MUSIC

For most though, this Detroit Soul Jazz veteran will likely be unknown, and unfortunately so because not only was Sanders a great saxophonist with his own warm and lyrical post-bop sound, he was an important fixture of historical significance in the Detroit jazz . "Prior to forming Visions, Sanders and trumpeter Marcus Belgrave fronted a band with pianist Harold McKinney called the Creative Profile. Belgrave and Sanders would continue to perform together, often with Sanders' big band, the Pioneer Sanders also served as an instructor at both Oakland University and the Detroit Metro Arts complex as well as helping create the Detroit Jazz Center. Although most of the sessions with Sanders from the 60s or 70s are either nowhere to be found or still unreleased, 'The Gift of Love' - perhaps the only release of Sanders as a leader during his lifetime and privately pressed on his own label That African Lady - offers a document of this Detroit great's music with his band Visions. Fellow Strata musician Kenny Cox, even sits in on keys on a few tracks. Unfortunately, Sanders passed away in 2000, but hopefully, the small amount of recordings we do have of him do justice to his musicianship, Visions and the Detroit jazz scene. Sam Sanders, a truly unique saxophonist whose approach to music made him a legend in Detroit Jazz. While sometimes likened to John Coltrane, Ornette Coleman, or Joe Henderson, Sanders had an unmistakably unique style. His group, Sam Sanders and Visions - for many years with bassist Ed Pickens and drummer Jimmy Allen, was known for extremely aggressive post bebop jazz bordering on the Avant Garde. Sanders was also active as an educator, and concert producer. He was an instructor at the Detroit Metro Arts complex and at Oakland University. He was instrumental in creating the Detroit Jazz Center - an open jazz school and concert venue presenting artists such as Jackie MacLean, Donald Byrd and Woody Shaw, with local artists Kenny Cox, Marcus Belgrave, Roy Brooks, Charles Boles, and Danny Spencer among many others. Sanders composed hundreds of compositions which his group would rehearse religiously on a daily basis. Because of their unusual regularity, combined with Sander's prowess and notoriously difficult music, the rehearsals attracted visiting artists and emerging talent who would often come away drenched in sweat and severely humbled. Sanders began playing while attending Northeastern High School in the 50s with fellow classmates Alice Coltrane, Kenny Cox and Bennie Maupin. He later attended the Teal school of music then studied privately with Detroit Jazz Legend: Yusef Lateef. During his career, Sanders performed with a variety of international artists including: Milt Jackson, Rahsaan Roland Kirk, Stevie Wonder, Smokey Robinson, The Four Tops, James Blood Ulmer, Sonny Stitt, Pharoah Sanders. Prior to forming Visions, Sanders and trumpeter Marcus Belgrave fronted a band with pianist Harold McKinney called the Creative Profile. Belgrave and Sanders would continue to perform together, often with Sander's big band, the Pioneer Orchestra. During the last decades of his life, Sanders traveled often to Senegal and eventually settled there with his wife, Viola Vaughn.

A new LP collection of incredible performances by the virtuosa of theremin, Clara Rockmore, accompanied by her sister Nadia Reisenberg on piano. Recorded in 1975 and never before released on vinyl, this compendium features stellar performances of compositions by Bach, Chopin, Schubert, Gershwin and more, and even features a cello ensemble on a few songs! Some of the finest examples of Clara Rockmore’s unrivaled art - rich with bittersweet moments of air, electricity, human grace and emotional composition all merging into some new thing that is transcendent of time and genre. 160 gram vinyl comes in old school tip-on jacket and includes an 8-page booklet of interviews, photos, and insights with Clara Rockmore, Nadia Reisenberg, Robert Moog, and more.

