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Search Result for Genre WORLD
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7"
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VAMPI 45077EP
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$12.50
PREORDER
RELEASE DATE: 3/5/2021
Few melodies have been played so many times on radio, moviesm or TV commercials as these two compositions from the golden age of mainstream disco music. Top international hits and iconic milestones of an era, both songs are immediately recognizable after just a few chords by almost anyone on this planet. These two compelling tropical versions retain all the party spirit of the originals, guaranteeing some dancefloor heat each time the needle hits the surface of the vinyl. A perfect follow-up to the acclaimed previous singles in Vampisoul's "Tropical 45s series" that so far has included recordings by the likes of Jimmy Salcedo or Sebastiao Tapajos/Pedro Dos Santos. In the rendition of Rod Stewart's "Da Ya Think I'm Sexy" you find a playful mix of the old and the modern made by Pedro "Ramayá" Beltrán, signed under his project La Cumbia Moderna de Soledad; a group from Barranquilla, Colombia, that recorded a set of songs that exudes both tradition and innovation. Machuca Cumbia, a Colombian studio band under the direction of "Cachaco" Brando, add some unexpected cumbia arrangements to the Bee Gees' "Stayin' Alive", resulting a dancefloor winner full of hypnotic percussions and guitars that, at times, even recall other genres such as surf.
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LP
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FARO 221LP
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$22.00
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RELEASE DATE: 2/19/2021
LP version. From samba and bossa nova through to baile funk, with carioca expressions of jazz, rock, and hip-hop in between, the sound of Rio de Janeiro, while continually evolving, has always held an unnamable quality which reflects the magic and mystique of the city itself. Multi-instrumentalist and arranger Antonio Neves is the city's newest trailblazer: the enfant-terrible of Rio's music scene, leading a vital and diverse constellation of both emerging and well-known artists advancing the city's musical legacy. "It all started one sleepless night, after watching a Quincy Jones documentary." Inspired by the legendary music magnate, Neves began writing a list of artists residing in Rio de Janeiro "people that I admire, that I consider geniuses of their instruments, who share with me affinities, anxieties and projects." The list included some of Brazil's most revered living musicians who Neves has worked with in recent years: Hamilton de Holanda, Leo Gandelman, and Dorival Caymmi. Neves also called on some of Brazil's most exciting emerging talents including Alice Cayymii and Ana Frango Eletrico. A Pegada Agora É Essa (The Sway Now) is Neves's second album: a vibrant portrait of the current Brazilian music scene. From the regional to universal, popular to erudite, samba to rap, Latin rhythms to jazz, MPB and pop to good old rock n' roll, Neves walks with fluency and mastery amongst all the musical genres that Brazil has to offer. "My offer to the musicians was complete freedom to express themselves through the songs I proposed -- classics like 'Summertime', 'Luz Negra', and 'Noite de Temporal', and compositions of my own -- creating a space of authorship for the band and the guests. A space for inventions, purges, delusions, laughter. The idea was to bring the freedom of jazz crossed by Brazilian rhythms, such as the traditionals "Partido Alto" ("A Pegada Agora É Essa") and "Jongo" ("Jongo no Feudo" and "Luz Negra"); rhythms of African-Brazilian religions like Candomblé ("Noite de Temporal") and Umbanda ("Forte Apache"); and a tribute to newest Rio de Janeiro's contribution to Brazilian music, the funk Carioca ("Simba"). Features Leda, Esguleba, Alice Caymmi, Ana Frango Elétrico, Hamilton de Holanda, Leo Gandelman, and Edu Neves.
