmosphere over which the singer mournfully longs for a lost love.

But having lured the listener into a meditative and pensive state in ‘Nothing Grows’, feathers are suddenly ruffled by the entrance of “It’s You” - a sultry story of burning desire. Channelling grunge and elements of no wave, the song is defined by a rumbling bass that pulses alongside the kick, while an atonal synth riff and fuzzy guitar licks provide the minimal melody. Piercing through it all is the hypnotic spoken word of Nioke, switching between French and English, as he beckons – and at times even demands - a lover to enter his room.

Finally, ‘War (Jam)’ returns the record to its 4x4 disco pace, featuring rapid-fire hats and high-pitched guitar riffs seemingly nodding to Mugithi, a genre often associated with political commentary. This concept is built upon with lyrics sung in Susu, as Nioke condemns wars around the world and their ongoing futility, pleading for people to unite and create a better place. Running just over 7 minutes, ‘War (Jam)’ is an improvised long take which continuously evolves, allowing each musician an opportunity to shine.

Recorded in a single weekend, Pigeon’s Yagana EP is a clear testament to each member’s skilfulness and varied experiences, creating a fully-fledged being that is greater than the sum of its parts. With an opening hand like this, we await with bated breath to see what more the humble Pigeon can bring to the world.

Legend' is lofty praise that is often used lightly, however, Mike D from the Beastie Boys certainly is one in the truest of spirits. We are delighted after over 30 years of being involved in music to finally release a project involving such a hip-hop pioneer and icon as Mike. In keeping with the maverick attitude of the Beastie Boys, you don't always get what you expect. For this release there isn't a hip-hop beat, instrumental-funk or hardcore-punk joint in sight, rather an electronic-African club banger. Mike took it upon himself to rework Malian artists Idrissa Soumaoro and L'Eclipse De L'I.J.A. and their track ’Nissodia', which is taken from the 'Le Tioko-Tioko' album originally released in 1978 on the German Democratic Republic (gdr) label Eterna. The song was also featured on 'The Original Sound Of Mali' compilation released on Mr Bongo back in 2017. It was November 2019 and the day before a Mr Bongo 30 years celebration event in Paris at the Pedro party in the 'New Morning' club, when out of the blue the remix landed in Dave Mr Bongo's inbox. We loved it straight away and decided to road test it the next night in the club. Whether it be a remix/re-edit/rework, it doesn't matter, what does matter is that it works spectacularly in the club and had people jumping on the stage to dance at the party. A sensational track and one which leaves a beautiful memory of good-times from a night out in Paris (and one which is in retrospect is even more poignant as the late-great maestro Tony Allen was in the club that night), and we are sure it will light up many more dancefloors to come.

Kalita are excited to announce the first ever re-release of "Adzagli (Jungle Funk)" and "A Song For You (Ayawa)", two phenomenal pieces of West African disco from Amsterdam"s Kofi Ayivor. Selected from his sought-after Nigerian 1981 self-titled debut album "Kofi", at last these two recordings see the light of day once more via a loud-cut remastered 12" single. In addition, Kalita enlists fellow Amsterdam resident, DJ and producer Mendel to create his own remix of each recording, using the original multitrack session tapes to rework both for the modern-day dancefloor.

Still in shrink but opened. Yellow vinyl edition.

Dig This Way Records is proud to announce his new MAXI 12" Serie!
Side A Featured Soki Ohale with his I.S.C.A.C. Band project , the track is call Igbo Nwe Egwu and is a mix of Highlife , Boogie and Electronic sound from 1986. It was pressed on a limited and raw LP sponsored by
Imo State Council for Art And Culture , the audio have been restored and remastered by our friend Bassi maestro @Press Rewind Studio
Side B Featured La Bruno - Instant Reaction + Instant Rap , the original LP is litterally impossible to be found , we have been lucky to Locate a clean copy in our 2nd trip to Nigeria and even more lucky to meet La Bruno himself just walking around Owerri in the east side of Nigeria!