In 1981, encouraged by Jac Berrocal, Axolotl (Etienne Brunet and Jacques Oger on saxophones and clarinet, Marc Dufourd on electric guitar) recorded an album of French-style free music as iconoclastic as it was unsettling: free improvisation, jazz, no wave, contemporary, punk… a dance of labels which leaves plenty of place for the direct expression of a monstrous trio of regenerated agitators! The axolotl is a species of salamander native to Mexico, living in a state of larva and having the capacity to regenerate damaged organs. This brief introduction doesn’t tell us if the axolotl sings. But, for the one that concerns us here: yes indeed. In Paris, at the end of the 1970s, Etienne Brunet and Marc Dufourd would improvise regularly, inspired by some other saxophone-guitar duos: Claude Bernard-Raymond Boni firstly, then Evan Parker-Derek Bailey. When Jacques Oger (a saxophonist whom Brunet had met at a workshop given by Steve Lacy at the Châteauvallon festival in 1977) joined the duo Brunet-Dufourd, Axolotl was born. Iconoclastic, the trio was bound to please Jac Berrocal, and he proposed to record their first album on the label ‘D’avantage’. In spring 1981 three days were just enough for Oger (tenor and barytone saxophones), Brunet (alto saxophone, bass clarinet and ‘things’) and Dufourd (electric guitar) to complete Axolotl, the first album by a group which would record … two. If there was a collective of iconoclasts, the trio would be there with some relatives: Alterations, Fred Frith, John Zorn, the ROVA Saxophone Quartet… and then because we mention a collective, Axolotl steps (considerably) beyond the domain of free improvisation to lean towards jazz (“Illusion”, “Paris, froissé”), No Wave (“Ombre pilée”, “Trottoirs défunts”), contemporary (“Oreiller”, “D’autres seuls”), and even what we could call … acid fun (“Dehors”). Above all, Axolotl wanted to really get to grips with sound via an expression as direct as it was liberating, as can be heard on “Ozone, flocon, torsion”, producing a noise that, even today pierces the brain. All we can hope is that now, thanks to this wonderful reissue, listeners will be able, like the axolotl, of regeneration.

Venus Penguin," the 33rd album of 2022, features legendary French guitarist Noël Akchoté, Brazilian Antonio Loureiro and Frederico Heliodoro, who are considered the new Minas generation, and American guitarist Adam Ratner, who is creating a new musical culture with Louis Cole and Sam Gendell.

Mount Analogue," the 35th album by guitarist Shin Sasakubo from Chichibu.

The legendary lost album by Ghia! Street soul / downtempo magic, recorded 1988 to 1991. Distributed by wordandsound.net. Let’s get it straight: "This is" is THE album by Ghia. It catches the band at its peak and features 10 songs, including not only their impeccable hit, "What’s Your Voodoo?" but a full arsenal of yet unheard, timeless, and soulful music without equal. The songs on the album, which were recorded between 1988 and 1991, could be considered forerunners of the downtempo genre, with one foot in the late 1980s street soul direction but sparkling with touches of synth pop and contemporary jazz-funk. Genre limitations aside, all that Ghia ever wanted to do was create music—good music—and you will hear this in the depth of the compositions. When Ghia expanded from the dynamic duo of composers Lutz Boberg and Frank Simon to a trio with singer Lisa Ohm, it was meant to be something special. While Boberg and Simon had worked with different singers before, it was Lisa who set a new benchmark with her clear and powerful voice. Ohm had already been active as a professional musician since the 1970s and was connected with bands from the infamous Schneeball collective. While recording with Ghia at the Cottage studio, she could also be heard as the key background singer on many Georgie Red and George Kochbeck productions. The album starts with "Keep Your House In Disorder," which has yet again become another classic song from the band’s catalog since it was featured as the B-side of the "What’s Your Voodoo?" reissue. The song is about a relationship in which the woman has trouble adapting to her boyfriend's turn in life. He tells her to "keep your house in disorder," meaning don't take things too seriously, don't stand still, and you will do better to take the sideroads in life. "This Is" continues with the downtempo numbers "Crystal Silence" and "Close to You." Both are deep, one-of-a-kind, and previously unissued street soul ballads. On these two tracks, you can still hear the band’s roots in jazz-funk. Hence, as a follower of the band's output may have yet recognized, instrumentals of these two tracks can be found on their first LP, "Curaçao Blue." In fact, "Close to You" was one of the band’s first compositions. Earlier recordings of the song exist with different singers and different vocals, but it wasn’t perfect until Lisa laid down the final version and a choir was added. It’s difficult for us to recall any late-80s soul tune as beautiful and intriguing as this one. The final section, which begins with "so much baby we can say," sounds ahead of its time, reminiscent of mid-90s contemporary R&B. Next up is "Eskimo," an equally brilliant and soulful downtempo composition, but with more focus on synth sounds than the previous tracks. Once more, it showcases the creative lyricism of the song writers, Boberg and Simon, imagining a train ride during a rainy and cold night: "feeling like an Eskimo in an igloo in New York." Eskimo leads to the aforementioned classic, "What’s Your Voodoo?" Originally released in 1991 on the small Mikado label, it was reissued on our label in 2019. We already called this "one of the most wonderful and mystic slow motion synth pop tunes ever recorded"—and we still mean it! Let’s face it: this was done before British bands like Massive Attack, Tricky, and Portishead laid the foundation of trip-hop. Dare we call Ghia’s music "proto trip-hop"? As a special bonus, the digital version of the LP features a previously unreleased mix of the song, which includes added samples; this should clarify how close Ghia actually was to the sound of the mid-'90s. Here it should be mentioned that their unique tone didn’t come out of nowhere. At the time, composer and guitarist Simon was building his own effects processors to generate the sounds he had in mind. The keyboards and guitars on "What’s Your Voodoo?" were passed through a unique, privately built processor. Combined with a deep synth bassline and the exceptional haunting vocals by Lisa Ohm, it gives the track all the magic the title implies. But this isn’t yet where the story ends. "Angel On Your Shoulder" and "L O M E" are two more completely unissued and great tracks from the band's shelved works. Being a bit more uptempo than the rest of the album, they fall between contemporary soul/R&B and synthesized pop music. And of course, another downtempo hit needed to be featured on the album: "You Won’t Sleep on My Pillow." It was the original A-side of their single release in 1991, and since then it has been featured on various compilations. The album concludes with a really strong ballad entitled "I Haven’t Got The Power." Here we hear only pianist and keyboardist Lutz Boberg with Lisa Ohm, without further instrumentation. Basically recorded in a live session, this showcases once more the talent and ingenuity within the Ghia project. Whether you agree or not, "This is" may easily be considered one of the best German late 80s/early 90s soul pop and downtempo albums ever recorded. Cautiously, it may even be submitted as the missing link between mid/late 80s soul by bands such as Sade, and later trip-hop groups like Massive Attack. Let us celebrate Ghia and their music, which had been shelved for more than 30 years but has now finally been released on The Outer Edge.

