Hip-Hop Novedades

Bohemian Materialism EP is the first release of our freshly revamped Kommuna imprint. The A-side features a UK garage infused 2-stepper from the up and coming producer Crump, while label owner CMYK explores the more melodic side of the breakbeat sound. The collaboration between Kommuna's co-founder Pekkuliar and Driahn produces the goods for the B-side with a ghetto/reggae take on the 2-step sound while the EP concludes nicely with a feel-good remix from Imprints mastermind Domenico Rosa.

Track by track, we are building a Kommuna of both well-established artists and unknown studio dwellers, who share our obsession for music discovery without following any particular genre limitations.

Hyped On Acid (Limited Hand Stamped 12'')

Kapingbdi hail from Liberia, West Africa and have their own imitable style. They effortlessly combine traditional African music in a modern mix of Jazz, Funk, Soul and Rock. The band is a fusion of the old and the new.

The word "Kapingbdi" is taken from the Sierra Leone language Mende and means "born in the night". Kojo Samuels was given the name by his Latin teacher whilst attending high school in Freetown, They often meet and debate at night in the city and soon after Kojo is called Kapingbdi. The name serves as a description of his origin. Born In Lagos, Nigeria in 1943. The son of slave children. His mother from Nigeria and father from Sierra Leone who moved the family to Liberia, during the 1950's.

Kojo has played music for as long as he can remember. He starts with the harmonica and later becomes a drummer and percussionist in his first band at school. During his art studies 1965-1972, he tours Germany and works as an art teacher in the USA. His band Kapingbdi is reorganized five times and consists of up to seven musicians. In a VW-Bulli he drives the group from concert to concert and if the drummer fails, he jumps in himself. Between 1978 and 1981 three Kapingbdi LPs are produced for the independent label Trikont, recorded in Hamburg and Munich. During this creative period, the band plays at festivals in Africa and Europe. In 1984, the band tours the United States and shortly after, they came to an end.

At their best, Kapingbdi would rouse the audience with original compositions like "Human Rights", justice for all, especially for South Africans, and "You Go Go You Go Come". The officials and employees in the government departments have no time for the common man, for any questions such as job search, scholarship or similar, he receives the answer "go, come back tomorrow" and the same thing the following day. Or "Now Is The Time For Cry For Love." Now it is time to scream for love and finally, time for humanity and justice. Despite immense difficulties, the musicians consciously live and work in Africa and are at home in Liberia.

On April 12, 1980, ordinary soldiers and non-commissioned officers organize a coup against the government. This is an attempt to put an end to a policy of exploitation of the Liberian people. Whilst efforts to eradicate poverty, lawlessness and illiteracy are obvious throughout the country, Liberia is still Americanized to a high degree. This is evident, as the radio programs of that time almost exclusively played American disco music. Under these conditions, the people seek a reconnection to their folk music, and Kapingbdi were aware of this. Kojo tried many times to come together with traditional Liberian musicians. This passion takes him north of the country. Meeting and playing with the old hornblowers and playing music on traditional instruments, such as the elephant tusk.

Kapingbdi make high quality tape copies of their own vinyl LPs and patiently try to displace all unauthorized tapes from the domestic "market". Nevertheless, it is hard to make a living through music in Liberia. Kapingbdi, is now celebrated. The radio plays are in abundance, but royalties are not forthcoming. Their musical link is the feeling of Afrobeat and Highlife, which is found in each of the many Kapingbdi pieces. They embody Jazz, which is understood to be the most refined example of black music outside of Africa. In Liberia, Jazz is virtually impossible to hear. Bright shining names such as John Coltrane, Charlie Parker or Miles Davis were widely unknown. Thus, the Black Jazz, including its Back-To-Africa movement of the 60's and 70's, passes by without leaving a trace in Africa itself.

