Search:tab

Hailing from Los Angeles, Jimmy Tamborello has been a key figure in refining what today is considered electronica for over 20 years. "The Seas Trees See" is the first of two Dntel albums to be released in 2021 by Morr Music in collaboration with Les Albums Claus: a free-floating and rather loose stroke of musical genius, giving ambience a whole new meaningful context. It combines crackles and hiss with deep, yet modest, synths and poignant, yet elegant, vocals and lyrics. "Away", its counterpart album, will follow later in 2021. It will showcase Dntel’s unapologetic love for pop music from a long-gone era, presenting yet another aspect of his multi-faceted personality. Dntel has always covered many musical grounds – from the pop-infused hits on "Life Is Full Of Possibilities" (Plug Research, 2001) to his much more abstract works on "Aimlessness" (Pampa Records, 2012), "Human Voice” (Leaving Records, 2014), and his electronics for The Postal Service (Sub Pop). Whatever his style – Tamborello has retained his very own musical voice.

When it comes to producing music, it can be a good idea to get away from the studio and find a more relaxed environment. Inspiration does not necessarily require huge bass bins. Fewer pieces of gear make it easier to really focus on ideas first and let them be. After recording "Hate In My Heart" – his most recent album, released in 2018 – this way, Tamborello continued working in that fashion, mainly jamming and getting ideas together for upcoming live shows. One of the first results of this creative process was the opening track of "The Seas Trees See" – a cover version of "The Lilac and the Apple", originally recorded by Californian folk singer Kate Wolf in 1977. Tamborello turns the acapella song into a vocoder-like extravaganza. Working with the original recording, the track perfectly sets the tone for what "The Seas Trees See" turns out to be – a quiet yet mesmerizing journey through sound and emotion, bringing together his very own sound design, disguised samples and an incredible feel for moods and atmospheres.

"I thought a lot about making an album that you would find in a thrift store", Tamborello remembers. Something "like a mysterious collection of sketches that leaves a lot unanswered. It doesn’t beg for attention or have any big moments." Despite its perfect and gentle flow, it is worth digging deeper, to surrender oneself to all the painstakingly placed details. Whether the beautiful and haunting piano work on "Movie Tears" or the almost sidechained-sounding "Yoga App" – every aspect of this album has been beautifully crafted, often bringing one of life’s biggest questions to the table: What if? What would have happened if Tamborello would have done this on that track or that on this track? It is good that he did not. Small things add up to something great, diverse and riveting.

The subtlety of his latest endeavor is fascinating. It opens up a new world, in which small musical sketches mean at least as much as perfectly produced pop anthems – if not more.

Saturations is a composition by Danish multidisciplinary artist Niels Lyhne Løkkegaard, and features a clarinet choir consisting of 19(!) clarinet players.

Niels Lyhne Løkkegaard (b. 1979) considers his work to be a basic research in realities working within the domains of imaginary & physical sound as well as other non-sonic media, and since 2012 Niels Lyhne Løkkegaard has experimented with creating music that lets the instruments transcend their inherent sonic norms and reappear in another form by way of multiplication of sound.

His work with multiplication of sound has led to numerous compositions in which one instrument is multiplied a number of times: One piece is written for 9 pianos, another for 10 hi-hats and yet another for countless triangles and so on.

The multiplication brings out bodily timbral phenomena, interference of sound waves and vibrations, and brings out what Niels Lyhne Løkkegaard calls the sound’s potential of transformation. He describes this as the quality in a musical piece, when you no longer hear recognizable instruments, but instead the individual sound, as well as the individual musician, is dissolved into the collective sound.

A sonic as well as human synthesis.

He explains the concept of this sound as follows:

“Imagine you enter a room with vibrant acoustics, such as a cafe full of people having conversations, and when you’re close to those conversations you hear the language and understand the words. If you step away from the tables, however, and stand in the doorway, you begin to loose the ability to distinguish the words from one another. Now instead of hearing the individual conversations, melts all the conversations together, and transform into a one new sound. A sound of people without words and language. Just as when you hear a group of geese squawk, or the wind in tree tops, a kind of nature given sound of people. Once the language is dissolved and the words stop making sense, what is left, is the sound."

The work of NLL has been presented at a variety of different venues and museums such as MoMA (NY - as a part of the René Magritte exhibition The Mystery of the Ordinary, 2013), Imaginary West Indies (Overgaden Copenhagen, 2017), ISCM (Vancouver, 2017), Radiophrenia (Glasgow’s Centre for Contemporary Arts, 2017), CPH:DOX (Copenhagen, 2017), Roskilde Festival (2017), Harpa (Reykjavik, 2017), G((o))ng Tomorrow Festival (Copenhagen 2016, 2018), Nordic Music Days (Norway, 2019), Akusmata (SF, 2020) and his works has been released on labels such as Topos (DK), Archive Officielle (CA) and Important Records (US). NLL is associate professor at RMC in Copenhagen, and has given lectures at the California Institute of the Arts (CalArts), Goldsmiths University of London a.o.p. NLL has been awarded with several prizes a.o. from the Danish Art Foundation and the Sonning Foundation.

This deep soul-jazz double-sider, recorded on October 3rd 1972, was released as a seven-inch single on Motella, one of the many labels of the Mavuthela Music division of Gallo Africa (now Gallo Record Company). Mavuthela was founded by the talent scout and producer Rupert Bopape in 1964. This recording of 'The Toreadors', a one-off session group, was produced by Ray Nkwe who worked as an independent producer for several different companies and was responsible for organising many African jazz-oriented sessions in the 1970s and early 80s.

On first hearing the A-side ‘Thembi’ (written by Ray Nkwe) ‎you’ll wonder why you haven't heard this song before, but simultaneously be struck with a sense of instant familiarity. It has a loose floating jazz vibe with echoes of 60's hippy, psychedelic soul-jazz qualities, and elements that remind us of acts such as The Deirdre Wilson Tabac. The vocal deliveries are stunning, hauntingly beautiful, and from a place where it is hard to pinpoint just where this song originates.

The B-side, ‘Gwinyitshe', is also absolute fire. This song has gained more coverage and notoriety among South African music fans / collectors and DJ's over the years. It is a deep, pulsing soul-jazz-funk groove with another exceptional vocal performance that is relaxed yet engaging and spiritual, whilst managing to surf the instrumentation to perfection. 'Gwinyitshe' was written by one of the sleeping giants of South African music, Teaspoon Ndelu, who also plays on the record and whose material we can't get enough of here at Mr Bongo.

When you think you have all the records you need a gem like this resurfaces from the past, reminds you that you've only scratched the surface and there is still a wonderful treasure trove out there to enrich you and your music collection. So dive into The Toreadors world briefly, your day will be the better off for it.

• Official vinyl replica
• South African soul-jazz obscurity
• 'Gwinyitshe' written by Teaspoon Ndelu

A quick, spontané voyage to the French Riviera ca. 1968, good times long before things went south, Organi’s “Parlez-vous Français?” is a woozy, tripping, soothing sojourn: DIY dream pop, hazy psychedelia, blurred-but-steady beats dripping down the golden boulevard, complete with mystical chants, a dash of half-remembered Franglais that goes down like some vintage eau-de-vie. There’s a fine massage waiting behind those venetian blinds. Pay half an hour, you’ll be relaxed and revived after 22 minutes. Très irrésistible when streamed, Organi’s haunting, hard-boiled French lesson is even better with that classique vinyl crackle in the mix.

Following the cinematic title skit with its bass loop appendix, Oakland-based producer and multi-instrumentalist Mike Walti (and his songwriting partner Maryam) aka Organi invites singer Jessica Bailiff along for the majestic entrée, an interpretation of Philamore Lincoln’s 1970 tune “The North Wind Blew South” (doesn’t it always?), adding anticon. heavyweights Jel and Odd Nosdam on synths and bass for à la mode enhancements and additional bric-à- brac.