Wganda Kenya was a group formed by Discos Fuentes under the idea of developing an African and Caribbean sound in order to appeal to the Costeño Colombian market and also inject a little international exoticism into the label. This 1976 album has become a collector’s favorite waiting to be reissued, and it’s not hard to understand why since it’s full of so many Afro-Funk, Congolese rumba and Caribbean-flavored dance floor burners. Special edition reissue containing two non-album bonus tracks from the same period that appeared on 45s and various artist compilations, as well as an insert with liner notes. Pressed on 180g vinyl. First time reissue.

With their debut album, "Isn't Anything," released in 1988, the band revolutionized alternative music and introduced a new approach to guitar music in the years that followed. Their sound became the template for numerous sub-genres and presented a groundbreaking approach to guitar music and studio production. The genderless vocals of Kevin Shields and Bilinda Butcher, who sing in the same vocal range and blend perfectly together, serve as another melodic layer that complements the dizzying intensity of Shields' guitar. The album is characterized by the eerie sense of space present in many of the recorded tracks, which range from intensely propulsive to quiet and unsettling.

Japanese obi included.
Mastered from original 1/4" analog tape using Studer A80 VU-PRE and Neumann VMS 80
180g vinyl weight
Standard gatefold outer sleeve
Four 300 x 300 mm art prints enclosed
Includes DL code (24-bit | 16-bit | mp3)