Two standouts from
Aiye People magnificently revived: crisp sound, top-notch pressing in
a Voodoo Funk house-bag, with a two-by-one-foot poster.

Cnpy007 marks a strong return to Canopy for Sam Redmore, on the second edition in the Alafia series where he impresses with two powerful and inspired re-imaginings of these tropical synth future-classics.

Tough afro-centric broken beats meet dirty fuzz basslines. Chic-esque guitars and icy synths swirl among horn crescendos and steel drums. Sam assembled a troupe of tight players who deliver slick performances which sincerely compliment the original arrangements, while he turns the electronic tropical funk factor to full - Inspired music reinvented for inspired dancefloors!

Limited to 500 copies on white vinyl!

Inspired by Fela Kuti, Ebo Taylor, Tony Allen and the sounds of West Africa, London 8-person collective Kokoroko presents its first EP. The four tracks reveal a musical vision of Afrobeat, soul, West African roots and inner-London jazz nuances. The wonderful "Abusey Junction" was already included on last year's Brownswood sampler "We Out Here", which was frenetically acclaimed by the trade press (Wire, Monocle, New York Times, etc.) and named compilation of the year 2018 by the London Rough Trade stores.

Afro7 is back and this time we’ve dug deep in the CBS Kenya vaults and found four fantastic soulful reggae tracks of early 80’s origin! First song is the bouncy ‘FIRE’ by Kenyan Black Savage Band (played out on the Worldwide show by Gilles Peterson back in the start of Summer 2018) Track two on the first side is Nigerian Sheila and Desmond Majek’s laidback soulful ‘GOT THE FEELIN’ and flip it for two fantastic tracks by the Kenya coastal outfit Ovid, check out the synth drum machine laden KARIBUNI and the party number OPERATOR. Mastered by Frank The Carvery. EP comes in super deluxe cardboard jacket made in Thailand with silk screened coastal-inspired artwork made by California resident Steve Roden. Limited to 500 copies, one copy per customer.

Arp Frique returns to the scene with a new album after a string of releases, leaving the cratediggers and dancefloor tastemakers with underground classics like Nos Magia, Voyage and Nyame Ye. On ''Analog People Digital World' he embraces the digital coldness of Yamaha’s classic DX7 synthesizer to create a refreshing listening experience using only the FM synthesis-based sounds from this machine to find new heat for an analog world, reflecting on the digital revolution we are living through. The album features Ghanaian songstress Mariseya (Omampam, Jah Kingdom, Digital World, Roi Salomon), Cape Verdean OG Americo Brito (Go Now Wetiko) and Surinam funkstar Sumy, who joins the record on the opening track “Spiritual Masseuse”. Arp Frique closes the album with “Duncan Truffle”, a very intense and wobbling instrumental echoing Bootsy and Bernie Worrell on a solo exercise. Expect an analog-digital exploration of lofi funk, highlife, zouk and reggae. Does that DX7 sound hot or cold to you?

Sheba Sound tour the Ethiopian hinterlands, capturing the mesmerising sounds of local talented musicians, using state of the art pop-up recording studios. The hugely anticipated next release from the Sheba Sound archives, under licence to Nu Afrique features crazy, untapped talent of Nebeyu Hamdi, from the Sabat Bet Cultural Gurage Band, based in Welkite, western Ethiopia. The original recordings from 2013 receive ethio-funk bassline overdubbing treatment from Addis Abeba’s inspired masenko bass-man of the moment, ‘Bubu’ Teklemariam.

The full package receives ultimate mixing treatment at The Yard Studio by master dub producer Nick Manasseh (Roots Garden).

The B-side of this EP release features 3 exclusive ethio-dub cuts. Manasseh’s inspiration of deep masenko bass and tribal drum rhythms is evident through his dub treatment of the originals. Playing the tracks back through his mixing desk like it was an instrument, the results are completely unique pulsating, punctuated Ethio-dub rhythm tracks.

Watch out Shaka – the Ethiopians are bringing their own dub cuts to town!

Vinyl is warped but still enjoyabale! Plastic sleeve has some bends!