Whereas the theme tune “Organi” comes with big drums, big organ, seductive overtones, pure hypnosis, “Whispers” is the soundtrack to some kind of psychedelic campfire tableau vivant: all brumeux, hazy, with spare guitar, Gauloises or Gitanes dangling, a glass of Bordeaux waiting on the dusty old amp, and featuring guest vocalists Yea-Ming Chen & Susy Borhan. It gets even more Parisienne after that: a French woman just knows how to look classic, even when all she’s got is some attitude, a ramshackle tambourine, a craving for old Sukia weirdness and those budget-couture “4 Dolla Jeans”...

Clearly in love with analog equipment, Organi turn The Vaselines’ “Slushy” into a slow- moving, bottomless lullaby – “... you'll never miss what you never had” –, and the femme fatale minimalism of “Stay The Night” is too magnétique and alluring: A fuckin’ sexy chanson, très léger and yet such a hard-knockin’ head-nod anthem, it’ll make you stay for sure, hungry for la petite mort.

Before the expansive denouement – a bank robbery in style: with bangs and a bucket bag (“Danger Walked In”) – the session gets super loose on “The Getaway,” head scarves and berets shimmering in the cabriolet, and featuring Jena Ezzadine on vocals & Headnodic on bass.

Mike Walti aka Organi is an Oakland-based musician and producer. A third generation Bay Area native, Walti has been running wyldwood Studios in Oakland CA for 10+ years (recording artists like Why?, Latyrx, Del, Dan The Automator, and Big Freedia, to name but a few). A longtime friend of Odd Nosdam, he loves to work with analog equipment (“We just love us some analog!” “Just listen to those relays purr...”). Recorded and mixed by Mike Walti at wyldwood, and mastered by Odd Nosdam.

Seven years and a handful of lifetimes ago, New Bums came
out of nowhere with their debut album, ‘Voices In a Rented
Room’ - a record the New York Times described as “feeling like
it’s falling apart.” New Bums took this as a compliment and,
thus emboldened, they toured relentlessly in support of the
release: criss-crossing the USA in the spring of 2014, with a
European run that summer. Then, silence descended, as the
Bums withdrew to the place from which they’d mysteriously
emerged.
Now, the Bums are back. 2021 finds them with a new album in
hand. Following a West Coast US tour in late 2019 it’s clear that
the duo of Donovan Quinn (Skygreen Leopards) and Ben
Chasny (Six Organs of Admittance, Rangda, etc) are fully
reanimated, as evidenced by the songs and sounds of ‘Last
Time I Saw Grace’.
Retaining the drunk-dog-locomotion of their debut, New Bums
sprinkle a bit of fresh fancy into their signature twin guitarsand-vocals sound, with cleaner recording techniques, further
developments in harmonies and a new appreciation for a song
with more than two parts, making ‘Last Time I Saw Grace’
nothing less than the perfect progression from the purposefully
murky mixes of their debut.
Continuing to embrace an acoustic rock ’n’ roll sound, inspired
by artists such as Jacobites, Robyn Hitchcock, Johnny
Thunders, Replacements and such, New Bums push the words
and the stories to the front of the line, crafting tales with satiric
glee on ‘Last Time I Saw Grace’. However, this world of empty
perfume bottles, bodies tied to masts and moving onward to
devastation (after the bottle on the table pulls out a gun) feels
much more Gombrowiczian dreamscape than drunken night on
the town. Yes, everything is wasted but this is an existential
wasteland rather than a substance-laden one. This combination
of arch Californian post-aristocratic melodrama with torn and
frayed acoustic guitars opens up a new genre entirely, one
those at Drag City are tempted to call Rent Control Romantic.

Back in October 2009, Strut’s Inspiration Information series was in full swing. Following an acclaimed collaboration between Mulatu Astatke and The Heliocentrics, Finnish maverick Jimi Tenor hit the studio for a mouth-watering head to head with Afrobeat drumming legend, Tony Allen.

Tenor had already built a reputation as a fascinating enigma in modern day music. Consistently one of the most inspired and unpredictable live artists around, his work since his breakthrough album ‘Intervision’ (Warp, 1997) had involved open-minded projects ranging from live film soundtracks and orchestral pieces to a series of Afro-based albums with his band Kabu Kabu. Enjoying a burgeoning revival, Tony Allen had continued to attract new fans. Celebrated as the creator of the Afrobeat rhythm and a lynchpin of Fela Kuti’s Africa 70 band, his work at the time of this recording had included the first album as The Good, The Bad & The Queen with Damon Albarn and his debut recording for World Circuit Records, ‘Secret Agent’.

Recorded at Lovelite Studios in Berlin during November 2008 ith further sessions in Finland and Paris, the Tenor / Allen collaboration whipped up a raw, heavy analogue sound mixing the full range of Allen’s Afrobeat repertoire with Tenor’s off-kilter brew of dark humour, tongue-in-cheek lyrics and tight, firing musicianship. The sessions involved key members of Tenor’s Kabu Kabu band and Berlin-based guest MC Allonymous with tracks evolving naturally from jamming ideas together over five intense days of recording, fuelled by plenty of African food and whisky. Tenor’s trademark range of home-made instruments rubbed shoulders with vintage keyboards and traditional African percussion.

The resulting set became one of the best recordings that both artists produced during this period. Tracks range from Jimi’s S&M tableau, ‘Darker Side of Night’ to the apocalyptic commentary on our times, ‘Path To Wisdom’ and the hilarious lampooning of the UK immigration system, ‘Mama England’, composed on the Tenor tour bus. The album also featured fusions based around more traditional low-slung Afrobeat structures (‘Sinuhe’, ‘Got My Egusi’) and ended with the epic freestyle juggernaut, ‘Three Continents’, a life affirming, mesmeric groove built around another rough-as-nails Allenko rhythm base. 'Inspiration Information: Jimi Tenor / Tony Allen' is re-released on 22nd February 2021 and is dedicated to the memory of the great, incomparable Tony Allen.

First reissue of long out-of-print and sought after release from 2009
Unique fusion of Afrobeat drumming and psychedelic Jazz
Vinyl cut from original sessions

Modern sounds for the 21st century featuring modal, progressive and esoteric contemporary jazz from the UK, Spain, Netherlands, Finland, USA, Belgium, Canada, South Africa, Sweden, Germany & Italy.

The first 12 volumes of our hugely popular Spiritual Jazz series have unearthed a wealth of historic recordings in the genre, collating a variety of works from the '50s to the '80s by artists from all around the world.

And so, with Volume 13, we turn our attention to what's happening NOW.

Over the course of 24 tracks and spanning 2 x 2LPs, we present an overview of the contemporary exponents of Spiritual Jazz; musicians who are intent on bringing something personal to the table, as much as they recognize the importance of those who have paved the way for them. We feature music recorded within the past 20 years and from 15 different countries, including modern classics from veterans Steve Reid and Idris Ackamoor, providing a vital link between the past masters and the enlightened new generation.

It's pioneers such as John Coltrane, Sun Ra, Pharoah Sanders et al, with their innovations in reaching another plane of consciousness that was and remains uppermost in the minds of exponents of Spiritual Jazz. Fittingly, several of the artists featured on this compilation, such as Cat Toren and David Boykin, are practitioners of the art of music therapy and sound healing, and have absolute conviction in the role of song as solace. The pioneers may no longer be with us, but their saintly selves loom large, shining a light in the darkness, inspiring many a brave new disciple today, as this album will testify: the new wave of jazz is gathering pace and still sounds fresh, vibrant and as relevant as ever.

