Search "Bacao Rhythm Steel Band" 1705 Items

Los Shakers / Break It All

Release: 2020 / EU – Original

Genre: Rock & Indie

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When Upset The Rhythm released Normil Hawaiians’ lost album ‘Return Of The Ranters’ back in 2015, the band members got back in touch with each other after a 30 year break and starting playing music together again. Out of this the group played a launch show for the album and followed that up with more concerts, including an appearance at Supernormal, a residency at the Edinburgh Festival, gigs at Cafe OTO and supporting Richard Dawson in London too. They even recently toured Greece in support of having all three of their renowned exploratory post-punk albums finally back in print.

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Los Shakers

2LP | 2020 | EU | Original (Guerssen)

28,99 €*

LP | 1978 | EU | Reissue (Rebirth On Wax)

Release: 2020 / EU – Original

Genre: Rock & Indie

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Guerssen proudly presents the first long playing record by the fabulous LOS Shakers, the legendary band formed in Uruguay in the mid 1960s, in the wake of the Beatlemania phenomenon.Their songs had little to envy to those of their heroes from Liverpool. Tempo, chord progressions and rhythms boiled in a magic, infectious sound! The double LP set collects both the original Los Shakers album from 1965 (in its original mono mix) plus Break It All (originally released in 1966 for the U.S. market, featuring new stereo re-recordings of most of the songs from the first Los Shakers album and 45 only tracks). Get ready to enjoy the songs of Hugo, Osvaldo, Caio and Pelin… Los Shakers

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Les Ya Toupas Du Zaire

Les Ya Toupas Du Zaïre

Off Off On Black Vinyl Edition

Release: 1978 / EU – Reissue

Genre: Organic Grooves

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Les Ya Toupas is a band formed in 1976 by Bopol Mansiamina (Bass - Success Mode, 4 Stars ..), Manuaku Waku (aka Grand Zaiko Wawa) and Ray Lema (Piano, Organ and Guitar) Between 1976 and 1978, they recorded several 7inches including the famous title “Je ne bois pas beaucoup” (1976) compiled on the series of Sofrito (Tropical Discotheque ) in 2011. In 1978, they recorded this unique and unclassifiable instrumental album, Les Ya Toupas du Zaïre, produced by Gérard Akueson (founder of Akue Records and Abeti's producer). The LP is composed of minimalist Afro Jazz rhythms and Deep Funk grooves that are close at times to a tropical trance, all played by musicians who used to offer more classic Rumba rhythms. It is their only album before the departure in 1979 of Ray Lema for the United States and then France. Ray Lema's departure follows a violent disagreement which opposed him to the dictator Mobutu then in place in Zaïre. Let's not forget that the album was released in 1978 and can be seen as their last musicial project.

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This Is The Kit

LP | 2020 | UK | Original (Rough Trade)

Release: 2020 / UK – Original

Genre: Pop

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Psychosis Ritual Orange/Green Vinyl Edition

Mountain Tamer

LP | 2020 | EU | Original (Heavy Psych Sounds)

36,99 €*

Psychosis Ritual Blue Vinyl Edition

Release: 2020 / EU – Original

Genre: Rock & Indie

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Psychosis Ritual is the sum of Mountain Tamer's first decade of exploration into the psychedelic arts. The album takes the band on a journey through the occult rhythms and tones of worlds forgotten. Each track is a new chapter of Mountain Tamer riffing their way into uncharted territory. For this ritual, you are the sacrifice...Mountain Tamer is Andru Hall (Guitar/Vocals), Casey Garcia (Drums), and David Teget (Bass). Psychosis Ritual was recorded and mixed by Salem’s Bend guitarist Robert Parker, with mastering by Mike Tarsia at Sigma Sounds Studios. This recording is the most cohesive and lucid experience Mountain Tamer has yet to offer. The album artwork by photographer Dillon Vaughn and tattoo artist Derek Pratt only adds to the singular vision of Psychosis Ritual by providing beautifully lysergic visuals that are inseparable from the music itself. Biography

Mountain Tamer takes the expansive vision of pure psychedelia and pares it down through the brooding and focused lens of doom and stoner rock. Guitarist/vocalist Andrew Hall, drummer Casey Garcia and bassist Dave Teget, formed their signature fusion of heavy psych rock in 2011 just outside of San Francisco. Now based in Los Angeles, Mountain Tamer's cult following is built on their DIY ethics, inimitable songwriting, and in your face live performances. After self-releasing several demos, the band released their s/t debut album in 2016 on Argonauta Records. Mountain Tamer toured heavily following the release, playing with notable acts along the way such as Fatso Jetson, Weedeater and Dead Meadow. In 2018, Mountain Tamer teamed with Magnetic Eye and Nasoni Records to release their sophomore album, Godfortune// Dark Matters to critical acclaim for its unique approach and genre bending aesthetics. The band rode this success to a full US tour and appearances at Sxsw in 2019. The band quickly followed up with a taste of their upcoming album, Psychosis Ritual, with their single, Death in the Woods. Although only a teaser of their next work, it has quickly become a fan favorite.

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Mountain Tamer

LP | 2020 | EU | Original (Heavy Psych Sounds)

Release: 2020 / EU – Original

Genre: Rock & Indie

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LP | 1978 | US | Reissue (RCA Victor)

Kogun

11,99 €*

Release: 1978 / US – Reissue

Genre: Organic Grooves

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Used Vinyl

Medium: VG+, Cover: VG+

2LP | 1976 | US | Original (RCA Victor)

Road Time

14,99 €*

The Dancing Devils Of Djibouti

Release: 1976 / US – Original

Genre: Organic Grooves

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Used Vinyl

Medium: VG+, Cover: VG+

Original US pressing.

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Groupe RTD

LP | 2020 | US | Original (Ostinato)

LP | 2020 | US | Original (PNKSLM)

Release: 2020 / US – Original

Genre: Organic Grooves

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The first ever international album from Djibouti and Ostinato's first studio recorded album. This ain't a compilation or reissue!

A stunning collision of Indian Bollywood, Jamaican dub and reggae, sleek horns inspired by Harlem’s jazz era, Somali funk, and the haunting and joyous synthesizer melodies of the Red Sea by Groupe RTD, one of East Africa’s best kept secrets.

Recorded in three days -- as per the strict limit set by Djibouti's national radio authorities -- with a state-of-the-art mobile recording studio replete with the very best audio interfaces and carefully positioned microphones around a less than soundproof room to achieve a vibrant, professional sound while maintaining the analog warmth of decades prior.

A portion of Bandcamp sales will be donated in equal parts to:

• The Djiboutian Embassy in Germany to purchase masks and other essential supplies for Djibouti.

• Amref Health Africa Covid-19 Fund (amref.org/donations/covid19/)

-------------

More than one news report refers to Djibouti as “a place where nothing ever happened” that “would not register significantly in the global consciousness except for its strategic location in East Africa."

These deeply ill-informed observations could not be further from the truth.

While the music of Somalia is widely celebrated, its neighbor, the Republic of Djibouti, formerly known as French Somaliland, is home to an equally deep reservoir of its own unique Somali music.

The small but culturally grand country on the mouth of Red Sea remains one of the few places in the world where music is still entirely the domain of the state. Since independence in 1977, one-party rule brought most music under its wing, with almost every band a national enterprise.

No foreign entities have been permitted to work with Djibouti’s rich roster of music — until now.

In 2016, Ostinato Records met with senior officials of Radiodiffusion-Télévision Djibouti (rtd), a.k.a. the national radio, to discuss a vision for lifting the shroud on Djiboutian music as the young country of less than a million people increasingly opens up to the world. Three years later, in 2019, Ostinato became the first label granted full authorization to access the national radio’s archives, one of the largest and best preserved in Africa, home to thousands of reels of Somali and Afar music.

But just next door, in RTD’s recording studio, a world class band entirely unknown outside the country, whose songs are a living embodiment of the archives, lay in waiting. Composed of sensational new, young talent backed by old masters, the band — Groupe RTD — is the national ceremony outfit. By day, they perform for presidential and national events and welcome foreign dignitaries.

By night, when no longer on official duty, Groupe RTD is clearly one of East Africa’s best kept secrets.

Helmed by Mohamed Abdi Alto, possibly the most unheralded saxophone virtuoso in all of Africa, a Djiboutian national treasure, and the horn maestro on track 8 of our Grammy-nominated Sweet As Broken Dates compilation, and mentored by Abdirazak Hagi Sufi, originally from Mogadishu and composer of track 9 on the same compilation, Groupe RTD is the finest expression of Djibouti’s cosmopolitan music style.

Situated on the Bab El Mandeb (Gate of Tears) strait, a historic corridor of global trade connecting the Suez Canal and the Red Sea with the Indian Ocean, Djibouti is blessed with influences from East Asia, the Arabian peninsula, India, and even more distant sounds.

Djiboutian music, particularly the addictive brand wielded by Groupe RTD, is, by their own admission, the juncture where Indian Bollywood vocal styles, offbeat licks of Jamaican dub and reggae, sleek horns inspired by Harlem’s jazz era, Somali funk and the haunting and joyous synthesizer melodies of the Red Sea collide.

Sax player Mohamed Abdi Alto — so talented that they added “Alto” to his legal name — honed his trade from a steady diet of John Coltrane and Charlie Parker. Abdirazak’s guitar style draws heavily from his love affair with Jamaican music. Young singers Asma Omar, who won a youth talent contest to join the band, and Hassan Omar Houssein are fluent in the classic hits of Bollywood and Indian music. Synth player Moussa Aden Ainan brings a distinctly dexterous Somali touch, reminiscent of the exceptional keys work of Somalia’s Iftin and Waaberi Band. Their sound is kept afloat by measured Tadjouran rhythms, courtesy of drummer Omar Farah Houssein and dumbek player Salem Mohamed Ahmed’s perfect interplay.

But recording this album was Ostinato’s biggest challenge yet. A web of bureaucracy and strict rules had to be navigated. Djibouti’s authorities gave us only three days to record the entire set, with no extension. Up for the task and eager to deliver, the musicians promptly tore down the “no smoking or chewing khat” sign in RTD’s recording studio and began a heated, three-day, khat-fueled devilish feast of music amid a smokey haze, unleashing the very reason the band was founded: to strut Djibouti’s majestic music on the world stage when the opportunity arrived.

The recording equipment in the radio had not been upgraded in decades and technical neglect meant we had to devise a novel approach to ensure the highest quality recording possible. With the help of Djibouti’s head of customs, we flew in a state-of-the-art mobile recording studio replete with the very best audio interfaces and carefully positioned microphones around a less than soundproof room to achieve a vibrant, professional sound while maintaining the analog warmth of decades prior.

This game-changing setup, a far cry from the old days of field recordings, is Ostinato’s vision for the future: to capture the contemporary sounds of Africa and the world flawlessly, in any environment or circumstance.

We proudly present Ostinato’s premier studio recorded album and the first ever international album to emerge from Djibouti — Groupe RTD: The Dancing Devils of Djibouti.

This album, if listened to at an inappropriate volume, should firmly register Djibouti in the global consciousness, shifting its image from a strategic outpost of geopolitical games to cultural powerhouse.

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Swampmeat Family Band

Muck!

LP | 2020 | EU | Original (Jakarta)

Release: 2020 / US – Original

Genre: Rock & Indie

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Punk Slime Recordings are proud to present the new full-length album from Birmingham, UK's Swampmeat Family Band. Their new album Muck! is a massive step forward both songwriting and production-wise, offering up a blend of uptempo garage rock and gentle americana. Featuring members of PNKSLM's own The Castillians and Terror Watts as well as Low Cut Connie, Pwei and Bentley Rhythm Ace, Swampmeat Family Band have already drawn praise from the likes of Kexp, The Line of Best Fit, DIY and GoldFlakePaint while turning heads with their live shows around Europe.

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J. Lamotta

Brand New Choice

17,99 €*

Chouk Bwa & The Angstromers

Release: 2020 / EU – Original

Genre: Organic Grooves

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J.Lamotta has gone from strength to strength since her 2019 sophomore album “Suzume” (1,2 mio. Spotify-Streams), garnering support from the international music community and touring across Europe and Asia, incl. the iconic Blue Note Tokyo. Now she’s back with her brand new EP entitled “Brand New Choice” moving on from the organic sound of the very successful retro band album “Suzume”, the new EP shows fresh flavors in her music and contains contributions from a variety of producers. Its futuristic R&B sound is achieved through extensive use of synths and up-to-date rhythms and makes it Lamotta’s most contemporary release so far.

The EP’s 1st single “Can't Refuse” already marks that new direction the artist J.Lamotta is going for: while soulful R&B vocal harmonies remain, hard hitting hiphop-drums drive the song forward bringing a new energy to her music accompanied by lyrics reflecting on relationships and sexuality and a music video with J.Lamotta's signature aesthetic at the forefront, “Can’t Refuse” gives an exciting and impressive first taste of the whole “Brand New Choice” EP and what to expect from it.

And while the singer/producer’s previous releases already focused on lyrics and personal delivery “Brand New Choice” follows a similar path but goes even deeper and gets more personal than ever - revealing a liberal, independent and robust thinker using her music to express not only the artist J.Lamotta but the Rotem Alagem too.

The 2nd single “Hope So” - which is also the opener of the EP and will drop on June 12th accompanied by another video shot in Tel Aviv - makes that pretty clear. Dealing with the end of the past, sharing its tears over hard hitting drums and warm synths while honoring the late great Aaliyah and keeping up with that current zeitgeist is what sparks the whole spirit of “Brand New Choice” and the 2020 version of J.Lamotta.

The very tasteful artwork just like the whole visual conception of the record comes from J.Lamotta’s befriended and also Berlin based designer Gabriella Achandinha.

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Vodou Ale

LP | 2020 | EU | Original (Les Disques Bongo Joe)

Charles Tolliver / Music Inc & Orchestra

Release: 2020 / EU – Original

Genre: Rock & Indie

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In 2016, haitian voodoo band Chouk Bwa and electronic production duo The Angströmers united to form Chouk Bwa & The Angströmers.

Chouk Bwa play traditional Haitian music; they would fit in the “Mizik Rasin” genre, alongside bands like Boukman Eksperyans, Boukan Ginen or Rasin Mapou from Azor. However, until their decisive encounter with The Angströmers, their most characteristic feature was their loyalty to the essential elements of Voodoo – therefore without any instrumental addition.

Chouk Bwa was born in 2012 in the Gonaïves under the impulsion of singer and Samba (keeper of the tradition and moral figure in the voodoo culture) Jean Claude “Sambaton” Dorvil.

Initially the band’s full name was Chouk Bwa Libète, which can be translated by “Liberty’s roots”, a reference to the famous shout uttered by Toussaint Louverture, an artisan of the Haitian revolution, who died in captivity at Fort de Doubs in 1803: “By overturning me, only the trunk of the tree of liberty fell in Santo Domingo, but it will grow again for its roots are deep and numerous”.

Following their meeting with Belgian musician Michel Wolteche in 2012, the band starts an international career that leads them to a selection for a showcase at the WOMEX 2015 and that will make them tour in more than 10 european countries (playing shows notably at the WOMAD Charlton Park, Roskilde Festival, Førde Festivalen), as well as in Malaysia (Rainforest World Music Festival), Canada (Sunfest, Vancouver Folk Festival, Calgary Folk Festival) and the USA (Savannah Music Festival). In 2015, their first album, Se nou ki la!, is released on Buda Musique.

Chouk Bwa’s music combines multiple characteristic Voodoo elements: rhythms, dances and chants. These are the roots, removed from Africa and secretly replanted in a new earth. The percussionists, going from one rhythm (and therefore one cultural reference) to another, act as collective memory smugglers, and their instruments are the material demonstration of this diversity. The dance is neither aesthetic nor premeditated, it is real; it is not about a “show” or a “choregraphy” but rather about a connexion with the drums’ spirits. On top of this, the singer’s voice ascends effortlessly above the instrumentation, which also includes bamboos and lanbi.

The setlist during a show is made up of original compositions by Sambaton as well as traditional songs rearranged by the band. As a fervent homage to the Lwa pantheon, the entire repertoire is sustained by the voodoo mystic, and throughout a song, it is sometimes the Haitian farmers’ voices, in their daily struggle for survival, that express themselves by narrating scenes of life, sometimes with the impatience of a political speech.

The singularity of this music lies in the fact that it offers a “material” very close to ceremonial music (without any significant addition) and organizes it and, in a way, concentrates it in a shape that gives it an powerful impact, accessible to a large public, however without ever distorting nor polishing it.
The Angströmers, an electronic music duo consisting of Nicolas Esterle and Frédéric Alstadt, constitute one of the artistic emanations of the label The Angströmers.

Founded in Toulouse in 1998, the label organizes events, co-produces cine-concerts with the Toulouse film library and produces one or two albums per year. In 2007 the structure is refounded in Belgium, and starts concentrating its activity on the mastering studio and the

label. Following the premature death of one of the founding members near the end of 2008, the label is put on standby, and only a few albums continue to get released episodically. The studio becomes a well-known actor of the alternative Belgian scene, specialized in vinyl mastering.

As musicians, certainly fed by their engagement in the label and the mastering, The Angströmers spread their music full of bass and echos, influenced by dub and drone music, all over the underground European stages. All along their encounter with the voodoo culture, they learn to expand their sound by immersing themselves into complex polyrhythms. They develop an electronic psychedelic music, free of all the codes of binary, 4/4 standards that dominate the club world.