Limited, fully licensed 180g vinyl-only reissue of ultra rare South African disco-jazz classic. Featuring tracks: Side A: Kabuzela; Bayabaleka; Side B: Disco Freaks; Disco Baby Available for the first time since its original South African release in 1979, Outernational Sounds presents tenor giant Mike Makhamalele’s monster excursion into funktified disco jazz, Kabuzela. Despite a peerless run of groundbreaking fusion and funk albums through the 1970s, the great South African tenorist Mike Makhamalele has remained somewhat unsung. It’s hard to know why – the music he made at the end of the 1970s is some of the finest jazz fusion made anywhere on the planet. This new edition of Kabuzela is the first time that any of his work has been issued outside of South Africa. Respect is long overdue. Born in Alexandra Township, Johannesburg, Makhalemele learned his craft at the knee of the great Zakes Nkosi, one of the originators of the township jazz sound. By the early 1970s he had joined South Africa’s most successful jazz funk outfit, Henry Sithole’s famous group The Drive, in which he played alongside the great Bheki Mseleku, and storied altoist Kaya Mahlangu. As jazz in South Africa turned toward dancefloor funk and fusion, Makhalemele become a fixture at Soweto’s most happening jazz and dance club, The Pelican – the owner, Lucky Michaels, remembered him as ‘one of the guys who’d walk around to every other musician he knows and say, “Listen, guys, why don’t we meet at the Pelican, let’s go and jam there...”’ From 1975, he began to record under his own name, developing a sophisticated fusion sound in a musical lane where few of his contemporaries were travelling. His stature at this time can be judged by the fact that he went head to head with the legendary Winston Mankunku on 1976’s The Bull And The Lion, an album that marked a symbolic passing of South Africa’s tenor torch. No other player was keeping such close tabs on the changes occurring in the US, and as slick fusion and advanced smooth became the leading sound for contemporary jazz, Makhalemele was in the vanguard, translating the new styles into South African idioms on LPs like Peaceful Eyes and Walking Spirit. The tenorist also carefully watched other global fashions in Black dance and pop music – working under numerous studio aliases, he cut 45rpm covers of big hits including Fela’s ‘Shakara’ and even the Sugar Hill Gang’s ‘Rapper’s Delight’. And in 1979, he entered the Gallo studios with producer Peter Ceronio to respond to the ascendant sound of disco. Kabuzela, named after a contemporary township dance craze, was the result: four extended tracks of bouncing, upful disco jazz. Perfectly calibrated for dancing, heavy on the bass and drums, the album is set off by a gleaming centre piece, ‘Disco Freaks’ – a joyous paean to the weekend and true lost gem of global disco, perfect for the most discerning dancefloors. Transferred from the master tapes by Gallo in South Africa, and mastered for release by D&M. Fully licensed from Gallo South Africa. Distributed by Honest Jons.

In the wake of their acclaimed comeback album 'Figures' (2020), Aksak Maboul took a playful sideways step to create this total work, a 63-minute, continuous suite of fifteen pieces, which could be described as an experimental audio play.

The thread running through 'Une aventure de VV (Songspiel)' is Véronique Vincent’s text, an enigmatic philosophical-poetical tale unfolding through monologues and dialogues, spoken and sung by a series of characters, played by Alig Fodder, Laetitia Sadier, Audrey & Benjamin from Aquaserge, Don The Tiger, Blaine L. Reininger, and the members of Aksak Maboul’s current live band: Faustine Hollander, Lucien Fraipont & Erik Heestermans.

The music was written & arranged by Marc Hollander and features his characteristic genre-hopping tendencies: strands of electronica, pop, jazz, collage, techno, ambient, improv, krautrock, contemporary classical & systems music are merrily woven together, in the inimitable Aksak Maboul style.

The album’s subtitle, 'Songspiel', highlights its theatrical/musical aspect: the work pays oblique homage to the those experimental radio plays that once emerged from the creative workshops of the BBC, the RTF and the RAI, and especially to those German Hörspiels which, at their best, might combine spoken word, instrumental or electronic music, songs and sonic research.

Une aventure de VV also modestly alludes to certain stage works written by adventurous composers during the first half of the 20th century, which embraced singing, spoken dialogues and elements inspired by popular music. Those composers sometimes invented genre names to describe their pieces: fantaisie lyrique, mimodrama, or... songspiel). 

The original may no longer be available. South African jazz pioneer and pianist Gideon Nxumalo's 1968 album "Gideon Plays" has been officially reissued. This is a miraculous reissue of one of the greatest antiques that was once reissued as a boot. This is a timeless masterpiece of Cape jazz with timeless appeal and even a hint of sex appeal!

PAN is pleased to announce the debut release from Lifted, an ongoing collaborative project initiated by Matt Papich (AKA Co La) and Beautiful Swimmers’ Max D.

Drawing on studio sessions recorded in their respective hometowns of Baltimore and Washington DC, the album sees the pair break free from the constrictions of the grid and exercise their versatility through improvised fusion. Working outside the framework that underlies their solo output, the eight tracks on offer showcase experiments in freeform techno, hyaline electronics, and ambient, with the duo reaching out to Motion Graphics, 1432 R co-founder Dawit Eklund, and Jeremy Hyman for additional synthesis, drumset and percussion.

The album also exhibits solo performances from Gigi Masin and Jordan GCZ (Juju & Jordash), who submitted overdubs from their bases in Venice and Amsterdam.

The album is mastered and cut by Rashad Becker at D&M, pressed on 140g LP. It features photography by Traianos Pakioufakis and artwork by Bill Kouligas.

