Forced Exposure

Last Updated 02/23/2019 07:23 AM

LOG IN
CART

Cart Items :

Sub Total :

New Releases

Labels

Jobs

Search Result for Genre WORLD

Go to Item :

viewing 1 To 25 of 3655 items Next >>

Items Per Page :


Artist	Title	Format	Label	Catalog #

HOODNA ORCHESTRA	Ofel	CD	AGOGO RECORDS	AR 123CD
$16.50 PREORDER RELEASE DATE: 4/26/2019 The Hoodna Orchestra is a 12-member orchestra who studies and investigates the African origins of western popular music; Ofel is their second album. The Orchestra was formed in 2012, in the south side of Tel Aviv, by a group of musicians, and it functions as a collective and a record label. Hoodna's musical director is the guitarist and composer Ilan Smilan. The cultural and musical environment that surrounds the group has a great effect on its creative process. Exposure to Ethiopian, Eritrean and Arabic musical traditions, coupled with an ongoing study and exploration of different jazz styles, creates a unique blend which has made The Hoodna Orchestra one of the most appreciated and sought-after live shows in Israel. Personnel: Elad Gelert - baritone saxophone; Rom Shani - alto saxophone; Eylon Tushiner - tenor saxophone; Uri Selinger - trombone; Asaf Oseasohn - trumpet; Sefi Zisling - trumpet; Arthur Krasnobaev - trumpet; Tomer Zuk - keyboards; Amir Sadot - bass guitar; Ilan Smilan - electric guitar; Matan Asayag - drums; Rani Birenbaum - percussion; Shahar Ber - percussion; Raz Eytan - percussion.

Artist	Title	Format	Label	Catalog #
HOODNA ORCHESTRA	Ofel	LP	AGOGO RECORDS	AR 123LP
$25.00 PREORDER RELEASE DATE: 4/26/2019 LP version. The Hoodna Orchestra is a 12-member orchestra who studies and investigates the African origins of western popular music; Ofel is their second album. The Orchestra was formed in 2012, in the south side of Tel Aviv, by a group of musicians, and it functions as a collective and a record label. Hoodna's musical director is the guitarist and composer Ilan Smilan. The cultural and musical environment that surrounds the group has a great effect on its creative process. Exposure to Ethiopian, Eritrean and Arabic musical traditions, coupled with an ongoing study and exploration of different jazz styles, creates a unique blend which has made The Hoodna Orchestra one of the most appreciated and sought-after live shows in Israel. Personnel: Elad Gelert - baritone saxophone; Rom Shani - alto saxophone; Eylon Tushiner - tenor saxophone; Uri Selinger - trombone; Asaf Oseasohn - trumpet; Sefi Zisling - trumpet; Arthur Krasnobaev - trumpet; Tomer Zuk - keyboards; Amir Sadot - bass guitar; Ilan Smilan - electric guitar; Matan Asayag - drums; Rani Birenbaum - percussion; Shahar Ber - percussion; Raz Eytan - percussion.

Artist	Title	Format	Label	Catalog #
VA	The Dreads At King Tubby's	CD	KINGSTON SOUNDS	KSCD 080CD
$12.50 PREORDER RELEASE DATE: 4/12/2019 Rastafarianism came to prominence in the late 1960s/1970s and had a huge influence on the musical culture in Jamaica. The sentiments of the songs reflected the struggles of life, as reggae music always did but now with an added spiritual/conscious element to the lyrics. By the mid-1970s most, if not all the top-flight singers were following the doctrine and growing their har to dreadlocks. Everything was truly "Dread". At the heart of this musical explosion was again Bunny "Striker" Lee a man who was always at the heart of the action and many times in his career ahead of the musical game. As Bunny Lee's stable of singers were at this time nearly all Rasta's and with the worldwide acceptance of Bob Marley, in especially the foreign territories, this musical style was the way forward for reggae music in the mid-1970s. The visual focal point of this new turn in reggae music would be a call to all things "Dread". Add to the mix Bunny Lee's close working relationship with studio wizard King Tubby, again not a Rasta himself, but someone who could sonically bring what was needed to the table and enable the whole musical chemistry to fall into place. Heavy rhythms were created to match the heavy and serious lyrics and "Versions Galore" as they say were coming out fast and furious. We have compiled a set of conscious tunes that not only match the "Dread" criteria, but also are just great tunes. The great Jacob Miller's "Zion Gates", Cornell Campbell's "Two Faced Rasta", Horace Andy's "It's Gonna Be Dread" alongside Linval Thompson's "Never Conquer Jah". Two timeless cuts from the The Abyssinians get a fresh outing by two great singers, firstly Don Carlos's cut to "Satta Massaganna" and the prince of reggae himself, Dennis Brown works "Declaration of Rights" in fine style. Johnny Clarke's "Man Like Me" and "Dem Say Rasta" still sounds as fresh today as when they were first laid down and Wayne Jarrett's "Live On Jah" and Frankie Jones's "Satta And Praise Jah" add to this great selection. All great "Dread" tunes that were cut or voiced at King Tubby's giving them that extra shine. So if you are Rasta or not this is a great set of tunes to make you move and also like all of the best things in life, makes you think... Also features Bonnie Davis. CD version includes three bonus tracks; includes a track by Leroy Smart.