Kojo's claim at the time, was to make African music with the depth, sensitivity and the freedom of the technical level of Jazz. This makes Kapingbdi the torchbeares. The underpaid prophets in small Liberia. It is the passion with which the founder of the band continues to work on their music for years. Tirelessly, stimulating and encouraging his fellow musicians. This is ultimately responsible for the success of Kapingbdi in Liberia itself. The local audience seems to listen to the band in fascinated astonishment. One wonders about the ability to develop as demonstrated by Kapingbdi on the basis of their music. It is African and unusually jazzy, danceable and better than the American disco music heard on the radio.

Rather than chase the money and the job opportunities in Europe, Kapingbdi are firmly rooted in Africa. The musicians live in Monrovia, the capital of Liberia, at the Kabingbdi workshop, located in the Congotown area on the eastern edge of the sprawling city. Kojo works here as a sculptor, painter, batik artist and musician. The sales revenue that his activities generate, gives him the opportunity to support the development of African Jazz music. The highest percentage of funds are from Germany and Kojo's work ethic is "to work on your own thing". The stance taken aims to support the welfare of Liberians and Africans. The other musicians of the group live in a second house that is nearby.

For the sake of consistency, Kapingbdi is a full-time band. However, the revenue, from all of the sources, could not keep them afloat. Equally, as important to the group are Kojos's knowledge of traditional African music and his sculpting skills. His knowledge is shared with others at the afternoon workshops. It is here that they discuss new lyrics, engage in political debate and the self-imposed task of improving conditions in Africa. At times the debate became heated, especially during rehearsals. This was regarded as good and integrative, sowing the seeds of innitiative to keep the band together.

From 1980 to 1985 Kojo also opened and ran the club "Panjebota", located on the grounds of the U.S. Consulate in Monrovia. Almost every evening Kapingbdi perform the song "Wrong Curfew Walk", whose lyrics lament the killing of citizens during the curfew imposed by the Liberian government. When the head of state Samuel Doe hears the song, he behaves agressively and forces Kojo to close the "Panjebota". Kojo had already moved on. Soonafter he meets Fela Kuti at the Africa-Festival and plays concerts in Germany with Cecil Taylor's workshop band.

Kapingbdi is for thinking, dreaming, dancing. What they sing about is what they have experienced. Kojo Samuels is 76 years old today and still follows his vocation as a critical musician, artist and activist.

Ekkehart Fleischhammer / Sonorama 2019
(with the help of original press sheets and the memories of Kojo Samuels)

"Vintage killer addictive electronic reggae & dub selection by UK pioneers Alpha & Omega! These are dub-plate mixes of tracks from various Alpha & Omega albums. Volume 2 was originally released on CD in 1997. "We have always done alternative mixes for sound systems. This is Alpha & Omega's second volume of dub-plate mixes, normally only available to soundsystem operators."

"Vintage killer addictive electronic reggae & dub selection by UK pioneers Alpha & Omega!These are dub-plate mixes (normally only available to sound system operators) of tracks from various Alpha & Omega albums. Originally released on CD in 1995, now for the first time on a limited & numbered 500 copies LP incl download. ""We have always done alternative mixes for sound systems. We had enough good ones to make an album so that's why we released Dubplate Selection Vol. 1"" "

- Released on vinyl for the first time
- Download included
- Numbered, strictly limited, 500 copies worldwide

Midnight Embassy is a ping­pong project by songwriter Angela Aux and producer Sam Irl. During nightly sessions and on walks together, the two artists have created a palette of timeless tracks and futuristic sculptures from pop music flotsam. Like if two archive junkies had synchronized their sketch collections and notebooks so that the different genres and decades seem to effortlessly swirl through each other: Dub, Folk, Beatnik literature, Afrobeat & Electronica. Aux & Irl celebrate a gentle escapism, both cosmopolitan and aloof. This island mentality sparkles unobtrusively through all five tracks of the debut EP. No fireworks, no illuminated advertisements, no selfie thunderstorms: they come at dusk, set shimmering beacons and disappear on a reverberation trail behind the curtain of the night.

A special one-off release of the Dennis Brown classic, which will now be presented in a strictly limited run of 500 copies, in a handsome picture sleeve, with a previously unreleased mix.