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LP
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VAMPI 220LP
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$26.50
PREORDER
RELEASE DATE: 2/19/2021
One of the "holy grails" of 1960s Cuban music was not recorded, produced, or released in Havana or New York; in fact it was made in Lima, Peru under interesting if somewhat unexpected circumstances. Pianist Alfredo "Alfredito" Valdés Jr. (1941, Havana - 2016, New York), one of the most important figures in Latin music, came from an illustrious musical family in Cuba. In 1956, he emigrated to New York with his family, making him one of the forerunners of Cuban-based salsa music in the US. Three years later at age 18, Alfredito joined Arsenio Rodríguez and his conjunto; then in 1961 Ray Barretto recruited him for his Charanga La Moderna. Alfredito kept himself very busy, studying music and literature during the day and playing at night with the bands of Tito Puente and Machito as well as Arsenio and Barretto. Alfredito become substitute pianist for Machito and His Afro-Cubans for a tour that would take him to Colombia and Peru for a number of engagements in the winter of 1964 and into 1965. While in Lima, several problems arose with the Argentine businessman and tour promoter Mauricio Támara who took the Machito gang to the Peruvian capital but forfeited their pay and left them stranded. Machito's brother-in-law and musical director Mario Bauzá had to travel to New York to get money for the return of the entire company. Miguel Ángel Guerrero, sound engineer and proprietor of Discos MAG, with whom he made a deal for some recording sessions, which eventually produced two albums, the first of which was Gozando. Perhaps due to the fact that it was recorded in South America, Gozando!! has more than simply Cuban and Nuyorican genres like pachanga, mambo, descarga, guaracha, and bolero; there is also a fantastic cover of the Colombian cumbia classic "Tabaquera". Overall, the swinging MAG sessions sound like a long-lost record by Cachao and Tito Puente if they led an orchestra with Charlie Palmieri on piano and Tito Rodríguez on vocals. Ultimately the Afro-Cubans were able to pay their bills and return to the United States in February, 1965. Though the Al Valdez y su Conjunto sessions for MAG may have been enjoyed by a few South American and Mexican aficionados at the time, the scarcity and obscurity of the releases insured that they would become "legendary lost records" rarely heard until recently, when the MAG vaults were opened and the reissues started to flow. facsimile edition.
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CD
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FARO 221CD
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$14.00
PREORDER
RELEASE DATE: 2/19/2021
From samba and bossa nova through to baile funk, with carioca expressions of jazz, rock, and hip-hop in between, the sound of Rio de Janeiro, while continually evolving, has always held an unnamable quality which reflects the magic and mystique of the city itself. Multi-instrumentalist and arranger Antonio Neves is the city's newest trailblazer: the enfant-terrible of Rio's music scene, leading a vital and diverse constellation of both emerging and well-known artists advancing the city's musical legacy. "It all started one sleepless night, after watching a Quincy Jones documentary." Inspired by the legendary music magnate, Neves began writing a list of artists residing in Rio de Janeiro "people that I admire, that I consider geniuses of their instruments, who share with me affinities, anxieties and projects." The list included some of Brazil's most revered living musicians who Neves has worked with in recent years: Hamilton de Holanda, Leo Gandelman, and Dorival Caymmi. Neves also called on some of Brazil's most exciting emerging talents including Alice Cayymii and Ana Frango Eletrico. A Pegada Agora É Essa (The Sway Now) is Neves's second album: a vibrant portrait of the current Brazilian music scene. From the regional to universal, popular to erudite, samba to rap, Latin rhythms to jazz, MPB and pop to good old rock n' roll, Neves walks with fluency and mastery amongst all the musical genres that Brazil has to offer. "My offer to the musicians was complete freedom to express themselves through the songs I proposed -- classics like 'Summertime', 'Luz Negra', and 'Noite de Temporal', and compositions of my own -- creating a space of authorship for the band and the guests. A space for inventions, purges, delusions, laughter. The idea was to bring the freedom of jazz crossed by Brazilian rhythms, such as the traditionals "Partido Alto" ("A Pegada Agora É Essa") and "Jongo" ("Jongo no Feudo" and "Luz Negra"); rhythms of African-Brazilian religions like Candomblé ("Noite de Temporal") and Umbanda ("Forte Apache"); and a tribute to newest Rio de Janeiro's contribution to Brazilian music, the funk Carioca ("Simba"). Features Leda, Esguleba, Alice Caymmi, Ana Frango Elétrico, Hamilton de Holanda, Leo Gandelman, and Edu Neves.
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7"
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VAMPI 45075EP
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$14.50
PREORDER
RELEASE DATE: 2/12/2021
The recording debut of Elia y Elizabeth (or Elisabeth, as it appears originally credited in the first edition of this single) took place in Spain. Family connections with the music industry made it possible for the sisters to have the opportunity to record with Juan Carlos Calderón, one of the most prestigious producers and arrangers in the country who had already worked with top-notch pop artists such as Joan Manuel Serrat or Mocedades. His characteristic style as a producer evidenced his classical music training and also his career in jazz. These first versions of "Fue Una Lágrima" and "Cae la Lluvia" appear full of rich and intricate orchestral arrangements, a very different approach to both songs from the tropical feel that producer Jimmy Salcedo added when they were later re-recorded for Codiscos in his native Colombia. After a modest promotional campaign that failed to launch Elia y Elizabeth's careers in Spain, and due to their father's professional commitments, the Fleta family decided to return to Colombia. The duo would record there a handful of songs between 1972 and 1973, accompanied by Jimmy Salcedo and his group La Onda Tres, mixing soft-pop with a touch of tropical-pastoral funk, singer-songwriter sweetened by the subtle perfume of Caribbean music and psychedelia, which remains as part of the most wonderful pop legacy of all time.
