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Ambient field recordings collected across the Western Sahel. Sounds of desert oases, late night radio broadcasts, village calls to prayer, and riverboats drifting down the Niger river. A nice companion piece to the musical work from the blog, this an hommage to the sounds that don't always find their way onto records.

Long-awaited reissue of this rare Jamaican compilation, originally licensed in 1964 on local imprint Soulsville Center. Prince Buster is the obvious matador here with five exclusive tracks. Also featuring ska stalwarts The Maytals, Don Drummond, Roland Alphonso, The Skatalites, Gaynor & Errol, Millie Small & Roy Panton, and Owen Gray.

Our survey of folk music traditions in Northeastern Brazil, originally broadcast on NTS Radio in 2019, becomes the latest to be committed to cassette as part of our 10th anniversary series. It specifically focuses in on the spur-of-the-moment improvised "duelling" poetry of the repente, embolada & aboio styles that are unique to the Nordeste region.

Featuring amazing covers of tracks by artists such as Leon Ware, Mtume, Archie Bell, The Gap Band, Lowrell, Prince, Starvue, Bobby Caldwell & The Isley Brothers, there is not a filler in site, essentials all the way.

The project has taken almost 2 years with the help of many musicians, singers and producers from the scene. A special shout out goes to Peter 'Honeyvoice' Hunnigale for going the extra mile and doing many introductions.

Featuring amazing covers of tracks by artists such as Leon Ware, Mtume, Archie Bell, The Gap Band, Lowrell, Prince, Starvue, Bobby Caldwell & The Isley Brothers, there is not a filler in site, essentials all the way.

The project has taken almost 2 years with the help of many musicians, singers and producers from the scene. A special shout out goes to Peter 'Honeyvoice' Hunnigale for going the extra mile and doing many introductions.

ITALIA SYNTHETICA 2025 features a FRED VENTURA curated selection of unreleased tracks from a collective of Italian artists and producers who have long been influential in the electronic underground scene. These musicians continue to push boundaries and explore new frontiers within electro, synth-pop, and new wave.

BACK IN PRINT! This is a soul version of Harry Smith's Anthology Of American Folk Music, a collection of gorgeous soul music selected with a keen aesthetic eye.

From the archives vol. 13, released by Counter Culture Chronicles, gathers rare recordings from key figures such as Lawrence Weiner, Ulises Carrión, Michael Gibbs, and others. This collection traces the porous boundaries between conceptual art and sound, where language, gesture, and environment intersect in works both fleeting and resonant.

With From the archives vol. 13, Counter Culture Chronicles continues its excavation of overlooked and ephemeral sound works from the conceptual art milieu. This volume assembles recordings by Lawrence Weiner, Ulises Carrión, Michael Gibbs, John Baldessari, herman de vries, Jacob van Donselaer, Terry Fox, Maurizio Nannucci, Marinus Boezem, Hamish Fulton, and Georg Winter. Each artist extends the possibilities of sound as material, whether through spoken word, minimal interventions, or conceptual gestures that hover between the audible and the imagined.

Rather than a traditional compilation, the release functions as a collective document of practices that redefined the relationship between art and sound in the latter half of the 20th century. The pieces presented here embody a range of strategies: the taut precision of Weiner’s language-based constructions, Carrión’s playful subversions of form, Baldessari’s wry performativity, and Fox’s meditative listening experiments.

From the archives vol. 13 preserves fragile traces otherwise consigned to private recordings, underscoring the cross-disciplinary energy of a generation more concerned with ideas than categories. By making these works accessible again, Counter Culture Chronicles confirms the enduring relevance of artists who approached sound not as music or text alone, but as an unstable, vital field of thought and experience.