 

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The liminal space between storytelling and dreaming is full of noise. Like whispers, flickering lines of static travel to the rhythm of tension, moving through moments of stillness and chaos. The sharp details of the hyper-personal become shared memories. Dreams can be stories, their fabric transient and their logic malleable - like folk songs carrying ancient knowledge or clairvoyant wisdom. White Dove Dream tells a story that only sound can. One that defies language and closed narrative; a story that is both a personal rumination and collective conversation. There are layers of healing synthesis and dream logic improvisation; captured recordings coalesce somewhere beneath the scramble like deja vu. Like a diary entry or a manifesto - noise is folk music and Icebear is noisy. ​​Icebear is Eilis Mahon, a musician from Kildare, Ireland, currently based in Limerick City. ~ Icebear began as a lofi recording project while Mahon was in school. Her previous releases 'Bug', 'in watermelon sugar', 'in summer i am an empty field' & 'lost voice memos' were recorded in her childhood bedroom using tape experiments and synth improvisations. As Mahon entered adulthood, the project morphed into an experiment in noise and performance, using harsh noise and improvised electronics to explore pain, power and trauma. White Dove Dream circles back to Icebear's roots - created alone in a bedroom during a period of personal (and collective) alienation, it serves as a reminder that the past versions of ourselves are never too far away, never quite gone; they flicker, fade out and repeat. White Dove Dream is her debut release on Weeding - an independent label and collective of friends based primarily in Dublin, Ireland, who love to make and share noise.

Made up of two long improvisations each of over 22mn, “L'Œil” on side A and “Vision” on side B, this “Workshop” by Jef Gilson, with the gifted young saxophonist Philippe Maté, plunges you into the depths, attempting to drown you in electronic waves, dragging you back to the surface by the collar, giving you a good shakedown, before showing you the light, leaving you breathless on the shore after 46mn of the most intense music French has to offer. In October 1974, the first number of “L'Indépendant du Jazz”, a small self-produced magazine DIY -before punk supposedly invented the concept- was launched by Jef Gilson, Gérard Terronès, Jean-Jacques Pussiau and a few other specialists of a different kind of jazz in France, it looked at the already long career of Jef Gilson and in detail at the album with saxophonist Philippe Maté : “The ‘Workshop’ is, with Philippe Maté (alto-sax), an undeniable success. Maté is genuinely ‘the’ most inventive French saxophonist since Michel Portal burst onto the jazz scene (who has also worked with Jef Gilson on both “Enfin” and “Gaveau”).” Even though the author of the article is a mysterious I.H. Dubiniou, and it is difficult to know if it is a real person or a pseudonym used by one of the merry bunch, it is also tempting to hear it as what Jef Gilson really thought about his new discovery. Even more so as the two men would work together over a long period, as Maté became one of the key figures of Gilson’s Europamerica orchestra up until the 1980s. Philippe Maté had started to make a name for himself with the Acting Trio when they released an album on the BYG label in 1969, and he was also one of the regular sidemen for the Saravah studios (he can notably be heard on albums by Higelin, Fontaine or his cult duo album with Daniel Vallancien). The album was recorded on 4 February 1972, at the Foyer de Montorgueuil, where Gilson had set up his studio, with more or less the same team found on “La Marche Dans Le Désert” by Sahib Shihab + Gilson Unit (recorded ten days later). This was drummer Jean-Claude Pourtier and pianist Pierre Moret (regular Gilson accomplices since “Le Massacre Du Printemps”), alongside Maurice Bouhana and Bruno Di Gioa on various percussions and/or wind instruments. On bass is Didier Levallet, of the now mythical Perception, (Jean-François Catoire would replace him with Shihab) and Philippe Maté who took top billing, rather than the American saxophonist afterwards. The two albums are however quite different. This “Workshop” is more abrasive, more free. Made up of two long improvisations each of over 22mn, “L'Œil” on side A and “Vision” on side B (Gilson specialists would recognise the nod to one of his albums from the 60s), the album plunges you into the depths, attempting to drown you in electronic waves, dragging you back to the surface by the collar, giving you a good shakedown, before showing you the light, leaving you breathless on the shore after 46mn of the most intense music French has to offer. “An undeniable success”, they said.

