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Search Result for Genre WORLD
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LP
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FARO 213LP
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$22.00
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RELEASE DATE: 9/13/2019
LP version. 180 gram vinyl; includes download code. Far Out Recordings present an official reissue of Ana Mazzotti's self-titled album, originally released in 1977. An artist as imaginative and unique as Ana Mazzotti doesn't come around often. Dubbed a "super-musician" by fellow Brazilian virtuoso Hermeto Pascoal, Mazzotti's short but rich musical career culminated in just two studio albums: Ninguem Vai Me Segurar (1974), and Ana Mazzotti (1977). Outside circles of Brazilian funk aficionados, these two gems of spellbinding samba-jazz, lysergic funk and trippy bossa have remained relatively obscure. This was partly as a result of Mazzotti's premature death (she lost her battle with cancer in her mid-thirties), but also due to financial restraints and the prejudice she faced as a female songwriter in a fundamentally sexist society. Born in Caixas, in Brazil's Rio Grande do Sul municipality, Mazzotti began to play the accordion aged five, before moving with prodigious ease onto the piano. By the age of twelve she was already conducting her convent school's choir, and at twenty-one she led her city's premier chorus, the Coral Bento Goncalves. When rock n' roll hit South America in the '60s, a young Mazzotti was one of the early adopters, fronting various guitar groups including an all-female Beatles cover band, and an eclectic, eight-piece psychedelic group Desenvolvemento. Before moving to Sao Paulo to start her career proper, Mazzotti met drummer, producer and fellow music educator Romido Santos, who she would later marry. Romildo introduced Mazzotti to jazz, and music by the likes of Chick Corea and Hermeto Pascoal who she would later befriend and perform with. In 1977, Mazzotti took her debut album back to the studio, releasing the album with a new running order and new ethereal cover art, ostensibly another crack at commercial success following the small scale of the independently funded first release. With intimately re-recorded vocals, and the bonus of gorgeous horn arrangements and a new track: the carnivalesque "Eta, Samba Bom", replacing Roberta Flack's hit "Feel Like Making Love", Ana Mazzotti (1977) delivers Mazzotti's refreshingly cool musical style even more effortlessly, while retaining the all magical energy of her debut. A cult Brazilian treasure. Remastered.
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CD
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FARO 213CD
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$14.00
PREORDER
RELEASE DATE: 9/13/2019
Far Out Recordings present an official reissue of Ana Mazzotti's self-titled album, originally released in 1977. An artist as imaginative and unique as Ana Mazzotti doesn't come around often. Dubbed a "super-musician" by fellow Brazilian virtuoso Hermeto Pascoal, Mazzotti's short but rich musical career culminated in just two studio albums: Ninguem Vai Me Segurar (1974), and Ana Mazzotti (1977). Outside circles of Brazilian funk aficionados, these two gems of spellbinding samba-jazz, lysergic funk and trippy bossa have remained relatively obscure. This was partly as a result of Mazzotti's premature death (she lost her battle with cancer in her mid-thirties), but also due to financial restraints and the prejudice she faced as a female songwriter in a fundamentally sexist society. Born in Caixas, in Brazil's Rio Grande do Sul municipality, Mazzotti began to play the accordion aged five, before moving with prodigious ease onto the piano. By the age of twelve she was already conducting her convent school's choir, and at twenty-one she led her city's premier chorus, the Coral Bento Goncalves. When rock n' roll hit South America in the '60s, a young Mazzotti was one of the early adopters, fronting various guitar groups including an all-female Beatles cover band, and an eclectic, eight-piece psychedelic group Desenvolvemento. Before moving to Sao Paulo to start her career proper, Mazzotti met drummer, producer and fellow music educator Romido Santos, who she would later marry. Romildo introduced Mazzotti to jazz, and music by the likes of Chick Corea and Hermeto Pascoal who she would later befriend and perform with. In 1977, Mazzotti took her debut album back to the studio, releasing the album with a new running order and new ethereal cover art, ostensibly another crack at commercial success following the small scale of the independently funded first release. With intimately re-recorded vocals, and the bonus of gorgeous horn arrangements and a new track: the carnivalesque "Eta, Samba Bom", replacing Roberta Flack's hit "Feel Like Making Love", Ana Mazzotti (1977) delivers Mazzotti's refreshingly cool musical style even more effortlessly, while retaining the all magical energy of her debut. A cult Brazilian treasure. Remastered.