Modern sounds for the 21st century featuring modal, progressive and esoteric contemporary jazz from the UK, Spain, Netherlands, Finland, USA, Belgium, Canada, South Africa, Sweden, Germany & Italy.

The first 12 volumes of our hugely popular Spiritual Jazz series have unearthed a wealth of historic recordings in the genre, collating a variety of works from the '50s to the '80s by artists from all around the world.

And so, with Volume 13, we turn our attention to what's happening NOW.

Over the course of 24 tracks and spanning 2 x 2LPs, we present an overview of the contemporary exponents of Spiritual Jazz; musicians who are intent on bringing something personal to the table, as much as they recognize the importance of those who have paved the way for them. We feature music recorded within the past 20 years and from 15 different countries, including modern classics from veterans Steve Reid and Idris Ackamoor, providing a vital link between the past masters and the enlightened new generation.

It's pioneers such as John Coltrane, Sun Ra, Pharoah Sanders et al, with their innovations in reaching another plane of consciousness that was and remains uppermost in the minds of exponents of Spiritual Jazz. Fittingly, several of the artists featured on this compilation, such as Cat Toren and David Boykin, are practitioners of the art of music therapy and sound healing, and have absolute conviction in the role of song as solace. The pioneers may no longer be with us, but their saintly selves loom large, shining a light in the darkness, inspiring many a brave new disciple today, as this album will testify: the new wave of jazz is gathering pace and still sounds fresh, vibrant and as relevant as ever.

Available as 2 x 2LP sets each with gatefold sleeves, extensive liners, download card & pics inside.

It doesn't happen too often that you come across someone with Sam's composure and artistry at such a young age. 22 year old Sam De Nef has been in music for a while as lead singer of indie outfit 'Danny Blue and the Old Socks', but It wasn't until last year he started thinking of a solo career. Influenced by a generation of songwriters he listens to every day, Sam felt an urge to follow his own path and write genuine songs he could play all by himself and at any time, unadorned and without pretence.

He started recording demo's during the March lockdown, swiftly landed a record deal and started recording his debut with Nicolas Rombouts (Dez Mona, Ottla, Stef Kamil Carlens) and PJ Decraene (Rhinos are People too) - also his live band - in an old house in the French Vosges mountains.

The first tracks he released did not go unnoticed at national radio, press and streaming playlists alike. Sam is a prolific writer and lyricist, he recorded a 7 track debut mini album, expected in February. We are instantly struck by his stunning vocals, his versatility and maturity as a songwriter, embracing the classics but never without transcending their influence.

Sam De Nef's first solo project is a vehicle to tell his own stories and write songs that come to him in the most natural way. His debut mini album is an inspired collection of visceral folk and singer songwriter tunes, drenched in nostalgia. He's inspired by the likes of Dylan, Jack Kerouac, Leonard Cohen and Karen Dalton, but displays a unique voice and decidedly steers clear of platitudes.

"On my first trip to Serbia, visiting my girlfriends family, I discovered a whole new world in music. People played their songs around the diner table. What I saw was a family sharing food, alcohol and stories everyone could relate to. This experience opened up a new window, the wind blowing inspiration. I want to tell stories and touch people with simple songs and colorful language."

There is a directness and intimacy throughout each of the record's 23 minutes, which both sparks universal melancholy and makes Sam De Nef's debut very personal.

The mystifying 9th album in the Field Works series, Cedars combines cosmic Americana with Western ambient and Middle Eastern influences. Delicate layers of pedal steel, banjo, oud, and hurdy-gurdy float atop looping guitar drones to create a soothing, atmospheric chamber where folk and electronic music coalesce. Set to Arabic and English poetry, the song cycle examines some of Earth's most iconic and ancient forests, revealing our complicated relationship with the natural world. For this special dual-language release, Field Works producer Stuart Hyatt has assembled a supergroup of musicians, poets, and artists. The album is narrated by Youmna Saba and H.C. McEntire. Instrumentalists include Marisa Anderson, Fadi Tabbal, Dena El Saffar, Danny Paul Grody, Bob Hoffnar, Tomás Lozano, Nathan Bowles, Alex Roldan, Youmna Saba, and Stuart Hyatt. Renowned illustrator María Medem brings poems by Todd Fleming Davis and Youmna Saba to life in the accompanying full-color Risograph comic book; and longtime Field Works collaborators PRINTtEXT design the packaging.

The Roman on the cover soldiers on in silence. This album is the product of excavations in materials recorded at home, EMS in Stockholm, Worm in Rotterdoom, and Willem Twee Studios in 's-Hertogenbosch, much of which has been collaged, recollaged, broken apart, bleeped backwards and put back together with the kind of casual elegance that takes years of practice to perfect. Hiele is a very busy man: aside from his music (solo, commissions, and in collaboration with far too many people to mention here) he co-runs Table Dance - a bar-restaurant-venue in Antwerp's red light district - and Universal Exports, a shady organisation that occasionally releases records. Limited edition of 300 copies. Includes a poster/insert, download code and a UE sticker.

Thumbing Thru Foliage is a blunted journey through YUNGMORPHEUS’ mind where personal lyrics intertwine with socio-political themes and tongue in cheek humour. Produced entirely by ewonee. Lead single ‘Fistfulofgreens’ grooves on a g-funk-esque plain and is an assured mission statement - “original man who got the game plan, I aint switching my hands inside these strange lands” whilst also sharing some intimate insight “I don’t ever answer questions that the feds askin, they were cuffin’ my mama, you know I had to blast them”. Second single ‘Sovereignty’ takes a more soulful turn with ceremonial strings and r&b samples ringing under braggadocious bars. Third single ‘Middle Passage’ is a more introspective cut - sombre vocal and piano loops are juxtaposed with neck snappin’ energetic drums. Describing the project in his own words, YUNGMORPHEUS says, “Peace peace, I consider this album a call to action of sorts. The world is rife with distractions and oppressive tactics but niggas move through it nonetheless ! Respect to ewonee for providing a beautiful backdrop for me to get some much needed shit off my chest. Maneuver through the foliage yall... Power to all black people ! Salute to those who listen”. ewonee adds, “Growing up like we did in this corporation Neegas deal with a lot. Usually gotta go through the mud to get to the greens. Good comes with the bad and vice versa, learning how to adjust is a must. Hope y’all get that from this. Roll up count up and mount up. PEACE”. YUNGMORPHEUS is an American rapper and record producer, originally from Miami but now based in LA. He has released music on Leaving Records and Rap Vacation as well as collaborating with Pink Siifu, Fly Anakin, Koncept Jack$on and Ohbliv. Previously supported by Okayplayer, XLR8R, Bandcamp, DJ Booth, Tiny Mix Tapes, Earmilk, BBC6 Music, Dublab, NTS and Worldwide FM. ewonee is an American Multi-instrumentalist, Producer, Beat-maker & Audio engineer from New York. Part of the Mutant Academy crew and also involved with the Beat Haus Show, ewonee has previously produced & collaborated with the likes of Your Old Droog, Fly Anakin, Reginald Chapman and Koncept Jack$on.

Lost Souls Of Saturn (Seth Troxler and Phil Moffa) launch their new label ‘Holoverse Research Labs’ as the hub for both LSOS’s audio transmissions and their adventures in media and technology.

The first release HRL 001 presents special interpretations of Lost Souls Of Saturn’s eponymous debut album by the legendary Pépé Bradock. ’Cycloned by Pépe Bradock’ finds Lost Souls of Saturn, in the words of Bradock, “Dreamed, Weighted and Micro-Waved”. This is the album shattered into pieces and brought back together into new forms as the parts and files fall. Deconstruction or reconstruction? It’s unclear. What’s tangible is that the new tracks are very special, with Pépé bringing his unique talents to the control room / operating table.