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Impact

LP | 1976 | UK | Reissue (Pure Pleasure)

34,99 €*

LP | 2020 | EU | Original (Lost Race)

Release: 1976 / UK – Reissue

Genre: Organic Grooves

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Trumpeter/flügelhornist Charles Tolliver often straddled the line between the lyricism of hard bop and the adventurous nature of the avant-garde. Released in 1975, "Impact" contained a stimulating progressive edge within an energetic large band (14 horns, eight strings, and rhythm section) format. Tolliver's arrangements are consistently bright and build momentum, while the soloists are given sufficient room to manoeuvre through the multiple textures. Featured soloists in the remarkable reed section include Charles McPherson, James Spaulding, George Coleman, and Harold Vick.

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Nite Fields

A Voyeur Makes No Mark

12" | 2020 | EU | Original (Shipwrec)

Release: 2020 / EU – Original

Genre: Electronic & Dance

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Culminating in four years of recording sessions in Russia, Australia and Northern Ireland, ‘A Voyeur Makes No Mark’ is Nite Fields’ second LP. It’s the follow up to 2015’s ‘Depersonalisation’ (released on Felte, mixed by Nigel Lee-Yang from HTRK, cover art by Juan Mendez). If ‘Depersonalisation’ was an album of loss and self-destruction, ‘A Voyeur Makes No Mark’ embodies a self-possessed, buoyant, confrontational figure – though no less anguished with self and the world at large. More outward looking than the Nite Fields debut, and with a redefined aesthetic, themes of rebirth and redefinition carry throughout the album immortalised in principal songwriter and protagonist Danny Venzin’s delicate web of sound. Found within the 8-track LP are sounds rarely heard and even lesser played by the Western hemisphere. Utilising a sonic palette inspired by Venzin’s new surrounds whilst living in Moscow, a purposeful decision was made to incorporate local recording equipment and instrumentation. The results are stark yet richly atmospheric. Lead single ‘Not Your Time’ sets the scene of a living and breathing pulse within a distant, unknown city. Nightstalking, double-tracked drum rhythms and swirling, modulated drones re-treaded from Soviet synthesizers form the backdrop for Venzin’s deadpan yet sharply elegant vocal delivery. ‘Invitation’, low-slung and brooding with misanthropy recalls the growing maturity in Venzin’s songwriting, executed to perfection on a stage set elsewhere by motorik drums on ‘Take My Side’, film-noir ambience on ‘Descent’, swooning, dubby shoegaze on ‘Fiction Eyes’ and nods towards the shadowy corners of the dance-floor on ‘Chase It’. ‘A Voyeur Makes No Mark’ also exhibits Venzin’s collaborative impulse. All original members of Nite Fields’ band, as well as touring members feature on the recordings. Album credit notes include performances from members of Multiple Man (Australia), Nerve (Australia), Autumns (Northern Ireland) and Love Cult (Russia). Some album tracks were also co-written by founding member Chris Campion whose guitar sound defined many of Nite Fields’ early recordings. Mastered at the historic Mosfilm studios in Moscow by Antaoly Ryassov and mixed by Marly Luske at Alchemix in Brisbane, the album will be available as a limited release via Lost Race (200 vinyl copies) and Perfect Aesthetics (50 cassette copies) in April 2020.

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Ekman

Kronkel

11,99 €*

Enamorados Del Control Total

Release: 2020 / EU – Original

Genre: Electronic & Dance

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Ekman is no stranger to Shipwrec. With three EPs and an album, the dutchman's brand of fire and brimstone has seared a serious impression on the Nijmegen imprint. The fourth 12" comes with a marked difference. That burning smouldering intensity that has characterised the acid soaked electro and stained techno of past records is present, however it is now sheathed. Beats are still sharp edged, as in "Verdraaide Logica", yet keys have softened and taken on an introspection. "Kronkel" is cast in a similar mould. From a fearsome kick blooms an incredibly layered and thoughtful track where melodies bob and weave while rhythms rail. Even amidst the sinister sidling synthlines of "Anker Punten", with its piercing and punishing percussion, there are understated pads to mellow. The glass and steel of "Vast/Los" ends the EP. Angular lines permeate the piece, reflection and refractions arc and bend in this science fiction finale. Depth mixed devilment from start to finish.

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Algara

7" | 2020 | EU | Original (La Vida Es Un Mus)

10,99 €*

Crokodials Colored Record Store Day 2020 Edition

Release: 2020 / EU – Original

Genre: Rock & Indie

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ALGARA's first communiqué vomits in the face of moderate leftism; encouraging class war and insurrection, and wanting the total annihilation of police forces. Home recorded in a Barcelona Squat, the production of their debut four-track EP is minimal. ALGARA deal in stark and sparse sounding post-punk that hints at CRISIS, early DECIMA VICTIMA and JOY DIVISION in equal measures. The lead guitar is brittle and skeletal, and sits perfectly on the driving rhythm section, made up of a primitive drum machine, creating a sonic background for their message to be heard. ALGARA has expanded into a four-member band since this recording and is currently performing live while working on an upcoming LP.

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Kelley Stoltz

LP+7" | 2006 | US | Reissue (Nine X Nine)

37,99 €*

LP | 2018 | EU | Original (Ariwa)

Release: 2006 / US – Reissue

Genre: Rock & Indie

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Record Store Day 2020 Release.

Kelley Stoltz's track for track covers album of Echo and the Bunnymen's 'Crocodiles' will be available for the first time on vinyl this Record Store Day courtesey of Nine x Nixe Records. Originally recorded in late 2001, the album was not released until 2006 and was only available on CD (Orignally a TOUR ONLY CD via Beautiful Happiness).Stoltz took up the mantle of rhythm guitar in the Bunnymen's live set up in 2016, after a few high profile state-side support slots won largely because of this album. Pressed on 180g Color Vinyl, with original artwork and new sleeve notes from Bunnymen guitarist Will Sergeant and Scott Kannberg (Pavement), there's never been a better time to discover this gem from Stoltz's back catalogue. REMASTERED BY MIKEY YOUNG -Bonus 7" E.P.features 3 early demos of 14 year old Kelley's band .These are the earliest known recordings of Stoltz's Bunnymen covers.

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The Mad Professor

Ariwa 2018 Rthym Series

Release: 2018 / EU – Original

Genre: Reggae & Dancehall

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Pyramid Clear Vinyl Edition

Jaga Jazzist

LP | 2020 | UK | Original (Brainfeeder)

31,99 €*

LP | 1971 | EU | Reissue (Wah Wah)

Release: 2020 / UK – Original

Genre: Electronic & Dance

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Jaga Jazzist have gone back to basics on their new LP Pyramid … well, as back to basics as an eight-piece instrumental prog-jazz ensemble can go. Eschewing the studio tinkering which characterised their previous LP Starfire (2015), Jaga Jazzist wrote and recorded the four lengthy opuses of Pyramid in a fortnight. This approach has helped them to make a more immediate and driven record, one that combines their typical sonic adventurousness with some of the most potent grooves of any Jaga Jazzist LP.

The spontaneous approach to writing is most apparent in the work of Pyramid’s rhythm section. ‘The Shrine’ is named after Fela Kuti’s legendary venue in Lagos, and the track certainly lives up to this association with some limber, Tony Allen-inspired drumming. ‘Apex’ has a cosmic disco flavour which channels Jaga Jazzist’s former remixer Todd Terje, ‘Spiral Era’s nimble lilt combines both half- and double-time, and there is an urgent stomp which underpins the second half of epic opener ‘Tomita’.

Atop these polyrhythms, the other members of Jaga Jazzist show themselves once more to be instrumentalists of the highest order. There is certainly plenty of Kuti’s legendary Africa 70 to the aforementioned ‘The Shrine’, but this track is also played with the panache and thrust of fellow post-jazz crews The Comet Is Coming and The Physics House Band. One also detects the influences of both library music, space rock and Plaid on ‘Spiral Era’ and ‘Tomita’, tracks which also balance technical pizzazz with the deft compositions of bandleader Lars Horntveth.

Norwegians Jaga Jazzist channel post-rock, jazz, prog, disco, Afrobeat and many other styles to paint new sonic landscapes on their latest full-length Pyramid.

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Farmyard

Back To Fronting

LP | 1970 | EU | Reissue (Wah Wah)

Release: 1971 / EU – Reissue

Genre: Rock & Indie

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Hailing from Wellington, the windy city and capital of New Zealand, Farmyard's initial line up consisted of Rick White on bass and vocals, Tom Swainson on drums, Milton Parker on lead guitar, Andy Stevens on sax and Paul Curtis on rhythm guitar and lead vocals. Rick White who formed the band, and Milton Parker were originally in fledgling beat combo The Relics. After being kicked out of the Relics, Rick went on to form Tom Thumb. Tom Thumb moved from R&B, to pop, to progressive rock, and their 1970 Ludgate Hill EP is considered one of the first prog recordings in the country.

Released by Polydor in early 1972, Back To Fronting, the second and final LP by Farmyard, was done at a point when the band was imploding and the tracks were produced by the group. They gathered together a great collection of tunes and made it a worthy second outing, continuing the prog sound of their debut and opening it to new influences with some rootsy sounds thrown in the mix.

This is a 500 copies only reissue, housed in its original artwork in a gatefold sleeve and featuring an insert.

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Farmyard

LP | 1968 | EU | Reissue (Wah Wah)

Release: 1970 / EU – Reissue

Genre: Rock & Indie

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Hailing from Wellington, the windy city and capital of New Zealand, Farmyard's initial line up consisted of Rick White on bass and vocals, Tom Swainson on drums, Milton Parker on lead guitar, Andy Stevens on sax and Paul Curtis on rhythm guitar and lead vocals. Rick White who formed the band, and Milton Parker were originally in fledgling beat combo The Relics. After being kicked out of the Relics, Rick went on to form Tom Thumb. Tom Thumb moved from R&B, to pop, to progressive rock, and their 1970 Ludgate Hill EP is considered one of the first prog recordings in the country.

After a successful single, Polydor issued Farmyard’s first LP in 1971 which came housed in a silk screened plastic bag, and is an amazing prog-rock killer, with superb musicianship, great tunes and a splendid production by Peter Dawkins.

This is a 500 copies only reissue, housed in its original ‘gimmick’ artwork in a silk screened plastic bag, printed inner sleeve and insert.

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The Underdogs

Blues Band

LP | 1966 | UK | Reissue (Big Beat)

Release: 1968 / EU – Reissue

Genre: Rock & Indie

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Wah Wah is proud to release the first ever legit vinyl reissue from master tape of New Zealand's legendary Underdogs' first LP from 1968. Lovers of John Mayall and his Bluesbreakers (note the Eric Clapton tribute paid on the sleeve of this album) will love this album. The Underdogs formed in 1964 and shared the scene with other greats from the country like The La De Da's, The Action (NZ band, not to be confused with the UK mod godfathers) and The Pleazers. They spread the rhythm and blues word from their native Auckland through several 45s on the Zodiac label and went through a series of line-up changes prior to the release of their fabulous first long player. The Underdogs Blues Band LP was recorded by Murray Grindlay on vocals, Lou Rawnsley on guitars, Neil Edwards on bass and Tony Walton on drums, and shows the group’s appreciation for Mayall's combo - just like The Bluesbreakers' Crusade LP the Underdogs open their album with a cover of Albert King's "Oh, Pretty Woman," one of three "Bluesbreakers" songs covered on the LP. On this first long player the band storm into a world of guitar led rave-ups a la Yardbirds, organ blues grinders and even give a sight to what's to come next with some incipient heavier sounds a la Cream.

This is a 500 copies only reissue, housed in its original artwork in a vintage styled backflaps sleeve and insert

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The Sonics

Boom

22,49 €* 24,99 € -10%

Release: 1966 / UK – Reissue

Genre: Rock & Indie

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Boogie Legs Black Vinyl Edition

Jake Sollo

LP | 1980 | US | Reissue (Tidal Waves Music)

LP | 2020 | EU | Original (Overdrive)

Release: 1980 / US – Reissue

Genre: Organic Grooves

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Jake Sollo (Born in Nigeria as Nkem Okonkwo) started his career in the 1960s as a member of The Hykkers, a popular band that drew large audiences across the country (even during the turmoil of the Biafra civil war). After The Hykkers disbanded, Jake joined the Aba-based super-group The Funkees…a musical outfit turned into instant superstars due to the State Broadcasting Service's heavy rotation of their demo tracks. The Funkees became a phenomenon that spread across the country fast (and eventually to England where they were championed by the legendary John Peel). By 1976, due to creative and personal tensions, The Funkees slowly started disintegrating. Jake Sollo was soon offered the golden opportunity to join the ‘crème de la crème’ of Afro-rock groups: Osibisa. Jake’s distinctive rhythm guitar graced their hits, but his tenure with them was short-lived…in 1977, Sollo and two other members left the band because of financial disagreements.

Jake Sollo quickly moved on and did just fine after his experiences with said bands…he got steady work as a session musician and became a hot producer in the London scene. Eventually, that chapter came to a close as well (with budgets and visas to record in the UK becoming increasingly scarce at this point). Jake returned to Nigeria where he started recording and producing albums, during this period he became the MOST in-demand producer in Nigeria.

Sollo’s specialty was bouncy ‘high-gloss’ boogie (though he occasionally produced artists in other genres as well). Regardless of which style he was working in, a ‘Jake Sollo production’ was always instantly recognizable and his records’ main sonic signature was probably the distinct sound of the Prophet "V" synthesizer (a hot piece of hardware that was transforming music in Europe and America). Rumor has it that Sollo owned one of the two only Prophet synthesizers present on the African continent (the other one belonging to William Onyeabor). Without exaggeration and according to his peers…Jake was the hottest and most prolific music producer in Nigeria between the late 1970s and mid 1980s.

Next to his productions for other artists and major labels like EMI & Polydor, Jake Sollo would go on to record a total of three astonishing albums: ‘Coming Home’ (1977), ‘Show Me How’ (1979) and ‘Boogie Legs’ (1980). Boogie Legs would be Sollo’s final album, his career was cut short when he tragically died in a car accident in 1985…depriving the world of what no doubt would have been decades of more innovative and creative music.

On Boogie Legs, the listener is treated to Jake Sollo’s trademark sound with touches of pop, plenty of African groove disco, moments of psychedelic reggae, chattering guitars, mad synth skills and fat angular basslines … all bound together with Jakes distinctive guitar playing and smooth production. A triumphant album that combined the raw power from his roots with the slick tricks he learned in London. Also featured on these recordings are some ‘all-star’ guest appearances by musicians from the likes of Trevor Murrell (Kim Wilde, Sade) and Ray Carless (Maxi Priest, Adele).

Boogie Legs is a sexy monster of an album that shows off Jake Sollo as the multi-instrumentalist extraordinaire and Apostle of Nigerian music he was…the sound of an artist at the height of his power, with a career that came to an untimely end…but leaving us with a BIG legacy.

Tidal Waves Music now proudly presents the first ever vinyl reissue of Jake Sollo’s ‘Boogie Legs’ album (originally released in 1980 on Taretone). This rare Nigerian record (original copies tend to go for large amounts on the secondary market) is now finally back available as a limited vinyl edition (500 copies) complete with the original artwork.

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Mokadelic

OST Sulla Mia Pelle

12,99 €*

Let It All In Blue Vinyl Edition

Release: 2020 / EU – Original

Genre: Soundtracks

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After the release of the successful soundtrack for the TV series Gomorra (which was aired outside Italy as well) the Italian combo Mokadelic returns with a brand new score, Sulla Mia Pelle, for one the most controversial movies around. Based on the despicable history of Stefano Cucchi, literally killed in prison by a bunch of policemen, the album renews the cinematic style of Mokadelic through a series of almost dramatic instrumental sketches. Equally informed by the post-rock of luminaries such as Godspeed You Black Emperor and Explosions In The Sky - not to mention the subtle rhythms of contemporary IDM (Boards Of Canada first came to mind) - the band delivers their signature with several epic moments. That is the real companion to a tragic feature film.

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Arbouretum

LP | 2020 | US | Original (Thrill Jockey)

31,99 €*

Release: 2020 / US – Original

Genre: Rock & Indie

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Arbouretum's mystic folk-rock uses English folk, country blues, Americana and 70s psychedelia as touchpoints in their singular and distinctive sound and they've perfected the craft of storytelling, using a delicate interplay of melodies and prosaic lyrics. Let It All In is their most accomplished and evocative album yet. Guitarist and vocalist Dave Heumann's melodies and solos remain a central focus bolstered by the hypnotic rhythms of bassist Corey Allender and drummer Brian Carey, enhanced by Matthew Pierce's substantial yet understated keyboard figures. Each song a vivid scene or tale; Heumann's deep sense of spirituality and command of storytelling through myth and metaphor transports the listener to another world and time.
Let It All In is as instantly arresting as it is deeply reflective, with layers of sound and metaphor to unravel and interpret in their own way. It is a beautiful album that lives in and reflects the present moment while sounding as if it were forged in another era. Invoking nature as a backdrop for exploring humanity's relationship to time, history, and the present socio-political climate, often highlighting water as a ubiquitous if often unconscious presence in our lives. It acts as a subtle connecting thread through each piece's imagined landscapes, as well as taking on a symbol for change and spirit. The group has always centered around Heumann's remarkable voice and songwriting. His skill as a vocalist and guitar player have led to playing with artists such as Cass McCombs, Will Oldham, and many others. Let It All In is an invitation to jump into an album rich with timeless elegance. Their live shows and the otherworldliness of their music have made Arbouretum a cultish band. Their profound music endures and rewards fans both old and new. Arbouretum has added another exceptional work to their catalog that will weather changing fashions and reward those who explore their entirely unique world.