Reissue of the oud / viola virtuoso SIMON SHAHEEN's interpretations of pieces by one of the Middle East's most important 20th Century composers, MOHAMED ABDEL WAHAB. Produced by BILL LASWELL, remastered for vinyl at D&M Berlin. MOHAMED ABDEL WAHAB (1902-1991) was "a giant in the world of Middle Eastern entertainment" (Al Jadid Magazine) - as singer, actor and composer – and is commonly considered "the father of modern Egyptian song". After a visit to Paris, he revolutionized the film industry by introducing the genre "musical film" to the Arabic world, the movie "The White Rose" in which he starred broke all records and to this day is frequently presented in Cairo's cinemas. But in 1950, WAHAB left the film industry to focus on singing and composing – he wrote over 1800 songs (among others for Umm Kalthoum, an iconic artist in the Arabic music in her own right) that were deeply rooted in classical Arabic music but also laid the foundation for a new era of Egyptian music as WAHAB was open to Western elements such as waltz rhythms or even rock'n'roll in Abdel Halim Hafez's song "Ya Albi Ya Khali". He also composed several national anthems (Tunisia, Oman, Libya, United Arabic Emirates) and re-composed the Egyptian national anthem "Belady Belady Belady", based on the original by Sayed Darwish. WAHAB received several decorations of Arabic states, and at his death in 1991, Egypt honored its famous son with a huge military funeral at the Rabia al-Adawiya Mosque in Cairo, the six-horse carriage procession carrying his coffin was actually led by the prime and foreign ministers, followed by the ministers of defense, interior and culture! SIMON SHAHEEN (born 1955) is the perfect choice for WAHAB's compositions. Born into a family of gifted musicians, he learned playing the oud at the age of 5 and the violin shortly thereafter. He earned degrees in Arabic literature and music performance at the Tel Aviv University, and later pursued further studies at Hebrew University of Jerusalem and after his emigration to the USA (in 1980) at the Manhattan School of Music and Columbia University. SHAHEEN lives in New York where he founded the Near Eastern Music Ensemble and Qantara, a formation that blends traditional Arabic Music with elements of Jazz and classical music, and he also has been organizing the Annual Arab Festival of Arts called Mahrajan al-Fan since 1994. The same year he received a National Heritage Fellowship from the National Endowment for the Arts at the White House. Solo albums like Saltanah (Water Lily Acoustics), Turath (CMP) or Taqasim (Lyrichord) underline his importance as one of the most significant Arab musicians, performers, and composers of his generation. His work incorporates and reflects a legacy of Arabic music, while it forges ahead to new frontiers, embracing many different styles in the process. SHAHEEN has participated in many cross-cultural musical projects with artists as diverse as Henry Threadgill, Vishwa Mohan Bhatt, or the Jewish klezmer ensemble The Klezmatics, contributed to the soundtracks for The Sheltering Sky and Malcolm X and composed the entire score for the United Nations sponsored documentary, For Everyone Everywhere, celebrating the 50th anniversary of the United Nations Human Rights Charter. SHAHEENS biggest success was the Qantara album Blue Flame (2001) which has been nominated for eleven Grammy Awards. Besides all his activities as performer, he dedicates a good part of his time to working with schools and universities, including Julliard, Columbia, Cornell, Princeton, Brown, Harvard, Yale, University of California in San Diego, University of Michigan in Ann Arbor and many others. The Music Of Mohamed Abdel Wahab was originally released in 1990 on Axiom, the record label curated by iconic producer and bass player Bill Laswell, and has been carefully remastered for this vinyl reissue at D&M, Berlin. Press quotes: "Master oud player and composer Simon Shaheen finds the perfect mix on this collection of Mohammed Abdel Wahab's pieces … seven wonderful interpretations sparkling with oud and strings interplay." Stephen Cook / Allmusic.com "Shaheen's violin soars over a slicing string section and a bed of percolating percussion, while accordion, oud, finger cymbals and a chorus of singers weave in and out. Produced with sparkling clarity by Bill Laswell … this record opens a new world of harmonic and melodic possibilities to ears accustomed to Western pop." Greg Kot / Chicago Tribune

When not overseeing A&R and label operations for Isle Of Jura, label boss Kevin Griffiths makes time for music creation in his garden studio in Moana, a sleepy suburb of Adelaide in South Australia. It’s an idyllic location surrounded by palm trees and tropical birdlife and an inspiring spot to fire up the machines, typically with the studio door wide open to soak up the soundtrack provided by mother nature. The resulting tracks, recorded in the midst of the pandemic with no gig distractions, were all heavily influenced by this backdrop of tropical birdsong and wind blowing through the palms, field recordings of which made it into most of the tracks. The album traverses Deep House, Nu-disco, Balearica and Ambient along with some Leftfield samples and a heavy dose Dub throughout. The LP is Pressed on heavyweight 180 Gram Vinyl with sleeve design by IOJ resident designer Bradley Pinkerton.