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7"
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VAMPI 45074EP
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$14.50
PREORDER
RELEASE DATE: 2/12/2021
Silvano Moro was an Italian musician resettled in Germany where he'd been playing under different jazz projects since the early '70s. In 1975 he joined Brasil Tropical -- a musical show under the direction of José Prates -- where he met singer Salomé de Bahia. At some point they decided to put together a Brazilian music band and after recruiting some more members started a tour across Europe. In 1979 they were offered to play a concert at the Munich Cathedral for the opening mass of MISEREOR -- a charity organization, linked to the Catholic Church in Germany, dedicated to fight the poverty in South America. The gig was such a success that the Bishop of Munich approached them to produce a record with the concert's music to raise funds for the charity organization. Some years later that bishop -- named Joseph Ratzinger -- would become the Pope and the band's singer, Salomé de Bahia, would record with French producer Bob Sinclair one of the biggest hits and house music anthems in the late '90s: "Outro Lugar". Two of the best songs taken from that scarce 1979 release -- at the time distributed locally only by a tiny Christian music label -- are reissued here on a 7" single for the first time. "Procurando O Caminho" is a killer samba-jazz number championed by such influential DJs as Gilles Peterson or Rainer Trüby when it was first rediscovered for the clubbing jazz scene a couple of decades ago. It's been a highly sought-after record since then. On the flipside, "Chega Gente" brings in a rather epic atmosphere, combining the exotic sound of the berimbau and the chorus led by extraordinaire singer Salomé de Bahia, and then the samba jazz arrangements by guitarist Silvano Moro adding some extra depth and elegance to this great song. Impregnated with spiritual -- almost liturgical -- vibes this is a song of an outstanding beauty.
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LP
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BYR 028LP
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$22.00
PREORDER
RELEASE DATE: 2/5/2021
Coma World is a new collaboration between Maxwell Hallett, aka Betamax (The Comet Is Coming, Soccer96) and Pete Bennie (Speaker's Corner Quartet) bringing together their potent chemistry in an intoxicating debut LP. Betamax drives the duo with his signature "rhythmadelic" drum rapture as Pete elegantly pummels bass tones into an assortment of wonky pockets. Both layer on a blanket of electronic dark matter to create a sonic womb-like world laid out for the brave listener to explore. This is dub and jazz reduced to the raw fundamentals of experimentation, trance, and spontaneity. Inspired by a friend's recollections of being in a coma, the duo delves through the mysteries of consciousness and return with a striking array of colorful sound artifacts. From cosmic flushes that wouldn't sound amiss on a record by Byrd Out collaborator the late, great Andrew Weatherall, through to drowsy groove meditations and explosive eruptions, the album plays by its own rules but demands attention. The two artists sling their dirty funk through cold clouds of darkness leaving psychedelic trails of bleeping fractal spillage. The sonic experimentation is distilled through analogue studio relics followed by a rugged "all hands on deck" live mix down performance from ¼" tape. The result is a spontaneous collection of sonic debris that will be administered to willing participants through 12" vinyl format. Edition of 300.
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LP
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NA 6104LP
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$25.00
PREORDER
RELEASE DATE: 2/5/2021
Delayed until Feb/2021. "Pressed on opaque green vinyl. 'Electrified by a diet of James Brown, the Stones and Deep Purple, Witch were the stadium-filling kings of 70s Zamrock.' --MOJO This landmark recording from Now-Again's comprehensive overview of Zambia's premier garage-, psych-, prog-, funk-, Afro-rock ensemble Witch, We Intend To Cause Havoc! is now available in a never before seen color variant. The audio is nigh-perfect -- restored and remastered from the original master tapes. Witch's musical arc is contained to a five-year span and, in retrospect, is a logical one. The band's first two, self-produced albums -- released in unison with the birth of the commercial Zambian recording industry -- are exuberant experiments in garage rock, and are as influenced by the Rolling Stones as they are James Brown. In The Past, their second album, is the perfect follow-up for anyone exposed to the Witch band through their landmark Introduction."