Artist	Title	Format	Label	Catalog #
MATTIMATTI	Tomrum	CD	AGOGO RECORDS	AR 105CD
$16.50 PREORDER RELEASE DATE: 4/12/2019 Mattimatti is two Mattis living in different countries -- Sweden (Malmö) and Germany (Berlin). They travel around the world playing music whilst asking themselves, "who are we?". The answer seems to change just as their surroundings do, but the music stays with them and so does their friendship. It is cliché that it's hard to put a label on music; to say it has almost become a cliché itself. But the whole meaning of music is to listen to it and create one's own world. To create one's own world one needs space, space that is not interrupted by either style or defining categories. Mattimatti is an attempt to step into that space, creating music built solely on improvisation. Tomrum is an invitation to places not yet known, where rhythmic, suggestive and meditative soundscapes meet the present moment. As friends and musicians Mattimatti welcome the unexpected, living in a world full of confusion when it comes to identity. They are trying to stay connected; it is a constant task. They met on the streets of Berlin in spring 2013 while playing on the streets. After they played for the first time together, there was no question that they could travel a musical journey together from that day. Mattimatti was initiated; on their quest they began playing improvised tunes on sitar and hanging on the street while traveling through Sweden and Germany. This lead them to be invited to numerous festivals all over Europe while constantly developing their music and sound. Since then their set has added new instruments such as a drum kit, African harps, sitar, guitar, harmonica, clarinet, and vocals, extending the sound with a space echo. The long, intimate tunes that created here have an original structure and sound. There is a certain present resting in the music which is hard to describe but easy to experience. Their live concerts have been dubbed mythical, hypnotic, magic and epic -- traveling is the biggest influence on their music. Mattimatti are now both based in Berlin and Malmo and work together with the contemporary circus, dance, and music group Kollektiv Knaster.

Artist	Title	Format	Label	Catalog #
IFRIQIYYA ELECTRIQUE	Laylet El Booree	LP	GLITTERBEAT	GB 070LP
$23.50 PREORDER RELEASE DATE: 4/12/2019 LP version. 180 gram vinyl; Includes download code. Fusing the rhythms and invocations of the ancient Saharan Banga ritual with an electrical storm of contemporary sonics, Ifriqiyya Electrique's second album both grips and awakens. In Tunisian, Banga means "huge volume" and one cannot think of a more apt description of Laylet El Booree than that: Maximalist and relentless; Blood, sweat, and trance. Several years ago, two of the musicians who make up the five-piece Ifriqiyya Electrique -- Gianna Greco and François R. Cambuzat -- ventured to the Djerid desert of Tunisia to investigate and confront the religious ritual of the Banga, a ritual of legendary intensity indigenous to the region. The musical duo's background is in the underground post-punk scene of continental Europe, as members of Putan Club and as collaborators with the venerable Lydia Lunch. But they are also voracious travelers and seekers of global sonics that are at least partially hidden from the western gaze. In 2017, Ifriqiyya Electrique released their debut album Rûwâhîne (GB 046CD/LP), an album which deftly brought together the hypnotic chants and metallic hand percussion of traditional Banga music with brutalist electronics and sheer rock volume. Three members of the Banga community -- Tarek Sultan, Yahia Chouchen, and Youssef Ghazala -- joined forces with Gianna and Francois not only on this acclaimed album, but also onstage throughout the eighteen months of touring that followed the record's release. It quickly became clear that the Banga had not been pointlessly retooled for western consumption, but rather through the deep commitment of the five Ifriqiyya Electrique musicians -- it had been transformed into something contemporary and unexpected. Ifriqiyya Electrique cryptically call this transformation a "post-industrial ritual" and the actual experience of hearing this music certainly echoes this moniker. The title of the second album Laylet El Booree translates as the "Night Of The Madness". It refers to the last part of the annual gathering of the adorcist ritual from the Banga of Tozeur -- it is the night when the spirits actually take possession of the bodies. With the band now joined by new member Fatma Chebbi (on vocals and tchektchekas hand percussion) one senses that the musical and cultural conversation is even deeper this time around. In fact, it doesn't feel like a speculative conversation at all, but rather something fully formed and undeniable. An emergent ritual in itself.

Artist	Title	Format	Label	Catalog #
VA	The Dreads At King Tubby's	LP	KINGSTON SOUNDS	KSLP 080LP
$20.00 PREORDER RELEASE DATE: 4/12/2019 LP version.

Artist	Title	Format	Label	Catalog #
SANKARE, HAMA	Niafunke	CD	CLERMONT MUSIC	CLE 024CD
$12.00 PREORDER RELEASE DATE: 4/12/2019 Hama Sankare, legend of Mali's desert blues, releases Niafunke, his second brilliant album recorded March 2018 in Bamako. Sankare brought into the studio dynamic young headliners, Oumar Konate, Dramane Toure, and Makan Camara along with long time colleagues Afel Bocoum, Yoro Cisse, and Kande Sissoko to forge a set of blazing tracks that breath new energy into the genre, breaking old formulas all the while honoring traditional roots. Niafunke, a city in Mali along the Niger River near Timbuktu is where Sankare continues to live with his family. He, Bocoum, and Cisse were contemporary collaborators with Ali Farka Toure whose home was also there; they can be heard on many of Farka's albums. Sankare's spirit engages everyone he meets. He has absorbed musical influences from around the world which he brings to these ten tracks. Personnel: Alpha Ousmane "Hama" Sankaré - vocal, calabash; Oumar Konaté - guitar; Dramane Touré - bass; Makan Camara - drums, percussion; Afel Bocoum - backup vocal, spoken word; Yoro Cissé - monochord; Alibaba Traoré - guitar; Kande Sissoko - ngoni; Sékou Toure - backup vocal.

