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Search Result for Genre WORLD
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LP
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BEWITH 084LP
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$29.00
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RELEASE DATE: 10/16/2020
Be With Records reissue Caiphus Semenya's Listen To The Wind, originally released in 1982. Caiphus Semenya, AKA Mr Letta Mbulu, is a South African legend, and Listen To The Wind, his iconic debut album, is simply a superb modern-soul/boogie album. Now a revered composer, musician, and arranger, Caiphus left apartheid South Africa in the '60s for self-imposed exile in Southern California together with his wife, Letta Mbulu. Settling in Los Angeles he started working with the likes of Hugh Masekela and Miriam Makeba and other exiled and semi-exiled South African artists, as well as, of course, his wife Letta. Caiphus also found himself working with and composing for a broad range of jazz and pop artists, including Lou Rawls, Nina Simone, and Cannonball Adderley. His facility with both jazz and African forms served him well. His LA stay was also the beginning of an ongoing collaboration with Quincy Jones, the fruits of which can be tasted in Caiphus's African compositions for the scores to Roots (1977) and Spielberg's adaptation of The Color Purple (1985). Listen To The Wind is a deeply impressive synthesis of early '80s US production and instrumentation together with his traditional South African musical roots. There are elements of boogie, soul, funk, and jazz, all shot through with pan-African flavor, and moving effortlessly from up-tempo floor fillers to more meditative, slower soulful tracks. Produced by Caiphus himself, he makes full use of a stellar line-up of session musicians including Nathan East, Michael Stanton, Sonny Burke, and Paulinho DaCosta. And of course, there are Letta's show-stopping vocals. Opener "Angelina" is a breezy, feel-good SA boogie-funk classic, harmonic and horn heavy. It's followed by the gentle reggae lilt of "Play With Fire". A real melodic slo-mo delight, carried by the tropical vibes and, above all else, by the extraordinary performance of Caiphus himself and his backing singers. Closing out side one, the spectacular "Umoya" is driven by triumphant horns and slick bass, with proto-Graceland vibes. Caiphus trades verses with the unmistakable tones of Letta, and it sounds divine. Elegantly firing up side two is perhaps the album's best-known track. "Without You" is a heavenly slice of modern soul, smooth strutting, disco-fied funk with that unmistakably South African sound. "Ziph'inkomo" is a soul-soothing, swooning epic. The irresistible groove of frantic, percussive workout "Gumba Boogie" closes out what must surely be one of the greatest artistic statements of the 1980s. Mastered by Simon Francis. Faithfully restored cover art.
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BEWITH 086LP
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$29.00
PREORDER
RELEASE DATE: 10/16/2020
Be With Records reissue Caiphus Semenya's Streams Today... Rivers Tomorrow, originally released in 1984. Caiphus Semenya, AKA Mr Letta Mbulu, is a South African legend, and Listen To The Wind, his second solo album, is perfect. Now a revered composer, musician, and arranger, Caiphus left apartheid South Africa in the '60s for self-imposed exile in Southern California together with his wife, Letta Mbulu. Settling in Los Angeles he started working with the likes of Hugh Masekela and Miriam Makeba and other exiled and semi-exiled South African artists, as well as, of course, his wife Letta. Caiphus also found himself working with and composing for a broad range of jazz and pop artists, including Lou Rawls, Nina Simone, and Cannonball Adderley. His facility with both jazz and African forms served him well. His LA stay was also the beginning of an ongoing collaboration with Quincy Jones, the fruits of which can be tasted in Caiphus's African compositions for the scores to Roots (1977) and Spielberg's adaptation of The Color Purple (1985). Streams Today... Rivers Tomorrow is not just a musical masterpiece, it is also the soundtrack to the life of many South Africans. It fuses US-heavy sounds of boogie, disco, and funk with Afrobeat and traditional African elements. Jabu Nkosi handles keyboards on the album, with synths by Caiphus and Craig Harris. Sipho Gumede is on bass and Condry Ziqubu is on guitars. The Afro-Cuban grooves of "Mamase" continues where Listen To The Wind (BEWITH 084LP) left off, another horn-heavy call-and-response ode to a positive life. It's followed by "Aida," with gleeful, dayglow keys and synths on the right side of mid-80s sleaze are accompanied by a killer bassline, slick, skipping drums, and proud horns. The tempo is taken down a few notches for the powerful "Nomalanga" and the lamentations of a heartbroken man who must leave his wife Nomalanga and their children to join the fight against apartheid. Breezy drums and contemplative keys act as a backdrop for the stunning backing vocal harmonies in the intro of "Moshanyana". "Dial Your Number" is an up-tempo English-language boogie-funk workout, complete with mid-song cutaway to a random telephone call. The brilliant "Matswale" was a hit in South Africa in the mid-80s -- it is some damn fine breezy, beautiful, emotional pop. The ferocious "Ndi-Kulindile," with hard-edged, electro-influenced drum patterns and a bouncing, elastic bassline is something of a departure from the album's sound. Mastered by Simon Francis.
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CD
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GB 097CD
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$15.50
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RELEASE DATE: 10/9/2020
Following his critically acclaimed debut, God Is Not a Terrorist (GB 067CD/LP, 2019), 49-note scale microtonal vocal master Ustad Saami returns with an epic part two. Pakistan Is for the Peaceful presents an even more immersive work, comprised of just three extended tracks and again produced 100% live at the master's rooftop home in Karachi by Grammy-winner Ian Brennan, with musical accompaniment provided by Ustad's four sons: Rauf (group leader, harmonium, vocals), Urooj (primary response vocalist, tambura number one), Ahmed (tambura number two, vocals), and Azeem (tablas, vocals). Ustad Saami is the last living surti master, a precursor of the ancient Islamic devotional music of qawwali. Despite being under constant threat from Islamic fundamentalists, the master has spent his life as a dedicated practitioner of a vanishing art -- one that has been passed on from generation to generation since the 13th century. The seventh release from Glitterbeat's acclaimed Hidden Musics series.