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CD
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FARO 212CD
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$14.00
PREORDER
RELEASE DATE: 9/13/2019
Far Out Recordings present an official reissue of Ana Mazzotti's Ninguem Vai Me Segurar. originally released in 1974. An artist as imaginative and unique as Ana Mazzotti doesn't come around often. Dubbed a "super-musician" by fellow Brazilian virtuoso Hermeto Pascoal, Mazzotti's short but rich musical career culminated in just two studio albums: Ninguem Vai Me Segurar (1974), and Ana Mazzotti (1977). Outside circles of Brazilian funk aficionados, these two gems of spellbinding samba-jazz, lysergic funk and trippy bossa have remained relatively obscure. This was partly as a result of Mazzotti's premature death (she lost her battle with cancer in her mid-thirties), but also due to financial restraints and the prejudice she faced as a female songwriter in a fundamentally sexist society. Born in Caixas, in Brazil's Rio Grande do Sul municipality, Mazzotti began to play the accordion aged five, before moving with prodigious ease onto the piano. By the age of twelve she was already conducting her convent school's choir, and at twenty-one she led her city's premier chorus, the Coral Bento Goncalves. When rock n' roll hit South America in the '60s, a young Mazzotti was one of the early adopters, fronting various guitar groups including an all-female Beatles cover band, and an eclectic, eight-piece psychedelic group Desenvolvemento. Before moving to Sao Paulo to start her career proper, Mazzotti met drummer, producer, and fellow music educator Romido Santos, who she would later marry. Romildo introduced Mazzotti to jazz, and music by the likes of Chick Corea and Hermeto Pascoal who she would later befriend and perform with. In 1974, Mazzotti recorded her first album Ninguem Vai Me Segurar, enlisting the in-demand arrangement talents of Azymuth's original keyboard maestro Jose Roberto Bertrami. It also features Azymuth's bassist Alex Malheiros and percussionist Ariovaldo Contestini, with Romildo Santos who produced the album on drums. Recorded in Estudio Haway around the same time Azymuth recorded their debut album there, it's no wonder the samba jazz-funk pioneer's distinctive aesthetic is present throughout, and Mazzotti's sensational compositions are made even more beautiful for it. Kicking off with the swirling samba-jazz-dance masterpiece "Agora Ou Nunca Mais", the album hosts several groove-heavy Brazilian cult-classics. Deeper moments come in the form of the alluring future soul synth sounds on "Bairro Negro" and "Sou", and Mazzotti's tender, hallucinatory version of "Feel Like Making Love" (made famous by Roberta Flack). Remastered.
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LP
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FARO 212LP
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$22.00
PREORDER
RELEASE DATE: 9/13/2019
LP version. 180 gram vinyl; includes download code. Far Out Recordings present an official reissue of Ana Mazzotti's Ninguem Vai Me Segurar. originally released in 1974. An artist as imaginative and unique as Ana Mazzotti doesn't come around often. Dubbed a "super-musician" by fellow Brazilian virtuoso Hermeto Pascoal, Mazzotti's short but rich musical career culminated in just two studio albums: Ninguem Vai Me Segurar (1974), and Ana Mazzotti (1977). Outside circles of Brazilian funk aficionados, these two gems of spellbinding samba-jazz, lysergic funk and trippy bossa have remained relatively obscure. This was partly as a result of Mazzotti's premature death (she lost her battle with cancer in her mid-thirties), but also due to financial restraints and the prejudice she faced as a female songwriter in a fundamentally sexist society. Born in Caixas, in Brazil's Rio Grande do Sul municipality, Mazzotti began to play the accordion aged five, before moving with prodigious ease onto the piano. By the age of twelve she was already conducting her convent school's choir, and at twenty-one she led her city's premier chorus, the Coral Bento Goncalves. When rock n' roll hit South America in the '60s, a young Mazzotti was one of the early adopters, fronting various guitar groups including an all-female Beatles cover band, and an eclectic, eight-piece psychedelic group Desenvolvemento. Before moving to Sao Paulo to start her career proper, Mazzotti met drummer, producer, and fellow music educator Romido Santos, who she would later marry. Romildo introduced Mazzotti to jazz, and music by the likes of Chick Corea and Hermeto Pascoal who she would later befriend and perform with. In 1974, Mazzotti recorded her first album Ninguem Vai Me Segurar, enlisting the in-demand arrangement talents of Azymuth's original keyboard maestro Jose Roberto Bertrami. It also features Azymuth's bassist Alex Malheiros and percussionist Ariovaldo Contestini, with Romildo Santos who produced the album on drums. Recorded in Estudio Haway around the same time Azymuth recorded their debut album there, it's no wonder the samba jazz-funk pioneer's distinctive aesthetic is present throughout, and Mazzotti's sensational compositions are made even more beautiful for it. Kicking off with the swirling samba-jazz-dance masterpiece "Agora Ou Nunca Mais", the album hosts several groove-heavy Brazilian cult-classics. Deeper moments come in the form of the alluring future soul synth sounds on "Bairro Negro" and "Sou", and Mazzotti's tender, hallucinatory version of "Feel Like Making Love" (made famous by Roberta Flack). Remastered.
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2LP
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SNDW 131LP
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$27.50
PREORDER
RELEASE DATE: 9/13/2019
Soundway release their first compilation of 2019: Esa Presents Amandla: Music To The People. Growing up in Cape Town, South Africa, during the last days of Apartheid, Esa Williams recalls the immense power that music had in resisting oppression and division. "Amandla, Awethu", which literally means "the power is ours", was a ubiquitous chant echoing throughout the politically charged atmosphere of the time -- a call to unite, and a call from which this release derives not only its title, but its intention as well. "Music was a crucial way of bringing people and communities together", reflects Esa, "and it's what I hope to achieve with this compilation, too". For Esa is not only a musical polymath but also passionate about connecting people through music -- be it as a skilled DJ, an educator in production, a band leader reigniting the legendary Ata Kak band from Ghana, or a collaborator with the likes of Tanzanian artist Mim Suleiman. A firm favorite on the DJ circuit, he held a monthly residency at Phonox London for over six months -- bringing guests such as Nu Guinea to Brixton audiences -- as well as delivering memorable sets at Dekmantel, Atlas Festival, Boiler Room, and more. The last few years have seen a recent surge in interest in South African music from the '80s and '90s, including bubblegum, which was recently showcased on Soundway's critically acclaimed 2018 compilation Gumba Fire: Bubblegum Soul & Synth Boogie In 1980s South Africa (SNDW 124CD/LP), put together by DJ Okapi. It was only natural that the label looked to delve deeper into the country's rich musical legacy and tap another of its esteemed ambassadors for the role of compiler. The result is a rainbow of complementary electronic styles hailing from not only South Africa but further afield, including zouk from Brazil and the French Antilles, as well as Afro-futurism. Together, they form a comprehensive picture that connects the dots of Esa's musical journey -- from growing up in South Africa, to artists he has encountered in his worldwide travels who have helped develop his identity as a musician. Features Penny Penny, Alaska, Ze Spirits Band, Esa, Nonku Phiri, Dion Monti, Os Panteras, Pascal Latour, Boulo, Masalo, Doussou Koulibaly, Narchbeats, and DJ Spoko. RIYL: Nozinja, Black Coffee, Gumba Fire, Dekmantel "Best Of" compilations, Kokoko!, DJ Khalab, Palms Trax, Masalo, Ata Kak, Awesome Tapes From Africa.