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LP
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NA 6105LP
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$25.00
PREORDER
RELEASE DATE: 2/5/2021
Delayed until Feb/2021. "Pressed on opaque orange vinyl. This landmark recording from Now-Again's comprehensive overview of Zambia's premier garage-, psych-, prog-, funk-, Afro-rock ensemble WITCH, We Intend To Cause Havoc! is now available in a never before seen color variant. The audio is nigh-perfect -- restored and remastered from the original master tapes. WITCH's musical arc is contained to a five-year span and, in retrospect, is a logical one. The band's third album, Lazy Bones!!, is the band's masterpiece -- a dark, brooding psychedelic opus that makes equal use of wah-wah and fuzz guitars, that relies as heavily on the stomping feel of hard rock as it does the syncopation of funk."
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LP
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HMRLP 010LP
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$26.50
PREORDER
RELEASE DATE: 2/5/2021
Hive Mind Records celebrate their tenth release by bringing the label full circle, right back where they started. They once again have worked with the Gania family of Essaouira to offer another reissue of the music of the undisputed King of Gnawa music, the late Maalem Mahmoud Gania. It feels like the perfect time to release this spiritual music, specifically played to heal and to cure us of our ills, as the world is in the grip of a viral pandemic and powerful forces seem to be polarizing people all around the globe. The label hopes that Aicha will enable you to carve out some healing space in amongst the chaos of the world. Aicha was previously released on cassette in Morocco only in the late 1990s. Maalem Mahmoud Gania was a particularly prolific artist recording for many labels in Morocco and many details about the recording of this particular album or the people involved are destined to remain a mystery. However, the album was recorded in the Gania's home town of Essaouira with only a small and intimate group of supporting musicians. The resulting album, after the dizzying intensity of the opening song, offers more relaxed, laidback interpretations of the Gnawa ritual repertoire, and a deeper, more gentle sound than Hive Mind Records' previous Gania release, Colours of the Night (2017). The album shines a light on Mahmoud's virtuoso guimbri playing and mastery of Gnawa songcraft, and is a standout amongst his many cassette releases. The album comes with extensive sleeve notes written by Tim Abdellah Fuson, Berkeley scholar and curator of the excellent Moroccan Tape Stash blog. First pressing of this release comes with a print of the album cover.
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LP
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MAR 036LP
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$31.00
PREORDER
RELEASE DATE: 2/5/2021
Mad About Records present a reissue of Mandala's self-titled album, originally released in 1976. Mandala made only one eponymous album, recorded in 1971 but released only in 1976. A very rare and influential album, featuring future members of Grupo Um (Nazário and Zeca Assumpção who also played with Hermeto and Egberto Gismonti) and Pau Brasil (Nelson Ayres) -- two seminal bands from the Brazilian instrumental scene of the '80s. The sound is a mix of jazz fusion with a Brazilian footprint -- with a dash of psychedelic atmosphere and the spiced influence of oriental music. Extremely rare private LP of '70s Brazilian jazz psych. Thick carton cover + OBI + insert.
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LP
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NA 6103LP
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$25.00
PREORDER
RELEASE DATE: 2/5/2021
Delayed until Feb/2021. Opaque red vinyl version. "Our comprehensive overview of Zambia's premier garage-, psych-, prog-, funk-,Afro-rock ensemble Witch, We Intend To Cause Havoc!, is now sold out in its 6LP box set form. So we are making the first four Witch albums available in archival reissue form. As with our box set, the audio is nigh-perfect -- restored and remastered from the original master tapes. The entirety of Witch's first album, restored and remastered from master tapes, and presented as an archival reissue. Witch's musical arc is contained to a five year span and, in retrospect, is a logical one. The band's first two, self-produced albums - released in unison with the birth of the commercial Zambian recording industry -- are exuberant experiments in garage rock, and are as influenced by the Rolling Stones as they are James Brown. Thus Introduction, their first, is the perfect starting point for anyone interested in delving into the Witch band, or Zamrock in general."