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Leve Leve Sao Tome & Principe Sounds

LP | 2020 | EU | Original (Les Disques Bongo Joe)

40,99 €*

LP | 2020 | EU | Original (Vampisoul)

Release: 2020 / EU – Original

Genre: Organic Grooves

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The two Portuguese-speaking African islands of Sao Tomé & Principe, located in the Gulf of Guinea, created an unique music called Puxa : a refined mixture of various musical components from both sides of the Atlantic Ocean. A blend of Semba, Merengue, Kompas, Soukouss, Coladeira patterns, often pushing forward with a voodoo-like energy, solid bass lines, delicate melodies and backing harmonies of the rich Sao Tomean melodic traditions. Very first compilation focusing on the golden age of these island’s sounds, the 16 tracks selected will surely set fire on all dance floors !

Léve-Léve is the first ever compilation devoted to music from São Tome and Principe, two small islands situated off the coast of Gabon in central Africa. The album unravels a story of liberation where the music of Africa, Europe and the Americas unify with a carefree spirit personified by a phrase the islanders use all the time: “léve, léve” (“take it easy”). With echoes of Angolan semba and merengue, of Brazilian afoxê, of coladeira from Cape Verde and dance music from the Caribbean, it is a sound fiercely proud of its island heritage, sung in local dialects and using distinctive local rhythms.

On this record you can hear the cultural and social history of São Tome and Principe, and how live music represented its beating heart. Once known as the “Chocolate Islands” (remarkably, these two tiny islands were the largest cocoa producers in the world, though now this title acts as a reminder of its colonial past), through the years leading up to independence from Portugal, music would be a fundamental voice of liberation and conviviality. Os Úntués were one of the first groups to make an impression, releasing a couple of 7 inches in Angola – the litmus test of success for any of the islands’ groups. They united unique rhythms and dances like socopé, puita and dança-congo – borne from the islands’ largely slave-descendant population – with the sound of pop music beamed in on the radio from Europe, even adding in a little bit of soukous and Brazilian instrumentation. Their main rivals were Conjunto Mindelo, who fused São Toméan rhythms with rebita, an Angolan style, to create high energy puxa, a truly original island rhythm.

From the mid-1970s, coinciding with independence from Portugal in 1975, the islands’ groups featured an even stronger African influence and nowhere was that more apparent than with Africa Negra. They would listen to the latest records from Gabon, Zaire and Cameroon, taking inspiration and trying out phrasing from the greats of Central African guitar playing, developing a devoted fan base off the islands, as well as on. A score of other bands would follow a similar musical path, with a few getting their dues overseas in Angola, Cape Verde, Portugal and across Africa.

Os Leonenses (led by the iconic Pedro Lima), Conjunto Sangazuza, Sum Alvarinho and Conjunto Ecuador were just some of the other bands that formed a lively home-grown music scene that lit up the islands’ bars and open-air shows from the 1950s through to the mid-90s. Regardless of class or age, they were responsible for keeping the population entertained come the weekend, with Sunday matinee shows the highlight of the week, the music not stopping from midday until midnight.

As a Portuguese island colony that was for many years populated with slaves brought from Africa, São Tome and Principe has much in common with other Lusophone countries and boasts a richly complex and idiosyncratic musical DNA. Whilst the musical tapestries of Angola and Cape Verde are well known, São Tome and Principe’s secrets were assigned to the islanders themselves. Until now.

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Los Afroins

Goza La Sala

17,99 €*

All Rise Limited Deluxe Hardcoverbook Edition

Release: 2020 / EU – Original

Genre: Organic Grooves

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The aptly named Goza La Salsa (Enjoy Salsa) is the second album by Los Afroins, the flagship salsa band of the obscure but beloved INS label (Industria Nacional Del Sonido Ltda., Medellín, Colombia). The combo's repertoire focused mostly on cover versions hit tunes from New York, Cuba and Puerto Rico, both classic and contemporary, but for this record, their sophomore outing from 1975, their arrangements got tighter and there are more original compositions, which makes for a satisfying evolution in both style and content. Pianist Agustín "El Conde" Martínez, who would later work with Joe Arroyo and Juan Piña, led the group and did some arranging, with studio session production by INS artistic director Alfredo "Sabor" Linares. The vocals were handled by a pair of fresh-faced singers, Lucho Puerto Rico and Roy "Tayrona" Betancourt, who would later go on to fame in the 1980s, the former with his own Lucho Puerto Rico Y Su Conjunto Sonero and Conjunto Son Del Barrio (both in collaboration with Alfredo Linares), and the latter with Willie Salcedo, Reales Brass De Colombia, and Los Caribes. Additional arrangements were by Luis Felipe Basto of Los Black Stars and Luis E Mosquera, while the rest of the band was made up of INS related studio musicians. Goza La Salsa is just as hard to find as their first record and contains 10 bright and sassy salsa dura treasures that light up the dance floor with their incessant rhythms, syncopated trumpets and trombone and buoyant melodies. There are smoking covers of hits by Panama's Bush y sus Magníficos ('Salsa Al Pindin') and Bronx timbalero Orlando Marín and His Orchestra ('Está De Bala') as well as updated renditions of old Cuban chestnuts 'La Masacre' (written by Joseíto Fernández of 'Guantanamera' fame, and a hit for Cuarteto Caney) and 'Matusa' (originally titled 'Macusa', composed by Francisco Repilado aka Compay Segundo and made famous by Duo Los Compadres). This time around there are six excellent originals with the hottest pair being Lucho Puerto Rico's theme s...

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Gregory Porter

CD+Book | 2020 | EU | Original (Blue Note)

All Rise Limited Digisleeve Edition

Release: 2020 / EU – Original

Genre: Organic Grooves

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CD sized hardback book with 32 pages and glued-in wallet for CD on inside back page

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Gregory Porter

CD | 2020 | EU | Original (Blue Note)

Kollington Ayinla And His Fuji '78 Organisation

Release: 2020 / EU – Original

Genre: Organic Grooves

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This is the limited Digisleeve edition that contains 13 tracks.

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Blessing

LP | 1988 | UK | Reissue (Soul Jazz)

LP | 2020 | EU | Original (Maple Death)

Release: 1988 / UK – Reissue

Genre: Organic Grooves

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This is the first in Soul Jazz Records’ new series of one-off pressings of limited-edition 1000 copies vinyl-only releases of Afro-funk/Afro-beat exact-replica, super-rare albums that were previously only ever released in Nigeria. The series starts with Kollington Ayinla’s celebrated 1978 album ‘Blessing,’ a rare lost classic of Nigerian Fuji music, featuring Ayinla’s sharp political lyrics together with his new band Fuji ’78. ‘Blessing’ blends the heavily percussive style of Fuji music with a stunning array of modern instruments, including synthesizers, Bata drums and guitars, to create one of the most forward-thinking and heavily danceable sounds ever to come out of Nigeria – a highly successful mixture of profound Fuji rhythms and Fela Kuti-style Afrobeat. Kollington Ayinla ranks alongside his friend and competitor Ayinde Barrister as the two most important artists to dominate Fuji music from its inception in the 1970s through to the 1990s by which time it had grown to become one of the most popular dance genres in Nigeria. At the start of the 1980s Ayinla started his own record company, Kollington Records, to release his music and remains to this day an extremely prolific artist, having recorded over 50 albums, most of which have never been released outside of Nigeria.

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Metro Crowd

Planning

15,99 €*

The Storm Sessions Indie Exclusive Electric Blue Vinyl Edition

Release: 2020 / EU – Original

Genre: Rock & Indie

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Paranoid, alone, possessed, vibrant… has this ever been your state of mind on your morning commute to work? Just a human lost in the city, lost in the sea of machines, overwhelmed by fate, facts and the inevitability of those train tracks that someone has already laid out for you.
Named after the subway C line that runs through Roma Est and the Pigneto neighborhood, Metro Crowd are an industrial post-punk quartet that have carved out their sound on massive doses of 9 to 5 paranoia, metropolitan psychosis, corporate cubicles, government jobs and total annihilation. The four members represent an eccentric crosspollination of the florid Roma scene: cartoonist Vic Sinex, Gabor from acid minimal synth duo Holiday Inn, Ludovico T from hardcore chaotic punks Sect Mark, Toni Cutrone from Mai Mai Mai, one of the primary Italian occult psychedelic movers with his label No=Fi Recordings and Dal Verme venue.
Planning:, their first album for Maple Death (following an acclaimed first record on My Own Private Records/Legno Dischi), is a complete outer space Kafkian journey through a post-industrial landscape where mankind is fighting just to keep its head above water, basically to survive. Metro Crowd’s sound is built upon that sense of disgust, repulsion, unease. It’s a world where alien guitars meet factory tribalism, shifty bass patterns fight over circular rhythms and dramatic sloganeering. They inhabit that same oddball cosmos that gave birth to bands like Chrome, Z’EV, the old Subterranean Records catalogue, Foetus, Cabaret Voltaire, Flipper, early EBM tinged Ministry. What really sets them apart is their theatrical deadpan, shall I dare say a Mediterranean tinged New Wave flare and their giddy take on furious eccentric punk that probably comes from the Italian tradition of early 80s where bands like Move and Gaznevada were creating synthetic paths made of fog, lasers and flanger effects.
Are you controlling your trajectory, is the train fully automated or is there a driver steering your life in the wrong direction?

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Elkhorn

LP | 2020 | US | Original (Beyond Beyond Is Beyond)

The Storm Sessions Black Vinyl Edition

Release: 2020 / US – Original

Genre: Rock & Indie

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The Storm Sessions is the latest glowing proof that Elkhorn are one of the most durable and adventurous platforms of the new guitar age. Snowed in with their friend Turner Williams (Ramble Tamble, Guardian Alien) on the night of an emotionally important gig, the duo-plus-one turned it into a cathartic blizzard-bound collaboration and rumination -- and a new step for Elkhorn. A powerful turn outside the duo's comfort zone, The Storm Sessions consists of two side-long improvisations by guitarists Jesse Sheppard (12-string acoustic) and Drew Gardner (6-string electric) along with Turner's rare and lovely vibrations (electric bouzouki on one side, shahi baaja on the flip). No strangers to improvisation or collaboration, The Storm Sessions is their most spontaneous studio work yet, and perhaps their most beautifully flowing. Formed by old friends Jesse Sheppard and Drew Gardner in 2013 and naming themselves 'Elkhorn' the following year, it's the pair's telepathic bond that has made them so much more than two dudes with guitars. With Sheppard's rigorous 12-string acting like a meditative rhythm section for Gardner's textured flights, the duo's third voice emerges into a space that often borders on soulful cosmic jazz. Committed collaborators and community organizers in their vibrational corner of the world, both members of the band are deep students of the music. In 2018, Sheppard organized The 1000 Incarnations of the Rose, an already historic three-day festival in Takoma Park, Maryland--John Fahey's hometown--that showcased generations of wide-eared guitarists. Ambassadors to an often-hidden creative lineage as well as an often-hidden network of modern players, Elkhorn have hewn to the most sage advice Timothy Leary ever proclaimed: Find the others. Mark Fosson (who played the 1000 Incarnations of the Rose) was one such Other, forming a cross-generational bond with Sheppard. Scheduled to play a New York show with Elkhorn in late 2018, the 68-year-old Fosson fell ill and passed away. A rescheduled performance featuring Williams (another Other) turned into the extended session in Gardner's home studio in Harlem. The Storm Sessions is filled with flickering textures that might create warmth on a cold day, or a bubble of human atmosphere inside a dreary dystopian vacuum, no matter the weather outside. Their sixth full-length in five years, Elkhorn are both well into their journey and have only just begun.

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Elkhorn

LP | 2020 | US | Original (Beyond Beyond Is Beyond)

23,99 €*

Nick Of Time Black Vinyl Edition

Release: 2020 / US – Original

Genre: Rock & Indie

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The James Hunter Six

LP | 2020 | US | Original (Daptone)

Slum Village & Abstract Orchestra

Release: 2020 / US – Original

Genre: Organic Grooves

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Back in the spotlight with a sublime new rhythm and blues record, James Hunter follows up six critically acclaimed albums with his latest recording, Nick of Time, set for release on Brooklyn’s renowned soul label Daptone Records.

Nick of Time is a shining testament of how a master songsmith continually draws fresh water from a bottomless well. Recorded and produced by Bosco Mann, Nick of Time features one of today’s foremost soul singers at the top of his game performing with musicians who’ve backed some of the biggest contemporary music stars including Daptone artists Sharon Jones and Charles Bradley. Nick of Time will be internationally released on March 6, 2020.

For Nick of Time, Hunter and Daptone co-founder Bosco Mann hunkered down in the label’s Penrose Studios in Riverside, California for what certainly will be one of 2020’s standout soul recordings. Unmistakably another stunning James Hunter album, Nick of Time is a voyage between beautiful, mid-tempo rumba recalling early King/Federal releases, while lush arrangements summon lost tracks from early '60s Burt Bacharach sessions. Nick of Time is steeped in an era when soul records were driven by earth-shattering vocal performances. James Hunter hands down ushers classic soul music into the 21st Century with a sense of timelessness that’s rare these days.

James Hunter is an everlasting writer of compelling narratives sung with true grit while backed by an ace band of New York City’s finest musicians. Nick of Time finds Hunter in the company of Victor Axelrod (piano), Adam Scone (organ), Rudy Petschauer (drums), Myles Weeks (bass), Michael Buckley (baritone saxophone), and Freddy DeBoe (tenor saxophone). On the road for an extensive U.S., U.K., and European tour in support of Nick of Time, Matt Slocum (keyboards) takes the reins on keys for a hearty James Hunter Six ensemble ready to electrify soul music fans as they hit venerable stages in a city near you.

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Fantastic 2020

2CD | 2020 | US | Original (Ne'Astra Music Group)

Release: 2020 / US – Original

Genre: Hip Hop

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Live jazzy orchestral interpretations of the Jay Dee aka J Dilla produced Slum Village classic Fantastic Vol 2!
The contributions of the late Detroit producer James DeWitt Yancey -better known to the world as J Dilla- to the world of hip-hop can't be overstated, and nowhere is his legacy more apparent than his work as a member of Slum Village. A founding member of the trio, (alongside rappers T3 and Baatin) Dilla provided the group's distinctly esoteric, free-wheeling sound, built around winding basslines, quirky drumbeats, subtle low-end frequencies, and classic jazz & soul samples. Against the backdrop of Dilla's rich production, T3 and Baatin's free-flowing style of rhyming would also earn wide critical praise, leading to comparisons as the successors to A Tribe Called Quest. All these elements would come together in a truly prodigious fashion in the early 00s, when Dilla and Slum Village would release their second studio album Fan-Tas-Tic Volume 2. The group had already made critically acclaimed waves with Volume 1, but few could have predicted at the time of its release that Dilla's production, which combined portions of alternative, gangsta, and soul hip-hop, meshed with T3 and Baatin's deft lyrical flows, would become such a far-reaching influence. Artists like D'Angelo and Erykah Badu have name-checked Fan-Tas-Tic Volume 2 as a key influences, while The Roots' drummer ?uestlove declared that they hands down "...birthed the neo-soul movement."
Enter the Abstract Orchestra. Helmed by composer and saxophonist Rob Mitchell, this 18-piece ensemble has become renowned for their distinct sound, which reinterprets some of the most famous hip-hop productions of all time (right on down to the sample material) into a unique blend of big band jazz and live hip-hop. The group has toured alongside the likes of John Legend, Amy Winehouse, and Adele among others, and have provided live backup for Mos Def, and many more. They previously have released orchestral versions of revered hip-hop record Madvillian and a tribute to Dilla to critical acclaim as well.
On this, the 20th anniversary of Fan-Tas-Tic Volume 2's release, the Abstract Orchestra are proud to pay tribute to this highly innovative hip-hop classic. Across two volumes of vinyl and a 2-CD set of studio recordings, the big band applies their own jazzy spin to Dilla's classic productions, with occasional assistance from the surviving members of Slum Village themselves. The end result is Fantastic 2020, a hybrid blend of smooth, funky brass rhythms with boom-bap sensibilities that is just the kind of tribute that an often unsung, but highly influential group like Slum Village deserves, and is a more than welcome addition to any Dilla
completist's library.

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London Is The Place For Me 7: Calypso, Mento, Joropo, Steel & String Band

2LP | 2019 | UK | Original (Honest Jon's)

10" | 2019 | EU | Original (Bear Family)

Release: 2019 / UK – Original

Genre: Organic Grooves

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Still deeper forays into the musical landscape of the Windrush generation.

A dazzling range of calypso, mento, joropo, steelband, palm-wine and r’n'b. Expert revivals of stringband music, from way back, alongside proto-Afro-funk.
An uproarious selection of songs about the H-Bomb and modern phones, prostitution and Haile Selassie, mid-life crisis and the London Underground, racism and solidarity, the Highway Code and a 100% West Indian Royal Wedding.

For example some frantic British-Guianan joropo music-hall about Eatwell Brown from Clapham, who starts out biting off a piece of his mother-in-law’s face at a party, then devours everything in his path… a chunk of Brixton Prison, a Union Jack, a policeman’s uniform. Or Marie Bryant — collaborator of Lester Young and Duke Ellington — taking time off from skewering the South African PM Daniel Malan at her West End revue, to contribute some arch, swinging filth about uber-genitalia.

Superior sound, courtesy of Abbey Road, D&M and Pallas; lovely gatefold sleeve; full-size booklet, with full notes, and fabulous previously-unseen photographs, including a set from the family archive of Russ Henderson (who led the first, impromptu Notting Hill Carnival march, in 1966).