“Bouillabaisse From Space Remix” is the sound of Pepe singlehandedly launching the French space program to find lost dance floors deep in our own cerebral cortex. “Pacific Limbo Bonus Beat” channels more of the same. This is head music for the dance floor. No amateurs.

Further remixes of tracks from the ‘Lost Souls of Saturn’ album are to follow in March from Mathew Jonson, Freedom Engine and Carl Craig.

KerenDun (Buttering Trio) returns with a new two-track single titled ‘Afternoon.’ As always, KerenDun delivers super smooth tunes laced with vibrant colorful lyrics that offer us a peak into her life.
Jazz and soul influences are very apparent in this release; the result of collaborating with drummer/jazz head/producer Yuval Garin & trumpet player/pianist Roee Hermon.
Released together on 7” vinyl, this release is packed with soul and promises a vibeful journey.

Original Soundtrack to FEELS GOOD MAN - (US Special Jury Prize for Emerging Filmmaker - Sundance 2020)

“I was born here” said Alice Cooper, “and so was the sound and spirit of Alice Cooper.” Named for the city that launched the original Alice Cooper group, “Detroit Stories” followslast year’s “Breadcrumbs” EP as a modern-day homage to the toughest and craziest Rock n Roll scene there ever was. Alice Cooper and Bob Ezrin gathered some legendary Detroit musicians (Wayne Kramer, Johnny “Bee” Badanjek, Paul Randolph and many more) in a Detroit studio to record “Detroit Stories”, Alice Cooper’s new album that celebrates that spirit for a new era. Finally, it would not be a proper collection of Detroit tales if it didn’t include a few songs featuring the Original Band members, Mike Bruce, Dennis Dunaway and Neal. Joe Bonamassa also makes an appearance on the intro track “Rock ‘n’ Roll”. If 2019’s “Breadcrumbs” EP laid down the trail to the city, “Detroit Stories” drives like a muscle car right down Woodward Ave. Discover Detroit Stories as they were meant to be told. Available across 5 formats: CD / CD+DVD / 2LP Black, Boxset. Boxset inclues CD, T-shirt, Face Mask, Torch Light, 3 Stickers. Expected reviews across the broadsheets and tabloids. Daily Mail already picked this album as one of their 2021 albums to look out for! Current single playlisted at BCR2.

When I think I refused the first one, what an unconsciousness! "It was in these terms that Serge Gainsbourg expressed, in 1977, his joy at seeing his talents as a composer finally associated with the adventures of Emmanuelle, embodied on screen by the sensual Sylvia Kristel. For a long time, he bit his fingers for declining the offer to compose the soundtrack for the first part of the erotic saga. In France, only one 45 rpm appeared on Philips in 1977, regrouping the song "Goodbye Emmanuelle" and the instrumental "Emmanuelle and the Sea". However, Goodbye Emmanuelle's soundtrack was released in October 1977 as a nine-track LP reserved for the Asian market (Japan and Hong Kong). Enriched with two bonus tracks, this extremely rare LP is finally available in the UK. Reviews in London Macadam, and L’Echo Ads London Macadam and L’Echo

Directed by Just Jaeckin, the creator of Emmanuelle, starring Françoise Fabian, Madame Claude is inspired by the fictionalized memories of Fernande Grudet, the sulphurous instigator of the most famous luxury prostitution network in Pompidolian France. The totally disco-funk Original soundtrack of this film released on screens in 1977 from Serge Gainsbourg is sublimated by the immense arranger- Jean-Pierre Sabar". Without forgetting the generic song of Madame Claude “Yesterday, Yes a Day” interpreted by Jane Birkin. Reviews in London Macadam, and L’Echo Ads London Macadam and L’Echo

Cumbia, the music and the dance synonymous with Colombia, has been around almost since the 17th century. Today, it’s a badge of identity for Colombians everywhere, but is now also enjoying a global renaissance; filling dance floors and captivating a new generation of music fans.

Originally released by World Circuit as two separate albums – ‘Cumbia Cumbia’ in 1989 and ‘Cumbia Cumbia 2’ in 1993 - this collection brings together some of the greatest recordings made by Colombia’s legendary record label, Discos Fuentes, between 1954 and 1988.

Discos Fuentes was founded in Cartagena in 1934 by the visionary musician, arranger and producer, Antonio Lopez Fuentes. It was the first important record label in the country and grew into a company of immense significance for Colombian music, responsible for thousands of hits and scores of legendary singers and musicians over six decades. Fuentes hand-picked his musicians and singers then meticulously arranged, produced and recorded their music in-house.

This collection presents thirty of these three-minute-masterpieces, showcasing the gamut of styles that make up the distinctive and irresistible cumbia sound; a sound typified by a loping 2/4 gait and a pulsing rocksteady bassline, overlaid with heavy rural percussion, brass, accordion, clarinet, electric guitar and vocals. Disc 1 features a broad range of cumbia styles with recordings from 1960 through to 1988, whilst disc 2 digs further into the classics of the past focusing almost exclusively on the 1950s and 1960s.

Featuring cumbia’s biggest hits from Rudolfo y su Tipica, Gabriel Romero, Sonoro Dinamita and Armando Hernandez, ‘Cumbia Cumbia 1 & 2’ is a flawless collection from the Golden Age of Cumbia.

It’s hard not to notice such an unforgettable sleeve, and if the music it protects is half as memorable as the artwork, you know you just have to hear it. We don’t think you’ll be disappointed because yes, this is the majestic 1971 album Un Muñeco De Madera, courtesy of the shadowy Sola, and it sounds exactly as you’d want it to. Originally released on RCA in Mexico, it’s kaleidoscopic Acapulcan-funk.

The album’s endless grooves are propelled by softly rocking, quasi-library funk breaks. Vocally, Sola is in step with the 60s French pop-chanteuse style, but of course her lyrics are delivered in sensuous Spanish. Her voice is beautiful. Pillowy soft and tender, it can suddenly explode in mystical anger. These are ten tracks of moody, mysterious vibes that stir the spirit and sooth the soul.

The LP was written, arranged and directed by prolific Spanish composer Manuel Alejandro, the man behind an incredible number of now classic Latin love songs from the 60s, 70s and 80s. As for Sola herself, next to nothing is known about the Mexican singer except the occasional whisper heard in only the darkest corners of the annals of music history. It’s said that upon growing disillusioned with the music industry she ended up in a convent of Carmelite Sisters. Fitting perhaps, given that Un Muñeco De Madera is a spiritual wonder of a record.

Much-loved single and title-track “Un Muñeco De Madera” opens the album. It introduces us to Sola’s sparkling Latin-funk, bursting with swaggering grooves sewn by tight drums, sweeping strings and lush keys. It’s followed by the serene but melancholic bossa groove of “Oye Mamá, Oye Papá” and the strings and guitar of “He Bajado Al Infierno” that hold up vocals reaching for an eternal truth. With full-on soundtracky feels, the rolling keys underpinning the Morricone-esque soundscape of “En Ellos Creo” will give you goosebumps. The gorgeous “Soy Rebelde” (“I’m Rebellious”), sets its gentle, piano-led delivery in delicate contrast to the lyrical sentiment.

Perhaps Sola’s most well-known track, the exotic bossa of “Tabu, Tabu”, is a formidable groove. Elegant bongos, prominent bass, delicate acoustics and a persistent flute blend with Sola’s unique voice; sinuous, sassy and forceful at the same time. The stunning “La Última Palabra”, while not literally the album’s last word, is nevertheless a stirring statement of strutting Latin soul, with more musical ideas packed into this one song than the entirety of most long-players.

If you hadn’t decided already, the final two tracks that are the funk-fuelled “Bada-Bada-Ba” and the horn-heavy percussive masterclass “Únete A Mi” will leave you in no doubt that this is one very special record.