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LP
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LSD 69004LP
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$22.00
PREORDER
RELEASE DATE: 9/13/2019
Reissue, originally released in 1987. The eastern African nation of Somalia is rich in cultural influences. Wrapped part way around Ethiopia, it forms the sea coast of the Horn of Africa. Somalia was one of the first African countries converted to Islam, in the Eighth and Ninth centuries. During the 18th and 19th century, the Somali ports were controlled by Arabs and by the Ottoman Empire. During the European colonial period, the north was a British, and the south an Italian, colony. Independent Somalia still shows varying effects of these influences (Arabic, English and Italian are all used for teaching). Musically speaking, Somalia forms part of an eastern African Islamic continuum that includes the coast of Kenya and Tanzania as well as Sudan, and is more loosely linked with North and Muslim West Africa. (Kismayu, in the south of Somalia, is in fact the most northerly frontier of the Swahili music called "taarab" or "tarabu"). The main traditional instrument of Somalia is the "ud", imported from Egypt or Lebanon and known locally as the "kaban". Another common instrument is the "taruumbo", or flute. The one heard on several of these tracks was a homemade, end-blown version cut from a piece of plastic tubing. As is true for the whole of Africa, the standard six-string acoustic guitar has been taken over by Somali musicians and played in a wide range of styles. Small keyboard instruments have also long been a feature of East African coastal music. In the old days, portable harmoniums were popular. In Somalia, the market has been captured by Japanese-made organs with built-in rhythm, like the one heard on four tracks here. The music on this album was all recorded in one town, Baraawe (usually called Brava on the maps). Baraawe, which is on the Somali coast about 120 miles south of the capital, Mogadishu, has a population of around 10,000. Like all African towns of any size it is something of a melting pot. The original inhabitants, like the Swahili to their south, are of mixed Arab and Bantu African heritage, and speak a Bantu language called Chimina. Somalis from various other areas, speaking standard Somali and several dialects of it, also live in Baraawe. The musicians heard here play regularly together in various combinations. Like almost all African musicians, they are part-timers. Some are shoemakers. Two are soldiers. All the pieces they perform on this recording are love songs. Features Kuusow "Kurtunwaarey", Amin Xaaji Cusmaan, Cabdulaahi Iman "Zamir", Xasan Xaaji Maxamed, and Nuur Maxamed "Curuba".
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CD
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BEC 5543731
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$11.00
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RELEASE DATE: 8/30/2019
Limited 2019 edition of Clandestino. The original album remastered for the first time; Originally released in 1998. Includes three new 2019 songs: "Bloody Bloody Border", "Roadies Rules", and "Clandestino" featuring Calypso Rose (2019 version). Six-page digisleeve packaging; includes booklet.
"The first solo album released by the former frontman of Mano Negra, Clandestino is an enchanting trip through Latin-flavored worldbeat rock, reliant on a potpourri of musical styles from traditional Latin and salsa to dub to rock 'n' roll to French pop to experimental rock to techno... Just about every track has odd sampled bits from what sound like pirate radio-station broadcasts (a possible link to the title). There are so many great ideas on this record that it's difficult to digest in one listen, but multiple plays reveal the great depth of Manu Chao's artistry." --All Music Guide
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LP
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IRONHAND 004LP
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$29.00
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RELEASE DATE: 8/30/2019
Grup Doğuş (literally means "rising") is a unique type of band among the others in the soundscape of "Gastarbeiter" (guest workers). The band is formed by two brothers, who were guest workers emigrated from Turkey to Germany. Tufan Aydoğan, also attributed as "Hammond Tufan, the Conqueror of all the Organs" by Barış Manço, was organist and the vocalist of the band while his brother Muhittin Aydoğan was on bass, Koray Dikmen on drums, and Sedat Ürküt on guitar and vocals. While performing in nightclubs, by a good coincidence, they received a proposal to record for a one-take album to be issued on cassette in 1975. This low-selling cassette album full of Anadolu pop repertoire was almost forgotten till now. Selected tracks from the album have been remastered and released in vinyl format -- as it had long deserved. The songs here are raw and non-produced type of Anatolian pop, which offer us a soundscape that is not restricted with the limitations of mainstream labels. Therefore, long lasting guitar and Hammond solos, a progressive attitude, flowing energy and groove leave a strong mark on all titles. Strange but true, Grup Doğuş definitely found the way to perform those songs of Anatolian pop heritage in a more mind-blowing way compared to originals of their composers or performers such as Barış Manço, Cem Karaca, Üç Hürel, and Selda. The album contains eight songs from the only album of Grup Doğuş. Includes two-page insert in English and Turkish with lots of photos.