"At age seventy-six, Ustad still practices from 4 AM to noon most days, drilling himself with exercises. Though his physical hearing has declined and he requires in-ear aids for daily communication, his powers of perception continue to rise. As a child, he was the chosen one from his family and his master forbade him to speak for years. During this period, he was only allowed to express himself vocally, not verbally. He studied for 35 years to perfect this system before he ever even stepped onstage. It was the same trajectory as puff pop-stars, only inverted -- they start performing prematurely and get even more flaccid over time. Instead, Ustad explores the subtlety of human emotion through microtones, an attempt to turn "negatives positive" through the reclamation of those tones deemed out-of-tune. Following Saami's debut album, a World Music expert in Los Angeles was flummoxed that she could not find any reference to the master's system on the internet. Ironically, this absence of reference actually stands as proof rather than refuting his rarity. It cannot be found elsewhere precisely because it is his system -- a customized work of recovery -- with Ustad the only living vocal practitioner." --Ian Brennan
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12"
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NOAJ 007EP
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$14.50
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RELEASE DATE: 9/25/2020
Originally released in 1984. Manoel Germano Filho (better known as Germannu) started his foray into education by following in his family's footsteps, earning his agronomy degree at the Federal University of Viçosa in the state of Minas Gerais. Yet it was music rather than soil that held his heart, and after a chance meeting with Milton Nascimento, one of Brazil's biggest musical icons -- both back then and today -- he threw himself into the Minas music scene, burgeoned as it was by student movements and local music festivals. In 1984, Manoel, now Germannu, met the composer, arranger, vocalist, and guitarist Jorge "Jóia" Olímpio at a show in Linhares, and a month later threw caution to the wind, moved to Rio and found himself crashing at Jorge's house while putting down his roots. Over the following days and weeks, the recording of Germannu's debut LP began in earnest, starting with his songs "Lavoura", "Fale De Mim", and "Hei De Amar". Jorge's help was crucial. Although Germannu had certain melodies in mind and chord structures around which he wanted to build the songs, he hadn't yet developed how the melodies would play out, nor decided how exactly the chord sequences would go. The pre-production was done at Jorge's home, before they moved over to the now-defunct Estúdio Rio near the Laranjeiras viaduct to flesh things out. Jorge Jóia called on his contacts and brought in musicians he was sure would work, including a bassist and former bandmate named Borjalo, with whom he had previously played with in a band that was put together by the legendary organ player, Lafayette. Drummer, Paulinho Black (ex-Banda Black Rio), and pianist, Moisés Pedrosa, were also part of the team, as was the fabulous Jorge Cardozo -- who transcribed Jorge Jóia's arrangements. 180 gram vinyl; Old School Tip On cover; includes download card.
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CD
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MAIS 039CD
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$12.50
PREORDER
RELEASE DATE: 9/25/2020
On Rastilho, Kiko Dinucci absorbs the lineage of Brazilian guitarists such as Dorival Caymmi, João Gilberto, Baden Powell, Jorge Ben, and Gilberto Gil -- yet filtered through his uniquely "punk" musical vision. His style is raw -- technically, he seems to attack the guitar strings, lyrically he explores Afro-Brazilian culture, slavery, Brazilian revolutionaries, candomblé, and evangelical Christianity. Dinucci is one the most innovative artists in contemporary Brazilian music -- as well as a member of Metá Metá, who combine elements of Brazilian music, candomblé, punk rock, and free jazz, he has worked with Tom Zé, Criolo, and Elza Soares. Kiko: "I've wanted to make an album dedicated to the guitar for a long time. As a child, I treated it as a toy. In my teens, with my guitar patched with pieces of sellotape, I tried to reproduce heavy rock riffs whilst finding inspiration in the Afro works of Baden Powell and guitars of Dorival Caymmi, João Bosco, Jorge Ben and Gilberto Gil. In the '90s my experience in the São Paulo hardcore scene was mirrored by time spent in candomblé activities -- both shaped the way I play guitar today." Featured as one of Pitchfork's "Great Records You May Have Missed: Winter 2020". Previously only available in Brazil. CD version includes two additional songs.
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7"
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VAMPI 45073EP
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$12.50
PREORDER
RELEASE DATE: 9/25/2020
The ION studios, located in the Buenos Aires neighborhood of Balvanera, have been the usual setting for recordings by Argentine artists as popular as Les Luthiers or Charly García. In the early 1970s they also hosted Brazilian guitarist Sebastião Tapajos for several sessions accompanied by other musicians such as Arnaldo Henriques, Maria Nazareth, or Pedro "Sorongo" Dos Santos. Two albums and one single would be published in the Argentine record label Trova of the recordings along with the latter. After the great acclaim of our recent reissue of their second album from those sessions, with the killer dancefloor tune "Tornei A Caminhar", Vampisoul present this perfect follow-up that includes the exclusive "Tudo É Moda", an amazing samba funk number previously only available on a rare 7" released by Trova at the time. A great club tune for discerning DJs and a delight for the dancers! On the flip, "Sorongaio" shows the connection between the delicate guitar of Tapajos and the surprising experimental percussion of Pedro Dos Santos, with some flute touches (most likely played by Danilo Caymmi). A beautiful add-on to the much-hailed Pedro Dos Santos album Krishnanda (1968) in the collection of anyone with an interest in the most adventurous sounds of Brazil and also an essential work in the discography of Sebastião Tapajos.