Backed by The Revolutionaries, featuring Sly and Robbie, and a gaggle of reggae legends, including Ossie Hibbert, Ansel Collins, Tommy McCook, Noel “Scully” Simms, Bobby Ellis and Vin Gordon. Rrecorded at Channel One Studio, engineered by Solgie, and mixed at King Tubby’s.

The new mix is an unreleased Dub Plate Mix, from Ranking Joe’s Dub Plate Sound system vault, in a Ray Symbolic Style.

The original 12" reissue originally scheduled last year has been replaced by this version, apologies for any inconvenience caused.

The man known as Augustus Pablo was a visionary, part of an intimate group of creative figures whose approach to reggae music and audio recording have forever changed the shape of popular music in Jamaica, and the echoes of his creative ingenuity have reached far beyond the island’s shores. The enigmatic figure will always be most associated with his exceptional skills on the melodica, a plastic toy instrument that is used to teach schoolchildren the rudiments of keyboard melody, but his oeuvre encompassed so much more. In fact, the man was one of Jamaican music’s most important record producers, as well as being a session keyboard player of considerable renown.

Moods Of Pablo collects some individual moments of Pablo’s work which somehow drifted into the orbit of Bunny Lee, a producer with his fingers always in a broad range of musical pies; futuristic cuts of “Queen of the Minstrel,” “Hold On,” “Fatty Fatty,” “Heart Don’t Leap,” and “The Drifter” give way to ten thematic roots dubs from King Tubby’s studio, each with melodica firmly in place, morphing rhythms such as “Barb Wire,” “Everything I Own” and “Miss Wire Waist” into another dimension.

A true Pablo classic pressed in a limited edition of 300 copies on yellow and green splatter vinyl for RSD 2019.

Lights-out dancehall voodoo from Dominick Fernow (Prurient) and Low Jack as Rainforest Spiritual Enslavement, following up ‘Red Ants Genesis’ with a potent new 7” - the 1st RSE release outside of Hospital Productions!

After stumping one of 2018’s biggest surprises with their dread-filled collaboration, ‘Red Ants Genesis’, Dominick Fernow and Phillippe Hallais (Low Jack) come to bury the dance in two parts with ‘Venus Flytrap Exotica’.

On the A-side’s noxiously swampy ‘Bridgetown Dub’ they underline mesmerising chants and skeletal drums with enormously powerful electro-dub subs - brought to life in-the-mix by Paul Corley - while lightning and thunder threaten collapsing skies.

The B-side ‘Price To Pay’ follows in bassy suit, but almost shorn of drums and licked with currents of tropical warm air chords.

Powerful spells, strongly recommend to fans of Demdike Stare, Equiknoxx, Shackleton, Burial.

This first instrumental project from Equiknoxx Music’s Nick “Bobby Blackbird” Deane, was conceptualized in 2015, after choreographer Liane Williams needed theme music for her dance documentary: “5, 6,7,8 Diaries”. Starting life as a voice note sent to musical partner Gavin “Gavsborg” Blair, the ska tune was fully conceived in Deane’s mind from keys to horns. That sound was almost still born when he met in a near-fatal motor vehicle accident in July, 2015 leaving him hospitalized and bed-ridden for near 3 months.

With time to contemplate the importance of creativity in his life Bobby emerged from recovery determined to bring the song, and watercolour self-portrait to life. While metal pins held the bones in his hand together, Bobby enlisted the talents of friends to record “The Master Blenda” at Anchor Studios in one night. The ensemble featured none other than Grammy nominated Raging Fyah band members: Anthony “ToniDrumz” Watson (drums), Delroy “Pele” Hamilton (bass), Demar “Demz” Gayle (piano), and Courtland “Gizmo” White (guitar). For added authenticity, the Equiknoxx founders called upon keyboard legend Franklyn “Bubbler” Wahl of “The Professionals” fame and Grammy winning horn maestro “Stingwray” who delivered a blazing trumpet solo on top of all horn accompaniments.