Coinciding with the release of the compilation "1972-1985 KATEBEGIAK Prog-Rock, Psych-Folk & Jazz-Rock Music from the Basque Country [Compiled by DJ Makala]", in which has been included Amaia Zubiria & Pascal Gaigne's "Itsasoa Laino Dago" song, we've just reissue for the very first time this rare & hard to find cult record of Basque music, released on 1985 by Elkar label. AMAIA ZUBIRIA & PASCAL GAIGNE "EGUN ARGI HARTAN" (ELKAR 1985) After the well-earned "Adarra" prize awarded by San Sebastián city council in 2021, the name of Amaia Zubiria is back on people’s lips, one of the most outstandingly beautiful voices in the history of folk and Basque music in general. In fact, thanks to the albums recorded with Haizea and with Txomin Artola and many other collaborations, she has been a constant presence in a long, fruitful career spanning over 40 years. However, despite this popularity, much of her extensive body of work is unknown or remains almost forgotten, apart from four or ve records and her most popular songs. This is a shame, because her forgotten back catalogue contains many of Amaia’s most moving songs. Among them, as a taster and an invitation to get into her music, we encourage you to listen to the enchanting “Itxasoan Laino Dago”, recorded together with Pascal Gaigne in 1985. A track featuring the electronic sounds created with great care by Pascal and adorned by Michel Doneda’s saxophone, and guided with a magical sophistication by the talented sound engineer from Hendaye, Jean Phocas. It is an impossibly beautiful melt of avant garde and traditional music (Text: Antton Iturbe)

The Chakachas were a Belgian based group of Latin soul studio musicians. Also known as Les Chakachas or Los Chakachas. They started out in the late 50s, recording a playful mixture of Latin music, jazz, and European-style exotica. This same titled album is a much sought after album amongst the connoisseurs.The song "Stories" on this album was featured on the soundtrack of the very popular game Grand Theft Auto V. This song was also covered by the band CAKE.Get your latin groove on.

Soulgramma present a reissue of Betty Harris' Soul Perfection, originally released in 1969. Soul singer Betty Harris -- mainly known for her Jubilee and Sansu recordings -- was born in 1939 in Orlando, Florida. As a teenager she worked as a mate for Big Maybelle who encouraged her to start singing. First recording was released in 1962, her major hit was a cover of Solomon Burke's "Cry To Me" in 1963. Taken at a slower pace, Harris' rendition turned the song into a Billboard Hot 100 number 23 hit and soon became a deep soul classic. A total of three further singles including a reissue of "Cry To Me" were released on Jubilee with "His Kiss", which was released on January 4, 1964, another deep soul ballad, reaching the lower part of the Billboard Pop and R&B charts. In 1964, Betty Harris switched record labels to Sansu, a New Orleans label, where she was produced by Allen Toussaint. Her recordings with Sansu produced ten singles and Toussaint raw yet sophisticated Southern soul arrangements behind Harris' rich, distinctive vocal, are considered prime specimens of the classic soul era. Soul Perfection, originally licensed on UK label Action in 1969, was in fact a collection of her previous works on Sansu, a rare groove affair rapidly in demand between a crowd of obsessive fans all over the world. Harris retired from performing in 1970 to raise a family and made an occasional return in 2007 with the album Intuition.

The latest reissue from chOOn!! is Giedrius Kuprevičius’ Erotidijos, the sixth release from the label that specialises in obscure, archival and forgotten releases. Erotidijos translates from the Lithuanian to “Erotidies” – these were festivals held in honour of Eros, God of Love in Ancient Greece. They were organised every five years and were famous for their celebrations, decorations and luxury. Ritual games were played during the festivals, musicians and poets competed, worshipping Eros. Erotidijos is a haunting yet hypnotic tableaux Kuprevičius originally created for a Stanislovas Rubinovas theatre play staged in 1994 in Kaunas, Lithuania. The Lithuanian composer was one of the founding members of the pioneering electronic pop outfit Argo and has written dozens of scores for stage and film over the past several decades, imbuing his soundwork with a multitude of artful moods and emotive depth. The story of Erotidijos unfolds in both melancholic and serenely lush scenery, in turn mysterious and playful. Memories of places you’ve never been drift into frame, from bedroom womb into a foliage of phantasmal keys and gently psychotropic symphonies. A collection that glissandos between notes, place, and time. Erotidijos is guided by an intuitive, improvisational dream logic that threads the line between waking and sleeping revelations. It offers a hazy, voyeuristic lens into another world with dusty ambience and eccentric keyboard effects, warm synth pads and shimmering vistas serving as soft accents to the angelic murmur of giggling voices. As you listen, you are invited to apply your own interpretation of Erotidijos’ narrative of a new land, its climate, sounds, and geography. A contemplative, celestial electronic work in a gentle, often beautiful ambient style which breezily swings with exquisite analogue synth textures and infinity loops. Jazz spontaneity and organic pop impulses lift the meditative veil, ending with a climactic final scene: a sensuous reverie complete with shedding light and gently opening synapses. Available for the first time on vinyl, including over twenty minutes of music not featured on the original cassette release and produced in cooperation with Giedrius Kuprevičius for chOOn!!