Mastered with great respect by Simon Francis, cut by the master Pete Norman and with that sleeve lovingly restored by the Be With team, this re-issue ensures that Un Muñeco De Madera now sounds, looks and feels as beautiful as it deserves to.
: Un Muñeco De Madera (LP)

"Over the years, I have had the absolute pleasure of meeting countless wonderful people in every corner of this beautiful planet, and a lot of times these music enthusiasts have expressed a very similar-sounding story. That our presence – whether it be via a studio recording or our ferocious show – is capable of transporting them to a better place and washing away all earthly worries. Doesn't this sound amazing – especially during these challenging times?"
This gentle voice belongs to the vocalist-guitarist Jonne Järvelä, who happens to be the creative force behind the unique Finnish ensemble KORPIKLAANI. Having experienced multiple triumphant years within the inner circle of folk-influenced heavy metal, Jonne now acknowledges his position as one of the most recognisable artists ever coming from the land of a hundred thousand lakes.

KORPIKLAANI – preceded by Jonne's own project SHAMAANI DUO (1993-1997) and the band SHAMAN (1997-2003) – was founded somewhere deep in the primeval northern forests in 2003. Ten celebrated studio albums, numerous world tours and hundreds of millions of digital streams alongside multiple other releases, have established KORPIKLAANI’s status as one of the leaders of innovative heavy music. For their diehard legion of fans, they are known as Folk Metal Superstars.

"I have always been fascinated by ancient Lappish/Samish culture and the infectious melodies of aged folk songs. However, that's only one side of the coin as I have loved rip-roaring metal since I was a frantic kid looking for some rebellious sounds. My butt was kicked by the likes of MOTÖRHEAD, IRON MAIDEN and JUDAS PRIEST", says Jonne.
"Since the early 2000s, KORPIKLAANI has combined these elements as we have tirelessly attempted to pump new life into the ancient tales of joy and heartbreak, and added the enormous energy of current heavy metal into that folk metal melting pot.We have always been on a mission to create something new and unprecedented."

Here and now, KORPIKLAANI’s fearless journey continues on – and this time, the journey is powered by rather serious subject matter. Their eleventh full-length studio record "Jylhä" (which has no direct translation but can be described as majestic, or wild and rugged in a beautiful way) brings all the well-known and essential ingredients to the table: heavy-duty guitar riffing, rhythmic folk melodies and more.

What about the tales of the wilderness then? The fascinating and miscellaneous tales have always been a crucial part of KORPIKLAANI’s journey within the realms of unspoiled Finnish nature, ancient Scandinavian myths, shamanistic voyages and beyond. "Did I already mention that "Jylhä" offers some new angles?", the singer/guitarist laughs. "Well, lyrically, there are definitely some previously unknown passages – such as fables connected to the infamous Lake Bodom murders in Southern Finland in early 1960s."

KORPIKLAANI’s long-time lyricist Tuomas Keskimäki – the renowned Finnish poet and author, comments: "When I am coming up with narratives, interesting wordplays and other ideas for KORPIKLAANI, I often feel like I am diving into some absorbing fantasy world. I would describe this state of mind as some kind of a deep trance", says Keskimäki.
"As a whole textual piece, "Jylhä" is rather widespread. For example, there are stories about the fragility of life, revealed by using nature metaphors. ‘Miero’ is one of these tales: after all, it's a fact that the lifetime of a human being is just one blink of an eye compared to the eternal aeons of the cosmos."
"On the darker side, there are several murder songs - I wasn't really planning these rather untraditional lyrics, they just happened... One of these is ‘Kiuru’, and that story is inspired by a famous Finnish double homicide case, which took place in the small village of Tulilahti in 1959. In these lyrics, the character called Kiuru – Skylark in English – acts as eyewitness and a prophet, but at the same time, this creature also functions as an allegory of many things... All in all, I am really happy with the lyrics and all these new themes!"

When asked about his current sentiment regarding the new KORPIKLAANI opus "Jylhä", the commander of the forest clan sighs and smiles. "Using "Jylhä" as our solid steppingstone, we are able to reach completely new heights. For me, it's crystal clear that KORPIKLANI has never been better."
It is a fitting album for our dark times, summed up well by the song ‘Huolettomat’ (The Careless). It talks about living in the present moment, alongside a story of joy and celebration. Today is today, tomorrow is uncertain.

Hannah Williams hat weltweit Aufsehen erregt, als der Hip-Hop-Superstar Jay-Z auf "Late Nights & Heartbreak" ihre herzergreifende Stimme für den Titeltrack "4.44" auf seinem Album 2017 sampelte. Mit dem letzten Album 50 FOOT WOMAN, das auf dem Mailänder Imprint Record Kicks veröffentlicht wurde, gaben Hannah und ihre vorbildliche, in Bristol ansässige Band The Affirmations ein definitives Karrierestatement ab. Die limitierte Auflage der klaren LP ist weltweit auf 500 Exemplare limitiert!

This cassette collects some of these stills, or better said freeze frames. Freeze frames that become almost landscapes that one can enter or not, listen closely to or use as mere background ambience. Wilson went in and untied the knot, yet while investigating the situation, posing more questions. This is as open-ended a release can get, so captiously simple.I met Andrew Wilson, (aka Berko, Art Wilson, Andras), a few months ago in Tokyo where we were both to perform on a sort of Balearic Ambient variety show in the heart of Shibuya. At some point Andrew was telling me about his interest in Youtube videos of truck accidents, animals attacking people and bloopers. With creating one-shot samples of these sort of “popular fringe finds” he started creating long-form drones of harmonic beauty, without being overtly and subjectively emotional. Wilson presented some of these pieces on said night in Tokyo, in a dandyesque manner all dressed in white, sitting behind a small restaurant table. "Table for one, please … "

Roly Porter returns to Subtext with 'Kistvaen'. The LP takes its name from a type of granite tomb found pre-dominantly in Dartmoor, an area in southwestern England. Scattered across the moorlands, the kistvaens were often found covered in a mound of earth and stone. They housed dead bodies, allowing them to lie facing the sun.

With 'Kistvaen', Porter speculates on the burial site as a mirror, or a gate in time. Excavating stories and images of ancient burial rituals, the record teases out similarities in emotional and social rituals between the Neolithic period and today. While a myriad of social, cultural and technological factors drastically differentiate our contemporary period and the end of the Stone Age, certain affinities may still be found in experiences of death across eras.

Venturing across histories, Porter soundtracks a moorland burial unanchored in time. Raw, unprocessed vocals are folded into field recordings made in the area, wordlessly relaying tableaus of burial rituals in Neolithic Dartmoor. 'Kistvaen' features three singular vocalists—Mary-Anne Roberts, from medieval Welsh music duo Bragod; Ellen Southern, of Bristol's Dead Space Chamber Music group; and Phil Owen, a singer and researcher in vocal traditions.

Industrial heavy hardcore set... The old familly of TNI sound : Braindestruction Recordz, Tabenschlag, Noistorm... Crazy shit really !!!

Recorded in a string of sessions between Curve Pusher’s former Darnley Road location in London and new facility in UK seaside town Hastings, ​Old Tight Selektah​ sees Radioactive Man and Ben Pest (OverworX) riff off their shared passions for studio hardware and live set jams, maintaining the funk at all times.

Lead track ​Old Tight​ works in ​recorded licks from the Pest band’s horn section - Off-Key He-Man. Bar Tab smooths out into a glimmering and acid licked electro number. ​You Bring It, We’ll Wing It​ enjoys more of the Pest brass service, slowing the pace to a dubby, broken beat tempo. Finishing up the EP ​Bracetings​ is a jumpy, up tempo finish to the release showing off both producer’s flair for high precision beat programming.

Ben Pest is a hardware-made-techno specialist based in Bristol. He runs his own label OverworX and has also released his heady raucous sound on ​Varvet, Don’t and I Love Acid.