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LP
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STUDIOMUL 036LP
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$34.00
PREORDER
RELEASE DATE: 2/5/2021
Studio Mule present a reissue of Eitetsu Hayashi's Kaze No Shisha, originally released in 1983. Spiritual leaning rhythms come from none other than Eitetsu Hayashi, one of Japan's most renown taiko drummers, a percussive instrument that is deeply rooted in the mythology of Japanese folklore. Kaze No Shisha is a crucial album in his long-spanning career, that started in 1971 when Hayashi joined the famed Ondekoza Group. The so-called "demon drum group" established the taiko drumming to a global audience and intensively toured around the globe between 1975 and 1981. Shortly after, Hayashi and some like-minded spirits formed Kodo, a new drum troupe with Hayashi as the lead drummer. After their first live performances he left the ensemble again in order to launch his solo career, an output first marked by Kaze No Shisha, released in 1983 on the Japanese subsidiary of the US record company Victor. The album's six compositions feature Hayashi on taiko drum and other percussion by famed Japanese composer Midori Takada on marimba, cymbal, and bells, Shuichi Chino on synthesizer, Chi Soungja on the traditional Korean zither gayageum and the Korean janggu drum, as well as the singers Kamur and Tenko, also known as The Honeymoons. The record's A side starts rough and traditional with "Kintonun", a tune in which Hayashi bangs the taiko stormy while charmingly dancing with Chi Soungja's Korean janggu drum performance. A propulsive start that slides into "cosmos" -- a slow glooming melancholic trance-folk-spiritual tranquilizer, featuring Hayashi playing the piano and koto, while Chi Soungja ghostly weeps on his gayageum zither. A perfectly built folk drama, deeply charged with a musical infinity. Its followed by "kalavinka", an industrial leaning composition that lifts off with metal tones and meditative chanting, only to melt into a mesmerizing melodic marimba crescendo, played by Midori Takada. B side opener "Kaze No Shisha" presents a slow growing performance by Hayashi on the Japanese zither koto. His nervous play transforms into a synth drone played by Shuichi Chino, that slowly makes space for Hayashi's tribal taiko drumming that again disappears in another wave of koto string notes. The follow-up "Bakuon" launches with a supersonic transport sound and operatic singing by The Honeymoons, which amalgamate with Hayashi's feverish performance on his main instrument, the taiko. On "Seiten", Hayashi creates a conversation between the taiko and mokugyo, also known as the Buddhist wooden fish. A captivating, experimental album, full of Japanese music mysticism, surprising non-linear shock-waves, repetitive minimal structures, and frenziedly drumming.
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LP
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WWSLP 045LP
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$31.00
PREORDER
RELEASE DATE: 1/29/2021
Wewantsounds present the first vinyl reissue Omar Khorshid's cult instrumental album from 1978 originally released in Lebanon. The album features Khorshid's trademark twangy electric guitar sound over Arabic melodies enhanced by fascinating fuzzed-up arrangements and early synthesizer sounds. Wewantsounds' series of Arabic music reissues are curated by Lebanese-born Arabic music expert Mario Choueiry from Institut du Monde Arabe in Paris. The album has been newly remastered and comes with the original Voice of Lebanon LP artwork. One of the greatest guitar players of the Arab world accompanying such stars as Oum Kalthoum, Abdel Halim Hafez, and Farid El Atrache, Omar Khorshid was born in Cairo in 1945. After studying music from an early age, he joined the Egyptian pop group Les Petits Chats in 1966 and played with them for a couple of years. After seeing the group playing, Abdel Halim Hafez then recruited Khorshid for his band which led him to subsequently play for Egyptian diva Oum Khalthoum and a few other Egyptian pop stars. Following the political troubles faced by Egypt in the early '70s, Khorshid decided to move to Lebanon in 1973 and started recording under his own name for a few Beirut-based labels. In 1977, he was invited by Egyptian President Anwar El-Sadat to perform at the White House for the celebration of the Camp David Egypt-Israel Peace Treaty. In 1978, Khorshid moved out again -- to Syria this time -- for a about a year before returning to his homeland of Egypt to concentrate on live performances and on his nascent film career. Unfortunately, Khorshid efforts were cut short and he didn't have time to fulfil his ambitions tragically dying in a motorbike crash in May 1981, aged just 36. With Love released by the Beirut-based Voice of Lebanon label in 1978 is a testament to Omar Khorshid's greatness and encapsulate the unique sound of his guitar playing over modern arrangements establishing him as one of Arabic music's true innovator. Featuring reworkings of such favorites as Mohamed Abdel Wahab's "Ahwak", Farid El-Atrache's "Hebbina Hebbina" (a Brian Eno favorite), and the Rahbani Brothers' "Rahbaniyat", the album is a fascinating example of modern Arabic music that aimed at fusing traditional influences with the more contemporary ones, and has become highly sought-after by lovers of this Middle Eastern sounds around the world.