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Eddy & The Backfires

Twenty Fight Years

14,39 €* 23,99 € -40%

Release: 2019 / EU – Original

Genre: Rock & Indie

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Sounds Of Silver By Ryan Leas

LCD Soundsystem

33 1/3

16,99 €*

LP | 2019 | EU | Original (La Vida Es Un Mus)

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When LCD Soundsystem broke up in 2011, they left behind a small but remarkable catalog of music. On top of the genius singles and a longform composition for Nike, there was a trilogy of full-length albums. During that initial run, LCD Soundsystem-and the project's mastermind, James Murphy-were at the center of several 21st century developments in pop culture: indie music's growing mainstream clout, Brooklyn surpassing Manhattan as an epicenter of creativity in America, the collision and eventual erosion of genre perceptions, and the rapid and profound growth and impact of digital culture. Amidst this storm, Murphy crafted Sound Of Silver, the centerpiece of LCD's work.

At the time of Sound Of Silver's creation and release, Murphy was a man closing in on 40 while fronting a critically-adored band still on the ascent. This album was the first place where he earnestly grappled with questions of aging, of being an artist, and the decisions we make with the time we have left. Anchored by a series of colossal, intense dance-rock songs, Sound Of Silver called upon the rhythms of New York City in order to draw out, dissect, and ultimately rip open these meditations. By the time LCD Soundsystem reunited in 2016, Sound Of Silver had already proven to be a generational touchstone, living on as a document of what it's like to be alive in the 21st century.

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Disclose

Nightmare Or Reality

LP | 2019 | EU | Original (TAL)

Release: 2019 / EU – Original

Genre: Rock & Indie

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20 years ago DISCLOSE released their response to the greatest hardcore 12" ever released: DISCHARGE's Why. At the time the band was at the peak of their DISCHARGE era and had perfectly crafted a trademark sound, which shows through on the recording. The chainsaw-sounding double-toned guitar, Kawakami's unmistakable vocals, and a rhythm section firmly based on the Stoke-On-Trent's beat melded together to create a repetitive mantra-like noise chant. Recorded at Grove Cargo and mastered at Studio D-Takt by Jan Jutila, the production is a perfect example of noise not music pressed into vinyl, with both high and low frequencies cutting through the mix without losing any power. Lyrically Nightmare Or Reality focuses on the tragic sights of war while aurally the record is a full-blown attack on all senses. D-Beat Raw Punk at its best. 20 years on and many times imitated but never duplicated. Originally released by MCR Company, this 20 year anniversary official reissue comes in a printed inner sleeve and heavy board outer sleeve.

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Kopy / Tentenko

Super Mild

12" | 2019 | DE | Original (Beat Art Department)

Release: 2019 / EU – Original

Genre: Electronic & Dance

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This split release unites two female underground acts, both of whom have recently become pivotal parts of the contemporary electronic musical landscape in Japan. Hot on the heels of the acclaimed PAREDO EP compilation (TAL12), which has been released in May 2019 (and also includes contributions from Lena Willikens and Miki Yui), the SUPER MILD split album is the second outing by KOPY and TENTENKO on TAL. Their newest works punctuate their highly individual approaches to contemporary experimental dance music.

TENTENKO is a Tokyo-based electronic music producer. Her career began in 2013 when she joined the mainstream idol group BIS. Immediately after her departure from BIS in 2014 she commenced work on her solo project under her artist name TENTENKO. Since then she has radically reinvented her music away from glossy J-POP towards weird and industrial rooted dancefloor. TENTENKO first made a name for herself on the alternative Japanese music scene with a steady flow of live performances as well as collaborations with members of the legendary Japanese noise band HIJOKAIDAN.

For a few years now KOPY has been an unpredictable and charismatic part of the vital electronic music scene of Osaka. She has quickly garnered a reputation for creating her live sets exclusively with borrowed electronic equipment. Her name KOPY very much originates from this "concept". Apart from a few performances at Düsseldorfs famous nightspot SALON DES AMATEURS, she has been invited by LENA WILLIKENS to her showcase at the MEAKUSMA FESTIVAL in 2018. Her sinister dancefloor mystique is heavily steeped in the free spirited noise and rhythm cultures of her hometown.

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Tribez. X Maniac

Paragon Collection 1

Release: 2019 / DE – Original

Genre: Hip Hop

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2LP | 2019 | US | Original (Sentient Ruin Laboratories)

Miscarriage

Imminent Horror

26,59 €* 37,99 € -30%

Preservation Hall Jazz Band

Release: 2019 / US – Original

Genre: Rock & Indie

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If you ever thought a slower and more atmospheric and cerebral “sludge version” of infamously fringe and violent extreme metal bands like early Carcass or Pissgrave was just a silly pipe dream, think again... Like an acid trip that goes totally wrong just as you enter a torture dungeon of unnameable horrors and begin to hallucinate before the most harrowing cruelty and inhumanity, MISCARRIAGE's new album and Sentient Ruin debut Imminent Horror is a work which defies logic and sanity in its insurmountable display of misery, cruelty, and barely comprehensible chaos. Set to become one of the most shockingly violent, depraved, unsettling, and horrific albums of 2019, Imminent Horror seems to have crossed a new and never before seen threshold in extreme metal, taking the genre to a sickening new extreme never before explored, and never before fathomed, not even by the sickest and most fucked up minds. Structured around a churning morass of hallucinatory atmospheres, derailing, discordant, and appallingly dense and downtrend guitar crush-depth, an unpredictable and utterly oppressive rhythm section, and a swarming haze of distorted screams, the songs on this abomination incarnated seem to want to reach out into a realm of the absurd to harness a level of deviancy and inhumanity of unseen magnitude and plausibility. With their post-Carcass gorenoise/goregrind roots firmly anchored at the base, Miscarriage have augmented the foundations of this abhorrent sound and built an entire new world above it by bringing in elements of slower and more experimental and atmospheric extreme music coming from a sickening cesspool of influences as diverse as early Swans, Primitive Man, Corrupted, Ride for Revenge, Godflesh and the most fucked extreme black metal, to materialize an aural abomination of near-incomprehensible horror. Classic homemade gore-drenched artwork and lyrics that can not and should not be ever unearthed for one's mental sanity and safe sleep round out a release of absolutely incinerating cruelty and insanity whose sole existence is already an inexplainable mystery.

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A Tuba To Cuba

LP | 2019 | US | Original (Sub Pop)

23,99 €*

LP | 2019 | US | Original (Ropeadope)

Release: 2019 / US – Original

Genre: Organic Grooves

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Single-pocket jacket with custom dust sleeve
Includes MP3 coupon

The legendary Preservation Hall Jazz Band present the soundtrack to A Tuba to Cuba, the critically acclaimed documentary directed by T.G. Herrington and Danny Clinch. The film follows Ben Jaffe of New Orleans’ famed Preservation Hall Jazz Band as he seeks to fulfill his late father's dream of retracing their musical roots to the shores of Cuba in search of the indigenous music that gave birth to New Orleans jazz. A Tuba to Cuba celebrates the triumph of the human spirit expressed through the universal language of music and challenges us to resolve to build bridges, not walls.
The New York Times said: “This joyous, wide-ranging account of a New Orleans jazz band's 2015 visit to Cuba is crammed with fascinating facts and toe-tickling tunes.” And, from the LA Times: “Jaunty, at times poetic chats and drop-ins with many Big Easy and Cuban jazz artists, discussion of their music’s African lineage (the Atlantic slave trade factored in), stirring examples of native instrumentation, and pulsating performances combine with colorful, travelogue-type shots (love those old Cuban theaters) and vivid archival footage to create a vibrant and joyous portrait.”

Preservation Hall Jazz Band’s Ben Jaffe said of “Kreyol,” the lead single from the soundtrack: “Every evening in Havana people gather along the waterfront to socialize. I’ve always been taken by the tempo at which people stroll, like New Orleans, there’s a very particular rhythm to their walk. That rhythm was the inspiration for ‘Kreyol.’ In fact, ‘Kreyol’ is the Cuban spelling of ‘Creole.’ You can feel that same Creole influence in New Orleans, it’s one of our many shared connections with Cuba.” (The film is available through Amazon Video, iTunes, DirecTV, Google Play, YouTube Movies and more. Check your local service provider for additional listings.)

About Preservation Hall Jazz Band:

At a moment when musical streams are crossing with unprecedented frequency, it’s crucial to remember that throughout its history, New Orleans has been the point at which sounds and cultures from around the world converge, mingle, and resurface, transformed by the Crescent City’s inimitable spirit and joie de vivre. Nowhere is that idea more vividly embodied than in the Preservation Hall Jazz Band, which has held the torch of New Orleans music aloft for more than 50 years, all the while carrying it enthusiastically forward as a reminder that the history they were founded to preserve is a vibrantly living history. Preservation Hall Jazz Band recently signed with Sub Pop Records, who are re-releasing the band’s 2013 album That’s It! (over 39,000 copies sold) and 2017’s So It Is on June 28th, with new music to follow.

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BT ALC Big Band

The Search For Peace

37,99 €*

LP+CD | 2019 | Original (No Wahala Sounds)

Release: 2019 / US – Original

Genre: Organic Grooves

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Since the group's formation in 2011, the BT ALC Big Band, led by trombonist Brian Thomas and trumpeter Alex Lee-Clark, has gained a reputation for hard grooving original compositions featuring the most talented jazz and funk musicians in Boston. The BT ALC Big Band draws from the big band traditions of Duke Ellington, Count Basie, and Thad Jones and infuses music from funk legends like James Brown, Parliament Funkadelic, and The Meters, creating an undeniably unique sound, Big Band Funk. The BT ALC Big Band will be releasing their 4th album, The Search For Peace, on Ropeadope Records in May of 2019. The Search For Peace was recorded live by Alan Evans (Soulive, Iron Wax Studios). Evans research of the recording process, paired with his creativity has yielded an organic, old school sound. Each horn section played into one omnidirectional mic, with the rhythm section in the same room, essentially capturing a live performance. The Search For Peace follows the BT ALC Big Band’s previous 3 albums; Superhero Dance Party (2013), The Herd Sessions Vol. 1 (2016), and The Herd Sessions Vol. 2 (2016). In addition to performances at clubs and festivals, the BT ALC Big Band demonstrates their commitment to education through clinics, workshops and performances with students throughout New England. Their compositions are available for purchase at btalc.com, and have been performed by college and high school jazz ensembles including West Virginia University, UMASS Amherst, Ithaca College, and honor bands in Massachusetts, Rhode Island and Maryland. The BT ALC Big Band continues to push the art of the big band forward by utilizing a process that’s been followed by musicians for years: play the music you love, just in your own way.

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Orchestre Shika Shika

Hit After Hit

LP | 2019 | EU | Original (La Vida Es Un Mus)

Release: 2019 / Original

Genre: Organic Grooves

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A selection of uptempo guitar-driven singles recorded by Congolese supergroup Shika Shika who formed in Kenya in 1981. While Shika Shika were only around for three years, during that short time they recorded four albums and over 80 singles on at least 16 labels. Members of the band had followed the trail of many Congolese musicians who headed to the Kenyan capital, Nairobi which was the man East African hub for recording and also offered plenty of opportunities for playing live. Bandmembers include main songwriter and singer Jimmy Monimambo, singers Lovy Longomba and Moreno Batamba and guitarist Siama Matuzungidi. As was typical in Kenya at the time, all songs were recorded with 45rpm singles in mind, and so the tracks were originally split into Parts 1 & 2 on either side of the disc.

Released in October 2018 and received airplay from Gideon Coe on BBC 6music, BBC Radio 3 Late Junction, DJ Ritu on SOAS Radio, Roger Hill on PMS BBC Radio Merseyside, Steve Barker On The Wire on BBC Radio Lancashire, and DJs Zoe Baxter and Debbie Golt on Resonance FM. Tracks were played by London-based DJ collective Village Cuts at their African music nights. A track featured on Rhythm Passport's monthly downloadable compilation in November 2018. Positively reviewed by David Hutcheon in Mojo magazine in March 2019.

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Irreal

Fi Del Mon

20,99 €*

Over The Top Orchester Black Vinyl Edition

Release: 2019 / EU – Original

Genre: Rock & Indie

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2019 saw the band facing guitar player changes and with a new line up they entered studio with Dani Frutos to record the 9 songs on Fi Del Mon. 9 tracks or urgent hardcore punk continuing the tradition of modern Barcelona Hardcore while keeping an eye in Finnish hardcore and which are not afraid to turn the speed down to a pace that could bring to mind mid paced DISCHARGE or CRO-MAGS. The riffs are thick and crunchy, full of feedback and distortion, backed by a solid rhythm section and a assertive Catalan voice.

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OTTO

LP | 2019 | EU | Original (Bureau B)

LP | 2019 | US | Original (Cultures Of Soul)

Release: 2019 / EU – Original

Genre: Pop

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A living room somewhere in southern Germany. Embroidery graces the walls, a veneer side table with little chrome feet stands in front of a beige velour sofa, a minibar awaits. Pride of place goes to the electric organ which majestically occupies the centre of the room, flanked by two oversized loudspeakers. Welcome to the world of OTTO. the two-man band are set to release their long-awaited debut album in 2019 on Bureau B. The eight tracks contain familiar OTTO ingredients, from organ sounds and rhythm presets to disco strings and the monophonic waves of a 1970s synthesizer. Arpeggio and Hohner notes add extra sharpness to the proceedings. Classics from their live repertoire sit alongside brand new numbers, invariably strange synthesizer compositions.

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Bro David

Modern Music From Belize

23,99 €*

7" | 2019 | US | Original (Transistor Sound)

Release: 2019 / US – Original

Genre: Organic Grooves

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The Caribbean has long been an incubator for the sounds that will animate and shape the culture of the rest of the world for decades to come: From the rhythms of Cuba helping to shape American jazz, blues and rock n’ roll, to Trinidadian calypso introducing a bouncy lightness and gaiety to American party music, to Jamaica’s reggae showing a new way to rebel against convention. But what about the music of Belize, the Caribbean nation that holds the odd position of being a former British colony on the coat of Spanish-speaking Central America? Most people don’t know about the country at all, let alone about the rich sounds it has to offer. Bredda David Obi set out to change that in 1984 with the release of his debut LP No Fear, and the introduction of a new Belizean groove he called kungo or cungo. A mélange of traditional Belizean brukdown music and sprinklings of the rock, funk, calypso and reggae he had played n various bands during his years as a journeyman in the United States. He would further develop this modern tropical sound on subsequent albums, integrating more and more elements from Belizean niche genres like sambai and paranda. Cultures of Soul is proud to take part in documenting Bredda David’s journey into the soul of Belize with an anthology of his early recordings including tracks from No Fear, Cungo Musik 1987 and We No Wa No Kimba Ya 1990 albums. Bredda David’s kungo is hard to describe exactly—its various ingredients make it feel somewhat familiar, but the recipe with which he blends them is slightly strange, fresh and intriguing. But one thing is for certain, it is sure to electrify the dance floor and make everybody jump up and bruk down! Housed in a gatefold jacket with extensive liner notes by Uchenna Ikonne.

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Moswen

Rise / Tobacco And Sage

12,99 €*

Rhythm Rhyme Revolution #3

Release: 2019 / US – Original

Genre: Organic Grooves

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Terin Moswen Ector grew up in Venice Beach, California soaking in the Afro-Cuban jazz sounds being played by his musician father and uncle. Touring with bands like Orgone, Monophonics, and Bambaata Marley, Moswen has honed his craft and gained valuable experience. Today, these deep roots and solid foundation lend depth and weight to the fresh melodies and rhythms of his own music brought to us on his first Transistor Sound 45 release -with an LP to follow soon.

“Rise” features a rock-solid rhythm section and heavy horn arrangement supporting Moswen’s seemingly effortless vocal, reminding us: “don’t look down now, keep your head up.”

The instrumental B-side, “Tobacco and Sage,” continues with an infectious groove that harkens back to Moswen’s Afro-Cuban roots, with rhythm section and horns again working as one to deliver a soul message to mind, body, and spirit.

Moswen’s release was co-produced, recorded and mixed by Sergio Rios at Killion Sound in North Hollywood, California. Rios’ name will be familiar to anyone who has enjoyed records by Orgone, Jungle Fire, Neal Francis, or hitmakers like Alicia Keys & CeeLo. This organic musical marriage is a perfect way to spotlight Moswen’s sound. His voice is an undeniable force, rich and soulful, built on his Topanga roots and the culture he wallowed in while growing up.
There’s something new and different coming out of LA today!

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Rhythm Rhyme Revolution

LP | 2019 | UK | Original (Sharpeye)

LP | 2019 | EU | Original (Vampisoul)

Release: 2019 / UK – Original

Genre: Organic Grooves

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A veritable sonic triptych: awash with ever so funky tripped out modern-day psychedelia. Adorned with jazzy trumpet, sax and flute, softly undulating beats and slinky guitar - shapes that hark back to the old school with a reference to what's current. A retro modernity is in effect here: a nod to the past, however, with a vision of the future.

It's a strong and melodic album that drips with swaggering, insouciant cool, set against a panoply of unified silky grooves and rhythms with a slippery electronic, yet organic backbeat. It gets taken into an entirely new emotional realm when Barrie's dubbed up vocal hooks kick in. The female vocals on 'I Am A Woman', 'Walkin' and on 'You Are My Sunshine' are top-notch.