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LP
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VAMPI 221LP
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$26.50
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RELEASE DATE: 9/25/2020
"At the age of 24, Juan Piña formed the eight-piece La Revelación with his brother Carlos, releasing their first album in 1975 on Discos Zeida. This self-titled debut LP of Piña with his group is something of an anomaly in his discography as subsequent albums would feature a different sound and concentrated almost exclusively on Colombian coastal Caribbean and 'sabanero' genres. Although Juan Piña's debut record never made much of a splash, it is an excellent little slice of Colombian mid-70s madness, with a very diverse sound. An interesting and joyful sounding mix of New York style salsa, Cuban son montuno, and guajira with Colombian tropical flavors, the simple, spare arrangements featured electric guitar, piano, Latin percussion, two trumpets, occasional sax, and Juan sang lead while Carlos backed him on chorus. It also sounds like Joe Arroyo may have done 'coro' chores on Juan Piña Con La Revelación (Arroyo was a very close friend of Juan and sang chorus on several Revelación albums). This album is hard to find in the original edition, but collectors in the know treasure it for its two hot salsa tunes ('Negro Con Salsa' and 'Chana', both written by famous Chocoano composer and vocalist Alfonso Córdoba 'El Brujo') as well as producer Rafael Mejia's salsa guajira 'Hogar Campesino' and the genius rendition of the Peruvian classic 'Virgines Del Sol'. A beautiful and mature sounding work for the relatively young Juan Piña and his crew, and well-worth rediscovery by today's Colombian music enthusiasts." --Pablo E Yglesias (DJ Bongohead of Peace & Rhythm) First-time reissue. Pressed on 180 gram vinyl and presented in its original artwork.
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LP + 7"
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MAIS 039LP
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$23.50
PREORDER
RELEASE DATE: 9/25/2020
LP version. Includes 7". On Rastilho, Kiko Dinucci absorbs the lineage of Brazilian guitarists such as Dorival Caymmi, João Gilberto, Baden Powell, Jorge Ben, and Gilberto Gil -- yet filtered through his uniquely "punk" musical vision. His style is raw -- technically, he seems to attack the guitar strings, lyrically he explores Afro-Brazilian culture, slavery, Brazilian revolutionaries, candomblé, and evangelical Christianity. Dinucci is one the most innovative artists in contemporary Brazilian music -- as well as a member of Metá Metá, who combine elements of Brazilian music, candomblé, punk rock, and free jazz, he has worked with Tom Zé, Criolo, and Elza Soares. Kiko: "I've wanted to make an album dedicated to the guitar for a long time. As a child, I treated it as a toy. In my teens, with my guitar patched with pieces of sellotape, I tried to reproduce heavy rock riffs whilst finding inspiration in the Afro works of Baden Powell and guitars of Dorival Caymmi, João Bosco, Jorge Ben and Gilberto Gil. In the '90s my experience in the São Paulo hardcore scene was mirrored by time spent in candomblé activities -- both shaped the way I play guitar today." Features Juçara Marçal. Featured as one of Pitchfork's "Great Records You May Have Missed: Winter 2020". Previously only available in Brazil. Includes 7" with three additional tracks, one of which exclusive to the 7".
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LP
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MR 408LP
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$34.00
PREORDER
RELEASE DATE: 9/25/2020
The group Modificación is a prime example of what '70s underground and prog rock meant on the Valencia scene. Bands encountered a series of obstacles when making their much freer and more versatile music, which was demanded by the international planet rock. These hurdles varied from the serious difficulty of recording modern and innovative records, impositions by the record label and frequent desertion by band members to pursue interests that were more professional than artistic. The group's origins date back to early 1969, in Valencia's Ruzafa neighbourhood, with an average age of around 16 among its founding members. They adopted the name Modificación, an intriguing name that flagged up their creative intentions and interest in underground sounds, under the influence of bands like Grand Funk Railroad, Iron Butterfly, Vanilla Fudge, Rare Earth, Led Zeppelin... While the bulk of the Valencia rock scene revolved around modest groups making commercial music for dance halls, mostly versions of contemporary hits, they wrote their own songs from day one and set the bar high with daily rehearsals, aiming to perform to perfection. The band's luck seemed to change at a show with the Catalan group Lone Star. Pedro Gené (leader and vocalist of Lone Star) suggested Modificación record a single for the biggest record label in Spain: EMI. "Llegará el día que me quieras" (1971) was a major debut that also brought the arrival of a new vocalist, Juan Bau. Modificación's second record adventure was with the small Madrid label La Corrida in 1972, set up by Félix Arribas and Juan Jiménez, members of the famous Spanish band Los Pekenikes. They would release a couple of singles recorded at the Audiofilm studios in Madrid under the influence of glam, Californian and soft-rock style, international trends at the time. The now legendary freakbeat number "Across The Time" was crafted during these sessions and has become one of the most admired and sought-after singles of Spanish music. This LP brings together all the songs comprised in their three published singles as well as the remaining unreleased recordings from those 1972 sessions in Madrid. An accomplished portrait of one of the most legendary Spanish underground bands from that period whose fans, unable to find the elusive -and now very expensive records, were crying out for an urgent reissue of their work. Extensive liner notes by the renowned specialist Vicente Fabuel and previously unseen pictures have been included here.