Not content with revisiting one classic genre of Jamaican music, the Equiknoxx crew went genuine dub of the track on Side B, dicing the vocals of Exile Di Brave with the reverb-laced punches led by Jordan “Time Cow” Chung, Gavsborg and Bobby Blackbird himself. The track was tied together with a mix from Olo Mothashipp in Warsaw, Poland and mastered by Nick Sinna in Manchester, UK.

The result is a global labour of love and a monument to passion in creative endeavour. Inspired by a dancer, made sound by musicians and painted by the artist: The Master Blenda is true to its name. An artisan’s take on marrying spirits to become more than the sum of their arts. Hopefully Bobby has made the famed Appleton Master Blender (and his former mentor), Dr. Joy Spence proud.

On his debut album “Scattered Memories”, the composer, musician and true master on the Iranian spike fiddle kamancheh SABA ALIZADEH blends his instrumental virtuosity with spherical electronics, samples of Persian music instruments and field recordings from his hometown Tehran.

Born in Tehran in 1983 as son of the world renowned Tar and Setar virtuoso HOSSEIN ALIZADEH, SABA ALIZADEH studied the Iranian spike fiddle with SAEED FARAJPOURY and KEYHAN KALHOR plus photography and later experimental sound art with MARK TRAYLE at the California Institute of the Arts, Los Angeles. His musical activities that lead him all around the globe for performances (a.o. at Carnegie Hall) branch into 2 different areas: on the one side ALIZADEH is a highly reputated virtuoso on his traditional instrument, on the other he likes to approach music from a more experimental / technological aspect in his electronic / electro-acoustic pieces. This not being enough, he founded Noise Works in 2014, a platform and label for organizing experimental concerts and for the transfer of knowledge of music technologies among young Iranian musicians which makes him a central figure at the forefront of the current, very vivid Persian music scene that gained a lot of attention through artists like SIAVASH AMINI, PORYA HATAMI and of course SOTE who included a track by ALIZADEH on the compilation “Girih: Iranian Sound Artists” that he had curated.

In 2018, ALIZADEH self-released his debut “Scattered Memories” on CD in Iran which now, in a reworked version, sees its deserved world-wide release as LP and DL. Over the course of 10 tracks ALIZADEH melts his 2 musical worlds into 1: tradition meets modernism, eastern sounds meet western production, folklore meets contemporary electronics. An album that will appeal to an open-minded “world music” audience as well as fans of current streams like ambient or drone in its most subtle forms.

The best track of the mythic label Taxi Records founded in the 70's by musicians and producers Sly & Robbie.

Fortsetzung Der Legendären On-u Sound Compilationreihe Mit Neuen Adrian Sherwood-produktionen, Einzigartigen Mixes Und Unveröffentlichten Tracks Von U.a. Roots Manuva, Lee "scratch" Perry, Coldcut, Gary Lucas (captain Beefheart's Magic Band), Mark Stewart Und Horace Andy. "pay It All Back" Startete 1984, Die Letzte Ausgabe Erschien 1996. Die Tracks Sind Wie Üblich Durch Spezielle Effekte Im Piratensender-style Miteinander Verknüpft. 15 Von 18 Tracks Sind Unveröffentlicht, Ein Track Befindet Sich Exklusiv Auf Den Physischen Formaten, Die Beide Zusätzlich Ein Umfangreiches Booklet Mit Detailierten Illustrationen Und Kommentaren Zum On U Sound-katalog Enthalten.

North-Ghanaian Frafra-Gospel shooting star Alogte Oho is back with his Sounds of Joy for their third 7" on Philophon. With this piece they anticipate the upcoming launching of their first international album release in October 2019. The first 7" became a collectors item, the second one a hit and this one is ready to write a further chapter in Alogte's career.

Allema Timba is a slow rocking, grooving journey deep down into the world of Frafra-Gospel. Alogte and his choir put all their enthusiasm into this praise song, supported by perfectly placed horns and a singing synth. The instrumental version features Masaru Nishimoto, an expert on the Taisho Koto.

Bunny Lee's tiptop productions reissued in finest quality by Dub Store Records.

Bunny Lee's tiptop productions reissued in finest quality by Dub Store Records.