Suffice to say there are no fillers on this album, just finely distilled and exquisite slow jams. Even the most cursory listen to RRR #3 informs you that he's still doing things that no one else does. This is, without doubt, his best work to date, the icing on the cake on this clever and well-produced concept. A triple dynamite delight. (Emrys Baird – Blues & Soul)

Therryi Jay - vocals
Gareth Tasker - plays everything except the wind instruments
Kenny Wellington –trumpet
Jake Telford - flute
Andy Sax – saxophone
AprilFoolChild - flute
Fritz Catlin - makes sure everything is ship-shape
Barrie Sharpe – production/mix/vocals

“I was a product of the times and the product became the producer. I designed the clothes, ran the club, played the records, was in the band and made the music, which created the scene that changed youth culture worldwide. I just kept falling up hill.” (Barrie Sharpe)…

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Julian Y Su Combo

Noche De Fiesta

17,99 €*

LP | 2019 | US | Original (Dirtnap)

Release: 2019 / EU – Original

Genre: Organic Grooves

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"Noche de fiesta" (1975) was the first album that Julián Angulo and his combo recorded for Colombia's INS label. With arrangements and piano by Alfredo Linares, it's a thrilling LP sought after by collectors and DJs not only for its hard salsa and instrumental "descarga" tracks but also because of the funky dancefloor cuts `Enyere Kumbara' (covered by Quantic), `INS-Rock' and `Estoy soda' as well as the excellent original version of `Las caleñas son como las flores' (made famous later the same year by The Latin Brothers).Angulo described his sound as "Afroantillano", combining Cuban, New York Latin and Puerto Rican elements with Colombia's own tropical traditions. The combo featured the bandleader's funky, jazzy electric guitar, a hot rhythm section and the potent brass line-up of two saxophones and a trumpet.Presented in facsimile artwork and pressed on 180g vinyl.Part of a new Vampisoul reissue series of classic LPs from Colombia's INS label.Julián y su Combo was founded in 1962 by left-handed guitarist Julián Angulo Ponce, who was originally from Guapi, Cauca, Colombia and made his name in Cali and Buenaventura, signing initially with Bogotá's Sello Vergara in 1966. During a 20-year period Julián y su Combo released eight records (with several band name variations). Angulo was part of the first generation of artists from the Colombian Pacific who migrated to Bogotá in the 1970s, and his combo enjoyed popularity in his adopted city as well as in Medellín and Mexico. The band also travelled to Venezuela and the US. Angulo described his sound as "Afroantillano", combining Cuban, New York Latin and Puerto Rican elements with Colombia's own tropical traditions. The combo's arrangements were distinguished by the bandleader's funky, jazzy electric guitar work (Angulo played without changing the order of the strings), a hot rhythm section and the potent brass line-up of two saxophones and a trumpet (much like Cortijo y su Combo)."Noche de fiesta" (1975) was the first of two albums Angulo cu...

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The Hussy

Looming

Release: 2019 / US – Original

Genre: Rock & Indie

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The Hussy formed as a duo in Madison, WI in June 2008. Fronted by both Bobby Hussy (guitar / vocals) and Heather Hussy (drums / vocals), the band carved a trash-punk path through the 2000s into the 2010s playing shows alongside contemporary peers and timeless classics such as Mudhoney, Ty Segall, Thee Oh Sees, Twin Peaks, Reigning Sound, Spectrum (Ex-Spacemen 3), Black Bananas (ex-Royal Trux),The Black Lips, King Khan & BBQ, White Fence, The Faint, Tenement....and way too many more to all mention here. Known for their intensely chaotic live shows, they quickly gained a cult following in the Midwestern underground. After the release of the band’s classic and long sold out sophomore album, Weed Seizure (2012 - Tic Tac Totally), they played pinnacle garage rock festival Gonerfest in Memphis. The band is slated to play Gonerfest 16 later this year.

The Hussy’s hyper-prolific output has spanned 20+ different record labels and every format imaginable. Both Bobby and Heather write songs and contribute equally to the project. Nearly all releases have been tracked by Bobby Hussy himself. In 2015 The Hussy added Tyler Fassnacht (Fire Heads, Proud Parents, T.S. Foss) as an official full-time third member to help fill out the sound at live shows. Now bolder and noisier than ever, The Hussy is exciting old and new fans alike with scuzz-pop gems chock full of hooks that rot and stick.

At the end of 2018 The Hussy started tracking their new LP, Looming. Their last album saw the band move into a more focused direction with earnest mid-fi production and added arrangements, while still keeping true to the band’s knack for writing consistently catchy pop morsels. This album takes the band in a decidedly dismal and defiantly dark direction. It tackles topics such as death, sudden loss, divorce, addiction and these politically depressing times. The record is sixteen tracks of trash-pop that run the entire gamut of punk-rock-n-roll. There are spacey leads, heavy sonics, slicing rhythms and generally gnarly sounds all tucked beneath The Hussy’s patented blanket of hook. This is the “new” heavier three-piece version of The Hussy, but the band hasn’t lost any of it’s knack for a sugar sweet melodies.

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Sound System Rockers Kingston Sounds 1969-1975

LP | 2009 | EU | Reissue (Kingston Sounds)

15,29 €* 17,99 € -15%

LP | 2019 | US | Original (Gemco)

Release: 2009 / EU – Reissue

Genre: Reggae & Dancehall

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The Sound System has become part of today’s musical/cultural heritage, playing the people’s favourite hits or just as important, breaking some new tunes. But perhaps less known are the roots of the Sound System, which began way back when in Kingston. Around the late 1940’s the Sound System began to overtake the big bands that usually played at the dances in Kingston. The American Rhythm and Blues records that were so popular at the time would find their way to Jamaica via the merchant sailors and migrant workers returning from their stints in America. For economical reasons alone it would pay to have a DJ on hand to play these hits rather than a 10 piece band that could eat and drink the promotor out of the house and on curried goat!!

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Diamond Street Players

20,99 €*

Release: 2019 / US – Original

Genre: Organic Grooves

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After two 7 teasers already this year, The Diamond Street Players drop their debut self-titled LP this (month). The album brings you 10 delicious mid-and-uptempo grooves chock full of gritty and soulful Hammond organ instrumentals, backed up by the perennially hard-and-funky DSP rhythm section . Two vocal tracks round out the set, with Amanda Joy making her hypnotic vocal debut on Million Miles, and the powerhouse Adryon de Leon (Orgone and Matdor! Soul Sounds) bringing the OH, SO HEAVY How Many Lies, How Many Times to LP glory.This studio band, led by organist & producer, Spencer Garn was recorded and mixed at Gemcos Diamond Street Studios in Atlanta, GA. If you thought the days of studio house bands (Stax, Motown, Muscle Shoals) were gone forever, then hop in and take a ride down Diamond Street with these players!The first two singles, Million Miles (feat. Amanda Joy), and the timeless and timely dance-floor burner How Many Lies, How Many Times, were written and produced in conjunction with Leo Black (The Dynamites), and are on this full LP including Spencer Garn's blistering B-sides from those 45s, Organ Workout and Murky Retrograde. Bada Dum Dum, the Players own sing-along party anthem, needs no language-specific lyric for any super soul dance party to join in.You get some old school New Orleans vibes on Clean Slate & Suzy's Boogaloo, and some Gemco-pedigree deep funk/soul instrumentals on Grease Gun, & Split the Difference.No dull moments on this LP, folks. Jump in that car on the cover and take that funky ride on wax.

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LP | 1976 | US | Original (RCA Victor)

Long Yellow Road

12,99 €*

Deceiver Black Vinyl Edition

Release: 1976 / US – Original

Genre: Organic Grooves

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Used Vinyl

Medium: VG+, Cover: VG+

Vinyl with a couple of light scuffs

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DIIV

LP | 2019 | EU | Original (Captured Tracks)

LP | 2019 | EU | Original (Bad Omen)

Release: 2019 / EU – Original

Genre: Rock & Indie

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Occupying the corners between fuzzed-out shoegaze bliss, troubadour poetry, and metallic catharsis, DIIV -- Zachary Cole Smith [lead vocals, guitar], Andrew Bailey [guitar], Colin Caulfield [vocals, bass], and Ben Newman [drums] __ personally inhabit the recesses of their third full-length album, Deceiver. A whirlwind brought DIIV here. On the heels of 2012's Oshin, the group delivered the critical and fan favorite Is the Is Are in 2016. Praise came from The Guardian, Spin, Rolling Stone and more. Pitchfork's audience voted Is the Is Are one of the Top 50 Albums of 2016, as the outlet dubbed it "gorgeous." Simultaneously, frontman Zachary Cole Smith faced down seemingly dormant demons, and the momentum stalled. Two years after embarking on a program of recovery, Smith has emerged with a clear head and renewed focus. For the first time, DIIV lived with songs on the road. During a 2018 tour with Deafheaven, they performed eight new compositions as the bulk of the set. The tunes progressed as the players did. By the time DIIV entered 64 Sound to record with producer Sonny Diperri, the band felt a certain confidence. It's evident on first single "Skin Game," which gallops forth on a clean guitar riff before unfolding into a hypnotic hook offset by an off-kilter rhythm and hummable solo. "Being a recovering addict myself," he says, "there are a lot of questions like, `Who are we? What is this disease?' `Skin Game' looks at where the pain comes from - the personal, physical, emotional, and broader political experiences feeding into the cycle of addiction for millions of us." A trudging groove and wailing guitar punctuate a lulling apology on the magnetically melancholic "Taker." For Smith, it's "about taking responsibility for your lies, their consequences, and the entire experience." Meanwhile, the ominous bass line and crawling beat of "Blankenship" devolve into schizophrenic string bends with the vitriolic lyrics. The seven-minute "Acheron" offers a dynamic denouement, flowing through a hulking beat guided under gusts of lyrical fretwork and a distorted heavy apotheosis. "We're proud of this, because we earned it as a band," Cole says. "I'm really happy and grateful just to do it in the first place. I can see the change. It's not a record full of solutions, but I'm living my life. I've examined the consequences of my lies; I've got something to say now."

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Mirror

Pyramid Of Terror

16,99 €*

Release: 2019 / EU – Original

Genre: Rock & Indie

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Approaching a full forty years on from 1980 - arguably the greatest year in its history - it can be vanishingly difficult in there here and now to find bands who can summon up the true elixir of traditional heavy metal in all its gory glory. Certainly, there have been manifold variants of this supernatural force in the last four decades, yet for all the power-metal diversions and Pro-Tooled machinations that have crossed our transum, the blood-simple formula of steel-plated grandeur and street-level grit remains mystifyingly elusive for even its most long-standing proponents. Lucky for everyone therefore, that the Cypriot denizens of darkness Mirror have returned. The brainchild of former Electric Wizard and Satan’s Wrath bassist Tas Danazoglou, Mirror’s second album sees them building on the heroic vibrations of their self-titled 2015 debut, summoning forth nine triumphant anthems that are equal parts lethal and life-affirming. Deftly avoiding the lure of pastiche and parody, ‘Pyramid Of Terror’ arrives once again at the cusp of an audial era in which the widescreen sweep of late-‘70s rock, a la the cinematic splendour of Dio-era Rainbow, crosses swords with the stripped-down panache of the NWOBHM - somewhere akin to a danger zone between first-two-albums Iron Maiden and the occultist allure of debut Angel Witch - to set passions dramatically ablaze.

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Casio

A168WEGB-1BEF

64,95 €*

LP | 2019 | US | Original (Riding Easy)

Available Sizes: One Size

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Nice digital watch with a fine retro edge. Adds street flair to any business outfit as well as an eye-catching detail to street styles. Frrrrresh fo' summer 2019!

Casio A168WEGB-1BEF - features/functions:

• illuminator: An electro-luminescent panel causes the entire face to glow for easy reading.

• stopwatch function - 1/100 sec. - 1 hour: Elapsed time, split time and final time are measured with 1/100-sec accuracy. The watch can measure times of up to 1 hour.

• daily alarm: The daily alarm reminds you of events that recur every day, by emitting an audible signal at the set time.

• automatic calendar: Once set, the automatic calendar always displays the correct date.

• 12/24-hour timekeeping: Times can be displayed in either a 12-hour or 24-hour format.

• acrylic glass

• resin case

• stainless steel band: Tough, durable and elegant: The stainless steel wrist strap gives your watch that classic feel.

• adjustable fastening: The clasp can be individually adjusted extremely easily for maximum comfort.

• 7 Years - 1 Battery: The battery supplies the watch with sufficient energy for approx. seven years.

• water resistance classification (WR) to ISO 22810: This model is water resistant to DIN 8310 / ISO 22810, and thus is resistant to minor splashing. Any greater water contact should be avoided.

• accuracy: +/- 30 sec seconds per month

• dimensions: approx. 38.6 x 36.3 x 9.6 mm (H x W x D)

• weight: approx. 49 g

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Here Lies Man

No Ground To Walk Upon

2LP | 2019 | EU | Original (Holidays)

Release: 2019 / US – Original

Genre: Rock & Indie

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Here Lies Man took the music world by storm in 2017 with their self-titled debut positing the intriguing hypothesis: What if Black Sabbath played Afrobeat? Since that time, they have expanded and expounded upon their sound and ideas of heavy riff rock and psych within the ancient rhythmic formula of the clave. The L.A. based band comprised of Antibalas members have toured relentlessly over the past two years, while also releasing a second album, You Will Know Nothing and an EP, Animal Noises, both in 2018. No Ground to Walk Upon is their third album. It continues with an ongoing concept of playing a soundtrack to an imaginary movie, with each song being a scene.
Rough Trade named Here Lies Man in their prestigious Top 10 Albums of 2017. BBC 6 and Classic Rock Magazine deemed it among the year’s best, as well as countless other press outlets singing its praises. 2018’s You Will Know Nothing furthered the band’s reputation for genre-smashing rhythmic experimentation, topping many year-end lists as well as earning features from countless metal and indie rock outlets, plus cover stories in weekly papers. This latest album is the next step in the band’s rapid ascent to what is bound to be influential upon riff-based rock.
“We’re very conscious of how the rhythms service the riffs,” explains founder and vocalist / guitarist / multi-instrumentalist Marcos Garcia (who also plays guitar in Antibalas) of the band’s sound. “Tony Iommi’s (Black Sabbath) innovation was to make the riff the organizing principle of a song. We are taking that same approach but employing a different organizing principle: For Iommi it was the blues, for us it comes directly from Africa.”

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Hüseyin Ertunc Sextet

A New World

Release: 2019 / EU – Original

Genre: Organic Grooves

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We consider ourselves extremely fortunate having met Hüseyin Ęrtunc during his terrestrial transit. After we reissued his wonderful album Musikî (privately released on Intex Sound in 1974) and a few collaborative albums with the Konstrukt collective, in 2017 we finally managed to invite him, Doğan Doğusel, Cem Tan and Umut Çağlar to play some shows in Italy as a quartet. Things got really complicated when their visas got rejected - only one week before their plane was scheduled to take off - but then we found a stalwart supporter of free jazz music at the phone of the Italian Embassy and incredibly we got the visas in time so we could spend a whole week with Hüseyin and his band, touring Italy and playing four shows of the best spiritual free jazz we heard in a long while.
Right after that, we took the chance to book a recording session at the good old Outside Inside Studio, where our loyal partner Matt Bordin captured on tape two days of improvisation by Hüseyin Ęrtunc (Fender Rhodes electric piano, Philicorda organ and chant), Umut Çağlar (percussion and bamboo flutes), Doğan Doğusel (double bass), Cem Tan (drums), joined for this special occasion by the almighty Jooklo Duo: Virginia Genta (tenor and sopranino saxophones, clarinet, flutes), and David Vanzan (percussion). What came out of this is an incredible musical document, and not only for the fact that -unfortunately- it was Hüseyin's last session on this world.
"Most of Ertunç’s recorded appearances have been on drum set, where he’s employed a massive and materialist cymbal approach that takes Sunny Murray’s explosive chatter as a lifting-off point. Ertunç waxed one LP as a leader in 1974, Musikî (with then-regular partners Michael Cosmic and Phill Musra, issued on the tiny Intex label), and returned to Turkey in the early 1990s. Ertunç’s playing, relentless as it might be, evinces a strident, swinging quality that reaches back decades. His pianistic approach is rooted in the outpouring of voluminous, allover rhythm in concentrated shards. One might first think of early Cecil Taylor, though another Boston resident is also worth mentioning – Jaki Byard, who could move from barrelhouse to crepuscular romanticism and dense chordal superimpositions at the drop of a hat. If he and Ertunç didn’t necessarily work together, their spirits are kindred." (Clifford Allen)

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Voulez Vous Cha-Cha? French Cha-Cha 1960-1964

LP | 2019 | EU | Original

LP | 1970 | EU | Reissue (Amercia)