Asking For Trouble est. 2017
Mastered and cut by Keith Tenniswood at Curve Pushe

Kiwi Jr. is a phenomenal "rock" and/or "punk" and/or "indie-rock" (whichever you like more) band from Canada, made up of Jeremy Gaudet (mic, guitar), Brohan Moore (drums), Mike Walker (bass), and Brian Murphy (guitar). Cooler Returns is their second album, and their first for Sub Pop. Despite being a snapshot of the pandemic-infused beginnings of this decade, Cooler Returns is truly a whole lot of fun. RIYL indie-pop from down under, things that are smart/exuberant/catchy all at once. Buildings burning in every direction; macabre unknowns in your friendly neighbor's basement; undecided voters sharpening their pencils: under pressure we could call Kiwi Jr.'s Cooler Returns "timely." But what year is it, again? On Cooler Returns, Kiwi Jr. cycle through the recent zigs & looming zags of the new decade, squinting anew at New Year's parties forgotten and under-investigated small town diner fires, piecing together low-stakes conspiracy theories on what's coming down the pike in 2021. Put together like a thousand-piece puzzle, assembled in flow state through the first dull stretch of quarantine, sanitized singer shuffling to sanitized studio by streetcar, masked like it's the kind of work where getting recognized means getting killed, Cooler Returns materializes as a sprawling survey from the first few bites of the terrible twenties, an investigative exposé of recent history buried under the headlines & ancient kings buried under parking lots. Not so long since their debut Football Money in archaeological time, unending gray eons later in the dog years of quaran-time, spiritually antipodean Canadians Kiwi Jr return to disseminate this year's annual report to the shareholders, burying the incriminating numbers in the endless appendices of a longform narrative record, a 3,000 word tract for stakeholders to pore over. These stories - memories of Augusts past, unrepressed & transcribed fast - go down easier thanks to meaningful changes enacted in 2019's KiwiCares Pledge: delivering on a promise to transition from Crunchy to Smooth by 2021, the caveman chug of Football Money has been steamed & pressed with the purifying air of a saloon piano - operated with bow-tie untied - and a spring green side-salad of tentatively up-tempo organ taps & freshly fluted harmonica. A chronically detuned spin of the dial through swivel-chair distractions & WFH daydreams, an immersive ctrl-tab deluge cycling through popular listicle distractions like the unentombing of Richard III, or the deja vu destruction of the Glasgow School of Art, Kiwi Jr. sing this song to an indoor audience, crisscrossing canceled, every other prestige distraction source wrung dry, only songwriting remaining to deliver engrossing tales to the populace, just how I imagine it worked in the old days. Fixing loose ingredients into a sturdy whip, Kiwi Jr. beam in live from the 9-5, striding into 2021 with a mastered brainwave that comes equally from the back room of the record store as the penalty box. And how do we, left holding this box of deliberate entanglements, sign off to those as yet uninitiated, undecided, uncertain, unseen, absent return coordinates - Best Wishes, Warm Regards, Good Luck? Cooler Returns, Cooler Returns, C o o l e r R e t u r n s ! Cooler Returns was produced by Kiwi Jr., mixed and engineered by Graham Walsh (METZ, Bully) in Toronto, and mastered by Phillip Shaw Bova at Bova Labs in Ottawa, Ontario.

LTD. LOSER EDITION

Kiwi Jr. is a phenomenal "rock" and/or "punk" and/or "indie-rock" (whichever you like more) band from Canada, made up of Jeremy Gaudet (mic, guitar), Brohan Moore (drums), Mike Walker (bass), and Brian Murphy (guitar). Cooler Returns is their second album, and their first for Sub Pop. Despite being a snapshot of the pandemic-infused beginnings of this decade, Cooler Returns is truly a whole lot of fun. RIYL indie-pop from down under, things that are smart/exuberant/catchy all at once. Buildings burning in every direction; macabre unknowns in your friendly neighbor's basement; undecided voters sharpening their pencils: under pressure we could call Kiwi Jr.'s Cooler Returns "timely." But what year is it, again? On Cooler Returns, Kiwi Jr. cycle through the recent zigs & looming zags of the new decade, squinting anew at New Year's parties forgotten and under-investigated small town diner fires, piecing together low-stakes conspiracy theories on what's coming down the pike in 2021. Put together like a thousand-piece puzzle, assembled in flow state through the first dull stretch of quarantine, sanitized singer shuffling to sanitized studio by streetcar, masked like it's the kind of work where getting recognized means getting killed, Cooler Returns materializes as a sprawling survey from the first few bites of the terrible twenties, an investigative exposé of recent history buried under the headlines & ancient kings buried under parking lots. Not so long since their debut Football Money in archaeological time, unending gray eons later in the dog years of quaran-time, spiritually antipodean Canadians Kiwi Jr return to disseminate this year's annual report to the shareholders, burying the incriminating numbers in the endless appendices of a longform narrative record, a 3,000 word tract for stakeholders to pore over. These stories - memories of Augusts past, unrepressed & transcribed fast - go down easier thanks to meaningful changes enacted in 2019's KiwiCares Pledge: delivering on a promise to transition from Crunchy to Smooth by 2021, the caveman chug of Football Money has been steamed & pressed with the purifying air of a saloon piano - operated with bow-tie untied - and a spring green side-salad of tentatively up-tempo organ taps & freshly fluted harmonica. A chronically detuned spin of the dial through swivel-chair distractions & WFH daydreams, an immersive ctrl-tab deluge cycling through popular listicle distractions like the unentombing of Richard III, or the deja vu destruction of the Glasgow School of Art, Kiwi Jr. sing this song to an indoor audience, crisscrossing canceled, every other prestige distraction source wrung dry, only songwriting remaining to deliver engrossing tales to the populace, just how I imagine it worked in the old days. Fixing loose ingredients into a sturdy whip, Kiwi Jr. beam in live from the 9-5, striding into 2021 with a mastered brainwave that comes equally from the back room of the record store as the penalty box. And how do we, left holding this box of deliberate entanglements, sign off to those as yet uninitiated, undecided, uncertain, unseen, absent return coordinates - Best Wishes, Warm Regards, Good Luck? Cooler Returns, Cooler Returns, C o o l e r R e t u r n s ! Cooler Returns was produced by Kiwi Jr., mixed and engineered by Graham Walsh (METZ, Bully) in Toronto, and mastered by Phillip Shaw Bova at Bova Labs in Ottawa, Ontario.

Pascal Comelade and Richard Pinhas met in Paris in 1974, when Pinhas was beginning to go on stage with his group Heldon. With Heldon and, afterwards, solo, Pinhas became the pioneer and accelerator of electronic music in France, and a fundamental reference throughout the world. Comelade's electronic period was much shorter, from 1974 to 1981. From 1983 on, he developed his policy of instrumental, strictly acoustic music. In 1975, Pinhas recorded the introduction to Comelade's Fluence album. In 1996, Comelade recorded 'Back to schizo' with Pinhas. In 1999, Comelade and Pinhas recorded their first duo album, a CD for the Les disques du soleil et de l'acier label: Oblique Sessions II. In 2012, they released a second CD album for the G3G label in Barcelona, Flip Side of Sophism. In 2018, Comelade again invited Pinhas on his album Le cut-up populaire. During the last few years, they have had several concerts as a duo in Paris (Cité de la musique, La Maroquinerie) and Barcelona (Sónar Festival). They met again in 2020 for this LP album, Le plan de Paris. It contains six titles that were either previously unreleased or completely revisited, developed, remixed.