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7"
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VAMPI 45072EP
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$12.50
PREORDER
RELEASE DATE: 9/25/2020
Many music fans will remember Jimmy Salcedo due to his wonderful work as arranger and producer with the duo Elia and Elizabeth. The celebrated anthology La Onda de Elia y Elizabeth (VAMPI 160CD/LP) made half the world aware of a handful of lost pearls in Latin America's underrated pop music history. Their delicate songwriting acquired, after his treatment, a special tropical aroma that even included the funk influences received by Salcedo at that time. Jimmy Salcedo (Barranquilla, Colombia) was a talented and charismatic musician from the bohemian and jazz scene in Bogotá. After touring some time with Los Be-Bops, his first band, he founded a new group, La Onda Tres. His increasing popularity boosted after conducting a TV show of musical and comedy content: El show de Jimmy. He released with his band, La Onda Tres, a few LPs and singles on Famoso, a Codiscos sublabel, that had a limited distribution, mainly in Colombia only. Here are two songs from the mid-70s that seem to have been conceived to round off a perfect dancefloor-oriented 45. "Maraguango" is an irresistible mix of Afro-Latin percussion and catchy tropical harmonies spiced up with Moog keyboard sounds, fuzz and wah-wah guitars and even touches of Hammond, in a psychedelic funk style. On the flip, "Moogambo" is an exhilarating Moog-driven instrumental with a heavy Afro-funk rhythm that could have easily been recorded by any of the many solid Afro-American bands following the teachings of James Brown, George Clinton, or The Meters at the time. This song has never been available on a single before. Both songs are reissued here for the first time, acknowledging the undisputed genius of Jimmy Salcedo.
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LP + 7"
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MAIS 039C-LP
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$25.50
PREORDER
RELEASE DATE: 9/25/2020
LP version. Includes 7". Orange vinyl. On Rastilho, Kiko Dinucci absorbs the lineage of Brazilian guitarists such as Dorival Caymmi, João Gilberto, Baden Powell, Jorge Ben, and Gilberto Gil -- yet filtered through his uniquely "punk" musical vision. His style is raw -- technically, he seems to attack the guitar strings, lyrically he explores Afro-Brazilian culture, slavery, Brazilian revolutionaries, candomblé, and evangelical Christianity. Dinucci is one the most innovative artists in contemporary Brazilian music -- as well as a member of Metá Metá, who combine elements of Brazilian music, candomblé, punk rock, and free jazz, he has worked with Tom Zé, Criolo, and Elza Soares. Kiko: "I've wanted to make an album dedicated to the guitar for a long time. As a child, I treated it as a toy. In my teens, with my guitar patched with pieces of sellotape, I tried to reproduce heavy rock riffs whilst finding inspiration in the Afro works of Baden Powell and guitars of Dorival Caymmi, João Bosco, Jorge Ben and Gilberto Gil. In the '90s my experience in the São Paulo hardcore scene was mirrored by time spent in candomblé activities -- both shaped the way I play guitar today." Features Juçara Marçal. Featured as one of Pitchfork's "Great Records You May Have Missed: Winter 2020". Previously only available in Brazil. Includes 7" with three additional tracks, one of which exclusive to the 7".
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3LP
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OTCR 010LP
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$27.50
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RELEASE DATE: 9/18/2020
On The Corner Records goes beyond being a record label. It is a story of innovative artists from hotbeds of ancient-future music across the globe. This Door To The Cosmos compilation is the label's tenth full release (and an eclectic array of 20 EPs). OtC's rawkus sonic explorations are brought to the fore via 24 tracks making a heady blend of label mainstays and fresh family recruits. The label is an inimitable mixture of Miles Davis's "call it what you want" attitude, the Afro-centric futurism of Sun Ra and the evolving electronic frontier where black music kicks it to the dancefloor. Door To The Cosmos expresses On The Corner's adventure; future sounds referencing the source, be it Detroit, UK bass culture, New Orleans, or the Niger delta. The title riffs off of the otherworldly, Afro futurist jazzer Sun Ra's infamous chant "dare to knock at the door to the cosmos." Sun Ra's sound and narrative bending inspires us to kick at the rules and push at the infinite, the ecstatic and the unknown through music by knock, knock, knocking at the door to the cosmos. The compilation is the first outing for a new raft of artists who are celebrated by the label and welcomed to a creative space brimming with the tales of unsung pioneers of the past and champion sonic explorers of the future. Gatefold sleeves; printed inner sleeves. Features Azu Tiwaline, Cinna Peyghamy, Khalab, DNGDNGDNG, Quixosis, JD Twitch, BKCLX, Edrix Puzzle, Don Korto, Rebecca Vasmant, Uffe, Planet Battagon, Clive from Accounts, Jose Marquez, Guedra Guedra presents Taxi Kabir, Tamar Collocutor V, Ariwo, Batida, Karlon, Petwo Evans, Dengue Dengue Dengue, Nicola Cruz, Sunken Cages, Iyer, Babani Soundsystem, Collocutor, Afrikan Sciences, Tenesha The Wordsmith, Tamar Collocutor, and Vasmant.