Release: 2019 / EU – Original

Genre: Organic Grooves

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Careful, “Let’s not get angry” suggests Spartaco Sax, the famed song accompanying French daily paper FRANCE-SOIR’s campaign against road violence: music isn’t that serious, often times really not. In any case, it is with this not so serious ear that one should listen to this selection of chachacha, mambo and other genres to twist and madison to, as music-lovers pinch their noses and block their ears. And yet, these breezy and light songs under their false airs of effortlessness draw out an astonishing analysis of late 1950s France with its partying baby boomers. Put on your dancing shoes, everyone on the dancefloor, let’s go baby.
The record starts out with an esoteric organ, a guitar straight out of a western, a vibey rhythm section, a speeding saxophone, a glamorous voice, a curious keyboard, a slightly panicky tempo… “Please Mr Hitchock!” calls out a voice from the unknown, on an arrangement that’s about to lose control.
The tone is set. Eins Zwei Drei, cries out Spartaco Andreoli, creator of the Chachacha for tunas, lyrics that are absurd accompanying music that isn’t so much so. And this is just the beginning. I can already see those making fun of it, and yes, I admit it does sound a bit comically-tragic, but more often than not, a persistent riff or melody will get stuck in your head, a chorus that you’ll start unintentionally humming, your foot that starts beating unbeknownst to you. “C’est bon ça dis donc !” (This is pretty good), suggest the Los Goragueros, at the start of their Mambo Miam Miam (Yum Yum). A smooth sax, a double bass that sways and shattering percussions, this song anonymously written by Alain Goraguer (there is often an “os” (bone), added to the band name for a little authenticity, i.e Los Chiquitos and Los Albinos) is actually quite tasty. This arranger and pianist who went on to write the indispensable Planète Sauvage (Wild Planet) is not the only one to have advanced half-masked in these tropical times. Just as Michel Legrand devoted himself to rock music, for better or worst.
Tropical music and France go way back. Indeed, this tropism for exotic music, not without the mannerisms that go with it, has been around. Just think of the period between both world wars, when the Paris of the roaring twenties fluttered to the sound of Latin-American orchestras. The influential Brazilian musician Pixinguinha came through in 1922, the charismatic Cuban singer Rita Montaner triumphed a few years later at the famed Palace and the brilliant clarinettist Stellio from Martinique had everyone dancing through the night to the beguine (a dance style from Martinique)… Seedy cabarets and fishy clubs mixing up different peoples and music until the early hours. From Montparnasse to Montmartre, dancing clubs bloomed throughout the capital while the World Exhibition sold a rather uncertain idea of the other tropics: a discounted and fantasized exotic dream of island life. It’s in bars like Jimmy’s, by La Coupole, or the Melody’s nestled in the heights of Pigalle, where Don Marino Barreto’s (Cuban pianist and singer who emigrated to Paris in the 1920s) orchestra made the heyday of a surreal and carefree Paris. Parisian Ray Ventura and his band Les Collégiens, quite the breeding ground for funny songs, at times almost delirious, were always a big part of the party.
And after the Second World War, it started all over again. Rico’s Creole Band was one of the great Creole orchestras to sway all of Paris, the Blomet Ball brought together the Afro-Caribbean communities, L’Escale became an essential dancing ground for lovers of Latin music, the pianist Eddie Warner was one of these pillars, accompanied by his “rhythms”, a “witty orchestra with 85% of French musicians, only the percussionists were South American”. Another jazzman, Henri Rossotti, also navigated in the warm waters of these gentle tropical shores. They covered sambas and mambos, adapting Benny Moré and Pérez Prado. Hot, like the hard-hitting Benny Bennett and his orchestra of Latin American music, which ended up being the training grounds of many apprentice improvisers. On the menu: calypso, merengue… and of course chachacha. Shortly after, the Los Machucambos, a South American band created in the Latin Quarter performed music between guajira and flamenco and its song Pepito marked the start of the trio’s success.
At the time, Latin-style combos were all the rage in France such as the chachacha which was officially invented in the early 1950s by Enrique Jorrin, soon followed by the pachanga, becoming a staple of black-and-white films. In the long run, this music has become a sort of French standard, adapted by many: Boris Vian oftentimes, Bourvil, Bob Azzam, Gainsbourg, Carlos (jokingly), Louis Chedid, Vanessa Paradis… Taking it a little far, you could even detect the beginnings of the french touch. This Chachacha affair is emblematic of the atypical history of popular music, that of back-alleys, far from the paths and furrows of glory. Music, raised from the grave and dusted off by the Born Bad record label. In terms of latin music, these records that were patiently found in flea markets are becoming a rarity, even if most are worth three euros and six cents: this low cost hobby is underestimated by licensed collectors, who run like lunatics towards triple-zero rarities.
Chachacha Transistor, predicted the unlikely Jacky Ary, known for his less digestible Mange des tomates (Eat tomatoes). With the approach of the 1960s, typical music styles were found all over the country, from the northern plains to the southern sea. Never failing to cheer up dances, nor to whet the appetite of a burgeoning industry, which often seized it by opportunism, not without a tinge of cynicism. After all, one must sell records to the desolate youth, at all costs and any price. These 7-inch vinyl records were therefore recorded at Barclay, Vogue and co. Low-consumption products intended to supply the shelves of budding suburban supermarkets. The idea was to convert a North-American trend in the studio, by summoning old geezers (Paul Mauriat under the pseudonym of Eduardo Ruo, at the top of the list…) who would play young and interpret these rhythms with a distorted vision. All for just one season and all this before summer hits were a thing. It was already the same idea though, but in more of a D.I.Y fashion. A quick fix, just enough time for the producers to get some juicy revenue, the same ones who recruited teams to perform these “inferior” works. Most were flops, but a few made it big such as Jean Yanne answering to Henri Salvador for Allo Brigitte, a classic of the “comic-musical” genre. It’s author Norma Maine went on to write quite a few of these quirky songs.
Most had improbable dialogue, as well as senseless adaptations such as the Marchand de melons (The Melon Merchant) distorting Herbie Hancock’s Watermelon Man, a result of automatic writing in order to come up with ridiculous lyrics. What can be said about Tarte à la nana (Girl Pie), and how about Ça c’est du poulet ? (This is Chicken?) Or the terrible Soukou Soukou, on the limit of bad taste, words of a colonist… When it comes to reappropriating foreign know-how, the results can turn out strange like a surreal shock of cultures. Improbable mixes, like chacha bebop, latino tempo and scat jazz… It all definitely swings and is sometimes even quite impressive. Because magical loose moments are to be found in these records made to order, records that were just trying to recreate a successful pre-existing North American formula. They recorded them on the line, in the original spirit, or inconspicuously modified them, not only for fun, but also for the pleasure of adding on a chorus which would take the song a little further, or a well adjusted rhyme that would denote a touch of derision, a French tradition that was to be repeated in rock as in punk, and even bossa nova. The key often being explosive arrangements, occasionally beautiful choruses, radiant mishaps, confusing mistakes, not necessarily off-topic, all in all some sweet musical trips that always have an effect on the dancefloor when it’s time to boogie. Try it out, you’ll see, it works every time, if you don’t abuse of it. Moderation is recommended for this music that should be served either at cocktail hour or after midnight…

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Noah Howard

Space Dimension

41,99 €*

LP | 1982 | US | Reissue (Dark Entries)

Release: 1970 / EU – Reissue

Genre: Organic Grooves

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Noah Howard was born in 1943 in New Orleans and, like many of his contemporaries, first played music in church as a child. In his 2010 book, 'Music in My Soul', Howard reflected upon his childhood in New Orleans and the influence the city had on him: “Growing up in New Orleans was like receiving a steady diet of music, and my taste in music became increasingly more sophisticated. In the neighborhood where I grew up kids around me were listening to Rhythm and Blues and Jazz; Rock came only much later. One of the great moments of my life was when I was around 13 years old and heard Duke Ellington with Paul Gonsalves playing a twenty-some minutes chorus solo on tenor sax at Newport. We had never heard anything like this before; a saxophone player doing so many choruses, this was years before Coltrane opened up. That experience meant there was no turning back; my ears were open and my desire was burning for music.”
He first learned to play the trumpet before moving on to alto, tenor and soprano saxophone. And his musical journey initially took him to Los Angeles where he worked with Dewey Johnson and then later moved to New York to join the Sun Ra Arkestra. Like most forward thinking saxophonists of the time, Howard was influenced by the evolving expressionism of John Coltrane and Albert Ayler and it wasn't long before he became a key member of the mid-60s free jazz movement, a stepping stone to his elevation into one of the world’s most notable saxophonists.
Howard's debut LP as leader, 'Noah Howard Quartet' was recorded in 1965, and the follow up, 'Noah Howard at Judson Hall', in 1966 but not issued until 1968, both for the groundbreaking ESP Records label (incidentally, both albums featured British trumpeter Ric Colbeck). However, Howard's view of ESP was not positive, calling it “ a monster of deception... I am aware of ESP's adventures...they continue to make money off the artists and they refuse to pay any royalties.”

Like many of the black jazz musicians of the 60s, Howard left the USA and settled in Europe (making the permanent move to Paris in 1972). In an interview in 2005, Howard explained his move: “When I first came to Europe it was 1969 and I came to play in a big festival and after that we had a lot of concerts, recalls Howard. "Then we left and we came back to the States, I was based in New York at that time. About six months later, we had some more concerts, we came back and this went on for years, going back and forth and back and forth and back and forth... I decided that instead of going back and forth all the time, it was more advantageous for me to stay over here and live and work.”
It was in Paris that Howard took part in sessions for the Frank Wright albums 'One For John', cut for the leading French free jazz label BYG Actuel and another Wight session, 'Uhuru Na Umoja', for the America label. Another album on America that featured Howard was Archie Shepp's 'Black Gipsy'. This session also featured , among others, Sunny Murray on drums and Clifford Thornton on trumpet.
America Records was to be home to Howard's third album, 'Space Dimension'. On this album, Frank Wright was reunited with Howard once more, and Wright also composed one track, 'Church Number Nine' (Wright would also do his own version as the title track on his 1970 album, initially only released in Japan. That album would also feature Howard.) 'Space Dimension' also features bop drummer Art Taylor on three tracks, with Muhammed Ali (brother of Rashid), on one. They're joined by alongside pianist Bobby Few, longtime member of Frank Wright's group and an alumnus of Archie Shepp's band.
'Space Dimension' has never seen an official reissue since its original release in 1970 and remains, among a few aficionados, one of the most in demand - and little known - albums in Howard's discography. The blend of free improvisation with a tough rhythmic foundation make for an edifying listening experience. The spectral disjointed afro-blues of the title track, with Howard's soaring, searing horn, introduces an exceptional album of weight and significance, a real statement piece. 'Viva Black' starts as a lush groove, rich with texture and tone. Bobby Few's piano is sparse and disciplined, allowing space for the interweaving angles of the horns and drums to cross and jostle and build in intensity, with Muhammad Ali's drum solo acting as a cathartic release.
'Song for Poets' is blistering in its attack, an intense assault from the whole group – urgent and imperative, a call to action that seemed to resonate with the tumult of the late 60s and early 70s and, perhaps, still resonates now. The album closes with the extended piece 'Blues for Thelma'. It starts like a sort of angular, shattered New Orleans first line march band; Howard visceral horn and Few's piano joust and punch like fighters in a ring; Ali's drums hammer a solid undertow of power and energy, relentless in its fire.
All in all, 'Space Dimension' announced Howard's arrival into a new decade, a decade that was to see not just jazz but music and wider society undergo profound change.
Howard's third record was the widely acclaimed 'Black Ark', which featured Arthur Doyle on his first recording. 'Black Ark' soon became a landmark free jazz recording and elevated Howard into the first division of globally renowned free jazz players.

He spent much of the next decade or so exploring new ideas and places to work, including Europe and Africa, moving to Nairobi in 1982 and finally Brussels, where he had a studio and ran a jazz club.
In his autobiography, Howard described going to Africa: “It was a Sunday morning with bright blue skies and I reached down and grabbed a handful of earth, holding it in my hands. It was red earth. As the first of my family to make this voyage back to my community, I was filled with emotion and started to cry – thinking about all those before me who didn’t survive the middle passage and slave trade. I thanked the few strong survivors of which I’m a descendant and was grateful to be a live and to make it back to Africa in my lifetime. The feeling of coming back home, after generations had gone through abuse and suffering, was upon me. I would put some of this into music later on when recording with James Emmanuel, the poet on 'Middle Passage'”
He recorded steadily through the 1970s and 1980s, mostly with his own label AltSax and continued to expand his repertoire, exploring a range of sounds from ethno-funk to world music in his latter decade. He returned to his free jazz roots in the 90s, mixing the myriad of influences and styles he had encountered throughout his journey.
Noah Howard recorded 35 albums, and their styles reflect the ceaseless musical searcher he was: blues, free jazz, world music. He covered it all.
Noah Howard died on September 3rd, 2010 while on holiday in the South of France. He died a day before finishing the first draft of his autobiography.

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Zru Vogue

24,69 €* 25,99 € -5%

12" | 2019 | EU | Original (Cree)

Release: 1982 / US – Reissue

Genre: Rock & Indie, Electronic & Dance

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Zru Vogue is a two man post punk avant-pop group from Palo Alto, California, combining the talents of Andrew Finkle and Rick Cuevas. The band began in 1980 as a four member group: Rick, Andy, Tom Sanders and Nancy Miller. Tom and Nancy left the group shortly after the first single, "Nakweda Dream", was released by independent San Francisco label Adolescent Records in February 1981. Inspired by rave reviews and heavy airplay on alternative radio stations, Andy and Rick went back into the studio, now as a duo, to record some new ZRU tracks. The self-tilted LP was released on the band's Zero Risk Records in 1982. It contains eight compositions blending African tribal and Middle Eastern rhythms, avant-garde rock, minimal electronics, and funk-rock guitars. The duo's sound is inspired by the art and anti-art movements of Dada and Surrealism. All songs have been remastered by George Horn at Fantasy Studios. Each copy is housed in a replica of the original jacket, which features artwork by the group members, and includes the original 2-sided lyric sheet.

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Brother Resistance

Tonite Is De Night

15,99 €*

Release: 2019 / EU – Original

Genre: Organic Grooves

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Out of the social unrest and revolutionary times of the early 1970s a new musical art form emerged on the streets of Port of Spain, Trinidad & Tobago. A group of young guys started to combine poetry with drumming and created the musical art form that is known today as Rapso.
Poets known as much for their fiery verses as they were for leading protests were at the vanguard of the 1970s Black Power revolution. There was a new consciousness building in the Trinidad and Tobago arts scene. The two most influential characters were Cheryl Byron and Lancelot Layne.
Lutalo ‘Brother Resistance’ Masimba and others would play basketball during the day and come back out at night, ‘liming’ and playing drums. Other people from the block would join with instruments and Brother Resistance would perform his poetry on the rhythms. The prestigious boys school that Resistance attended refused to acknowledge his attempts at creating verses that reflected the rhythm of the Trinidad and Tobago creole. ''They said it wasn't poetry. They didn't want to put it in the school magazine.''
Resistance and his friends toyed with other words to describe their style. They came up with 'rapsody' but one night during a show in Santa Cruz somebody in the audience shouted out ''How you could rap so!'' And the rest is history.
They recorded their first album ‘Bustin Out’ in 1980. More albums followed and they started to work as producers. In 1986 the band performed at ‘Caribbean Focus’ festival in London and toured the U.K. which helped to lift their reputation internationally. The same year Brother Resistance decided to produce his first solo album and went to England to record ‘Rapso Take Over’. This album contains the highly acclaimed tracks Ring De Bell, Dancing Shoes Rapso and Star Wars Rapso. An unreleased take of Wars In Rapso is featured on this Cree Records 12''.
The band wasn’t too impressed with the ‘English’ production and they decided to record a new version of the song. Junior Wharwood recorded the guitar tracks. Resistance came up with the idea of Tonight Is De Night. The more or less improvised song became a big carnival hit in Trinidad and he went to perform it live with bands like Sound Revolution, Shandileer and Charlie’s Roots.
At the time, these tracks received little airplay in Trinidad and Tobago, but they're undeniable hits that continue to be in demand dancefloor bangers. For this 12'' we have selected four of Brother Resistance's most in demand tracks. Long live Kaiso – Rapso take over!

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2LP | 2019 | EU | Original (Black Sweat)

Ethnoelectronics

Release: 2019 / EU – Original

Genre: Electronic & Dance

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Originally released on tape by Sound Reporters in 1986. Ethnoelectronics is a further episode of pioneering fusion between ethnic and electronic music, involving dauntless explorers such as Walter Maioli, Nirodh Fortini, Fred Gales, Raffaele Serra, John Zandijk and the visionary sculptor Edward Luyken. As the soundtrack of an obscure science-fiction saga, the six parts of these recordings retain something profoundly osmotic and sidereal. In these hybridizations, it’s the heart of personal spiritual cosmos and stratospheric portals to pulse, but always remains the devotion to wild nature and ethnographic differences. In this way, the sinusoidal movements of electronic synthesizers and radiophonic frequencies interact with the pounding sounds of the jungle, with frogs, sea waves, buzz insects, leaves and rain. From flutes, rattles, steel sound sculptures or rustling idiophones, mysterious samples appeared like weird interferences, with rhythms and ritual voices from Tibet, West Papua, Burundi, Tahiti or the shamanic Japan of the Ainu.

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LP | 1976 | US | Original (RCA)

Long Yellow Road

Release: 1976 / US – Original

Genre: Organic Grooves

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Used Vinyl

Medium: VG+, Cover: VG+

LP | 2019 | EU | Original (Alter)

Hey Colossus

Four Bibles

CD | 2019 | EU | Original (Mello Music Group)

Release: 2019 / EU – Original

Genre: Rock & Indie

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Coming out of London and the South West of England, Hey Colossus are one of Europe's great live bands. Since 2003 the 6-piece has been driving around the continent with their “pirate ship” backline of broken amps and triple-guitar drang, elevating audiences in every type of venue imaginable; a doctor’s waiting room in Salford, an industrial unit in Liege and a vast field next to a river in Portugal. Wherever they may roam.

Four Bibles is their twelfth studio album and the first to be released by London label ALTER, whose sole proprietor (the electronic producer Helm) encountered the group at their first gig in 2003. Recorded by Ben Turner at Space Wolf Studios in Somerset, it's their most direct album yet and follows a well-documented trajectory of evolution that began (in the truest sense) with 2011’s RRR for Riot Season and continued across three albums for Rocket Recordings. Lead vocalist Paul Sykes sounds more in focus than before, dialling down the effects and using reverb / delay to carry his lyrics rather than smother. The band has also fine-tuned to leave some room for extra depth. Piano, electronics and violin (by Daniel O'Sullivan of This is not This Heat / Grumbling Fur) all find a way in amongst a familiar mesh of interlacing guitars, wrapped round a taut rhythm section. Like every other Hey Colossus record before, the line-up has altered and the sounds reflect this.

From the weight of “Memory Gore”, to the subtlety and swag of “It's a Low”, via the sonic extremes of “Palm Hex/Arndale Chins” this is exactly as the band are live; raging & rail-roading but somehow in control. Grooves for those who want to dance or for those who want to hug a wall and nod...bleak dystopian imagery submerged in relentless rhythms and low-end rattle. The songs breath life and soul - Hey Colossus have never sounded fresher or more on point.