Bongo Joe celebrate their 5 year anniversary with FUTUR ANTÉRIEUR, a digital compilation of 19 brand new tracks, created by Bongo Joe’s contemporary artist community, who provide their own stamp and interpretation of tracks that have previously been released as part of the label’s celebrated re-issue catalogue of archaeological discoveries. The anniversary and compilation release coincides with the re-opening of the Les Disques Bongo Joe’s record store, relocated to a new home on the banks of Lake Geneva, which opened for trade in March. Re-affirming the label’s disregard of genres and boundaries, the compilation sees artists like Bogota and Colombia’s pioneering and eccentric cumbia artist Meridian Brothers take on Extranos Juegos by the Spanish group Zombies (LA CONTRA OLA: Synth Wave & Post Punk from Spain 1980-86), the Geneva residents-en-psych-groove L’Eclair take on Mauritian singer Allen Meller on Moin Qui Bizin Travail (Soul Sega Sa! Indian Ocean Segas From The 70s) and Turkish outfit Derya Yildirim & Grup Simsek reinterpret Ay Dili Dili from Azerbaijan guitarist Rüstem Quliyev, whose retrospective album Azerbaijani Gitara was released in 2020. Founder of the label, Cyril Yeterian, half of Cyril Cyril, recollects, “Looking back to our past 5 years' mixed catalog of music from the past and the present made us immediately think about bridging these musical worlds into one. Several bands we have on our roster told us our reissues inspired their music so it sounded like the obvious thing to propose, to all our current bands on the label.” In just five years Bongo Joe has established itself as a label on a mission, doing things on their own terms, without hierarchy making sense of the world and industry from their community base and record store/cafe/DJ and event space in Geneva Switzerland; and it’s a method that has garnered much respect, with audiences and artists alike. The present compilation is the result of this vibrating energy coming from the shores of Geneva Lake. Definitely time to support musicians : all benefits will go to our artists

Ylia—aka Susana Hernández—had a remarkably productive 2020. In addition to releasing her debut album, Dulce Rendición, on Barcelona’s Paralaxe Editions, she penned compilation tracks for Lapsus Records, Hivern Discs, and Super Utu/Stars on Earth. But professional success can be deceiving: The following year was, personally speaking, terrible. Her grandfather died. Her father died. Her cat died. And she ended a relationship. “That’s a lot of things all at once, no?” she says. Her second album, Ame Agaru, is not necessarily a record of that year, but it is, she says, a response to those life events—a record of grief. The new album is clearly a continuation of the ambient investigations of Ylia’s debut, but it differs in key ways. Where Dulce Rendición was exploratory and faintly cosmic, Ame Agaru—a Japanese phrase meaning, roughly, “the rain lifts”— captures a melancholy sense of stillness. And where her debut was largely electronic, on the new album, Ylia has folded in a number of acoustic elements, even when they are not recognizable as such. Her partner, Alejandro Lévar, lends fingerpicked acoustic guitar to the glowing dronescapes of “Todos los Cuerpos”; multi-instrumentalist and bandleader Tete Leal adds flutes, clarinet, and soprano saxophone to “Ame Agari”—or “after the rain”—which opens the album with a moment of contemplative calm, the kind that follows an extended deluge. One track, the dub techno-influenced “Flowers in June,” grew out of Ylia’s live sets, but the rest are the fruit of improvisational sessions at home in Málaga, five minutes from the beach—jamming and then refining, searching for the ideal expression of a feeling as it was first captured. Searching for the spontaneity behind the stillness. In places, Ylia even incorporates piano, an instrument she has played since she was 10, yet has never included on one of her recordings before. For the most part on Ame Agaru, she seeks ways to fuse piano with synthesizers and electronic processes. But on the closing track, “El Único Adiós Posible,” she leaves us alone with the instrument in all its stark, unadorned beauty. It is a profoundly moving conclusion to an album defined by its economy of means and purity of expression: a cycle of life counted out in the passage of storm clouds and clearing skies.

A North American road trip of coming of age garage soul mapped by Ivan Liechti, Ghost Riders is Efficient Space’s latest narrative compilation, hovering in a liminal emotional ravine between moonlight melancholy, teenage heartache and unchecked, unrealised ambition. Across 17 open hearted ballads recorded 1965-1974, the 2LP collects and connects dots between British Invasion fanatics, child prodigies, the loners and the luckless, in a kind of trans-continental survey of those swept up in rock’n’roll mania and buoyed by local newspaper ads promising fame and gold records. From the tangerine dreams of 8th grade all-girl combo The Mod 4 to the tri-state jukebox aspiring echoes of The Tempters, The Yardleys' poetic Farfisa vamp and lilting folk pop, and The Landlords’ weepy break up b-side blues, these are mostly one shots by dreamers whose experience was brief before being checked back to the reality of suburban normality and realistic career options. Hailing from the regional backwaters of Illinois, Arkansas, Nevada, Massachusetts, Ohio, Idaho, Texas and beyond, the licensed artists were scouted by way of local fire departments, spiritualist fellowships and animal welfare centres, often barely a stones throw from where their contributions were originally laid. A barely teenage Dennis Harte's ‘Summer’s Over’ perhaps best taps the collection’s essence. A gut-wrenching lament of the passing of the season as if it was the last on earth. Flanked by players from The Left Banke, Harte, a now-piano tuner to the stars, is from the minor segment that found longevity in showbiz. Likewise with Michigan icon Lyn Nowicki who cast her ghostly voice over Beatles cover song chameleons The Common People and Jerry McGee, The Ventures member and conduit of Dr. John’s ‘Twilight Zone’. Ghost Riders simmers with the scent of youthful summers, the pang of schoolyard romance, and the excitement (and disenchantment) of teenage naïveté, delivered via a deceptively simple and frequently wonky garage band set up. The vision of record collector and graphic designer Ivan Liechti, these eternal psych-folk howlers are further crystallised by Colin Young’s fastidious audio restoration, the original artwork of Elise Gagnebin-de Bons and an aptly penned foreword from Sonic Boom.