Artist	Title	Format	Label	Catalog #
SANKARE, HAMA	Niafunke	LP	CLERMONT MUSIC	CLE 024LP
$18.50 PREORDER RELEASE DATE: 4/12/2019 LP version.

Artist	Title	Format	Label	Catalog #
MATTIMATTI	Tomrum	LP	AGOGO RECORDS	AR 105LP
$25.00 PREORDER RELEASE DATE: 4/12/2019 LP version. Mattimatti is two Mattis living in different countries -- Sweden (Malmö) and Germany (Berlin). They travel around the world playing music whilst asking themselves, "who are we?". The answer seems to change just as their surroundings do, but the music stays with them and so does their friendship. It is cliché that it's hard to put a label on music; to say it has almost become a cliché itself. But the whole meaning of music is to listen to it and create one's own world. To create one's own world one needs space, space that is not interrupted by either style or defining categories. Mattimatti is an attempt to step into that space, creating music built solely on improvisation. Tomrum is an invitation to places not yet known, where rhythmic, suggestive and meditative soundscapes meet the present moment. As friends and musicians Mattimatti welcome the unexpected, living in a world full of confusion when it comes to identity. They are trying to stay connected; it is a constant task. They met on the streets of Berlin in spring 2013 while playing on the streets. After they played for the first time together, there was no question that they could travel a musical journey together from that day. Mattimatti was initiated; on their quest they began playing improvised tunes on sitar and hanging on the street while traveling through Sweden and Germany. This lead them to be invited to numerous festivals all over Europe while constantly developing their music and sound. Since then their set has added new instruments such as a drum kit, African harps, sitar, guitar, harmonica, clarinet, and vocals, extending the sound with a space echo. The long, intimate tunes that created here have an original structure and sound. There is a certain present resting in the music which is hard to describe but easy to experience. Their live concerts have been dubbed mythical, hypnotic, magic and epic -- traveling is the biggest influence on their music. Mattimatti are now both based in Berlin and Malmo and work together with the contemporary circus, dance, and music group Kollektiv Knaster.

Artist	Title	Format	Label	Catalog #
IFRIQIYYA ELECTRIQUE	Laylet El Booree	CD	GLITTERBEAT	GB 070CD
$15.50 PREORDER RELEASE DATE: 4/12/2019 Fusing the rhythms and invocations of the ancient Saharan Banga ritual with an electrical storm of contemporary sonics, Ifriqiyya Electrique's second album both grips and awakens. In Tunisian, Banga means "huge volume" and one cannot think of a more apt description of Laylet El Booree than that: Maximalist and relentless; Blood, sweat, and trance. Several years ago, two of the musicians who make up the five-piece Ifriqiyya Electrique -- Gianna Greco and François R. Cambuzat -- ventured to the Djerid desert of Tunisia to investigate and confront the religious ritual of the Banga, a ritual of legendary intensity indigenous to the region. The musical duo's background is in the underground post-punk scene of continental Europe, as members of Putan Club and as collaborators with the venerable Lydia Lunch. But they are also voracious travelers and seekers of global sonics that are at least partially hidden from the western gaze. In 2017, Ifriqiyya Electrique released their debut album Rûwâhîne (GB 046CD/LP), an album which deftly brought together the hypnotic chants and metallic hand percussion of traditional Banga music with brutalist electronics and sheer rock volume. Three members of the Banga community -- Tarek Sultan, Yahia Chouchen, and Youssef Ghazala -- joined forces with Gianna and Francois not only on this acclaimed album, but also onstage throughout the eighteen months of touring that followed the record's release. It quickly became clear that the Banga had not been pointlessly retooled for western consumption, but rather through the deep commitment of the five Ifriqiyya Electrique musicians -- it had been transformed into something contemporary and unexpected. Ifriqiyya Electrique cryptically call this transformation a "post-industrial ritual" and the actual experience of hearing this music certainly echoes this moniker. The title of the second album Laylet El Booree translates as the "Night Of The Madness". It refers to the last part of the annual gathering of the adorcist ritual from the Banga of Tozeur -- it is the night when the spirits actually take possession of the bodies. With the band now joined by new member Fatma Chebbi (on vocals and tchektchekas hand percussion) one senses that the musical and cultural conversation is even deeper this time around. In fact, it doesn't feel like a speculative conversation at all, but rather something fully formed and undeniable. An emergent ritual in itself.

Artist	Title	Format	Label	Catalog #
VA	Malam Minggu: A Saturday Night in Sunda	LP	AKUPHONE	AKU 1012LP
$23.50 PREORDER RELEASE DATE: 3/29/2019 Akuphone resumes its reissue operations with its latest compilation, Malam Minggu: A Saturday Night In Sunda. This release brings us once again to Southeast Asia, with a stopover in the Indonesian archipelago -- to the region of Sunda in western Java. As its name suggests, this collection immerses us in the vibes of Sundanese nights at the turn of the 1980s. During the post-independence climate of the 1960s, Presidents Sukarno and Suharto encouraged artists to renew and innovate traditional Indonesian art forms in an attempt to limit and control the spread of Western music -- which was banned from broadcasting in 1961. This policy saw a revival of traditional musical styles like gamelan degung, and the emergence of Indonesian singing genres: jaipong and pop sunda. Recorded between 1978 and 1985, this unique and surprising selection presents some of the most popular artists of the time, such as Nano S. and Tati Saleh. It is richly documented by Southeast Asian music specialist Edouard Degay Delpeuch. Also features: Group Gentra Madya, Tati Saleh & Marriza Group, and Mang Memed Group.