There is a book release to coincide with the album written by bass player (and founding member) Joe Thompson. It's part of a new series called “Sleevenotes” by Pomona Publishing and the first four are out this year. Joe’s book sits alongside other contributions by Bob Stanley (St Etienne), Mark Lanegan (Screaming Trees/Solo), David Gedge (The Wedding Present) and contains a diary of the years leading up to the release of this record. Touring with bands Sumac and Grey Hairs through Europe, recording the album, line-up changes, the band's history and the big question is answered: Why?

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Seba Kaapstad

Thina

14,99 €*

A Bath Full Of Ecstasy Black Vinyl Edition

Release: 2019 / EU – Original

Genre: Organic Grooves

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Cynicism is an easy sell. We’re skeptical of harmony because the news sows division, social
media runs on scorn, and tangible reminders of good have become increasingly rare. Yet
there are those whispered moments of unity, those artists who effortlessly embody the
ideals of fusion –those who allow us to reap the rewards that can only yielded from an
embrace of different ideas, cultures, and sounds. This is the genius of Seba Kaapstad.
Seba Kaapstad is a multi-national neo-soul quartet comprised of a South African, a Swazi,
and two Germans. They summon the most powerful manifestation of creativity: music that
represents an idea. Their Mello Music debut album, Thina, takes its name from the Zulu
word for “us.” It is a gorgeous halo of soul, encompassing several continents worth of sound,
and obliterating the notion of genre. It is divined by artists whose lineage is riven with trauma
and suffering. But like their ancestors, they endured. And only in this futuristic present could
they reconcile the perseverance and turmoil of the past, using music to inspire unity and
heal.
They conjure beatific grooves that radiate with alluvial soul, celestial jazz, electronic
experimentation and the polyrhythmic essence of Africa. It is marrow music, what digs
beneath your bones, seeping into your bloodstream and inner visions. You hear flashes of
the greats: Badu, Georgia Anne Muldrow, Jill Scott, and the Things Fall Apart-era Roots. You
might even hear the ethereal float of Frank Ocean or the glowing bliss of Flying Lotus and
Thundercat. But like all stellar quartets, Seba Kaapstad is indivisible and made stronger by
the sum of their parts.
If the sonic roots lie in the tessaracts of eternal memory, Seba Kaapstad’s present-day
genesis trace to 2013, the year that Sebastian Schuster arrived in Cape Town and
immediately fell in the love with its rich cultural tapestry, legendary musical community, and
artful chaos. He soon paired with the rest of the band—Zoe Modiga, Philip Scheibel (Pheel),
Ndumiso Manana—developing the sort of telepathic chemistry can’t be replicated or really
even explained.
You hear this harmonic synthesis all over Thina. Each song is a symphony of its own. Take
“Don’t,” which opens with glistening pianos and a head-bobbing slap, then Zoe Modiga
unleashes her sky-rattling voice, alternating between near-rapping and time-stopping,
levitating multi-octave solos—all the while paraphrasing Shakespeare. And in the last
minute, there’s an exquisite string coda that you’d expect to hear at a world-class
philharmonic.
There’s "Breathe," which OkayAfrica raved was “a refreshing combination of the crew's
different influences…as much of a Friday/Saturday night jam as a Sunday morning one.” It’s a
spiritual hymn in search of water and solace, a loose-limbed rhythm that echoes the themes
of Fela and the jams of classic Electric Ladyland neo-soul. While the title track alternates
between Zulu and English, as Modiga offers inspirational uplift and timeless lyrics about the
natural elements.

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Hot Chip

2LP | 2019 | UK | Original (Domino)

Release: 2019 / UK – Original

Genre: Pop

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Ah! Quel Cinéma! Standard Vinyl Edition

Stereo Total

LP | 2019 | EU | Original (Tapete)

LP | 2019 | US | Original (GBV Inc.)

Release: 2019 / EU – Original

Genre: Pop

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This is the regular LP version with 14 tracks. Please be aware of the limited double LP edition with 20 tracks that we offer.

An album title with not one, but two exclamation marks, meaning something akin to “what a palaver”as it primes the listener for songs like “Cinemascope”. Themes such as personal injuries (“Ich bin cool”), betrayal (“Mes copines”), personality deficiencies brought on by drug abuse (“Methedrine”), rage (“Hass-Satellit”), inflated opinions of oneself (“Brezel says”), suicide (“Le Spleen”), grief (“Dancing with a memory") and souls in torment ("Elektroschocktherapie") are presented in widescreen format in and often in the most entertaining fashion.

Françoise Cactus apparently once said of herself: "I am a linguistic artist who can live with the laughs". Which says it all really, although Stereo Total’s penchant for wordplay is not in evidence in all of the lyrics on this record. Many tracks here echo the rather more sombre, desperate songs she wrote for her first band "Les Lolitas". Nevertheless, the anarchic humour which we have come to associate with Stereo Total resurfaces on compositions like "Keine Musik" and "Einfach".

Musically, this Stereo Total disc, their twelfth, cannot be readily aligned with anything at all. If earlier albums resonated with influences from chanson, trash or disco to punk, rock’n’roll and NDW (German New Wave), Stereo Total have now arrived in their very own musical universe which pays no heed to stylistic devices, reminiscent of “rien de tout”. What we can say: Françoise Cactus excels in the art of 8-track cassette recording, thus creating an extraordinary sonic experience. Brezel Göring draws on his favoured array of instruments more likely to be found in the hands of children in households where a musical education is not on the agenda: plastic baby organ and dreadful mouse piano, accompanied by home-made guitars glued together by less than gifted artisans.

1. Stereo Total continue to make electronic music with flea market Casio sounds which fly in the face of what is generally accepted to be electronic music. Each musical instrument could probably be translated into social coordinates and in this sense, the tools of Stereo Total’s trade speak an unequivocal language.

2. Stereo Total continue to play LoFi garage rock music which makes a mockery of all the masculine clichés associated with guitars. When Françoise Cactus plays the drums, the rhythms of feminism, anti-professionalism and subversive dilettantism come to the fore.

Any attempts to pigeonhole Stereo Total are destined to fail. In the words of Flann O'Brien: "When shall we ever see their like again?"

A word to our younger readers: Stereo Total began making music before the internet existed, before the Euro, before Germany reunited and before there were even bands or music. They will probably still be playing when all that has been consigned to the dustbin of history. The group comprises Françoise Cactus, who spends her time as a radio presenter, author and artist between band sessions, and Brezel Göring, a man whose very choice of stage name was motivated by a desire not to be taken seriously by music and art scribes.

When they began making music together, they made it their mission to disrupt rules, to destabilize ideas. They may not have thrown European harmonic structure or 4/4 time out of the window, but they have certainly asked questions of every other aspect of musical and lyrical techniques. Lines like "you look good from the back", "love as a threesome", "I am naked", "I’m the young gigolo with a smoker’s lung " and "sex complex" are designed to repel serious music lovers whilst shocking them with sound engineering which falls well below the standards of mainstream listeners.

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Guided By Voices

Warp And Woof

Hypertension / Ritmo Latino

Release: 2019 / US – Original

Genre: Rock & Indie

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Following Guided By Voice’s sprawling double-album Zeppelin Over China, Robert Pollard has written and recorded another full-length in record-breaking time. It’s Warp And Woof, exuberantly barreling through twenty-four songs in just thirty-seven minutes with a brevity similar to mid-90s GBV albums Alien Lanes and Vampire On Titus. GBV kicked this one out in a flash, recorded in studios, club soundchecks, hotel rooms and even in the tour van.

After completing Zeppelin, Pollard felt the itch to record a few EPs. Just as GBV had done back in 1994, he would use them to channel his everflowing ideas to an outlet. But when a magical boombox writing session produced six fully formed songs in under half an hour, Pollard realized he had an album on his hands. What to do?

With a band so formidable they’ve been dubbed the Golden Age of GBV, they completed much of the recording on the road. The 2018 Space Gun Tour provided impromptu recording venues. Pollard recorded vocals in hotel rooms, complimentary condominiums, and small studios. Doug Gillard cut guitar tracks for “End It With Light” through his Mesa Boogie rig at the soundcheck at the Ottobar in Baltimore. Bobby Bare Jr. recorded his spacey main rhythm guitars for album closer, “Time Remains in Central Position” at the same show, but in the backstage green room. Kevin March added drum tracks in a studio in his hometown Montclair, New Jersey. Gillard played guitar on “Bury the Mouse” in a van hurtling at 60-plus m.p.h., and Mark Shue laid bass on “Angelic Weirdness” as he balanced on the speeding van’s bench seat.

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Calender

12" | 1975 | EU | Reissue (Matasuna)

LP | 2019 | EU | Reissue (Polskie Nagrania)

Release: 1975 / EU – Reissue

Genre: Organic Grooves

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Matasuna Records presents another treat with its latest release: an official reissue with two songs of the US funk band "Calender". Both tracks are available on a 12" Maxi-Single for the first time. In addition to the mastered original versions, this EP features great reworks by two of our favorite producers: Mexican disco edit king "Hotmood" and the highly acclaimed Matasuna artist "Voodoocuts".
The band "Calender" from New Jersey was founded in the 70s by Paul Kyser. Besides his activities as songwriter, arranger and producer he set up his label Pi Kappa Records. The band's only album "It's a Monster" was released on this label in 1976 and has grown into a legendary status over the years and is appreciated by fans and collectors alike.
The opener "Hypertension" is a disco banger par excellence. Kyser's sophisticated arrangements merge thrilling grooves, elegant strings, varied funk elements and soulful vocals to a great and unique joint for every dancefloor. It's very pleasing that the song doesn't get overloaded or cheesy, as it's often the case in disco music.
Hotmood transfers the track, which was created more than 3 decades ago, into the present time. His great disco edit focuses on the instrumental parts of the original. Thanks to his clever arrangement, a tension curve is constantly built up without seeming repetitive.
On the flipside, "Ritmo Latino" takes a different musical direction. As the name suggests, there are all kinds of Latin American influences to be heard: the brass section, rhythm parts, piano sounds and the grooving bass line, which goes straight into the veins. Nevertheless, the song is also strongly rooted in funk & jazz and inspires its listeners with its unique character.
Voodoocuts rework comes up with a monster broken beat and gives the song a dancefloor friendly structure with its new arrangement. Especially the killer break part in the middle of the song will not only make B-Boy hearts beat faster! Additional instruments, samples and effects give the rework an individual and autark touch and prove once again impressively that Voodoocuts is setting the bar higher and higher with his productions.

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Big Band Katowice

Music For My Friends

Release: 2019 / EU – Reissue

Genre: Organic Grooves

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Friend's Friend's Friend Green Vinyl Edition

Audience

LP | 1970 | EU (Klimt)

The Matthew Herbert Big Band

Release: 1970 / EU

Genre: Rock & Indie

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Friend's Friend's Friend was Audience’s second album and the first published by the famous Charisma Records in May 1970. More than on their first album, here the band's original Art Rock formula finally takes full shape. A peculiar combination of pop, folk and jazz elements and a distinctive sound palette based on acoustic guitar, banjo, saxophone, piano and vocals on top of a rock solid bass and drums rhythm section. Pressed on color vinyl LP.

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The State Between Us

3LP | 2019 | EU | Original (Caroline)

31,99 €*

LP | 2019 | EU | Original (Sonorama)

Release: 2019 / EU – Original

Genre: Classical Music

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Matthew Herbert releases a new big band album - The State Between Us. The double album is released on the day the U.K. is scheduled to leave the European Union. Made in collaboration with over a thousand musicians and singers from across the EU, The State Between Us began as a project responding to the triggering of Article 50 and the dramatic shift in the national story that began in June 2016. Over the course of the next two years - against the backdrop of a relentlessly challenging news cycle and via large-scale recording sessions abroad - something unexpected emerged.

The State Between Us is an album that contemplates what it means to be British in 2019. Its sixteen tracks reflect a journey on foot across Great Britain (and beyond) imagined in beautifully elegiac melodies carefully woven with site-specific recordings. World War II planes in flight rub against a Ford Fiesta being broken down into its component parts; the loneliness of a cross-channel swimmer follows a single cyclist riding around Chequers. Here, the evocative sounds of empty harbours, and factories being demolished, of ancient trees and the calls of soon to be extinct animals ebb and flow through music that poses one hugely significant question - Where’s Home? - and leaves the listener with one resoundingly hopeful answer: You’re Welcome Here.

Whilst the record is a giant collaboration, there are a number of notable special guests including singers Rahel Debebe-Dessalegne, Arto Lindsay, Merz, Patrick Clarke and highly respected solo instrumentalists Enrico Rava, Byron Wallen, Sheila Maurice Gray and Nathaniel Cross. Lyrics include words by Britain’s greatest living playwright Caryl Churchill, Percy Shelley, John Donne and various abusive members of the public and the secretary general of UKIP. Artwork by longtime collaborator Sarah Hopper for The State Between Us is based on an image taken by renowned photographer Eva Vermandel.

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Kapingbdi

Born In The Night

Release: 2019 / EU – Original

Genre: Organic Grooves

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LP | 2019 | CH | Original (Les Disques Bongo Joe)

Madalitso Band

Wasalala

LP | 1983 | EU | Reissue (Pharaway Sounds)

Release: 2019 / CH – Original

Genre: Organic Grooves

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Intuitive, authentic, and full of ruthless rhythms, Malawian Madalitso Band has taken Europe by storm. Madalitso will make you clap, dance, smile, and rethink everything you thought you knew about African sound and instrumentation. Madalitso is authentic to the core and coming to Europe once again after demand from clubs and festivals everywhere.

The traditional duo from Malawi, who in the last year have been featured on BBC Africa, and performed at such festivals as Roskilde in Denmark, were first discovered by a local producer busking outside a shopping centre in Lilongwe in 2009. The connection that the musicians gained with each other through living this way for 10 years is evident in the way they burst onto the scene, after their very first performance outside Malawi, in 2017, at Sauti Za Busara in Zanzibar. 6 months later and they were on an aeroplane for the first time in their lives, to do a 2 week European tour, and wow audiences with their down-toearth nature, and raw on-stage energy. A new album is being released in March 2019 under Bongo Joe Records, a label from Geneva, who instantly fell in love with the Madalitso ethos, when the music inside is so strong that it says, "so what that we can't afford instruments, we'll build our own." The music inside Madalitso Band is SO strong, and it comes out effortlessly, full of syncopated rhythms, lush harmonies and a solid back beat. The band are planning another tour for next summer which hopes to include USA and Canada as well as Europe.

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Bibi Den's Tshibayi

Sensible

Jake Najor And The Moment Of Truth

Release: 1983 / EU – Reissue

Genre: Organic Grooves

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A great mix of Zouk, Afro-Funk and Boogie from the Ivory Coast, 1983. Cool synths, electric guitar, Afro-Caribbean rhythms...
Four long tracks, including the massive afro-disco-boogie “Africa Mawa” plus two cool afro/Zouk tracks and a deep ballad with psych guitar.
Featuring Congolese musician Denis Bibi Den’s Thsibayi and his band The Best, “Sensible” was recorded at Abidjan, Ivory Coast, after Denis Tshibayi was requested to play live there. M. Sacko helped with the production / edition and the album was originally released first as a tiny private pressing in the Ivory Coast and later in France on the Tangent label. During that time, Denis Thsibayi also recorded for Earthworks/Rough Trade and in the following decades he recorded with Adrian Sherwood (On-U Sound Records), Alpha Blondy, etc.

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In The Cut

LP | 2019 | US | Original (The Redwoods Music)

Roy Ellis & The Transilvanians

Release: 2019 / US – Original

Genre: Organic Grooves

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Over the past twenty years, when musicians and producers in Southern California have needed fresh R&B, funk, or hip hop beats, they’ve called on drummer Jake Najor. A former bandmember of Breakestra, Incredible Moses Leroy, and The Styletones, Najor has performed or recorded with scores of noteworthy artists, including TV on the Radio, Raphael Saadiq, Kelis, Joss Stone, Big Daddy Kane, De La Soul, Karl Denson, Rodriguez, and Empire of the Sun.

When not on tour, the San Diego native performs with a wide network of local musicians, including as a member of the house band for The Redwoods record label. It’s with the Redwoods that the veteran drummer has taken the lead on a new project, Jake Najor and the Moment of Truth. While most of Najor’s career has been spent contributing percussion in service to the visions of his collaborators, with his debut record, In the Cut, Najor has been the one enlisting players from his musical cohort as well as some cherry-picked, heavy hitters on the LA funk/soul scene to flesh out ten tracks of original grooves, ranging from soulful cinematic instrumentals to hard hitting funk jams.

The album’s lead single, High Costa Living, lands in the latter camp. It features an accomplished roster of west coast funk players, including a potent brass section led by trumpeter/arranger Todd Simon (Antibalas, Ziggy Marley, Quantic), and including James King (Fitz and Tantrums), Elizabeth Lea (Tedeschi Trucks Band), and Sam Robles (Jungle Fire), behind the gritty vocals of MixMaster Wolf (Breakestra). High Costa Living sets the tone for a record loaded with dynamic performances to match the syncopated rhythms laid down by So Cal’s go-to beatmaker. Jake Najor and the Moment of Truth “In The Cut” brought to you by The Redwoods record label, drops March 29, 2019.