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10"
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PRTL 10023EP
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$19.50
PREORDER
RELEASE DATE: 1/29/2021
A limited 10" featuring the ever-reliable Alpha & Omega with a track called "Shuruaat Aur Ant" from 1991. The A-side was previously an LP-only track while the B-side, a dub version appears on vinyl for the first time. Features a haunting Hindi-sampled vocal. Edition of 300.
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10"
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PRTL 10024EP
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$19.50
PREORDER
RELEASE DATE: 1/29/2021
A limited 10" featuring the British reggae veteran and general all-rounder G.T. Moore alongside Goldmaster All Stars. "Alpha" originally surfaced on a CD-only album of the same name in 2004 and now gets a welcome vinyl release alongside two dub counterparts -- "Alpha Dub" and "Omega Dub". Coning to you in a traditional roots rockers reggae style with horns-a-plenty. Edition of 300.
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12"
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PRTL 12009EP
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$15.50
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RELEASE DATE: 1/29/2021
Classic roots/dub from 1992 produced by Nick "Manasseh" and Jeremy "The Equalizer" Armstrong, with vocals from reggae legend Earl Sixteen known for his work with the likes of Lee Perry, Augustus Pablo, Mikey Dread, and Leftfield. Originally released on the Riz label, "Natural Roots" gained popularity in sound system circles, with play from the likes of Jah Shaka. The original 12" cause distress on the collectors' market. Features one previously unreleased mix: "Natural Dub".
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LP
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VAMPI 224LP
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$27.50
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RELEASE DATE: 1/22/2021
Alfredo "El Inca" Linares is one of the best and most beloved musicians in the history of salsa. Fans love his piano playing because of his authentic Cuban feel and "swing" combined with progressive arrangements and uncompromising phrasing that puts one in mind of Eddie Palmieri. As a composer, arranger and band-leader Linares is highly respected as well. Lo Que Tengo is full of rock solid dancefloor killers and no filler, played with verve and flair. Unlike some of his other records that were patched together from various sessions made in different studios, this album has the advantage of being produced, recorded, and mixed by Alfredo Linares all in one studio and block of time, and backed by hand-picked seasoned professionals. The album was recorded in 1980 in Caracas with some of the cream of the crop of contemporary Venezuelan salsa musicians and launched there on the indie label A.L.G. Records as ¡Con Todo!, and then a year later on the much larger Velvet Records with a different cover. The LP was also released in Colombia and the US, both editions utilizing the Velvet Records cover. During this time Linares had been in Venezuela for some five years and was under contract with a nightclub in Caracas. After the contract was up Linares was a free agent again and he was able to draw on his friendship with Mango and assemble a band to back him, first for the Colombian/Venezuelan production Salsa de Verdad (1976) and then again with ¡Con Todo!/Lo Que Tengo. One of the distinctive aspects of Alfredo Linares tunes is the "break" (la cierre) -- there are always plenty of dramatic hand-clapping breakdowns followed by an infectious tumbao (sustained vamp) section. In addition, Linares always lets his musicians stretch out, especially in the percussion section. Again, Lo Que Tengo is no exception: there are so many examples of typical arrangements here that one could call this a classic Alfredo Linares album, but with the updated studio sound of 1980s Caracas, which was awash in petro-dollars at the time and so had the latest equipment and a strong consumer base for the salsa market. With five perfectly paced salsas, one funky cha cha chá, a steamy bolero and a dance-friendly Latin jazz number to top it off (note the bluesy piano solo from Linares and the sublime vibes of Mango's Freddy Roldán), there is something for everybody on this record. Presented in its original artwork and pressed on 180 gram vinyl.
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12"
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SCRUB 023EP
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$15.50
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RELEASE DATE: 1/22/2021
Loefah's Swamp81 imprint with countless dubplates in circulation but few actual releases, Traces are one of dubsteps quickest rising duos. Scrub a Dub has been showcasing some of best new talent of late from ALXZNDR, Josi Devil, and Rapture 4D and Traces are no exception dropping three prime cuts on the next 12". Each track sounds equally fresh while reminiscent of the dubstep glory days in the mid-2000s. Mungo's have been championing these tracks for some while and back when a dance was a thing, they were damaging dancefloors.