Artist	Title	Format	Label	Catalog #
COLADERA	La Dotu Lado	LP	AGOGO RECORDS	AR 125LP
$25.00 PREORDER RELEASE DATE: 3/29/2019 LP version. Brazil, Portugal, and Cape Verde resound in the beguiling songs of this acoustic trio. Latin American and African tinged rhythms, connected by the Portuguese language. La Dôtu Lado is the second album of the transatlantic project Coladera, presenting the various styles of lusophone music. Led by Brazilian guitarist Vitor Santana and João Pires, his Portuguese counterpart, who also sings and plays guitar. The album brought together a number of collaborations that included José Eduardo Agualusa, Aline Frazão, Dino Santiago, Bilan, Ana Sofia Paiva, Edu Mundo, Brisa Marques, and Marcos Suzano: three musical universes that honor the lusophone rhythms. Brazil, Portugal, and Cape Verde merge into a dialogue of guitars, percussions, and voices, bringing together the rhythms of samba and the northeast region of Brazil, the funaná, the morna, the coladera and the batuque of Cape Verde, the Portuguese fado or the Angolan lundum. Coladera was named after the rhythm born of the Morna, the traditional Cape Verdean music, which in turn is derived from Portuguese fado and Angolan lundum. This unique musical universe is interpreted in a raw, beguiling way by Coladera.

Artist	Title	Format	Label	Catalog #
VA	Latinameriska Volume 4	LP	GRAN QUILOMBO DISCOS	QUILOMBO 004LP
$22.00 PREORDER RELEASE DATE: 3/29/2019 The journey of Latin American artists from the '60s and '70s with a Jamaican style has a new stop: Latinameriska's fourth volume. And even though it may sound like a cliché we Gran Quilombo Discos would like to say this is the best installment of the series without a doubt. Here's why: You'll get to learn about unknown bands (from out of the Jamaican scene like Los Creyentes De B.C. or studio ones like The Stars), get almost impossible to find tunes (from Rosario or Los Costeños) or listen to covers as good as the original (hurray for Los Robbin's). Or with sounds that enrich the cover (those amazing Calypso touches of René Santos or the cumbia flavor of Carmen Rivero). The richness of "Latin Jamaica" has no limits, and from north-to-south and east-to-west the treasure chest keeps growing with gems of all kinds. These precious stones are all different and all highly valuable -- from Jamaican beat to early reggae or calypso -- with covers that range not only from Jamaican scene classics to jazz and soul. With such good raw materials and the label's culinary expertise, it was impossible not to cook a delicatessen to be consumed with the ears. And once again, there's a ghost track at the end, from Panamá this time and giving an Antillean flavor to another Jamaican classic. Enjoy this new installment and be calm, it won't be the last one! Also features Hugo Blanco, Su Arpa Viajera Y Su Conjunto, Julián Ber't, Carmen Rivero Y Su Conjunto, René Santos Y Sus Estrellas, Roberto Delgado And His Orchestra, Ely Combo, Las Cuatro Monedas, Los Yorsy's, and As Exorcistas.

Artist	Title	Format	Label	Catalog #
COLADERA	La Dotu Lado	CD	AGOGO RECORDS	AR 125CD
$16.50 PREORDER RELEASE DATE: 3/29/2019 Brazil, Portugal, and Cape Verde resound in the beguiling songs of this acoustic trio. Latin American and African tinged rhythms, connected by the Portuguese language. La Dôtu Lado is the second album of the transatlantic project Coladera, presenting the various styles of lusophone music. Led by Brazilian guitarist Vitor Santana and João Pires, his Portuguese counterpart, who also sings and plays guitar. The album brought together a number of collaborations that included José Eduardo Agualusa, Aline Frazão, Dino Santiago, Bilan, Ana Sofia Paiva, Edu Mundo, Brisa Marques, and Marcos Suzano: three musical universes that honor the lusophone rhythms. Brazil, Portugal, and Cape Verde merge into a dialogue of guitars, percussions, and voices, bringing together the rhythms of samba and the northeast region of Brazil, the funaná, the morna, the coladera and the batuque of Cape Verde, the Portuguese fado or the Angolan lundum. Coladera was named after the rhythm born of the Morna, the traditional Cape Verdean music, which in turn is derived from Portuguese fado and Angolan lundum. This unique musical universe is interpreted in a raw, beguiling way by Coladera.