The late 1980s in the rainbow nation was a time when disco was mutating into what was becoming known as Bubblegum: pop music aimed at the black population of South Africa.
Bubblegum was a response to Western styles like disco and the fast spreading house music which originally came from the black ghettos of Chicago and New York. When the second Summer of Love took over the UK in 1988, first house, and other electronic music styles conquered South Africa as well. DIY - do it yourself - a motto that had already appeared in the punk movement, lifted the young local scene to the next level. With a minimal set up - keyboards, some drum machines and samplers it was suddenly possible to make music without having to rent expensive studios.
The Bees are probably the best known group, releasing only a few album in 1988-1989 and a handful singles that are now highly collectible. Their sound is electronic, hypnotic and highly danceable.
As is the case for Themba Wawelela is a prolific South African artist/producer who is best known under the monniker ''Little Big Man''
1 of 3 12" in a compilation of tracks from The ON label which was active in South Africa between 1987-1992, an era following the end of the apartheid regime and defining the new sound of Young Black South Africa in the early 90s

Acapella versions of every! single! track! from Off The Meds’ self-titled debut album released in late 2020. The Swedish-South African super group’s front man and vocalist Kamohelo Khoaripe standing alone in the spotlight this time, his unique Zulu-Tsotsitaal-English flow lovingly recorded and processed by the Off The Meds production team. Each track comes with a short/sweet musical introduction, fully optimised for the modern professional discjockey. Out now as a super limited hand-stamped 12′’ vinyl .

Jamaican born and Toronto raised, KG Russell is an unsung journeyman who followed the DIY path with his compelling output. Only a handful of collectors have been aware of the few releases via his private imprint Rain Sound - of which little information is known and copies very seldom seen.

A striking stand-out of Russell’s work comes via his Dance With Me album - a self-produced jewel originally recorded in 1988 with help from friends Tony Cameron and Orville Malcom on session duties. The brilliant blender of synth-soaked soul was released in 1990 on cassette only. Roughly 200 copies were manufactured and personally handed out to local record stores around Toronto.

Crown Ruler returns, plucking out three superior cuts for Last Dance and breathing new life into each via an impressive remastering effort from Melbourne sound wizard Daniel Elleson. Finally pressed to wax, this EP is clearly deservent of the 12” treatment. An island-tipped-electro-come-proto-house string of melters , guaranteed to prick the ears of lovers of the obscure and exotic. Last Dance is full of curious influences. It could be described as Caribbean flavored drum machine r’n’b. From the title track, a hypnotic boogie dancefloor filler, to Talk To Me, an electro rap meets smooth-jazz love jam, and finally Dance With Me, a bent and wasted soul ballad - Russell bares it all in another lost treasure given some TLC and repurposed for today’s DJ leaning ear

In 2015, Optimo’s Autonomous Africa label released Youth Stand Up!, a triangular recording project hatched at Glasgow’s Green Door Studio that brought together young musicians from Belize, Ghana and Glasgow for ten tracks of cross-cultural collaboration. The result was an infectious cocktail of traditional Caribbean and West African rhythms, hip hop, highlife and Glaswegian post-punk, featuring contributions from Optimo Music regulars Golden Teacher and Whilst, among others.

Laolu, the acclaimed Swiss-Nigerian producer and DJ, is set to release his highly anticipated EP titled Try, marking a pivotal moment as the first release under his newly launched record label, Siembra. Known for his transformative remixes and immersive club tracks, Try captures Laolu's signature blend of evocative beats and precise production. Leading the EP is the single ‘You Don’t See Me’, a collaboration with South African vocalist Nomvula, whose tender voice intertwines seamlessly with Laolu’s production. The track embodies the emotive, atmospheric qualities that have earned Laolu a loyal following worldwide while reflecting his desire to collaborate with one of the great voices of the vibrant South African music scene. The title track ‘Try’ features the distinct vocals of SeeMeNot, a standout artist from Defected Records additionally, the EP includes ‘Creature of the Night’, a track powered by one of house music’s most iconic voices, Starving Yet Full.