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LP
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VAMPI 219LP
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$27.50
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RELEASE DATE: 1/22/2021
Abelardo Carbonó, despite thinking "outside-the-box", recorded two brilliant albums in 1980 and '81 for Codiscos' imprint Costeño, as well as several other labels, his first being Africa llama (1978) under the band name Grupo Abharca for the Sonolux imprint Caliente in 1978. Guitarist, singer, songwriter, and one-time policeman Abelardo Carbonó (b. 1948, Ciénaga, Magdalena) hails from Baranquilla and his early work was different from his contemporaries. It was definitely not salsa, nor was it really cumbia. Rather, it was novel and genius polyglot stew of diverse musical strains with African roots but never before blended in this way. Styles like Afrobeat, soukous and highlife were effortlessly stirred together with elements of the Cuban son, touches of Latin rock and funk, with a pinch of calypso, a hint of Haitian compas and even a dash of rock and roll, not to mention a foundation of local coastal Colombian varieties like vallenato and porro. Carbonó himself has admitted that Venezuelan psychedelic Afro-rock outfit Grupo Bota was a big influence as well, and his father Abelardo Sr. was a famous porro and cumbia guitarist in Los Tigrillos. The particular blend Carbonó and his bandmates created sounded unlike anything else at the time, and is still refreshingly unique and hip today. It's as if Abelardo Carbonó Y Su Conjunto were the missing link between the 1950s pan-Caribbean acoustic guitar-led sounds of Bovea Y Sus Vallenatos and the more electronic and Africanized genres of champeta and terapia of more recent years. Joined by the crucial nucleus of his brothers Abel on lead guitar and Jafeth on bass, Carbonó's debut record Guana Tangula has a pleasingly easygoing, deceptively simple sound with a tropical, African vibe that features lilting acoustic guitars, pleasant but slightly odd vocals and snappy percussion that would change later with the addition of amplified electric guitars, drum machines, and loops. At the time it came out, it was a popular record. However, soon after he recorded his second disk for Codiscos, La Negrera Del Negrerío, things changed in Colombia due to the ascendancy of the drug cartels and "payola" was the name of the game, so Carbonó's brief chance at big label mainstream popularity lost out to huge bribes by the marijuana traffickers who wanted their preferred artists to rise to the top. Presented in its original artwork and pressed on 180 gram vinyl.
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LP
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AKU 1025LP
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$23.50
PREORDER
RELEASE DATE: 1/22/2021
Musician, composer and one of the most revered figures for today's younger generation of experimental and alternative Arabic music scenes, Kamilya Jubran (text, oud, vocals), collaborates with long-standing musical partner, composer, accomplished trumpet player, and seasoned electronic musician Werner Hasler (trumpet, electronics). In Wa (Arabic for "and"), their third album together as a duo, Kamilya Jubran and Werner Hasler continue to interrogate their listening and their expression, their research and their desires, to unravel a musical universe of possibilities; "a unison of timbres, cultures complementing, the complicity of verses, and modes and languages confronting each other" in the duo's own way of communicating respective origins and contemporaneity. Lyrical, within a sound full of contrast and ornamentation, they pursue an expansion of their repertoire with imaginative interpretation and improvisation. Includes printed inner sleeve and download code; edition of 300.
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LP
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MAR 035LP
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$31.00
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RELEASE DATE: 1/22/2021
A tasty slice of '70s and '80s Brazilian soul and funk, especially the one from the glorious '70s. Soul and funk was taking shape all over the world in the 1970s. Brazilians built on their own phenomenal music, combining it with influences of funk and soul music from abroad to create something uniquely Brazilian. The disco-boogie-funk sound produced in Brazil in the late '70s and early '80s has been under the spotlight. Some records have become established classics and bestsellers. Many others have become cult records that have remained largely unknown to the general public, some of these rare records are now collected in the first volume of Disco É Cultura. Ultra-rare funk-soul-boogie. Thick carton cover with obi. Features Brylho, Lafayette, Paulo Jerónimo, Cornelius, Franco, Adriana, Brazil Very Happy Band, Aloisio, Os Carbonos, San Rodrigues, Gay Vaquer, and Grupo Natureza.