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CD
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GB 079CD
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$15.50
PREORDER
RELEASE DATE: 8/30/2019
Slovenian "imaginary folk" instrumental trio return with a kaleidoscopic third album. Handmade and global instrumentation meets fearless sound exploration. There's a sequence in Memoryscapes, a lovely French-made short film, in which Sirom set about fashioning music from a pile of pots, pans, saucepan lids and empty cans of supermarket lager on the kitchen table. The three members of the band -- Ana Kravanja, Samo Kutin, and Iztok Koren, in any order you like for this is a collective endeavor -- are gently fending off any question that attempts to reduce their music to type. "Imaginary folk" is Samo's preferred description, but the word "preferred" is doing some heavy lifting here. The band are more than happy to bust two myths that seem to have grown up in the last couple of years. First, this is not Slovenian traditional (or traditional Slovenian) music. It might be produced from and by each of the three landscapes in which the band were raised -- the Karst, the hills of Tolmin, the eastern plains of Prekmurje -- but unpicking what came from where is an impossible endeavor. That leads you to the second misconception: that Sirom are an improvisational band. For sure, improvisation is an indispensable part of the initial songwriting process; but it's an expression of their collective manner of working rather than any musical statement per se. Keen-eared listeners will hear a continuation of the last song on Clay Snapper (GB 051CD, LP) in the first song of the new record: a nod, perhaps, to the fact that they began work on the new record immediately after the last. But whatever has gone into the music, from the band's home landscapes to their previous and in some cases still current musical projects (classical, hardcore, flatlands post-rock), Sirom sound like no one else. The world of the new record -- A Universe that Roasts Blossoms for a Horse -- is indeed subtly different to that of the last: the viola still teases and tugs at the percussion and the banjo still periodically tries to break free and set up on its own, but there's a glimpse of electricity in "A Pulse Expels Its Brothers and Sisters", courtesy of Samo's homemade tampura brač, more vocals, albeit as unsettling as ever, and a new sense of spaces being pried open.
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LP
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GB 079LP
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$23.00
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RELEASE DATE: 8/30/2019
LP version. 180 gram vinyl; includes download code.
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LP
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OMSD 007LP
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$25.50
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RELEASE DATE: 8/30/2019
Selva Discos present a reissue of Fernando Falcão's album Barracas Barrocas, originally released through Egberto Gismonti's cult record label Carmo in 1987. Somehow, an original copy of this album is even more elusive than its predecessor Memória das Águas (OMSD 006LP) and it is a pity that such a stunning piece of music was kept apart from listeners worldwide for so long. The follow-up to Memória das Águas was recorded in São Paulo after Fernando Falcão returned from his exile in France in 1984. In order to conceive Barracas Barrocas, the musician had the help of illustrious friends, such as singer-songwriter Alceu Valença and singer Tetê Espíndola, alongside brothers Myriam and Daniel Taubkin. At the time, Falcão was still using the sound sculptures he created for Memória das Águas, as he is credited in the liner notes for playing a "water orchestra" and his berimbau variant called balauê. Barracas Barrocas is an album that works as a more condensed and coherent artistic statement of Falcão's oeuvre. Lush strings, swelling brass, glowing production, and humming atmospheres fill the record, adding a beautiful yet subtly linked counterpoint to his previously explosive debut. It is very cinematic, sounding like the soundtrack of a play that only existed in the musician's mind. For this release, not only the sound was remastered but the artwork of Barracas Barrocas was completely and faithfully restored. Also, the reissue comes with unprecedented liner notes featuring rare photos of the musician and his sound sculptures plus an article that tells the story of Fernando Falcão after returning to Brazil following his exile -- a story that has never been told, until now.
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LP
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VAMPI 193LP
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$21.00
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RELEASE DATE: 8/30/2019
Voyage Of Exploration (2012) and Synaptic Beat (2013) established Akron as one of the best sonic and mood explorers out there, achieving an engaging personal sound while carrying on the legacy of greats such as Les Baxter, Delia Derbyshire, Mort Garson, Sun Ra... Free from any scene or genre constraints, Akron managed to combine a myriad of sounds in a completely unique way. Soon after the release of Synaptic Beat, Akron became a quartet in order to perform their music on stage. After a few gigs they recorded an album with the aim to capture the essence of their live set-up. The result, Ritualul Sferei (The Ritual of the Spheres), resembles a pseudo-tribal ceremony that takes place in an inhospitable corner of the universe. It could be a rite from an unknown civilization living in a different planet or an enigmatic earthly celebration from another time (past or future). For five years that recording was put aside and the band's live performances stopped. At last, Ritualul Sferei has been finished and sees the light of day.
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2LP/10"/CD
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BEC 5543732
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$32.00
PREORDER
RELEASE DATE: 8/30/2019
Limited 2019 edition of Clandestino, remastered for the first time. Includes two 180 gram, 12" black Vinyl and a blue 10" (in a dedicated printed inner sleeve) with three new songs: "Bloody Bloody Border", "Roadies Rules", and "Clandestino" featuring Calypso Rose (2019 version). Includes the remastered CD (tracklisting in the same order). Gatefold packaging. Vinyl mastering and lacquers cut by Chris Bellman at Bernie Grundman Mastering Studio.