Classic tracks from the early years of highlife in Ghana – a time when the guitar-based styles and lively rhythms of the genre were first coming into play, and mixed with some of the more jazz-based styles of years before! The mix here is almost a West African equivalent to the rise of western swing in the US at the end of the 30s – a way of mixing older instrumental ensemble styles with some more contemporary, more regional elements – sounding wonderful her in some key examples of the style! The package features a full side of work from Ramblers International – titles that include "Odansanyi", "Ahomka Won", "Woman Wanko", "Akokonini Abankwa", and "Wgya Saman" – plus other tracks that include "School Girl" and "You Call Me Roko" by ET Mensah & The Tempos, "Son Of Africa" by Kwamalah Quaey Sextetto Africana, "Obaa Amponsa Pandogo" by The Black Star Band, and "Fancy Baby" by John Santos Martins.

“The silence is burning… ignited by a melody”

Going back to sleep… a lovingly gathered suite of windswept, heart-bursting DIY indie-pop and folk-indebted songs from an ensemble of contemporary luminaries. Centred around a node of antipodean artists predominantly recording and performing in intimate spaces, its ambition and sentiment extends to likeminded souls around the world.

The opening strum by Glenn Donaldson's The Reds, Pinks and Purples sets the breezy yet bittersweet atmosphere, its lavish tones and textures swirling beneath one of contemporary indie's most distinct voices. "There was a light in my head / wanted to die but I burned instead", he laments with a soaring baritone to revelatory effect. His Fruits and Flowers companions The Gabys, a low-key UK-based duo who first landed in our orbit with their self-titled cassette in 2021, follow with a burst of combustible energy. Despite being predominantly instrumental - untuned, overdriven riffage the order of the day - there lies an unshakable melodic impulse.

Devotees of Dutch group Lewsberg will recognise immediately the voice of frontman Arie Van Vliet, who appears here as new duo The Hobknobs with Yaël Dekker. The interplay between Van Vliet's and Dekker's voices works unexpectedly well, striking the perfect balance between heartfelt tenderness and the wry matter-of-factness that Lewsberg fans have come to love. New kids on the block Who Cares? were our most cherished discovery last year, their sound encapsulating a woozy pastoralism and their lyrics a sense of something deeply sinister yet darkly humorous: "you got your feet chopped and I’m here to stay, estranged, on this sunken rock..."

The Sprigs, Chateau, I Can I Can't and the Volcanic Tongue-backed Drunk Elk are evergreen exemplars of DIY primitivism and their songs are the fruits of impulsive budget recording. Act now, think later. From the uncanny gonzo-folk of 'Leagues of Marsh to Swallow Towers' and 'How Long on the Platform' to the reckless yet brutally tender 'Personal Favourite' - "recorded in the dark sometime around 2009" and released under a working title, for it was never meant to see the day - a sense of nervy sleep-deprivation and self-destructiveness emerges. Controlled chaos that culminates in the void-dwelling rush of 'Euros', a propulsive meditation on momentary hues and everlasting greys: "make it happy, make it sad / your gift is all I ever had".

The prolific David West returns under his Rat Columns guise with a ballad that feels like reconnecting with an old friend, a voice you've known your entire life. A balmy autumnal breeze that perfectly compliments the subdued elegance of The Lewers, who make their first appearance since their rapturous 518A debut, and who's lyrics perfectly capture the compilation's sentiment: "the wound that never heals / so deep but hard to reach". Time stands still with the arrival of Daily Toll, their bruised yet ultimately optimistic meditation on love and loss a weightless, atmospheric masterpiece. Lead Kata Szász-Komlós looks inward during a sublime instrumental section before a painful confession: "writing names across your neck / made it home but now I am a wreck".