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LP
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SCOB 013LP
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$23.50
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RELEASE DATE: 1/22/2021
For over two decades, Glasgow's Mungo's Hi Fi and their label Scotch Bonnet have spread their fun, forward-thinking reggae music around the world. And this ethos is triple-distilled into their now eagerly-awaited Puffers Choice compilations. The album begins with "Heavenz" by Norwich-based producers Chief Rockas, featuring the hypnotic flow of Jamaican-born emcee Mr Williamz, over a smoking "re-lick" of the famous "Heavenless" rhythm. It's followed by the soulful voice of Ireland's Cian Finn, singing traditional Celtic song "Go Lassie" on a sparse, dubby Mungo's backing. This track was previously released on Mungo's offshoot imprint Dumbarton Rock which quickly sold out. The pastoral becomes the political as US-born, Wales-based crooner Jeb Loy Nichols gently reminds the world that "To Be Rich (Should Be A Crime)", produced by legendary dubbist Adrian Sherwood. Scotch Bonnet crew member Stalawa draws on the African excursions that yielded 2019's acclaimed Stalawa In East Africa EP. "Rather Be Alone", featuring Kenya's "First Lady of hip hop and reggae" Nazizi, is the next cut to Ease Up the Pressure by Jamaica's Delroy Melody and Uganda's C Wyne. Swedish production unit Viktorious revive "Hotstepper", a lost lyric from Jamaican veteran Earl Cunningham. It was an unreleased artifact from a 1980s sound system cassette that deserves a wider audience. The digital sounds that rose in the '80s continue with "Crucial" by Swiss producer Bony Fly and New York vocalist JonnyGo Figure --whose style reminded Mungo's of another NYC legend, Shinehead. Next is the first ever vinyl release of Interrupt's "Lyrics Spree", a family affair involving three generations of British lyricists Parly B, Daddy Freddy, and Tippa Irie with Interrupt. Also getting a first release on wax is hard-puffing, all Jamaican dancehall affair "BBS", featuring Shokryme and RTKal and produced by experimental Kingston collective, Equiknoxx. At the other end of the scale, musically and geographically, is "Weak Hearts", a haunting, mechanical soundscape from New Zealand dubstep project Flying Fox. Its sparing, sampled vocal contrasts with the loud and clear anti-racist lyricism of "Black", chanted by Jamaican sing-jay Skari over a deliberately unobtrusive backdrop from Belgium's INT DUB. Mungo's Hi Fi themselves make a reappearance on the flipside with hymn to solitude, "In My Zone", by Bristol emcee Gardna and singer Charli Brix. The album's final port of call is "Sailor West" by Cumbrian dubstep producer Somah and ethereal Edinburgh-based singer Nem.
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12"
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AS 1316EP
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$14.50
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RELEASE DATE: 1/15/2021
Ashanti Selah -- musician and dub producer hailing from the UK -- is the eldest son of the world-renowned soundman, Aba Shanti-I. Ashanti's musical journey began at a tender young age, during his formative years of soundsystem exposure through his father's musical infrastructure he learned the art of the dub. His education continued as he attended his father's long-standing annual sessions at the Notting Hill Carnival and traveled the globe as a crew member and diligent student. Via his Steppas Records imprint, Alpha Steppa, son and nephew of pioneering dub-duo Alpha & Omega presents a unique collaboration between two second generation dub/reggae producers. Ashanti Selah Meets Alpha Steppa is a testament to their teachers and the product of a life spent in dub. Steppas Records delivers four unique cuts of the long-time Aba Shanti-I exclusive "Violin Step", featuring the uplifting and transcendental strings of Ras Divarius. New generation soundsystem music with a deep roots foundation.
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LP
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JBH 055LP
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$23.50
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RELEASE DATE: 1/15/2021
2021 repress, with new remastered sound. First issued by Trunk Records in 2014, Tam... Tam... Tam...! is an incredibly rare Brazilian LP by José Prates and Miecio Askanasy. Issued only once in 1958 as a souvenir from Meicio Askansay's Braziliana, this remarkable exotic and insanely rare LP is the blueprint of the Brazilian sound that was to come over the next decade. Here you will hear the origins of "Mas-Que-Nada" along with chords, rhythms and sounds that with be strangely familiar to you. But nothing sounds quite like Tam... Tam... Tam...! Tam... Tam... Tam...! is a landmark in the development of the Brazilian sound that would explode around the world in the decade to follow. It's stunning both as a historical touchstone and as a standalone musical triumph. The infectious rhythms, melodies, and exotic sounds that fill this album are deep, raw, and totally engaging. This new master was taken from the "Egon" original, this is Egon from Now-Again, who has a rare original in near perfect condition. This is a cleaner fresher sound than the first issue.
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