"The first solo album released by the former frontman of Mano Negra, Clandestino is an enchanting trip through Latin-flavored worldbeat rock, reliant on a potpourri of musical styles from traditional Latin and salsa to dub to rock 'n' roll to French pop to experimental rock to techno... Just about every track has odd sampled bits from what sound like pirate radio-station broadcasts (a possible link to the title). There are so many great ideas on this record that it's difficult to digest in one listen, but multiple plays reveal the great depth of Manu Chao's artistry." --All Music Guide
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SCOB 012LP
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$26.50
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RELEASE DATE: 8/16/2019
LP version. Glasgow-based soundsystem and production unit, Mungo's Hi Fi, announce More Fyah, a stunning collaboration with UK singer and MC, Eva Lazarus. A genre-melding masterpiece, More Fyah traverses between reggae, dub, dancehall, and other bass flavors. Eva seamlessly tackles every track with her unique lyrical flow and wide vocal range, matched by Mungo's infectious signature sound. From the rocksteady relick of "Dub Be Good To Me", the ragga mash-up title track, the summery riddims of "Light As A Feather", featuring London reggae artist Kiko Bun, to the roots sampling "Babylon Raid", featuring Jamaican reggae legend Max Romeo, Mungo's have a sound that is deeply rooted in dub and reggae's lineage, backed by the sharp, sassy, and slick vocals of Eva Lazarus.
Raised out of one of the most musically creative cities in the UK, Mungo's Hi Fi have made a massive contribution to Glasgow's musical story with a respectful nod to Jamaican sound system tradition. Founded in 2000, Mungo's was formed by two like-minded DJs, inspired by the free party scene but following the Jamaican tradition of King Tubby and Jah Shaka. True to reggae/dancehall's DIY ethos, they built their first sound from speakers found in a skip and began producing on an old Atari. They founded the Scotch Bonnet Records label in 2005. Today Mungo's Hi Fi's three DJs, Craig, Doug and Tom play all over the world, assisted by the team at Scotch Bonnet Records: all committed to spreading their philosophy of serious, seismic productions plus easy-going democratic dancehall fun. Highly collaborative, they've worked on remix projects with Leftfield, Coldcut, Submotion Orchestra, Kahn, and Prince Fatty in the UK to Major Lazer in the US and are currently expanding links with East African Records based in Uganda. This is Eva's first full-length album, having recently featured on tracks with Swindle, Zed Bias, Jus Now, and Gentlemans Dub Club. A multi-genre artist, she has been making waves worldwide.
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12"
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PRTL 12008EP
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$14.00
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RELEASE DATE: 8/16/2019
Seventh Seal, originally released in 1988, was the blueprint for what would become the UK dub/roots scene, inspiring many others make bass-heavy dub music with a lean towards Jah Shaka sound system and the likes of Augustus Pablo and King Tubby. Still sounding fresh, this mid-paced stepper (mostly instrumental, apart from an intro from Tena Stelin) features a hypnotic repetitive rhythm features melodica and hints of flute. The original on the Mystic Red Corporation label and has been fetching up to £100 plus on the collectors' market. Sound Iration were made up of Scruff Gilder and Nick Manasseh.
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LP
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VAMPI 197LP
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$25.00
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RELEASE DATE: 8/16/2019
"Cumbias con el Miramar is a very hard-to-find, sought-after album released by Discos Fuentes in 1965. Full of excellent cumbias and gaitas for dancing, the record actually is a lot more diverse than the title leads one to believe, as there are lots of other hot rhythms and arrangements on it, taken from Cuban genres like guajira, guaracha, guaguancó, charanga and son montuno . . . Throughout the album the very simple, spare elemental sound is consistent. The band members at this time included Darío Restrepo (aka 'Guayabita') on piano, Rubén Darío Restrepo ('El Mago') on guitar, Héctor Quintero on saxophone, clarinet, flute, xylophone and vocals, Hugo Gil ('Chamizo') behind the drum set as well as on tumbadora (conga) and vocals, with Hernán Builes being the band's director and bassist (and occasional accordionist) . . . Soon afterCumbias con el Miramar was released, Builes reformatted the line-up and instrumentation, updating the sound to reflect recent developments in Caracas, San Juan and New York, adding vibraphone in the fashion of The Joe Cuba Sextet , renaming the group Sexteto Miramar and debuting the groundbreaking album ¡Salsa! Mi Hermana . . . Interestingly, Cumbias con el Miramar contains superior versions of 'Cumbia del sol' -- arguably one of the band's most famous and internationally influential songs -- and 'Lelogua', both of which had also been recorded earlier for their Zeida LP. In addition, several other tunes from the record -- 'Cumbia loca', 'Cumbia de estrellas', and 'Noche y cumbia' -- have been popular among DJs, 'sonideros' and dancers for 50 years. But while these cumbias form the backbone of the album and situate it firmly in the folklore of the band's native Colombia, the LP's Cuban-styled songs like 'Mensaje guajiro' and 'Lelogua' point to the other obsession of Colombian audiences, namely that of Afro-Antillean music (that would be marketed as 'salsa' in the following decade). The album offers us a fascinating snapshot of a pivotal period in Colombian music when outside influences (such as salsa from New York) and the wildly popular phenomenon of so-called 'raspa' or 'chucu-chucu' cumbia groups from the interior (described as 'paisa', i.e. not from the Afro-Colombian coastal regions where cumbia began) were initiating a transition from the old sound (and generation) to the new..." Pablo Iglesias, aka DJ Bongohead First ever reissue. Part of Vampisoul's reissue series of classic Fuentes LPs. Presented in facsimile artwork and pressed on 180 gram vinyl.