Artist	Title	Format	Label	Catalog #
DJEUHDJOAH & LIEUTENANT NICHOLSON	Aimez Ces Airs	2LP	HOT CASA	HC 061LP
$26.50 PREORDER RELEASE DATE: 3/29/2019 Double LP version. The French-Afropean duo is back with a new funky masterpiece album, Aimez Ces Airs. DjeuhDjoah & Lieutenant Nicholson are French composers and Afro-soul singers. The duo is creating a new vibe with French sounds and mixing it with jazz, Afrobeat, electronic, and soul. T'es Qui? (HC 034CD, 2015) was their first album released in 2015 and re-released a year later under the name Remets T'es Qui? (HC 044CD/LP, 2016). It was result of an intense collaboration that has lasted many years, on stage and in the studio. They call their music "Afropean songs", a collection of jazzy-pop melodies, Afro-soul, and funk arrangements. This album has 15 songs and features a tribute to the famous poet Aimé Césaire on the title. The Antilles are also honored with creole lyrics, and if you listen carefully -- you'll hear them distilled within the album. La Montagne Pelée's eruption in 1902 is evoked under the prism of August Cyparis, one of the three survivors. The rhythms are tight and focused, with some Antilles, but also Detroit elements thrown in, accompanied with a strong horns section, vibraphone, and analog drums. There are lots of echoes from the era of jazz funk and the lyrical French mode, mixed with some slightly warmer currents that show their wider love of modern funk and eclectic tastes. It is a unique sound, an original recipe, using French wordplay with a universal message. In the summer of 2018, they presented the now critically acclaimed first single "El Nino" (HC 057EP), an Afro-funk gem about climate change, and "Fontaine", an Afro hit with a great combination of analog take and electronic dancefloor ingredients. With massive support from national radios and prestigious international DJs such as Gilles Peterson, Aimez Ces Airs could be one of the top funky albums of 2019. Cover designed by the artist Felix. Mastered by DJ Vas.

Artist	Title	Format	Label	Catalog #
LA YEGROS	Suelta	CD	X-RAY PRODUCTION	XRP 1902CD
$14.50 PREORDER RELEASE DATE: 3/29/2019 La Yegros is a native of Buenos Aires, and her parents are from Misiones, a province in the North East that draws its language from between Brazil and Paraguay. In this enclave, the porous borders of which lets foreign rhythms seep in, people play and dance to chamamé (a mixture of polka and Guarani music), carnavalito, and sways their hips to Columbian cumbia. These genres, bearing the hues of the Andean folklores, have then been put through the mill of Jamaican dancehall and electronic productions, thus composing a cocktail which recipe only La Yegros holds the rights. Thus, having grown up in the suburbs of a cosmopolitan city, imbued with the rural traditions of the country, and based today between France and Argentina, La Yegros does not cheat with her identity, which is as composite as her music is. This sincerity can be found in the songs in Suelta, most of which she has written both the lyrics and the music to, drawing her inspiration from considerations that are in turn intimate and social, exalting the role of women: "Tenemos Voz" ("We Have A Voice"), she sings with the British MC Soom T. La Yegros frees her high-tension temperament throughout the whole of Suelta, all the more so since the album presents original colors, while continuing its exploration of Northern folklores.

Artist	Title	Format	Label	Catalog #
VA	Cumbia Beat Volume 3: 21 Peruvian Tropical Gems	CD	VAMPISOUL	VAMPI 187CD
$17.50 PREORDER RELEASE DATE: 3/29/2019 "Fifty years after the release of one of the founding records of the genre known as Peruvian cumbia (by guitar players Enrique Delgado Montes and Berardo Hernández 'Manzanita'), Vampisoul presents this third volume in the series Cumbia Beat, which brings together 45 rpm rarities from acclaimed groups, short-lived bands and outstanding huaycumbias. Like the previous volumes in this series, listening to this record takes you on a journey across the geography of Peru, as the majority of the groups on this collection were from different regions of the country, or had close links to them, although all of the artists recorded in Lima. Most of the bands emerged during the period 1968-1980, a time of deep political and social change implemented by the nationalist military dictatorship. Los Demonios Del Mantaro, Los Demonios De Corocochay, and Los 5 Palomillas are the exceptions to this, as they recorded between 1965 and 1967 and produced a hybrid of cumbia and huayno called huaycumbia, a genre which achieved high sales figures during those years. Despite the characteristics of huaycumbia, the early composers of Peruvian cumbia didn't consider it a direct source of inspiration. They admit to being more influenced by Colombian cumbia, Cuban guaracha, beat, and psychedelic music from the UK and US that they had played since the end of the '60s, in their 'own style', as a part of a musical appropriation process that quickly led them to forge a singular sound. Peruvian cumbia developed, spurred by the music school erudition of the guitarist Enrique Delgado Montes on the one hand and, on the other, by the self-taught creativity of Berardo Hernández 'Manzanita'. Largely ignored by the elites, it steadily won over audiences and created its own market, establishing its own broadcast channels and distribution channels. As Enrique Delgado stated in 1973: 'We've defined a typically Peruvian cumbia which, strange as it might appear, people also like in Colombia and several other countries.' Finally, setting up their own labels, competing hard against one another and enriching their music with sounds they brought from their specific regions, these bands that gradually sprung up all over the country managed to consolidate a tradition that is still alive today." --Hugo Lévano G Also features Silvestre Montez Y Sus Guantanameros, Los Cóndores Del Cusco, Los Gitanos, Los Orientales De Paramonga, Los Casmeños, Los Beta 5, Los Girasoles, Paco Zambrano Y Sus Ratones, Los Ecos, Los Tantos, Los Scorpios, Los Blue Kings De Ñaña, Grupo Siglo XX, Los Sander's De Ñaña, Los Quantos, Los Diablos Rojos, Marco Merry Y Sus Golfos, and Sonido Verde De Moyobamba.