Concluding the suite is Carla dal Forno's first single since Come Around (2022). An effortless, elegant reverie daubed with cautious desire, her voice soars over a delicate Foresteppe instrumental and was recorded during rehearsal sessions for her forthcoming album. A testament to chance and an unexpectedly beautiful moment during the songwriting process.

These songs capture a feeling of introspection that seems impossible to achieve when recording for anyone but yourself. We see it as a traversal through the now wonderfully diverse international pop underground, but more simply, a group of wide-eyed yet world-weary music makers performing on our imaginary stage.

Beat Records is glad to present GOLDRAKE GENERATION VOLUME 1, the first release of a series dedicated to Italian 70s, 80s and 90s cartoons’ main titles songs. A franchise with roots in Japanese immense cartoons’ production that stormed Italy with a high wave of images, sounds and colours which left a remarkable sign in the period children. Goldrake Generation is dedicated to a musical period deeply rooted in screen emotions which, every time we experience it, generates a chain reaction, this first episode dedicated to music composed for cartoons having Robot as protagonists. Grande Mazinger, Trider G7, Ufo Diapolon, Yattaman and many more, for going back to the origins and to the memories of a wonderful childhood, among the dearest belonging to the Goldrake Generation to which we dedicate the series. This CD presents Universal TV theme songs belonging to former RCA catalogue, a selection by Francesco Piccardo that together with Simone Pellecchia and Claudio Fuiano remastered 13 cues for a great listening experience. Liner notes by Daniele De Gemini, Goldrake Generation mascotte by Jacopo Cigarini, graphic layout by Daniele De Gemini.

Beat Records is glad to present GOLDRAKE GENERATION VOLUME 1, the first release of a series dedicated to Italian 70s, 80s and 90s cartoons’ main titles songs. A franchise with roots in Japanese immense cartoons’ production that stormed Italy with a high wave of images, sounds and colours which left a remarkable sign in the period children. Goldrake Generation is dedicated to a musical period deeply rooted in screen emotions which, every time we experience it, generates a chain reaction, this first episode dedicated to music composed for cartoons having Robot as protagonists. Grande Mazinger, Trider G7, Ufo Diapolon, Yattaman and many more, for going back to the origins and to the memories of a wonderful childhood, among the dearest belonging to the Goldrake Generation to which we dedicate the series. This CD presents Universal TV theme songs belonging to former RCA catalogue, a selection by Francesco Piccardo that together with Simone Pellecchia and Claudio Fuiano remastered 13 cues for a great listening experience. Liner notes by Daniele De Gemini, Goldrake Generation mascotte by Jacopo Cigarini, graphic layout by Daniele De Gemini.

自国のソウル、ゴスペル、ファンクにとどまらず、ニューエイジ・ミュージック始祖ヤソスや日本からは原マスミまで、世界各地のオブスキュアなサウンド&グルーヴを掘り起こしてきた米国の大名門〈Numero Group〉からは2010年にリリースされた大人気ゴスペル・ファンク・コンピ・シリーズ作品『Good God! Born Again Funk』が14年振りにアナログ・リプレス。ミシシッピ州のデルタ地帯から北に向かって歩いてくるブルース歌手なら誰しもが奏でる、暑く、汗だくで、土っぽい密造酒のリズムの中で生み出されたスピリチュアルで珠玉のゴスペル・ファンク満載の大傑作コンピ盤！

Greasy Mike is back with LP number four! Another rambunctious array of wigged out mayhem! Don't worry, there aren't any silly jokes on this record. It's all music with a wiggle and a giggle. In fact, it's 14 frantic flippers fraught with frivolous fun-filled frolics. All good clean fun. Featuring: Pat & the Wildcats, Bobby Bunny & the Jackrabbits, Jim Doval & the Gauchos, Johnny Beeman, Diablito, Adolphus Bell & the Up Starts, The Apollos, The Royal Jokers, Lue Renney, The Zanies, Hank Mankin, Sid Ramin, Jim Backus and Friend, and The Fabulous Continentals.

When Greasy Mike returned from his travels in East Asia he brought back sixteen slices of sizzling spices in a sleazy Szechuan sauce... he may be greasy but he's certainly not greedy - all are shared with you here! No artificial flavourings required, this is raunchy rott n' roll with a rambunctious mix of sweet, sour n' saucy - tasty treats from our friends in the Orient!