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LP
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GB 100LP
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$23.50
PREORDER
RELEASE DATE: 9/18/2020
LP version. 180 gram vinyl; includes download code. AMMAR 808's previous album Maghreb United (GB 060CD/LP, 2018) -- a powerful mixture of deep TR-808 bass and Pan-Maghreb beats and voices -- received widespread critical acclaim and shook dancefloors throughout Europe, North Africa, and beyond. This time Brussels-based Tunisian electronic producer Sofyann Ben Youssef (aka AMMAR 808) has traveled to the Tamil Nadu region of southern India for a breath-taking new adventure. With a suitcase full of recording equipment, he set up base in the pulsing city of Chennai and undertook a collaborative reimagining of the area's rich and resonant music. Ranging from trance temple sounds to rap-like street theater performance and ending with the mathematical richness of Carnatic music, Ben Youssef's in situ recordings form the foundation of his potent new album: Global Control / Invisible Invasion. He's crafted them from Hindu mythology and created a philosophical jolt of a disc that sweeps him far from his native Maghreb and deep into the ancient Carnatic tradition of South India. While the ideas are timeless, the music leans modern, with AMMAR 808 and his arsenal of analogue electronics and subsonic beats, morphing traditional legends and soundscapes into the future tense. The recording itself only lasted ten days, while even the post-production barely took a month. All those years of thought had laid very firm groundwork. The "invisible invasion" in the album title isn't a contemporary reference to the coronavirus pandemic. The virus flung us all into a dystopian universe. The track "Ey Paavi" comes from the Mahabharata, one of the great Sanskrit epic tales of India, composed over 2000 years ago. The song relates episode where the threats of death and destruction between Bhima and Duryodhana ratchet up and up. Mythology and tradition run all through the record. "Mahaganapatim" is another name for the god Ganesha, for example, while the songs "Marivere Gati" and "Pahi Jagajjanani" both have long roots in the South Indian history. Global Control / Invisible Invasion is an album of songs -- some in the Tamil language which is widely spoken across the region. That's perfectly natural, given the vocal tradition which is the chief thread of Carnatic music (as opposed to North Indian music, which is largely instrumental). It's also quite deliberately very percussive album, another reflection of India itself. Every track resonates with tightly wound passion. Global Control / Invisible Invasion offers a perfect soundtrack for these times.
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CD
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GB 100CD
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$15.50
PREORDER
RELEASE DATE: 9/18/2020
AMMAR 808's previous album Maghreb United (GB 060CD/LP, 2018) -- a powerful mixture of deep TR-808 bass and Pan-Maghreb beats and voices -- received widespread critical acclaim and shook dancefloors throughout Europe, North Africa, and beyond. This time Brussels-based Tunisian electronic producer Sofyann Ben Youssef (aka AMMAR 808) has traveled to the Tamil Nadu region of southern India for a breath-taking new adventure. With a suitcase full of recording equipment, he set up base in the pulsing city of Chennai and undertook a collaborative reimagining of the area's rich and resonant music. Ranging from trance temple sounds to rap-like street theater performance and ending with the mathematical richness of Carnatic music, Ben Youssef's in situ recordings form the foundation of his potent new album: Global Control / Invisible Invasion. He's crafted them from Hindu mythology and created a philosophical jolt of a disc that sweeps him far from his native Maghreb and deep into the ancient Carnatic tradition of South India. While the ideas are timeless, the music leans modern, with AMMAR 808 and his arsenal of analogue electronics and subsonic beats, morphing traditional legends and soundscapes into the future tense. The recording itself only lasted ten days, while even the post-production barely took a month. All those years of thought had laid very firm groundwork. The "invisible invasion" in the album title isn't a contemporary reference to the coronavirus pandemic. The virus flung us all into a dystopian universe. The track "Ey Paavi" comes from the Mahabharata, one of the great Sanskrit epic tales of India, composed over 2000 years ago. The song relates episode where the threats of death and destruction between Bhima and Duryodhana ratchet up and up. Mythology and tradition run all through the record. "Mahaganapatim" is another name for the god Ganesha, for example, while the songs "Marivere Gati" and "Pahi Jagajjanani" both have long roots in the South Indian history. Global Control / Invisible Invasion is an album of songs -- some in the Tamil language which is widely spoken across the region. That's perfectly natural, given the vocal tradition which is the chief thread of Carnatic music (as opposed to North Indian music, which is largely instrumental). It's also quite deliberately very percussive album, another reflection of India itself. Every track resonates with tightly wound passion. Global Control / Invisible Invasion offers a perfect soundtrack for these times.
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LP
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TDP 54034LP
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$19.50
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RELEASE DATE: 9/11/2020
Trading Places present a reissue of Astrud Gilberto's That Girl From Ipanema, originally released in 1977. The daughter of a Brazilian mother and German father, Astrud Gilberto achieved international prominence with "The Girl From Ipanema," an inauspicious debut recorded for the landmark album her husband, Joao Gilberto, created with Stan Getz in 1963. Moving to the USA, where she was subsequently based, she continued her solo career and also toured with Getz, with whom she later began a relationship. Over-the-top classic That Girl From Ipanema allowed her to revisit the hit in the sweeping high-fidelity full-spectrum setting of a disco big-band, the album overseen by MFSB and Salsoul mainstay, Vince Montana. Along with individual takes of Cole Porter's "Love For Sale" and Harry Nilsson's "The Puppy Song," original "Far Away" benefits from the understated trumpet of Chet Baker, but the album ultimately revels in all things disco, the Brazilian element coming courtesy of percussionist Dom Um Romao on select tracks. Crank up the volume and tune in to the brass, piano, and percussion that percolates under Astrud's characteristically soft and sultry vocals to fully experience this underrated gem.
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2LP
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TDP 54036LP
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$23.00
PREORDER
RELEASE DATE: 9/11/2020
Trading Places present a reissue of Osibisa's Black Magic Night, originally released in 1977. Esteemed Afro-rock fusion band and world music pioneers Osibisa have enjoyed a long reign, with unwavering popularity, despite numerous line-up changes. Saxophonist Teddy Osei, drummer Sol Amarfio, and flautists Mamon Shareef and Farhan Freere had all been in the highlife band The Star Gazers in Ghana, and were joined by Osei's trumpeter brother, Mac Tontoh, in spin-off group, The Comets; after moving the London in the early 1960s, Osei formed short-lived fusion band, Cat's Paw, and after convincing Tontoh and Amarfio to join him in London, Osibisa was formed with the Antiguan guitarist and vocalist, Wednell Richardson, Grenadian bassist Spartacus R, Nigerian percussionist Loughty Lasisi Amao, and Trinidadian keyboardist, Robert Bailey; a contract with Mercury brought greater exposure. Always strong in live performance, this excellent double-LP set was captured at London's Royal Festival Hall in 1977, with the group delivering spot-on renditions of their best-known works, from the extended opening invocation of "The Dawn" to the irresistible grooves of "Welcome Home" and "Sunshine Day." Gatefold sleeve.