Artist	Title	Format	Label	Catalog #
VA	Cumbia Beat Volume 1	2LP	VAMPISOUL	VAMPI 116LP
$31.00 PREORDER RELEASE DATE: 3/29/2019 Subtitled: Experimental Guitar-Driven Tropical Sounds from Peru 1966-1976. In mid-50s Peru, mambo was progressively replaced by preferences for other rhythms like merengue, guaguancó, cha cha cha, joropo, guaracha, rumba and cumbia, which timidly begins to sound during these years. In Lima it's the golden age of great orchestras and music ensembles which are capable of playing swing and jazz, but especially the diverse tropical variants inundating the market. The most successful of all, La Sonora De Lucho Macedo, released in 1965 an LP consisting exclusively of cumbia. Around this time, the successful folklore group Los Pacharacos released the album Los Ídolos Del Pueblo, which included a cumbia number in the middle of the potpourri of huaynos, waltzes, and polkas. The groups preserved the fusion of fox trot and mambo rhythms along with huayno and cumbia in the execution of their music. That feeling would be the basis for the success of such unorthodox and unclassifiable songs as "La Chichera" or "Peti Pan". The recording in 1965 of these two songs by Los Demonios Del Mantaro on a seminal 45 with the Sono Radio label was the jumping off point for the birth of cumbia andina, also called "chichi" precisely for this song, which is dedicated to a vendor of the well-known Incan liquor. The electric shock of rock guitars enters the world of cumbia in 1968. The cause of such copulation was Enrique Delgado Montes, regarded as the genre's godfather. He did it, as part of his band Los Destellos, on a 45 and an eponymous 1968 LP (CAL 001LP/CALC 001LP). His songs constitute the most surprising musical fusions and amalgams of the time, whether they merge Cuban music and psychedelia, explore the sounds of Andean or Amazonian music, combine the digitalization of the Creole guitar with huayno melodies or abuse fuzz tones and distortion pedals. There wasn't an innovation that tropical guitarists didn't add to their sound: delay, fuzz tone, overdrive, wah-wah, reverb, modulating effects typical of rock bands are assimilated into a stunning sonic cocktail. In this context, cumbia reached the top of the charts in popularity. It replaced rock as the urban sound. Includes extensive liner notes in English and Spanish, photos, and memorabilia. Also features Silvestre Montez Y Sus Guantanameros, Los Orientales De Paramonga, Grupo Celeste, Los Mirlos, Manzanita Y Su Conjunto, Los Wembler's De Iquitos, Los Beltons, Los Beta 5, Los Galax, Aniceto Y Sus Fabulosos, Juaneco Y Su Combo, Los Sanders De Ñaña, Los Diablos Rojos, Los Ecos, and Los Demonios De Corocochay.

Artist	Title	Format	Label	Catalog #
VA	Cumbia Beat Volume 2: Tropical Sounds from Peru 1966-1983	2LP	VAMPISOUL	VAMPI 143LP
$31.00 PREORDER RELEASE DATE: 3/29/2019 "The 'resurrection' of Peruvian tropical music, of psychedelic cumbia or, as others like to call it, 'chicha,' is perhaps one of the most surprising musical phenomena in recent years . . . Elements of rock, folklore, música criolla, Andean music, Amazonian music, Colombian cumbia, salsa and even psychedelia intermingle in this 'cannibal' genre capable of devouring and assimilating every possible influence. Both Enrique Delgado and Manzanita, the two great founding guitarists of the genre, made music that absorbed all possible manner of styles. Vampisoul features not only tunes from Delgado with his group Los Destellos and from Manzanita, but also from their side projects: Delgado's Los Casmeños and Manzanita's El Monje Loco. Los Girasoles, Los Yungas, Los Beta 5 and Los Ecos continued those sonic explorations . . . Although this compilation consists mostly of instrumentals, a classic of Peruvian tropical music, 'Colegiala' by Los Ilusionistas, is included with vocals from Carlos Ramírez 'Centeno'. Los Beta 5 would never turn to the sung format . . . Another group that has in their origins instrumental beat spirit and sound are Los Ecos. The sparkling-clean guitar sound of their leader Beto Cuestas always shines in songs filled with a delicate pop sensibility and melodies that oscillate between melancholy and danceable experimentation. Los Yungas had recorded songs in which música criolla and huayno are 'cumbianized,' but the more significant point of departure happened when Los Demonios Del Mantaro released a historic single . . . [Carlos] Baquerizo was also the first to introduce an electric guitar in Peruvian cumbia in Los 5 Palomillas, a side project of Los Demonios. The influence of the 'provincial sound' would be felt by many other guitarists . . . One of the most original and surprising guitar sounds in Peruvian tropical music would be that of Maximiliano Chávez from Los Orientales De Paramonga, who created a very peculiar style of tropical music with deep basses, galloping percussion, and wah-wah guitar . . .Los Mirlos, with their guitars and hypnotic grooves, achieved the most popular and transnational of the Amazonian sounds. The other Amazonian miracle was Juaneco Y Su Combo, led by Juan Wong. Their music, full of references to Amazonian mythology and to ayahuasca (a psychoactive drink), featured the guitar of Noé Fachín." --Alfredo Villar Also features Los Orientales, Compay Quinto, Los Pecos, Los Titanes, Los Yungas, Grupo Celeste, Los Santos, Aniceto Y Sus Fabulosos, and José Y Sus Antillanos.