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Almighty Ska

2LP | 2019 | ES (Liquidator)

LP | 1956 | UK | Reissue (Pure Pleasure)

Release: 2019 / ES

Genre: Reggae & Dancehall

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Brand new album by the Jamaican legend Roy Ellis
and the Transilvanians backing band, who have been
touring with Roy for the last 10 years. This new album
features 12 songs that goes from Ska to Reggae and
including some cover versions that Roy Ellis takes to
his own territory, adapting to his style and giving
these tracks quite a new dimension.
Transilvanians prove to be a perfectly greased
machine, contributing with a perfect rhythm section,
full brass and even strings on the great ‘You'll Never
Find Another Love Like Mine’

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Cab Calloway

34,99 €*

LP | 2019 | EU | Original (Transmit Sound)

Release: 1956 / UK – Reissue

Genre: Organic Grooves

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From 1932 to the late 1940’s the period covered by this set, Cab had an orchestra that was about as swinging a band of solid senders as you’d find on the big-band circuit.
Cab projects, in his singing on records, something of the vital magic of his stage presence, a boundless exuberance and enthusiasm. His orchestral backing during the Thirties and Forties included many well-known names in jazz. At various times, Milt Hinton, Danny Barker and Cozy Cole were in his rhythm section.The reeds included the late, great Chu Berry as well as Ben Webster. Dizzy Gillespie was in the band, some members of which, at odd moments, served as a laboratory for the style to be called Bop. »This whole new chord structure idea was interesting to me,« Milt Hinton recalled, »and I would walk the new chords behind his playing.« Cab wasn’t the least enthusiastic. Danny Barker quoted him as saying, »I don’t want you playing that Chinese music in my band.«
The main attraction, however, was always Cab—showman, singer, entertainer. Most audiences didn’t even know that some of his sidemen were candidates for the jazz hall of fame. And that was as it should be. The musicians’ first function was to provide musical backing and a musical setting for the man who was being called 'King of the Hipsters', and this they did, wonderfully well. It was as Barry Ulanov noted in Metronome (January, 1943) a band extraordinary in every respect, hailed for its »clean musicianship, its jazz kicks, its brilliant showmanship«.

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Son Volt

Union

LP | 1975 | EU | Reissue (Mr Bongo)

Release: 2019 / EU – Original

Genre: Rock & Indie

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Son Volt’s ninth studio album, Union (Transmit Sound/Thirty Tigers), will be released worldwide on March 29th.

Jay Farrar channels folk music’s enduring legacy of the troubadour on Union. “There are so many forces driving our country apart,” observes Farrar. “What can we do to bring our society back together?” Initially intended to be an entirely political statement, Union morphed into a combination of politically inspired material balanced by a cluster of new songs reflecting the power of love, time and music that sustains us. “While Rome Burns” emphasizes finding unity during times of turmoil while an album highlight, “Devil May Care,” offers the distraction we need, an effusive tribute to the fun of playing and creating music.

A unique aspect of Union is that eight of the thirteen songs were recorded at places associated with two figures in American history whom Farrar considers important – labor and community organizer Mary Harris “Mother Jones” and iconic folk hero Woody Guthrie. Three songs were tracked at the Mother Jones Museum in Mount Olive, IL and four others were recorded at the Woody Guthrie Center in Tulsa, Oklahoma. The legacy of Woody Guthrie helped to inform Union’s closing song “The Symbol” which was inspired by Guthrie’s classic “Deportee” (“Plane Wreck at Los Gatos”).

Union features long time band members Mark Spencer (piano, organ, acoustic slide, lap steel, backing vocals) Andrew DuPlantis (bass, backing vocals), returning member Chris Frame (guitar), as well as newest member Mark Patterson on drums and percussion.

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Akira Ishikawa

Back To Rhythm

LP | 1979 | EU | Original (Nyami Nyami)

Release: 1975 / EU – Reissue

Genre: Organic Grooves

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Ultra-rare jazz-funk/fusion album by Japanese drummer, Akira Ishikawa. Featuring percussion-heavy versions of ‘Let's Start’, ‘Bongo Rock’ and ‘Pick Up The Pieces’.
'Back To Rhythm’ was the final recording in Ishikawa’s African-influenced period. He cut this record with his band ‘Count Buffalos’, featuring Kiyoshi Sugimoto, Takeru Muraoka, Larry Sunaga and arranger Hiromasa Suzuki. Includes excellent cover versions of The Beatles, Simon & Garfunkel, BT Express, Stevie Wonder, Average White Band, Incredible Bongo Band and Fela Kuti.
Originally released in Japan in 1975 by Columbia, this is now extremely difficult to find in its original format, and very pricey indeed!
Official Mr Bongo reissue. Licensed from Nippon Columbia Co., Ltd.

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New Tutenkhamen

I Wish You Were Mine

LP | 2019 | US | Original (Riding Easy)

Release: 1979 / EU – Original

Genre: Organic Grooves

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A lost piece of Zimbabwean musical history: the only album from local legends the New Tutankhamen, combining Jazz, Soul, Folk and Township rhythms. With only 2 copies of the original LP known to exist and no trace anywhere on the internet, the band's magnum opus is available for the first time in over 40 years.

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Hell Fire

Free Again

LP | 2019 | US | Original (Ba Da Bing)

Release: 2019 / US – Original

Genre: Rock & Indie

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Formed in recent years in San Francisco (though it may seem more likely that they hatched fresh out of a time travel portal from the mid-’80s Bay Area thrash scene), Hell Fire have the classic look and sound of modern metal’s halcyon days. Their sonic assault warmly condenses elements of Angel Witch, Iron Maiden, Rainbow, Exodus, Metallica, Riot, Virtue and Diamond Head into eight tracks of headbanging MUYA anthems.

The free-wheelin’ creativity and infectious vitality of Bay Area thrash is a moment forever locked in time, but its spirit lives on in this band’s galloping guitar picks, soaring harmonies and blistering rhythms. The band’s perfect hybrid of NWOBHM theatrics and American thrash attitude delivers a rousing and genuine expansion on sounds long lost to pointless battles over who can be the most “extreme.”

Hell Fire began when bass player Herman Bandala moved to San Francisco from Tijuana, Mexico, with the hopes of forming a heavy metal band. Herman posted an ad to Craigslist which caught the attention of guitarist Tony Campos. They bonded over a mutual love of ’80s thrash and NWOBHM. Just before they entered the studio to record their debut album Metal Masses, Jake Nunn joined on vocals. The lineup continued to develop over time, finally solidifying with Nunn also taking up second guitar duties and drummer Mike Smith joining prior to recording Free Again.

This sophomore album is being released for the first time on vinyl and remastered for CD and download. It was recorded over five days in Grass Valley, California, at engineer Tim Green’s Louder Studios (The Fucking Champs, Melvins.) Where Metal Masses showcased aesthetic nods to Metallica’s Kill ‘Em All album (as well as a cover photo brilliantly depicting a blurry hand speedily playing a Flying-V guitar), Free Again finds the band coming into their own with emphasis upon grooves, a beefier sound and tighter songs that expertly shift into new parts at the drop of a hat.

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Tiny Ruins

Olympic Girls

LP | 2018 | EU | Original (Phantom)

Release: 2019 / US – Original

Genre: Rock & Indie

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A rare blend of eloquent lyrical craft and explorative musicianship, the songs of Tiny Ruins are etched into the memories of crowds and critics worldwide. Traversing influences that cross genre and era, the artistry of Hollie Fullbrook and her band spans delicate folk, lustrous dream pop and ebullient psychedelia. Building on the sparse arrangements and “a novelist’s eye for detail” (Uncut) cultivated over the past several years, the group’s greatly anticipated third album Olympic Girls is replete with vital lyricism and galvanizing rhythms. Sparkling electric guitar jangles pull against the unique thrum of Fullbrook’s acoustic as the cryptic poetry she is known for rings out.
Hollie Fullbrook is no stranger to acclaim. Debut album Some Were Meant For Sea (2011) saw her name on billboards, playlists and blogs worldwide. The album’s clutch of “gorgeous vignettes” (BBC) put the artist on the map. Second album Brightly Painted One earned more accolades, championed by The New York Times, NPR and David Lynch, and winning Best Alternative Album at the New Zealand Music Awards in 2014. “An album of quiet, devastating beauty,” wrote Pop Matters. The album saw Fullbrook join forces with producer Tom Healy, whom, alongside long-time tour-mate bassist Cass Basil and drummer Alex Freer, Fullbrook has worked and toured with ever since.
While spanning continents, the band won fans in critics, crowds and became a sought after collaborator. A New York recording session culminated in the EP Hurtling Through (2015) with indie-rock legend Hamish Kilgour (The Clean), while 2016 single “Dream Wave” was recorded and produced by award-winning cult filmmaker and musician David Lynch. Headhunted by Lorde for the Hunger Games soundtrack blueprint she curated, Fullbrook teamed up with legendary filmmaker Lynch for the collaboration.
This album was made over a drawn out period of spontaneity and experimentation, stridently reaching beyond Fullbrook’s formerly minimalist domain. Production from Tom Healy and Fullbrook is exercised with muscular aplomb; marrying the intricately woven poetics of Leonard Cohen, the shimmering dream-pop landscapes of Beach House or Mazzy Star, and the off-kilter experimental pop of Broadcast or John Cale.

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Dewaere

Slot Logic

Hard Times + Crawl / Covers

Release: 2018 / EU – Original

Genre: Rock & Indie

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Dewaere is a french noise punk band from Saint-Brieuc claiming to play loud, heavy, noisy rock and influenced by 1990’s bands and post- punk. The band consists of vocalist Maxwell Farrington, guitarist Julien Henry, bassist Marc Aumont and drummer Hugues Le Corre.

If you had to live your last moments amongst piles of rubble, sporting your half shredded swimmers, walking around a pool miraculously still intact, Slot Logic by Dewaere would be the perfect sound track to suit such an apocalyptic occasion.

In amongst the album's sour guitars and mg42 style rhythms, the intense, boiling sounds from Dewaere peak the adrenaline throws that your first grenade; while the heart drums fast, ready to pounce.

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Laughing Hyenas

2LP | 2018 | US | Original (Third Man)

28,99 €*

12" | 2018 | US | Original (Dark Entries)

Release: 2018 / US – Original

Genre: Rock & Indie

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Crawl disc:

By the time the Hyenas went back into the studio, Kevin Strickland and Jim Kimball had left to form Mule and had left John and Larissa without a rhythm section. Many people thought this marked the end of the band. Not the case. Todd Swalla (founding member of Necros) stepped in on drums and Kevin Ries on bass. Todd is a much more subtle timekeeper than Jim and Ries had no problem locking in with him, but stayed in the background a little more than Strickland leaving Larissa to take up a little more of the slack. She rises to the occasion, her leads a bit more melodic than before, although still blanketed in a sheet of noise. Brannon's anguished vocals will still peel the paint of the walls and over the new slightly toned down direction, somehow seem even more extreme.

Crawl is notably the only of the Hyenas records recorded in Detroit at White Room Studios.

Bonus material
All tracks from the Covers ''bootleg'' 7'', featuring:
''Solid Gold Hell'' (Scientists)
''I Want You Right Now'' (MC5)
''Under My Thumb'' (Stones)
''Serves Me Right To Suffer'' (JL Hooker)

Liner notes by Bob Bert (Sonic Youth, Pussy Galore, Chrome Cranks) and Allyson Baker (Dirty Ghosts, Teen Crud Combo)
Unseen photos and flyer reprints

Hard Times disc:

This album saw one more line up change: Kevin Ries left and one time Necros Ron Sakowski stepped in, the Hyenas went down to Memphis to the legendary Easley Studios to record their final LP with the one and only Doug Easley. On Hard Times, we see the Hyenas influences are more Howlin' Wolf/Muddy Waters than they are Nick Cave/Iggy Pop. The full-on sonic assault of the first three records has given way to a hard hitting groove that has a graceful Exile-era Stones vibe. Larissa's simple and one-of-a-kind guitar playing has never been better. Brannon does more crooning than screaming on this one, giving us their most ''musical'' offering yet. Every bit as emotionally ruthless as their previous releases, the Laughing Hyenas went out on a high note with Hard Times.

Bonus material
''Shine'' - from the Jabberjaw compilation

* Released in partnership with Touch and Go Records
* Liner notes by Bob Bert (Sonic Youth, Pussy Galore, Chrome Cranks) and Allyson Baker (Dirty Ghosts, Teen Crud Combo)
* Includes unseen photos and flyer reprints

Reverse Board Matte LP jacket, standard weight vinyl, full color inserts and printed inner sleeves

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Photonz

Etheric Body Music EP

12,74 €* 16,99 € -25%

LP | 1969 | EU | Reissue (Cree)

Release: 2018 / US – Original

Genre: Electronic & Dance

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Photonz is the alias of Marco Rodrigues a DJ, producer and driving force of Lisbon's underground scene. For little over a decade now, he's been crafting his own deeply personal style of Portuguese house and techno for labels such as Créme Organization, 20:20 Vision, Don't Be Afraid, Skylax, Unknown To The Unknown and his own One Eyed Jacks. As a DJ, Photonz grew a reputation for deep crates and intensely euphoric sets and in 2017, together with Violet (co-founder at his Radio Quantica) and Lisbon's own Rabbit Hole collective, he started the now infamous Mina parties - a monthly, sex-positive, queer and intersectional-feminist techno party aimed at using the dissociative potential of intense raving to create a temporary space of suspension away from patriarchal expectations.

Etheric Body Music is Photonz’s debut 6-track EP for Dark Entries and a simultaneous reference to hermeticism and EBM (Electronic Body Music). Marco loves that “aesthetic when 80s industrial and EBM bands split up and start to make trance in the early 90s and all the ritual magick pushes them to zen stuff and they do ecstasy.” There's this concept in theosophy and hermetic philosophy of the Etheric Body, which is an energy body superimposed and connected to the physical body, similar to the acupuncture idea of an energetic body. That idea manifests itself as six primal club cuts, which also channel early techno, Drexciyan rhythms, balearic & old school jack. Raw arpeggiated synth lines and bass blast jut against metallic stabs and highly percussive shakedowns to create mournful atmospheric warped house. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in a psychedelic jacket with snakey green and purple velvet in an electric acid spewing weird biological alien energy form designed by Eloise Leigh.

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Andre Tanker Five

Afro Blossom West

16,99 €*

Hopefully, Again Black Vinyl Edition

Release: 1969 / EU – Reissue

Genre: Organic Grooves

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When this album was first released in 1969, the young combo around vibraphonist and singer Andre Tanker conveyed a new style mix, which apparently naturally merged quite different musical influences into a new whole. At the centre of the music of the Andre Tanker Five was jazz in its Caribbean, Trinidadian style, a combination of the modern jazz of those days and the sounds of the extremely popular steeldrum bands of the time. A very decisive addition is typical for Trinidad: Calypso. Calypso stands for the attitude to life of this young generation of musicians, for the 'Good Time Feeling' and the desire to incorporate danceable Caribbean rhythms and Afro-Latin grooves into their individual style.
Although the original sounds of the young Andre Tanker Five are deeply rooted in the music of the West Indies, Afro-American elements always remain in the foreground. The young combo is musically equally at home in the Caribbean as in the 'hip' jazz clubs of the US megacities and the juke joints of the south with their sultry blues as well as the soul dance halls in Detroit or Memphis. The combination of vibraphone and electric guitar plus bass/drums is also rather unusual in those days. Not a pure instrumental album, 'Afro Blossom West' delivers some surprising vocals - rather unusual for a groove-jazz-based project with a sophisticated rhythmic sound.
Bandleader and vibraphonist Andre Tanker is considered a very creative and versatile musician. His exciting improvisations are a dominant feature of this group. Party In The City, Lena and Swahili are original compositions of which he sings the first two himself. Guitarist Clarence Wears is a gifted accompanist and effective soloist. His sometimes 'funky soul style' is more reminiscent of 'Memphis' than 'Trinidad'. Bass player Clive Bradley, who also plays piano and guitar, is a fine all-round musician who knows his music to the limit, and the rhythm section around Kester Smith (drums and timbales) and Mikey Coryat (congas) are able to provide the necessary power, but they can also play softly and subtly when the mood demands it.
As the album's name suggests, the combo refers deeply to the music and rhythms of Africa, whose roots - when shifted to the West - have produced the calypso, blues and Afro-Latin rhythms heard on this LP. We have had the album reworked from the original master tapes for this limited high quality LP edition by mastering expert Tom Meyer. New liner notes by Ron Reid shed light on the history of Andre Tanker, his combo and the circumstances that led to this creative product!

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Malihini

LP | 2019 | EU | Original (Memphis Industries)

Release: 2019 / EU – Original

Genre: Pop

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Hopefully, Again Colored Vinyl Edition

Malihini

LP | 2019 | EU | Original (Memphis Industries)

20,99 €*

Release: 2019 / EU – Original

Genre: Pop

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LP | 2018 | AU | Original (Northside)

The Seven Ups

Commandments

LP | 2018 | EU | Original (Born Bad)

Release: 2018 / AU – Original

Genre: Organic Grooves

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Blending influences from 1970s Nigerian Afrobeat with the deepest of street Funk, The Seven Ups are the original 7-piece party band. Expect unrestrained solos by unkempt horns over an unpretentious rhythm section whose only interest is laying it down! This their third album introduces Psych Rock elements to the grinding afroheat!.

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Cannibale

Not Easy To Cook

Viaje Al Centro Del Ritmo

Release: 2018 / EU – Original

Genre: Organic Grooves

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If Cannibale's members brought their breakfast back up when talking about 'Not Easy To Cook', their listeners would be surprised. There's a world of difference between the beginning of Cannibale's success story and this second album. The most surprising thing about 'Not Easy To Cook' is the sultriness that emerges. It's hard to sum it up other than by comparing these 10 songs with some pressure cooker in which bits of dancehall, London ska and Hawaiian dub would have cooked together. Here's the small miracle achieved by this LP recorded by the band in its remote French village: sounding French, but Polynesian French. A very psychedelic mixture of cumbia, African rhythms and garage music. Or, if you will, a kind of missing link between Fela Kuti, The Doors and The Seeds!

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Lola's Dice

7" | 2018 | EU | Original (Names You Can Trust)