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CD
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EB 147CD
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$15.50
PREORDER
RELEASE DATE: 9/4/2020
Of course, Dubblestandart have been keeping a version of the dub flame alive for the last two decades. Formed in 1988 as a reaction to the stagnant Austrian pop scene, the group was heavily inspired by the Black Ark, On-U Sound, and Jah Shaka, infusing such dub influences within their heady blend of hardcore reggae and new wave, which soon brought them into the European public's consciousness and as a kind of "European" version of the famous Dub Syndicate. Soon, they were so in demand as to be backing Lee Scratch Perry, dub poet Lilian Allen, Dillinger, Ari Up, Ken Boothe, Marcia Griffiths, Chezere, and others. Well, Austria/Vienna's finest moments in dub working and collaborating with the new technological dimension of modern dub: Paolo Baldini from Italy. Baldini's stunning excursion into deep dub, chilling dub and dubble-tough dub will reach the DubFiles into perfection @ Dub Me Crazy. Paolo Baldini's handling of this mission has been exemplary: his production and remixing skills are pleasingly individualistic, retaining plenty of originality and professionalism without seeming stoic, dull or contrived. His collaborations with Mellow Mood, Hempress Sativa, Dub Fx, and others are showing faith of what dub is living for, Since 2007 Paolo Baldini works under the top level name Alambic Conspiracy and became world class dub extraordinary performer, bass player, mixologist, producer and provocateur! Dub Me Crazy features David Lynch, Lee "Scratch" Perry, Marcia Griffiths, Ari Up, Tanice Morrison, and Anthon.
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CD
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GB 090CD
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$15.50
PREORDER
RELEASE DATE: 9/4/2020
Sometimes, things fall together as if they're simply fated to exist. Orkesta Mendoza found that; as soon as the songs began to flow for Curandero, their second album for the Glitterbeat label, the stars seemed to align and everything was composed, recorded, and mastered in just a few short months. In 2018, the band began work on new material, but it didn't quite click. The music crosses and re-crosses that fluid border between Mexico and the United States, mixing rock and pop with ranchera and cumbia alongside snatches of mariachi horns. And hovering over everything is the spirit of '60s boogaloo. Band leader Sergio Mendoza was born in Nogales, Arizona (USA) but grew up across the border in Nogales, Sonora (Mexico). Rock arrived in his life after he moved back to the US, when he was still a young child. Inevitably, the different styles simply blended in his mind and fit together in his life. "Eres Oficial" looks back to the 1950s to evoke the ghost of Buddy Holly in its insistent guitar chords, and the production that puts an emphasis on the drumbeat. A stripped-back sound is apparent in cuts like "Head Above Water" and "Little Space." They bristle with hooks and immediacy and the kind of Latin flavors that would have been perfectly at home on old AM radio. Curandero quickly became an album filled with guests, featuring Joey Burns of Calexico, Chetes from the legendary Mexican rock band Zurdok, and Spanish singer Amparo Sánchez. Curandero has a close, intimate feel, but this wasn't a band playing together in a room; all the musicians came in separately to track their parts. The consistency of sound comes having the touring band drummer and bassist on most of the songs, and from Mendoza's production which makes everything seem organic and bright. The album's sole instrumental, the toe-tapping "Bora Bora," sounds like it was recorded in a dark, smoky club, with the feel of a soulful big band fueled by the retro, percussive power of Mambo. A vintage sensibility even takes Orkesta Mendoza back further -- all the way to the 1940s on the closing track. "Hoodoo Voodoo Queen" is the Andrews Sisters on a fantasy trip south of the border. The harmonies of Moira Smilie, Carrie Rodriguez, and Gaby Moreno sparkle over percussion, pedal steel and glorious, honking sax. Curandero is border music, without borders.
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LP
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GB 090LP
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$23.50
PREORDER
RELEASE DATE: 9/4/2020
LP version. 180 gram vinyl; includes download code. Sometimes, things fall together as if they're simply fated to exist. Orkesta Mendoza found that; as soon as the songs began to flow for Curandero, their second album for the Glitterbeat label, the stars seemed to align and everything was composed, recorded, and mastered in just a few short months. In 2018, the band began work on new material, but it didn't quite click. The music crosses and re-crosses that fluid border between Mexico and the United States, mixing rock and pop with ranchera and cumbia alongside snatches of mariachi horns. And hovering over everything is the spirit of '60s boogaloo. Band leader Sergio Mendoza was born in Nogales, Arizona (USA) but grew up across the border in Nogales, Sonora (Mexico). Rock arrived in his life after he moved back to the US, when he was still a young child. Inevitably, the different styles simply blended in his mind and fit together in his life. "Eres Oficial" looks back to the 1950s to evoke the ghost of Buddy Holly in its insistent guitar chords, and the production that puts an emphasis on the drumbeat. A stripped-back sound is apparent in cuts like "Head Above Water" and "Little Space." They bristle with hooks and immediacy and the kind of Latin flavors that would have been perfectly at home on old AM radio. Curandero quickly became an album filled with guests, featuring Joey Burns of Calexico, Chetes from the legendary Mexican rock band Zurdok, and Spanish singer Amparo Sánchez. Curandero has a close, intimate feel, but this wasn't a band playing together in a room; all the musicians came in separately to track their parts. The consistency of sound comes having the touring band drummer and bassist on most of the songs, and from Mendoza's production which makes everything seem organic and bright. The album's sole instrumental, the toe-tapping "Bora Bora," sounds like it was recorded in a dark, smoky club, with the feel of a soulful big band fueled by the retro, percussive power of Mambo. A vintage sensibility even takes Orkesta Mendoza back further -- all the way to the 1940s on the closing track. "Hoodoo Voodoo Queen" is the Andrews Sisters on a fantasy trip south of the border. The harmonies of Moira Smilie, Carrie Rodriguez, and Gaby Moreno sparkle over percussion, pedal steel and glorious, honking sax. Curandero is border music, without borders.