Although this Tubby's version has never been released, "Nothing Don't Come Easy" ended up being a big hit at Jammys and still been praised today. It's the mid 80's interpretation of 70's roots reggae atmosphere. Hats off to the King!

Bunny Lee's tiptop productions reissued in finest quality by Dub Store Records.

Bunny Lee's tiptop productions reissued in finest quality by Dub Store Records.

Bunny Lee's tiptop productions reissued in finest quality by Dub Store Records.

One of the later productions from the Chung brothers and it's the ultimate reggae soul sound that they wanted to achieve. Although Antrim and other Chung productions produced reggae, it's clear that they had US sounds such as soul and funk on their horizon.

Bunny Lee's tiptop productions reissued in finest quality by Dub Store Records.

The Roots Architects is a very special project produced by Fruits Records founding member Mathias Liengme. This is a tribute to the men in the shadow who built Jamaican reggae in studios. It gathers 50 of the greatest Jamaican session musicians from the 60's to the early 80's still playing today. Fruits Records brought them together in studio to create an original album of instrumental songs. '1000 Light Years' is the first single taken from the album to be released later this year.

This dark heavy roots song is played by what used to be The High Times Players nucleus in the early 80's: Barnabas on drums, Chris Meredith on bass, Gibby Morrisson on rhythm guitar and Tony Asher on piano. Then we have Robbie Lyn, Dwight Pinkney, Jah D Fearon, Obeah Denton, Calvin Cameron and Dean Fraser's horns section who spice up the riddim with beautiful themes and solos.

Debut song from The Browne Bunch according to Steely. Triangle, Pyramid and Antrim labels consists of Chung Brothers, Steely & Clevie impacted greatly to the popular crowd within lovers rock circuit and beyond.

Superlative reggae soul produced by Mikey Chung for his own Superstar imprint. Having both young Steely and Clevie in the band, when you think of the further development in reggae music, this production was crucial. Compared to Geoffrey's high quality lustrous reggae soul this Jackson 5 cover is slightly different and lean towards the beauty of Jamaican pops sounds.

Alvin Ranglin GG's productions reissued in finest quality by Dub Store Records.

I'VE SEEN, Oku Onuora's new album is slated to be released February 22, 2019 on the Swiss based Fruits Records label. The album was produced by Dr. T and Fruits Records.

Oku Onuora, Dub Poet extraordinaire is known for his hard hitting socio-political commentaries fussed with potent musical accompaniment is at it again. This new album alternates between a cappella poems and poems fussed with powerful riddims performed in the purest Jamaican tradition by the musicians of The 18th Parallel, to which is added Doctor's T modern electronic touch.

In 2013 after withdrawal for over a decade from the poetry/music scene, Oku signaled that his re-emergency was in full effect with the release of A MOVEMENT; featuring Monthly Alexander, Sly and Robbie, Audrey Hall, Jawara. This was followed up by the vinyl single release YESTERDAY, TODAY, TOMORROW in 2015. Then there was a reissue of the seminal REFLECTION IN RED in 2016 and in 2018 came the reissue of the compilation album I A TELL DUBWIZE... & OTHERWISE.

February 22, 2019 is the launch date for the Word/music missile I'VE SEEN. Be prepared for a word, music fallout that has never before been heard. This album will delight both specialists and genre enthusiasts.

Flick Wilson's "School Days" album has long been one of our all-time favorite LP's through it's killer combination of super heavy Roots Radics rhythms, wild Scientist mixing, and the Flick's unique alternating falsetto style. Never widely available and only ever released in NYC, it's now deservedly reissued.

1979 recordings
Produced by and under license from Bunny 'Striker' Lee

Killer roots on both sides, perfect companion to his "Sings Songs..." album !
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Double sided heavyweight roots 10" from the late Gladdy Anderson. Made around the same time as his killer "Sings Songs For Today and Tomorrow" LP (now back in stock, click here!), here again are two killer tracks with Gladdy's sweet vocals over hard riddims from his band the Roots Radics. The A-side made the rounds as a dubplate first, then the vocal and dub ended up on different albums, while the B-side saw release as a single and an album track in extended format.