A new series from Jazzman featuring selections from Greasy Mike, the notoriously shady Super Spiv from the dark underworld of super rare records! After many years in hiding, Greasy Mike has finally opened up his vinyl dungeon, and we were first to raid it! What did we find? Only the lowest of the lowball schlock n' roll 45s never known to exist! We have left no box untouched, no crate unrummaged, no pile unpilfered! Just the greasiest and grimiest, the most shocking and sordid 45s have made it onto our selections. Watch out for more!!! But first - and just in time for your Halloween Horror Shock Hop - Greasy Mike has unearthed his all-time all-hallowed Halloween Monsters: The Zombie Walk, Night Sweats, the Chiller, Prowler and Screaming Vampire! Putrid pieces of raucous rot n' roll records direct from Greasy Mike's manky mitts! Not to be missed! Oww-ooooh!!!

The sublime, seductive sound of the smooth & sultry songstress: melancholy & mournful jazz, popcorn & blues "Sometimes me and the opposite sex just don't get along. I mean, we do and we don't. Take this last one. She and I were getting on just fine. We went to the movies, I took her to shows, I took her out to fancy restaurants. The whole works. I treated her real good. She was a class act too. Blonde hair, blue eyes. A smile to die for. Then all of a sudden, she went cold on me. Cut me off. Why do they do that? What gives?" "I mean, I'm an OK guy. I'm clean, smart, I shave every day. I wear the best suits, I use the best Cologne. OK so I don't have what you'd call 'a regular job', but I got plenty of dough, and I know how to spend it. I like the finer things in life. Restaurants, Cuban cigars, fancy cars. The whole caboodle. What's not to like?" "I'll tell you what. These dames don't know a good thing when they see it. They meet a guy like me and they don't know what's hit 'em. I take them out, I wine them and dine them and they just can't handle it. They'd rather go for some kinda Joe Schmoe than a classy guy like me. And that's what I don't understand. So what gives?" Greasy Mike in an interview circa. 1958 with jazz jock Slim Jenkins

The third in a new series from Jazzman featuring selections from Greasy Mike, the notoriously shady Super Spiv from the dark underworld of super rare records! After many years in hiding, we've finally persuaded Greasy Mike to open up his vinyl dungeon, and we were first to raid it! We have left no box untouched, no crate unrummaged, no pile unpilfered! Just the greasiest and grimiest, the most shocking and sordid 45s have made it onto our black wax long player vinyl editions. Watch out for more!!! In this adventure Greasy Mike finds himself lost in the wilderness; hot, thirsty and alone under the unforgiving desert sun. He's been days without food and water; the heat of the day stifling almost beyond endurance, the cold of night a trial of torment. Survival seems impossible - or does it? Staggering across the sandy plains, the eerie yet unmistakable sound of a snake charmer's reed curiously winds its way into his ears. Instinctively he turns his head towards the sound - and lo! An oasis just ahead! Music, laughter - and belly dancers!!!

More in the new series from Jazzman featuring the lowest of the lowball schlock n' roll 45s never known to exist! After many years in hiding, notoriously shady Super Spiv of the record world Greasy Mike has finally opened up his vinyl dungeon, and we were first to raid it! We have left no box untouched, no crate unrummaged, no pile unpilfered! Just the greasiest and grimiest, the most shocking and sordid 45s have made it onto our selections. Watch out for more!!! On this occasion Greasy Mike reminisces about the time he was shipwrecked and washed up all alone on a remote island in the South Pacific. But, ever the resourceful, our man did not despair! Grooving to the beat in the tropical heat, his desert island discs kept him cruising while coconut moonshine kept him boozing. Dig this, swashbucklers!

An overflowing chalice of funky gospel gems from the Forest City. You could start a church with this thing. PULPIT NOT INCLUDED. </p><iframe width="560" height="315" src="https://www.youtube.com/embed/gY8kHiS3-SM?si=YmcIoXsiViov2LFb" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe><iframe width="560" height="315" src="https://www.youtube.com/embed/J61aMfKyik0?si=Xy0yDGMecKsLuzw3" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe>

Over the decades, Numero has excavated a metric ton of recordings from the depths of Detroit. From all manner of mini Motowns we've uncovered soul, R&B, funk, disco, boogie, and by nature of proximity—gospel. Previous examinations of the Revival and Big Mack labels turned up more than a few new apocryphal hymns, and Great Lakes Gospel Vol. 2 compiles a dozen curious church groups devotionally reaching towards the genre's frayed edge. Get lost in ecstatic choir funk, pulpit rappin', direct-injection guitar solos, and the holy spirit, should it move you. Look around the room. You could start a church with this thing.