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LP+CD
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EB 147LP
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$27.50
PREORDER
RELEASE DATE: 9/4/2020
LP version. Includes CD. Of course, Dubblestandart have been keeping a version of the dub flame alive for the last two decades. Formed in 1988 as a reaction to the stagnant Austrian pop scene, the group was heavily inspired by the Black Ark, On-U Sound, and Jah Shaka, infusing such dub influences within their heady blend of hardcore reggae and new wave, which soon brought them into the European public's consciousness and as a kind of "European" version of the famous Dub Syndicate. Soon, they were so in demand as to be backing Lee Scratch Perry, dub poet Lilian Allen, Dillinger, Ari Up, Ken Boothe, Marcia Griffiths, Chezere, and others. Well, Austria/Vienna's finest moments in dub working and collaborating with the new technological dimension of modern dub: Paolo Baldini from Italy. Baldini's stunning excursion into deep dub, chilling dub and dubble-tough dub will reach the DubFiles into perfection @ Dub Me Crazy. Paolo Baldini's handling of this mission has been exemplary: his production and remixing skills are pleasingly individualistic, retaining plenty of originality and professionalism without seeming stoic, dull or contrived. His collaborations with Mellow Mood, Hempress Sativa, Dub Fx, and others are showing faith of what dub is living for, Since 2007 Paolo Baldini works under the top level name Alambic Conspiracy and became world class dub extraordinary performer, bass player, mixologist, producer and provocateur! Dub Me Crazy features David Lynch, Lee "Scratch" Perry, Marcia Griffiths, Ari Up, Tanice Morrison, and Anthon.
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CD
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EB 145CD
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$15.50
PREORDER
RELEASE DATE: 9/4/2020
With this Courtney Jones, Lore Grutschnig, and Ali Tersch (drummer of the band Dubblestandart and Supermax) welcome listeners to their unique blend of steel pan and kalimba music. The first steelpans where invented in the 1930s in Trinidad, designed from the tradition of rebellion against the colonial powers in Trinidad & Tobago. More than 3000 years back dates the earliest version of the kalimba, also known as mbira/thumb piano. However, those you hear on this production where handcrafted in today's Austria. Communicating with the mighty sounds of Courtney Jones Steel Pan and the fragile sensitive layers of Lore's flute, the kalimba merges the old and new world with its distinctive sound, the environment in which these musicians live and work is Vienna, in the middle of Europe, an austere ancient city in transition. A multicultural "market place" set alive by its multi ethnical inhabitants and their wish to respect the roots of their individual culture as they are melting with the colorful life of 21st century Europe. In respect to Courtney Jones, who passed away during this production, Ali Tersch (aka Alex X) finalized the production, conscious of the responsibility to keep the vibes authentic and the music well produced, just as Courtney would have loved it. An album that fuses "authentic world music" but also modern beat, hip-hop, and dub. On this, the band's first album, the focus is firmly on an amalgamation of so-called world music, with the genre's elementary electronic facets. They grab reggae flavor by the roots in their inimitable way and build a varied cocktail of roots, soundscapes, hip-hop, and dub.
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LP+CD
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EB 145LP
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$27.50
PREORDER
RELEASE DATE: 9/4/2020
LP version. Includes CD. With this Courtney Jones, Lore Grutschnig, and Ali Tersch (drummer of the band Dubblestandart and Supermax) welcome listeners to their unique blend of steel pan and kalimba music. The first steelpans where invented in the 1930s in Trinidad, designed from the tradition of rebellion against the colonial powers in Trinidad & Tobago. More than 3000 years back dates the earliest version of the kalimba, also known as mbira/thumb piano. However, those you hear on this production where handcrafted in today's Austria. Communicating with the mighty sounds of Courtney Jones Steel Pan and the fragile sensitive layers of Lore's flute, the kalimba merges the old and new world with its distinctive sound, the environment in which these musicians live and work is Vienna, in the middle of Europe, an austere ancient city in transition. A multicultural "market place" set alive by its multi ethnical inhabitants and their wish to respect the roots of their individual culture as they are melting with the colorful life of 21st century Europe. In respect to Courtney Jones, who passed away during this production, Ali Tersch (aka Alex X) finalized the production, conscious of the responsibility to keep the vibes authentic and the music well produced, just as Courtney would have loved it. An album that fuses "authentic world music" but also modern beat, hip-hop, and dub. On this, the band's first album, the focus is firmly on an amalgamation of so-called world music, with the genre's elementary electronic facets. They grab reggae flavor by the roots in their inimitable way and build a varied cocktail of roots, soundscapes, hip-hop, and dub.