"Try EP marks an important milestone as the first release on my new label, Siembra. This record represents the latest evolution of my sound, a fusion that draws from both my European roots and West African heritage, seamlessly blending electronic and live music. It’s a sound crafted with both instinct and precision, embodying my deep love for dance music and a newfound passion for songwriting," Laolu explains. With these powerful collaborations and Siembra's commitment to artistic freedom, Laolu continues to elevate his creative journey. The EP sets the tone for Siembra’s future releases, offering fans a fresh, innovative blend of cultural influences in club music that moves both the heart and the dancefloor.

Maledetta Discoteca proudly announces the birth of their first daughter LA Sirenetta (*The mermaid) and the release of her first record!

An hommage to the Italian Afro scene of the late 80s, La Sirenetta is a sub-label born to take World Music to the next level for the contemporary Dancing Club Scene. We aim at digging, selecting and editing obscure bangers from our analogue record collections, travelling from Martinique to Ivory Coast, from Nigeria to Haiti, and giving them back to deejays and dancefloors in high-quality, highly collectable, 12” releases.

PS : This is the first release of a series that will delight collectors of Afro and World Music…we won’t stop, we just started!

Following on from last years's "Mondo Organico" compilation, the latest Invisible Inc compilation EP "Mondo Ritmo" sets its sights firmly on rhythm and percussion. Featuring a global array of artists hailing from Argentina to Senegal and everywhere in between, the influences and styles featured include latin, afro, dub, dancehall, experimental, acid and more. Proven and tested dancefloor bombs are Mytron & Balam's opening track "Cabasa Loca" which label boss GK Machine has been spinning at his Wrong Party nights and elsewhere for the last 6 months or so...and the house/dancehall hybrid floor filler "Wicked Can't Run" by LA producer Tom Chasteen (Exist Dance/Dub Club) featuring legendary Jamaican DJ and toaster U Brown, and mixed by equally legendary producer/keyboardist David Harrow who first came to our attention through his regular keyboard contributions to all things On-U Sound related in the 1980s.

The rest of the tracks may not be peak time bangers but they are sure to please the more esoteric and adventurous dancefloors out there...it's an honour to have on board Calypso Records head honcho Thomass Jackson, Thomash (Voodoohop) and Gats (Suçuarana / Curuba) who together as Changa Boys bring in Senegalese drummer Ndiaxo dal Jaam, and last but not least a certain Machine with assistance on percussion from the mysterious Congo Caveman.

Selection of all winners from the Music Team label - mid 80s to early 90s gems on here!

One of South Africa’s biggest independent labels for more than a decade, Music Team offered working musicians a shot at fame via access to top studios, producers, songwriters and session musicians, as well as distribution via a number of imprints: CTV, Red Label, Solid, Spinna, Mambo Music and others. Artists in the stable who tasted success would typically release a few albums over as many years before moving on to other labels or falling off the radar as times changed. At their peak, according to label boss Maurice Horwitz, Music Team was selling a million records a month, and was at the forefront of South African pop music as it evolved from soul to disco and beyond.

Afrosynth Records’ ‘Music Team Sampler’ dusts off six rare and long-forgotten gems from the Music Team catalogue, originally released between 1986 and 1992. Four are typical of the label’s take on the popular ‘bubblegum’ sound of the day — Isaac ‘Cool Cat’ Mofokeng’s ‘Candy’, ‘I Won’t Let You Go’ by Linda Oliphant, Jappie Lebona’s ‘My Love is Yours and ‘Instant Love (Eyami Lendoda)’ by Thandi Zulu (aka TZ Junior). Two instrumentals — Mr. Ace’s ‘Ace 1’ and ‘Axe Chop’ by The Hard Workers, a studio project by Music Team’s in-house producer Tom Mkhize — meanwhile hint at the imminent rise of kwaito and house.

Forged in the fire of a cruel and volatile political system that was gradually unraveling, instead of addressing political realities these indelible pop songs sought to provide an escape to a world where love and music were all that mattered.