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CD
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BL 003CD
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$19.50
PREORDER
RELEASE DATE: 8/16/2019
You might know Carwyn from other projects like Colorama, Bendith (Welsh dreamy folk), or Zarelli (hauntologic electronic). Or maybe you might be familiar with him because he collaborates with pop superstars and universal references like Edwyn Collins, The Pretenders, Oasis, or Saint Etienne. Or maybe you don't know him at all, so far, because Ellis is one of those musicians that does not feel self-important, that is not under the spotlight but that is praised by other musicians and everyone wants to collaborate with. His diverse personal projects are a sample of his passionate love for the music with no borders of any kind. He is hard to label, and transforms his skin in each new record. Almost in every song. He records the albums that he feels like doing whenever he feels like doing them, and with the sound and the people that stand out for him in that moment. Most of his songs are sung in Welsh, his mother language, but his music is timeless and universal. Carwyn always approaches the global by the local. It isn't a coincidence that precisely now he has decided to take the plunge and go to Rio de Janeiro to record, along with two distinguished crazy local artists like Domenico Lancellotti and Kassin, his most colorful record. Joia!, in which he presents his new band Carwyn Ellis & Rio 18, is a non-explicit plea against the Brexit. Against any Brexits taking place right now any way or another in this world shocked by the continuous transformations and fears that they lead to. Pretty sure that Lancellotti or Kassin might say that it is an anti-Bolsonaro record. However, Carwyn and his fellows in Rio 18 prefer to do a cheerful and positive record, like almost all the south American music it is inspire in, to celebrate that those changes, that definitely marks an era, boosts and eases the fact that a musician from Cardiff is able to record an album with musicians from the other side of the world, and make it halfway between Rio and London with the invaluable help from another top musician, like Shawn Lee.
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CACK 025LP
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$26.50
PREORDER
RELEASE DATE: 8/16/2019
Cehennem is the first-ever collection of the highly sought after and largely previously unheard EMS Synthi AKS recordings of Gökçen Kaynatan, one of Turkish pop and rock's best kept secrets. A key figure during the birth of Turkish rock and roll, a founding father of Anatolian rock and the studio brains behind the first Turkish electronic pop records, Kaynatan's influence runs like the lifeblood through Turkish pop and rock. Having shunned the recording industry early in his career, he remained a driving force behind the scenes and on TV screens, spearheading the explosion of synth technology in Turkish music with his pioneering use of the EMS Synthi AKS, the fruits of which would only be shared on stage, never to be repeated television broadcasts, and in archival recordings that haven't seen the light of day until now. Having chanced upon the newly released EMS Synthi AKS in 1972 during a sabbatical in Cologne, Gökçen undertook six months of tuition in order to fully explore every intricacy of the highly versatile portable modular analog synthesizer. As the beating heart of his now self-sufficient custom-built studio it would propel Gökçen's forward-thinking aural ambitions to a new plane. Making his first entirely synthesizer-based public performances in Germany in 1974, he then returned to his homeland to soundtrack the dawn of the Turkish television age as in-house composer and one-man house band for Turkey's first TV channel TRT, signaling the arrival of a new era in Turkish pop and rock. Increasingly dogged by ill health, Gökçen privately harnessed the Synthi to channel his suffering caused by what would later be diagnosed as a brain tumor, dutifully recording and archiving his studio experiments, which would remain in the proverbial can for over 40 years. With unparalleled access to Gökçen's closely guarded private vault, Finders Keepers Records presents another first with this previously unheard collection of EMS Synthi AKS recordings that represent a vital yet hitherto missing thread in the development of modern Turkish music. Recorded between 1973-75, this modest compendium comprises two of Gökçen's earliest synthesizer compositions and an updated recording made whilst recovering from brain surgery -- arguably some the earliest Turkish synthesizer music committed to magnetic tape, further cementing Gökçen's indelible legacy within Turkish popular culture. Cehennem was mastered from the original quarter inch studio tapes with full cooperation from the man himself.
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VAMPI 198LP
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$25.00
PREORDER
RELEASE DATE: 8/16/2019
"Colombia spawned several big band tropical orchestras in the 1930s and 40s, perhaps the most famous being those of Lucho Bermúdez, Pacho Galán, Edmundo Arias, Pedro Laza, and Crescencio Camacho. Their wall of sound combining a battery of brass, woodwinds and reeds, multiple vocalists and prominent percussion was overwhelming and eventually became all the rage with middle- and upper-class audiences from the dance hall to the hotel ballroom, from the Victrola to the radio. This formula was a match made in heaven, combining elements of the big urban swing jazz bands of the USA with the typical rhythms of Colombia's tropical coastal regions and other Caribbean locales like Cuba and Puerto Rico. Into this scene came Rafael 'Lito' Barrientos (1915-2008), an orchestra leader and trombonist originally from Armenia, El Salvador who began by playing the marimba salvadoreña in a 'costumbrista' folkloric band in his home country, but who soon took up the trombone and the conductor's baton and eventually found international success by adopting, and adapting, the previously mentioned big band tropical format. Having founded his orchestra in 1945. Barrientos traveled throughout North, Central and South America, picking up influences and musicians along the way, staying for a fruitful period in Colombia, where he recorded the extremely popular LP Very Very Well for Medellín's Discos Fuentes in 1965, following that up with Ritmos Costeños (released by Fuentes as well), but debuted in Colombia some time earlier with Pimienta on the Barranquilla-based Tropical label. Significantly, Barrientos was the composer of that perennially popular classic of tropical music, 'Cumbia en do menor' (Very Very Well contains the definitive version) and if he had achieved nothing else, this accomplishment might perhaps have been enough to enshrine him in the annals of cumbia history forever. But the award-winning Barrientos also composed hits such as 'Son guanaco' and 'Pájaro picón' and frequently experimented with new sounds, never dedicating himself solely to the cumbia . . . While in Colombia in the mid-1960s, he found great success with his assimilation of styles like cumbia and porro, but also included Cuban charanga, Puerto Rican bomba and Mexican corrido in his repertoire, making for a very diverse selection of moods and flavors, a recipe that was sure to satisfy the eclectic tastes of his international audiences..." --Pablo Yglesias, aka DJ Bongohead Part of Vampisoul's reissue series of classic Fuentes LPs. Presented in facsimile artwork and pressed on 180 gram vinyl.