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LP
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DTW 007LP
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$40.50
PREORDER
RELEASE DATE: 8/28/2020
It's been a long journey from the day in Nigeria when Dig This Way Records found, inside an Alpha Kuffa - Messiah I (1990) sleeve, a blank test press of the Yangaman Bob LP with a little Top Rank sticker on it to the day the label met the producer, the great and brilliant George Dureke, who gave them the test presses of the remaining unreleased albums from his Top Rank label, till to the complicated audio Restoration handled by Colin Young and Bassi Maestro. After two years of hard and intensive work it's finally arrived the time for this compilation to be ready and see the light. Eight unreleased digital roots tracks made in Nigeria in the late '80s, never released or pressed on vinyl. Surely it includes some of the most interesting reggae music made in the roots land call Nigeria. Now ready to be spread across the world. The harder the battle, sweeter the victory! Features Yangaman Bob, Mysta Wey, and The Force. Audio from original test presses. Cover artwork by Legno. Handwritten printed insert. Edition of 500.
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CD
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SR 499CD
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$15.50
PREORDER
RELEASE DATE: 8/28/2020
From Mille Plateaux to Leaf, Staubgold, and Raster-Noton, ~scape, among others, or on his own label Ripatti, the Finnish artist Sasu Ripatti, aka Vladislav Delay, has been exploring various iterations of the "dub culture vs. electronica", since 1997. His sonic crafts and unique signature sound have been sought after by an eclectic range of bands and artists, ranging from Massive Attack, Hauschka, Black Dice, Autopoieses, Animal Collective, or AGF. Vladislav Delay met Sly Dunbar and Robbie Shakespeare (the most prolific Jamaican rhythm section and production duo) thanks to a series of jam sessions. Trumpet player Nils-Petter Molvaer had been asked by the Jamaicans to join them and he invited Delay alongside guitar player Eivind Aarset to tag along, which eventually turned into the Nordub project. The result of these jam sessions turned into an album, mixed and mostly produced by Vladislav Delay, released on the label Okeh. It was also followed by an extensive series of live dates. This one-shot reunion was the beginning of another story: a trio composed by Delay, Dunbar, and Shakespeare. In January 2019, Vladislav Delay went to Kingston and spent some days at The Anchor studios, to record drums and bass with S&R, some voice takes and a series of atmospheric field recordings. Back to Finland, Delay started to experiment with this precious material, mixing, and overdubbing, in the comfort and quiet of his studio, based on the island of Hailuoto, Baltic Sea, Northern Finland, giving another feeling to the Jamaican trip. This became a tribute to the "dub spirit", but in a very personal way, far beyond any influence or "the obvious". 500-Push-Up is two worlds collapsing, merging, also showing some intriguing approach of the Jamaican groove, used as a filigree, like the echo or the ghost of reggae, converging and conversing with a post-industrial and experimental approach. To file beside experiments -- for instance -- such as Lee Perry's Scientist Rids The World Of The Evil Curse Of The Vampires (1981) or the On U-Sound productions. Somewhere between the old-school electronica culture, the soundscaping, the experimental paths of Lee Perry and Adrian Sherwood, ghostly clubbing anthems, minimalism, pop, jazz, without being influenced, Vladislav Delay is building a drifting and coherent sound enigma. Personnel: Vladislav Delay - electronics, sampling, percussion; Sly Dunbar - drums; Robbie Shakespeare - bass. CD version includes two additional tracks.
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LP
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SR 499LP
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$15.50
PREORDER
RELEASE DATE: 8/28/2020
LP version. First pressing on color vinyl. From Mille Plateaux to Leaf, Staubgold, and Raster-Noton, ~scape, among others, or on his own label Ripatti, the Finnish artist Sasu Ripatti, aka Vladislav Delay, has been exploring various iterations of the "dub culture vs. electronica", since 1997. His sonic crafts and unique signature sound have been sought after by an eclectic range of bands and artists, ranging from Massive Attack, Hauschka, Black Dice, Autopoieses, Animal Collective, or AGF. Vladislav Delay met Sly Dunbar and Robbie Shakespeare (the most prolific Jamaican rhythm section and production duo) thanks to a series of jam sessions. Trumpet player Nils-Petter Molvaer had been asked by the Jamaicans to join them and he invited Delay alongside guitar player Eivind Aarset to tag along, which eventually turned into the Nordub project. The result of these jam sessions turned into an album, mixed and mostly produced by Vladislav Delay, released on the label Okeh. It was also followed by an extensive series of live dates. This one-shot reunion was the beginning of another story: a trio composed by Delay, Dunbar, and Shakespeare. In January 2019, Vladislav Delay went to Kingston and spent some days at The Anchor studios, to record drums and bass with S&R, some voice takes and a series of atmospheric field recordings. Back to Finland, Delay started to experiment with this precious material, mixing, and overdubbing, in the comfort and quiet of his studio, based on the island of Hailuoto, Baltic Sea, Northern Finland, giving another feeling to the Jamaican trip. This became a tribute to the "dub spirit", but in a very personal way, far beyond any influence or "the obvious". 500-Push-Up is two worlds collapsing, merging, also showing some intriguing approach of the Jamaican groove, used as a filigree, like the echo or the ghost of reggae, converging and conversing with a post-industrial and experimental approach. To file beside experiments -- for instance -- such as Lee Perry's Scientist Rids The World Of The Evil Curse Of The Vampires (1981) or the On U-Sound productions. Somewhere between the old-school electronica culture, the soundscaping, the experimental paths of Lee Perry and Adrian Sherwood, ghostly clubbing anthems, minimalism, pop, jazz, without being influenced, Vladislav Delay is building a drifting and coherent sound enigma. Personnel: Vladislav Delay - electronics, sampling, percussion; Sly Dunbar - drums; Robbie Shakespeare - bass.
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