Artist	Title	Format	Label	Catalog #
VA	Latinameriska Volume 3	LP	GRAN QUILOMBO DISCOS	QUILOMBO 003LP
$22.00 PREORDER RELEASE DATE: 3/29/2019 When Gran Quilombo Discos started planning on compiling '60s and '70s songs influenced by Jamaican rhythms by different artists from the Latin American continent, and published the first two volumes of Latinameriska (QUILOMBO 001LP and QUILOMBO 002LP, 2013), the label didn't think they would be able to continue with the series. However, this period of time has allowed them to continue with the "archaeologic work" of the search and capture that every collector has in its blood. There's no bigger pleasure than being on a trip and going through a flea market, shop or just exploring the web and coming across a gem to thicken your record collection. Likewise, it's also a big satisfaction showing those discoveries and making them available to other collectors (so they can start their own hunt) or to the general public which would simply dance and enjoy them, which is enough. Thus, this record is the fruit of that passion and has no different goal to the previous volumes that you listen, dance and enjoy this "piece" of Jamaica born in Latin American territory. You'll find artists you'll already know from previous volumes, such as Las Cuatro Monedas or Conjunto Habana, together with real rarities such as Aristides Paz or The King's Trials... With covers of Jamaican classics ("Ritmo Del Alma") and original tracks ("Cuando Tú Me Quieras"), from vintage ska ("Lucky Lucky") to reggae with skinhead roots ("Doble Barril")... but always with the same essence. And not to lose a good habit we close with a new ghost track, from Colombia in this case and merging a Jamaican music classic with other classic rhythms. Enjoy it one more time! Also features Malvicino, El Klan, Leo Dan, Los Teen Agers, The Summits, Los Palmeras, Los Chijuas, Marimba Orquesta La Perla Del Soconusco, and Palito Ortega.

Artist	Title	Format	Label	Catalog #
DJEUHDJOAH & LIEUTENANT NICHOLSON	Aimez Ces Airs	CD	HOT CASA	HC 061CD
$15.50 PREORDER RELEASE DATE: 3/29/2019 The French-Afropean duo is back with a new funky masterpiece album, Aimez Ces Airs. DjeuhDjoah & Lieutenant Nicholson are French composers and Afro-soul singers. The duo is creating a new vibe with French sounds and mixing it with jazz, Afrobeat, electronic, and soul. T'es Qui? (HC 034CD, 2015) was their first album released in 2015 and re-released a year later under the name Remets T'es Qui? (HC 044CD/LP, 2016). It was result of an intense collaboration that has lasted many years, on stage and in the studio. They call their music "Afropean songs", a collection of jazzy-pop melodies, Afro-soul, and funk arrangements. This album has 15 songs and features a tribute to the famous poet Aimé Césaire on the title. The Antilles are also honored with creole lyrics, and if you listen carefully -- you'll hear them distilled within the album. La Montagne Pelée's eruption in 1902 is evoked under the prism of August Cyparis, one of the three survivors. The rhythms are tight and focused, with some Antilles, but also Detroit elements thrown in, accompanied with a strong horns section, vibraphone, and analog drums. There are lots of echoes from the era of jazz funk and the lyrical French mode, mixed with some slightly warmer currents that show their wider love of modern funk and eclectic tastes. It is a unique sound, an original recipe, using French wordplay with a universal message. In the summer of 2018, they presented the now critically acclaimed first single "El Nino" (HC 057EP), an Afro-funk gem about climate change, and "Fontaine", an Afro hit with a great combination of analog take and electronic dancefloor ingredients. With massive support from national radios and prestigious international DJs such as Gilles Peterson, Aimez Ces Airs could be one of the top funky albums of 2019. Cover designed by the artist Felix. Mastered by DJ Vas.

Artist	Title	Format	Label	Catalog #
VA	Cumbia Beat Volume 3: 21 Peruvian Tropical Gems	2LP	VAMPISOUL	VAMPI 187LP
$31.00 PREORDER RELEASE DATE: 3/29/2019 Double LP version. "Fifty years after the release of one of the founding records of the genre known as Peruvian cumbia (by guitar players Enrique Delgado Montes and Berardo Hernández 'Manzanita'), Vampisoul presents this third volume in the series Cumbia Beat, which brings together 45 rpm rarities from acclaimed groups, short-lived bands and outstanding huaycumbias. Like the previous volumes in this series, listening to this record takes you on a journey across the geography of Peru, as the majority of the groups on this collection were from different regions of the country, or had close links to them, although all of the artists recorded in Lima. Most of the bands emerged during the period 1968-1980, a time of deep political and social change implemented by the nationalist military dictatorship. Los Demonios Del Mantaro, Los Demonios De Corocochay, and Los 5 Palomillas are the exceptions to this, as they recorded between 1965 and 1967 and produced a hybrid of cumbia and huayno called huaycumbia, a genre which achieved high sales figures during those years. Despite the characteristics of huaycumbia, the early composers of Peruvian cumbia didn't consider it a direct source of inspiration. They admit to being more influenced by Colombian cumbia, Cuban guaracha, beat, and psychedelic music from the UK and US that they had played since the end of the '60s, in their 'own style', as a part of a musical appropriation process that quickly led them to forge a singular sound. Peruvian cumbia developed, spurred by the music school erudition of the guitarist Enrique Delgado Montes on the one hand and, on the other, by the self-taught creativity of Berardo Hernández 'Manzanita'. Largely ignored by the elites, it steadily won over audiences and created its own market, establishing its own broadcast channels and distribution channels. As Enrique Delgado stated in 1973: 'We've defined a typically Peruvian cumbia which, strange as it might appear, people also like in Colombia and several other countries.' Finally, setting up their own labels, competing hard against one another and enriching their music with sounds they brought from their specific regions, these bands that gradually sprung up all over the country managed to consolidate a tradition that is still alive today." --Hugo Lévano G Also features Silvestre Montez Y Sus Guantanameros, Los Cóndores Del Cusco, Los Gitanos, Los Orientales De Paramonga, Los Casmeños, Los Beta 5, Los Girasoles, Paco Zambrano Y Sus Ratones, Los Ecos, Los Tantos, Los Scorpios, Los Blue Kings De Ñaña, Grupo Siglo XX, Los Sander's De Ñaña, Los Quantos, Los Diablos Rojos, Marco Merry Y Sus Golfos, and Sonido Verde De Moyobamba.