Fred broke out on scene with his slept on debut, the crossover soul gem "Love Can Last Forever" in 2016. After a four year hiatus between releases, it's time for his sophomore single "Sweet Thing", and it's clear that his talent is like fine wine, a thing that needs its time. Since his premier release kicked off Stylart, the Timmion sublabel, Cold Diamond & Mink has put soul on the table with a steady pace and from this new track it's clear that they shine some special love for Fred.

As a result,"Sweet Thing" is as lush as it comes with a shimmering electric piano, horns on full blast and strings to boot. When fused with Fred's delicate delivery, passionate lyrics, overdubs and a mid-tempo soul dance groove, it all really comes together. There's a gentle southern breeze in the air and can we really demand less from Espoo's finest.

We are nowhere nearer to cracking the enigma of Fred's personality, but he does seem less complicated than on his first release. "Sweet Thing" is exactly what it sounds like, a soothing piece of soulful sunshine. Something to enjoy in good company.

Fred broke out on scene with his slept on debut, the crossover soul gem "Love Can Last Forever" in 2016. After a four year hiatus between releases, it's time for his sophomore single "Sweet Thing", and it's clear that his talent is like fine wine, a thing that needs its time. Since his premier release kicked off Stylart, the Timmion sublabel, Cold Diamond & Mink has put soul on the table with a steady pace and from this new track it's clear that they shine some special love for Fred.

As a result,"Sweet Thing" is as lush as it comes with a shimmering electric piano, horns on full blast and strings to boot. When fused with Fred's delicate delivery, passionate lyrics, overdubs and a mid-tempo soul dance groove, it all really comes together. There's a gentle southern breeze in the air and can we really demand less from Espoo's finest.

We are nowhere nearer to cracking the enigma of Fred's personality, but he does seem less complicated than on his first release. "Sweet Thing" is exactly what it sounds like, a soothing piece of soulful sunshine. Something to enjoy in good company.

WRWTFWW Records is feeling total bliss as it announces the full official reissue of two major works from the great Somei Satoh gathered into one LP: the mystic and meditative Emerald Tablet (1978) and Echoes (1981), sourced from original masters and available on vinyl with liner notes by passio-nate Japanese music connoisseur/collector/critic/dj Masaaki Hara.

Fall into the ambient vastness, let yourself go…

Originally released by highly respected label ALM, these pivotal pieces of late 70s / early 80s Ja-panese experimental music majestically showcase Satoh’s intuitive approach to composition and mastery of creating infinite worlds of sound from very, very little.

Emerald Tablet, recorded at the fabled NHK Studio of Electronic Music in 1978, is a spellbinding take on musique concrète meets tape music relying solely on sound harmonics from tubular bell, cymbals, and 'kin' (Buddhist standing bell) overdubbed endlessly, voyaging into vertiginous sonic depths.

Echoes was composed for the Mist, Sound, and Light Festival, a 10-day event organized by the hot spring tourist association of Kawaji, Tochigi Prefecture, held on May 20-29, 1981. It was played in the Kawaji hot spring's Ojika river valley, with 8 gigantic loudspeakers set up on hills surrounding the stream and connected to an octuple channel-tape system - thanks to a combined length of cables exceeding one kilometer - while artificial fog rose from a ravine and laser beams shot up on the mountains. Cinematic and resonating, this breathtaking piece from Somei Satoh is a transcending sonic experience.

Emerald Tablet / Echoes is reissued in conjunction with Somei Satoh’s Mandala Trilogy + 1 double LP, also available on WRWTFWW Records.

WRWTFWW Records is profoundly enchanted to announce the full official reissue of Somei Satoh’s magnificent Avatamsaka Sutra inspired Mandala Trilogy with one additional never-released piece, sourced from original masters and available on double vinyl in heavy 350gsm sleeve with liner notes by passionate Japanese music connoisseur/collector/critic/dj Masaaki Hara.

Deep deep deep into the abyss…

The Mandala Trilogy blends Somei Satoh’s own slowed down Buddhist chant vocalization and early electronics to create a radiant and meditative atmosphere conveying serenity and timelessness. It includes three pieces recorded separately. "Mandala" was recorded at the NHK Studio of Electronic Music in 1982 and was included on the album Mandala/ Sumeru, released on Kojima Recordings’ ALM. "Mantra" was a NHK commissioned work, recorded at the same studio in 1986. "Tantra" was recorded at Victoria University of Wellington’s Lilburn Studios for electronic music and recording in 1990.

Included as a bonus is the 20-minute "Mai", a composition commissioned by harpist Ayako Shinoza-ki and recorded at the Kioi Hall in Tokyo on November 11th 2004. The piece was conducted by Tetsuji Honna and performed by the Kioi Sinfonietta Tokyo. Satoh says: "The harp is one of my favorite instruments. Also, by combining my affectionate percussion instrument, the chromatic gong and steel drum, with the harp’s most beautiful tone, I attempted to bring out a mystical sound." Alt-hough it is not an electronic music piece, the stunning composition elegantly complements the deep mystical world that Satoh expresses in his Mandala Trilogy.

Mandala Trilogy + 1 is reissued in conjunction with Somei Satoh’s Emerald Tablet / Echoes LP, also available on WRWTFWW Records.

clear magenta vinyl edition

EP number eight of the "10 Years De:tuned" series is centered around the 303 tinged acidic sound. This release kicks off with a new and innovative version of Humanoid's highly ranked and major influential classic acid house cut, followed by a proper rave peak time slammer courtesy of Mike Dred. The B-side brings Luke Vibert's grinding acid funk rhythm to the table, plus the squelchy "Strunkelpotz" produced by the cult duo Air Liquide, resulting in a broader spectrum of acid-referencing styles with the same brain-melting effect!

Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Alchemy Mastering and pressed on 180 gr vinyl. Stay tuned!

Cameroonian Joe Bisso's earliest musical influences didn't come primarily from his homeland, but more from the neighbouring Congo, where the kind of early 60's Congolese Rumba played by the likes of Franco / TP Ok Jazz, and Tabu Ley Rochereau was establishing itself as a musical force in the region.

Alongside this exuberant, swinging, jazz influenced sound, the growing impact of the all conquering US soul titans became inescapable, and sprinkled with a bit of Johnny Halliday & Co's smooth chanson over the top, we get a snapshot of where Jo Bisso and friends post school musical experimentation was headed in the late 60's.

As that decade drew to a close, the single minded Bisso headed off to France to begin his quest for the future, and by 1972 could afford the journey to the US that he'd long dreamed of.

Enrollment at the Berkeley School of Music in Boston soon lead to a new band coming together, and by 1974 the all conquering, multi faceted approach that marks Bisso's musical career, meant he'd written, produced and sung on his debut single for the mighty Decca Records. 'Flying To The Land Of Soul' drew heavily from James Brown's propulsive dancefloor funk, whilst wearing it's African colours loud and proud via 'African Express' chants, and drums front and centre.

At the same time, Bisso and friends had started to immerse themselves in the fast emerging disco sound pulsing outwards from Downtown NYC into the Boston nightclubs, and by the time his debut album 'Dance To It' was released on France's influential Le Disques Esperance in 1976, it was the driving, 4/4 floor power of disco that was to define Bisso's sound on that, and the following two albums.

Whilst Bisso's immersion in Disco was based around it's energy and musicality (rather than any associated hedonism), 'African Disco Experimentals (1974 to 1978)' paints a picture of an artist dedicated to the underground club side of the scene, rather than focused exclusively on the fast emerging pop potential of the sound at the time.

The album's tone is set by 3.20 mins of building, tribal percussion and rolling rhythms of the opener 'Love Beat', a 'strictly dancefloor' approach mirrored in the near 11 mins of 'Love Somebody', building from soulful keys to deep bass funk, extended percussion breaks, joyous squelchy Moog licks, breathy vocals and more (interesting footnote : Bisso is credited as Producer / Writer / Arranger, but 'Recorded by' is attributed to Joe Chiccarelli, better known in recent years for his work with The White Stripes, Shins, and Broken Social Scene.)