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SCOB 012CD
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$17.50
PREORDER
RELEASE DATE: 8/16/2019
Glasgow-based soundsystem and production unit, Mungo's Hi Fi, announce More Fyah, a stunning collaboration with UK singer and MC, Eva Lazarus. A genre-melding masterpiece, More Fyah traverses between reggae, dub, dancehall, and other bass flavors. Eva seamlessly tackles every track with her unique lyrical flow and wide vocal range, matched by Mungo's infectious signature sound. From the rocksteady relick of "Dub Be Good To Me", the ragga mash-up title track, the summery riddims of "Light As A Feather", featuring London reggae artist Kiko Bun, to the roots sampling "Babylon Raid", featuring Jamaican reggae legend Max Romeo, Mungo's have a sound that is deeply rooted in dub and reggae's lineage, backed by the sharp, sassy, and slick vocals of Eva Lazarus.
Raised out of one of the most musically creative cities in the UK, Mungo's Hi Fi have made a massive contribution to Glasgow's musical story with a respectful nod to Jamaican sound system tradition. Founded in 2000, Mungo's was formed by two like-minded DJs, inspired by the free party scene but following the Jamaican tradition of King Tubby and Jah Shaka. True to reggae/dancehall's DIY ethos, they built their first sound from speakers found in a skip and began producing on an old Atari. They founded the Scotch Bonnet Records label in 2005. Today Mungo's Hi Fi's three DJs, Craig, Doug and Tom play all over the world, assisted by the team at Scotch Bonnet Records: all committed to spreading their philosophy of serious, seismic productions plus easy-going democratic dancehall fun. Highly collaborative, they've worked on remix projects with Leftfield, Coldcut, Submotion Orchestra, Kahn, and Prince Fatty in the UK to Major Lazer in the US and are currently expanding links with East African Records based in Uganda. This is Eva's first full-length album, having recently featured on tracks with Swindle, Zed Bias, Jus Now, and Gentlemans Dub Club. A multi-genre artist, she has been making waves worldwide.
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SNDW 040LP
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$23.00
PREORDER
RELEASE DATE: 8/16/2019
2019 repress. Soundway present a reissue of Rob's second album for the first-time outside Ghana, originally released in 1978. Rob was an enigmatic recording artist from Ghana who cut two albums for the legendary Essiebons label in 1977. Neither of these were big domestic hits at the time and have since become prized amongst collectors in recent years. The title track from this LP was always one of the most popular on the first Soundway release Ghana Soundz (SNDW 001LP, 2008) and over the years the label has been asked many times to reissue the LP in its entirety. A stranger, slower offering than his more dancefloor funk-laden and Spartan first LP, this record sees Rob in similar territory but with the tempo switched down and the introspection turned up. Rob's trademark horns dominate and are supplied by the Mag-2, an army band founded by leader Amponsah Rockson, who named it after the army unit the band played for the "magnificent" second battalion. In 1977, Rob traveled to the coastal town of Takoradi in search of Mag-2, which had an entire section of its line-up dedicated to horns, with the intension of laying out his proposal to them. Luckily for Rob, the band took him up on it. With religious overtones and a broody, slightly off-key atmosphere at points it's certainly one of the stranger Afro-funk records to come out of West Africa but with tracks like "Loose Up Yourself" and "Make it Fast, Make it Slow" -- it's a unique gem that warrants repeat listening.
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LP
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BL 003LP
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$29.00
PREORDER
RELEASE DATE: 8/16/2019
LP version. You might know Carwyn from other projects like Colorama, Bendith (Welsh dreamy folk), or Zarelli (hauntologic electronic). Or maybe you might be familiar with him because he collaborates with pop superstars and universal references like Edwyn Collins, The Pretenders, Oasis, or Saint Etienne. Or maybe you don't know him at all, so far, because Ellis is one of those musicians that does not feel self-important, that is not under the spotlight but that is praised by other musicians and everyone wants to collaborate with. His diverse personal projects are a sample of his passionate love for the music with no borders of any kind. He is hard to label, and transforms his skin in each new record. Almost in every song. He records the albums that he feels like doing whenever he feels like doing them, and with the sound and the people that stand out for him in that moment. Most of his songs are sung in Welsh, his mother language, but his music is timeless and universal. Carwyn always approaches the global by the local. It isn't a coincidence that precisely now he has decided to take the plunge and go to Rio de Janeiro to record, along with two distinguished crazy local artists like Domenico Lancellotti and Kassin, his most colorful record. Joia!, in which he presents his new band Carwyn Ellis & Rio 18, is a non-explicit plea against the Brexit. Against any Brexits taking place right now any way or another in this world shocked by the continuous transformations and fears that they lead to. Pretty sure that Lancellotti or Kassin might say that it is an anti-Bolsonaro record. However, Carwyn and his fellows in Rio 18 prefer to do a cheerful and positive record, like almost all the south American music it is inspire in, to celebrate that those changes, that definitely marks an era, boosts and eases the fact that a musician from Cardiff is able to record an album with musicians from the other side of the world, and make it halfway between Rio and London with the invaluable help from another top musician, like Shawn Lee.