Artist	Title	Format	Label	Catalog #
RAMBHOJAN, MAX	Max Rambhojan Presente...	LP	HOT MULE & SECOUSSE	HTML 002LP
$26.50 PREORDER RELEASE DATE: 3/29/2019 Guadeloupe 1986. The football World Cup has all the islanders' eyes riveted to their TV sets. At every half-time breaks, local TV channel RFO broadcasts a music video on repeat: "Tou't Jou Pa Min'm". Max Rambhojan, the local singer responsible for this monster tune, has arrived. In the video, he effortlessly sings and kickstarts a joyous street party with his band, Show Man, his dancers, kids, friends, family, and what seems like the whole neighborhood. The song will gain cult status from then on, cementing the power of the "Zouk Chiré" sound, a high tempo version of Zouk, highly influenced by Guadeloupe's Carnival mass drum bands. Max self-released his first solo album on vinyl in 1985, enrolling some of the best musicians the scene has to offer: his band leader King Klero, Guy Jacquet of Les Vikings De La Guadeloupe fame on production duties, Ramon Pyrmée on synths, Claude Vamur on flute. In 1992 a new solo album follows. By then the artists have familiarized themselves with computers and the sound has gone full-on digital. In that album Max records an updated version of his "Tou't Jou Pa Min'm" anthem to great effect. Reducing Max Rambhojan to a Zouk artist would be a mistake. He's first and foremost a master of Gwo-Ka, a musical practice born during the transatlantic slave trade and performed by all ethnic and religious groups of Guadeloupe. It has never ceased to exist and has become a major part of the Island folk music culture. Max Rambhojan was schooled as a kid by Gwo-Ka pioneer Guy Conquette, and quickly joined the backing band of another legend, Ti-Sélès. That sound is the root of his particular style, especially vibrant on two tracks in his repertoire: "Cécilia" and "On Jou Matin", both featured on this release's B-side. A touch of spiritual jazz is also palpable, allowing a magical vibe to spread, giving birth to some of the deepest music from this era. In 2019, Max still performs Gwo-Ka every week-end in Guadeloupe and also hosts a show on local radio Media Tropical, 88.1FM. Secousse and Hot Mule present those four lost gems, carefully restored and remastered. Gatefold sleeve.

Artist	Title	Format	Label	Catalog #
VIBRONICS	Dub Italizer	2LP	MANIA DUB	MANIADUB 008LP
$27.50 PREORDER RELEASE DATE: 3/15/2019 Music Mania and Indica Dubs present the eighth release in their Mania Dub series. This happens to be the third LP, following the classic Light Up Your Spliff (MANIADUB 003LP) and also Dubplate Selection Vol. 3 (MANIADUB 006CD/LP, 2018), comes another one of the UK dub scene's most popular producers, Vibronics, and with one of their most significant and popular albums from 2000: Dub Italizer. Vibronics, the future sound of dub, have been vibrating the world with bass since 1997. Their music is at the forefront of the UK dub scene, proven by over 60 releases on their own legendary Scoops label. The album consists of some of Vibronics most signature songs, including "Jah Music", "Positive Direction", and "On Jah Side". The artwork of the album cover and labels have been kept as close as possible to the original, with minor edits to remove some unneeded information. The masters have been provided by Steve Vibronics to ensure the original heavyweight sound.

Artist	Title	Format	Label	Catalog #
ELLIS, ALTON	Treasure Isle 1966-1968	LP	KINGSTON SOUNDS	KSLP 079LP
$20.00 PREORDER RELEASE DATE: 3/15/2019 LP version. Alton Ellis is one the finest soulful voices to come out of Jamaica. As well as writing hit singles himself, he could make a cover version known as a foreign tune sound like a Jamaican reggae tune with the greatest of ease. As the more upbeat rhythms of the earlier "ska" period began to slow down around the turn of 1966 some say due to the extreme heatwave that hit the island of Jamaica that year, slower rhythms suited the people to groove to at the various sound systems and dances. This also allowed the singers to express themselves more and allow the song to shrine through. No one did this better than Alton Ellis. Alton Ellis (b.1944, Kingston, Jamaica) started off singing at an early stage as part of a duo with singer Eddie Perkins and recorded for both Studio One and Randy's as Alton and Eddy and had a massive hit with the song "Muriel". The singing pair went their separate ways with Alton going solo with Studio One and being a much in demand voice also recorded with Duke Reid's Treasure Isle Studio as Alton Ellis and The Flames. As stated earlier, as the beat slowed down the top singers shined through, and Alton Ellis reigned supreme. One of his tunes featured on this set, "Get Ready (Do The Rocksteady)", even gave this period in reggae's history its name "rocksteady". It's this fantastic period in rocksteady, 1966 to 1968, that Kingston Sounds feature on this release. This set carries all the big hits "Ain't That Loving You", "Girl I've Got A Date", "Cry Tuff", alongside many more classics. All the cut at Treasure Isle songs that really defined the era. So sit back and enjoy the Rocksteady sound at its finest. Enjoy the set. Features Phillis Dillion.

viewing 1 To 25 of 3655 items Next >>