Still clocking in at a healthy 6 mins plus, "The Mystery With Me" (1978) makes a nod towards more radio friendly waters with it's hooky, floaty choruses and tight structures (a then 22 year old Arthur Baker is credited as sole writer on Discogs - Bisso himself doesn't seemed convinced by this idea, but that's another story...)

'Let's Keep it Together' (1977) loops the song title over a slower groove, with free form electric guitar licks adding new textures, whilst 'Disco Madonna' (1976) showcases Bisso at his most playful, combining spoken word Hispanic vocals, rattling percussion and more of the always welcome Moog, switching up keys at the end for an unselfconsciously camp finale.

And if anything sums up the ambition of Bisso's work in the field at the time, 'Play Me' (1978) can lay claim to being the magnum opus. It's presented here as a continuous 16 minute extravaganza (as opposed to the 4 parts it came in originally) : lush strings, hypnotic vocal sections, irresistible basslines, crisp drums, the odd Barry White style interjection, disco moans, the occasional nod to a chorus vocal. None of it seeming in much of a hurry to go anywhere in particular, choosing instead to joyfully revel in the expansiveness of the form.

When Yiğit Bülbül knocked on our door and put his debut album on the table, Fever took our hearts in a storm. The Turkish born, London based musician and producer knows how to craft his own contemporary avant-garde pop projections with a rich musical heritage shining through from the 1980s and 90s. His style erupts into silly, absurd moments of synth blurps, percussive extravaganza and psyched horns, It’s always colourful and trippy, but in a light way. It’s exactly what we want to release in a year of distress. The album is framed by two contemplative tracks, which are reminiscent of Holger Czukay’s oeuvre. The saxophone in the opening track "The Heath" undulates like an introvert leading voice in a meditation. The long and meticulously crafted ambient outro "Txalaparta" features a spoken word sample by the Basque folk musician Txomin Artola from 1978. The four tracks at the heart of the album are beat driven, percussion-heavy, loaded with synths and random horn samples. "Alo?" sounds like Snakefinger tries to get on a Skype call with Serge Gainsbourg. "Cacti All Over My Head" could well be a Ween instrumental with long arching synth lines over a slowed down bossa nova beat. Fever is a frivolous album which bursts with exalted charm and guest musicians. This is not another greetings-from-the-lockdown album, but with the obvious reference in the title it’s almost a tongue-in-cheek name about creative obsessions of our times. It's the debut album by the multi-instrumentalist Y Bülbül who has learned his trade working with various interesting artists and bands in London in the past 10 years. He is also a passionate crate digger and DJ. His own radio show is unerringly titled "Bülbül's Gemüsement Park", which airs on Netil Radio, a community broadcasting station in Hackney. Bonus fact, Bülbül is the Turkish name for a brown-eared passerine bird, one that's into singing.

You have reached the Infolines. Tonight, we send you on a journey packin’ east to play in the magnificent halls where thespians and rock & roll once played. ‘The Theatre’ features a compilation of cuts that inspire those who listen to sweat in the soon to be humid weather of Detroit.

Bendersnatch is back again, this time with their funky groove ‘Vice Versa’, tooled as a call to the dance floor with a kick that cuts, and bleeps reminiscent of the second wave of techno. Remote Viewing Party brings us a break beat rhythm joined by instrumentalists Ezuch & Bcota with ‘Outpost’. The duo brings shows us their depth creating an atmosphere that will bring you chills, and tears that you will probably think is sweat running down your face. Newcomer Dev-Lish is joined by Maxlow with their head banger ‘Faith In The Machine, in a collaboration inspired by the Detroit birthed genre ‘sludge’. Evil grinding tones with huge bass and dark vocals will make you want to breath. Last, but not certainly least is Francois Dillinger. This artist has been churning out his art and making waves in the electro and techno communities. He brings to the table ‘Lost Loops’ with nothing short of huge bass, large spatial tones designed to hit all frequency ranges leaving room for the crowd to breath while being taken on a journey.

As always, keep an eye on this space and be sure to call in for the waypoint to the party.

Gorillaz started the year with Episode 1 - ‘Momentary Bliss ft. slowthai and Slaves’ - of Song Machine, a whole new concept from one of the most innovative bands around. Now, six episodes in, Noodle, 2D, Murdoc and Russel have visited Morocco and Paris, London and Lake Como, as well as travelling all the way to the moon, and Gorillaz is ready to bring you the full collection titled Song Machine: Season One - Strange Timez, out on 23rd October 2020.

Song Machine is the ongoing and ever-evolving process which has seen Gorillaz joined by an expanding roster of collaborators captured live in Kong Studios and beyond. The result is an expansive collection of tracks embracing a myriad of sounds, styles, genres and attitudes from a breath-taking line-up of guest artists including Beck, Elton John, Fatoumata Diawara, Georgia, Kano, Leee John, Octavian, Peter Hook, Robert Smith, Roxani Arias, ScHoolboy Q, Slaves, Slowthai, St Vincent and 6LACK.
To date the project has seen over 100million streams on all tracks already and the band’s biggest period of sustained growth across both listenership and fanbase growth. All this before the album has even been announced!

Virtual band Gorillaz is singer 2D, bassist Murdoc Niccals, guitarist Noodle and drummer Russel Hobbs. Created by Damon Albarn and Jamie Hewlett, their acclaimed eponymous debut album was released in 2001. The BRIT and Grammy Award winning band’s subsequent albums are Demon Days (2005), Plastic Beach (2010), The Fall (2011), Humanz (2017) and The Now Now (2018). A truly global phenomenon, Gorillaz have achieved success in entirely ground-breaking ways, touring the world from San Diego to Syria, winning numerous awards including the coveted Jim Henson Creativity Honor.

The band are recognised by The Guinness Book Of World Records as the planet’s Most Successful Virtual Act.

2 x 180g Black 12” vinyl
20 page hardcover 12” art book
Song Machine Season One Deluxe CD
Download card for the full deluxe album
3 x 12” art prints
1 x 12” label copy sheet











j 10. Désolé (feat. Fatoumata Diawara) Extended Version










j 10. Désolé (feat. Fatoumata Diawara) Extended Version

We present to you our twelfth release on 7” format, a collaboration between Ojah, Chazbo & Yuuri Bamboo.

The A side contains the track “Resilience”, a melodica version over a 90’s inspired steppers riddim. The first verse is played by UK Dub legend Chazbo, while the second verse is played by Japanese melodica player Yuuri Bamboo, bringing to the table two unique and different yet complementary melodica styles.
On the B side we find a hypnotic and adventurous stripped-down dub version, reminiscent of those early morning dubs at a Shaka session, mixed live in analog by Ojah at his studio.

Limited edition of 350 copies, hand-stamped and hand-numbered, served in a thick custom reversed kraftliner sleeve.
Produced by Ojah, recorded at Alchemy Dubs Studio, London.
Melodica by Chazbo & Yuuri Bamboo, recorded at Roots Temple Studio, Japan.
Mixed & mastered by Oscar Pablos “Ojah" at Alchemy Dubs Studio, London, 2020.
Graphic design by Victor Castro.

all rights reserved

Originally released in 1982, on Cobiana Records.

Limited deluxe version of 500 copies on 180 gram vinyl, with insert and tip-on cover.

Tustumnhos di Aonti can be defined as “a testimony of the weakness of yesterday.” The album is an African Groove made with European instruments, but with its heart and soul deeply grounded in Guinea-Bissau. The eight tracks represent Ze Manel’s (member of Super Mama Djombo) poetic yet frustrated account of what was happening around him. “Love is a social thing, when I see something I don’t like, I sing it in my way. About the people. The people are never wrong.”