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OMSD 006LP
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$25.50
PREORDER
RELEASE DATE: 8/16/2019
Selva Discos present a reissue sought-after Memória das Águas album by Fernando Falcão. Originally recorded in 1979 in Paris but only released independently in Brazil in 1981, the album comes complete with genre-hopping explorations that swirl around ambient soundscapes, lively jazz, experimental-leanings, Afro-rhythms, and a unique blend of Latin grooves and French pop with a Brazilian accent, but it also comes with a story as deeply unique as the music. To make a long story short, after participating in the political movements against the military regime in 1968 in Brazil, Fernando Falcão left the country and moved to France, where he lived in exile for 15 years. There, after working in music, acting, and sculpting, he involved himself in Jérôme Savary's legendary Grand Magic Circus, where he met his first wife, Valérie Kling. It was from this relationship that a partnership began between the musician and his father-in-law, the artist François-Xavier Lalanne, who guided Falcão in the process of inventing sound sculptures such as the balauê -- a horizontal version of the berimbau string instrument whose sound was influenced by a water stream (since there was a hose soaking parts of the balauê wet during the performances). Much of this exploration and experimentation resulted in the album Memória das Águas. The album still sounds like little else from the time. As audacious and experimental as it is seamlessly listenable, it takes in immersive textures one moment before breaking out into Fela Kuti-esque brass-soaked grooves the next. It's ultimately a record that captures the spirit and rhythm of Falcão's homeland combined with the lush production and art-pop approach associated with his exiled home; It's a polished, well executed and glistening record. It's a fusion of African, Brazilian, jazz, pop, classical and avant-garde collides to create a record that spans as many continents as it does genres. Remastered from the original master tapes, completely and faithfully restored. Includes unprecedented liner notes featuring rare photos of the musician and his sound sculptures plus articles, including one from DJ and selector John Gómez who helped to connect Selva Discos' Augusto Olivani with Diana Lion, Fernando Falcão's daughter (since the musician died in 2002), for this project.
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CT 114LP
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Originally released in 1981. Landmark dub record from legendary reggae producer Lee "Scratch" Perry, using a combination of established collaborators and new musicians: The Upsetters, Johnny Lover & The Towerchanters, Lee & The Blue Bell, Val Bennett, Brad Osbourne & The Towerchanters, Devion Iron, The Black Arks, and Ricky And Bunny.
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KSCD 083CD
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$12.50
PREORDER
RELEASE DATE: 8/2/2019
The period of 1967-1968 when rocksteady was in full flow, would also be a turning point for Bunny "Striker" Lee, when he became a producer in his own right. Many of the great tunes during this eventful year came out of his stable and initially saw the light of day on his own imprint label "Lee's". Jumping With Mr. Lee has been assembled from some of those fine tunes and tells the story of reggae in what was a stellar time for both reggae and Mr Bunny Lee. Edward "Bunny" Lee, later to become known as "Striker", got his introduction to the music business around 1962 when his future brother in law singer Derrick Morgan introduced Bunny to producer Duke Reid, who gave him a job as record plugger for his Treasure Isle label. 1966 saw Bunny Lee move on to working for producer Ken Lack who ran his own label Caltone. As stated earlier, by 1967 Bunny Lee was leading the way and his vast stable of singers, were producing hit after hit for him -- many of those artists are featured on this compilation. The Sensations' "Long Time Me No See You Girl", The Uniques which featured the great Slim Smith are here on some of their greatest cuts "Love and Devotion", "The Beatitude", and "Girls Like Dirt". "My Conversation", a song that would be a big hit for the Uniques, would also go on to be of the most covered songs and redone over rhythms, in the history of reggae music. The great singer Pat Kelly features on "Somebody's Baby" and "Little Boy Blue" all massive hits, when originally released. Bunny's love of jazz and the brass sections would also shine through with some of Jamaica's finest musicians featured here with the excellent tenor sax work of Val Bennett which provided the album title track "Jumping With Mr Lee" and "Jumping With Val". The alto sax work of Lester Sterling is featured on the timeless cut "Bangerang" and "Tribute To Scratch". The big sound of trombonist Vin Gordon features on "Sounds And Soul". Not forgetting the previously mentioned king of ska Derrick Morgan on "Hold Your Jack", a song that in a few years' time would provide the backbone for Mr Max Romeo's cross over and controversial hit "Wet Dream". A fine collection of tracks from the great producer Bunny "Striker" Lee. Also features Winston "Stranger" Cole, Pat Kelly, and Ken Parker. CD version includes four tracks featuring Slim Smith and The Uniques, Roy Shirley, Webber Sisters, and Glen Adams.
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