Since his Beat Diary debut (a 12xLP box set comprising 365 beats recorded daily over the course of a year), Julian Sartorius has immersed himself in unique and ambitious projects - trekking the path not travelled to arrive at rhythmic life forms through found objects and prepared instruments. Equally as mighty are his two other escapades, the most recent being Locked Grooves - 112 beats cut as endless loops on vinyl spanning 56 dense 1.8 second compositions per side. Preceding that is his auditory hike into the mountains (Hidden Tracks: Basel - Genève), wading through and playing the landscapes around him like a lithophone. While Julian’s previous releases focus on innovative and conceptual approaches to realizing an album, his new venture on Marionette (titled Mux) is a culmination of all his efforts thus far to mimic a synthesizer and drum machine. This impossible feat challenges Julian to experiment and develop a musical language that bridges the gap between organic timbres and electronic music. When listening to Mux, one might simply forget that the seemingly electronic sounds are only constructed organically via hand movements. The common thread in all his works is that the drums are treated as resonant bodies - free to flow and form rhythm and harmony in spacetime. This is Julian’s second outing for the label, the first being (the long out of print) Sulla Pelle with Valentina Magaletti in 2019. Other collaborations include prolific artists such as Matthew Herbert, Sylvie Courvoisier, Gyda Valtysdottir, Dimlite, Shahzad Ismaily and Dan Carey (Speedy Wunderground).

The roots of Angolan popular music explored in the meticulous guitar studies of Mário Rui Silva 1980s albums. 

Whether on mesmerising acoustic ballads or hypnotic groove-led tracks, the music of Angolan guitarist, researcher and intellectual Mário Rui Silva has a beguiling, melancholy quality, woven into the dynamics of his deft guitar playing. 

Rhythmically complex yet supremely effortless, the music collected here stems from three albums Mário released in Luanda in the 1980s that reflect his diverse range of influences, from traditional Angolan and West African rhythms to European jazz and classical instrumentation. 

It is united by a sense of low-key beauty, whether on the chugging opener ‘Kazum-zum-zum’, the jazz-funk keys of ‘Lembrança Dum Velho’, or the twinkling, late-night poly-rhythms of ‘Kizomba Kya Kisanji’. 

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Born in Luanda, Angola in 1953, Mário dedicated his life to Angolan popular music. His fifty-year career has seen him live between Angola and Europe, rub shoulders with Cameroonian musicians Francis Bebey and Ewanjé, record the seminal album Angola ’72 with fellow Angolan musician Bonga, and draw influence from Brazilian guitarist Baden Powell. 

It was the teaching of Angolan legend and Ngola Ritmos co-founder Liceu Vieira Dias that Mário gained a technical, political and spiritual understanding of Angolan musical culture. In the hands of Liceu, the traditional Angolan semba and kazukuta rhythms of the 1940s and ‘50s helped create an emancipatory sense of national pride and collective agency that awakened its listeners to the racism and tyranny of colonial rule, underpinning the country’s push for independence in the process. 

What might sound like the intonations of Brazilian influence are what Mário attributes to the “African rhythms taken by the slaves [which] gave rise to other musical cultures” around the globe. Instead, this music emerged from a collective instinct to assert a cosmopolitan Angolan identity free from the patronising falsehoods of Lusotropicalism. 

“There was a need within me to contribute in doing new things,” Mário describes. “In the sense of solidifying the music of Angola that was the result of the meeting of two cultures, and wanting to value the Angolan part whenever possible.” 

A selection from Mário’s three 1980s albums, Sung’Ali (1982), Tunapenda Afrika (1985) and Koizas dum Outru Tempu (1988) have been compiled here as a 2xLP release by Time Capsule’s Sam Jacob and Kay Suzuki. Together, they provide a snapshot of one man’s journey to the core of his nation’s music, charged with the search for a culture uprooted by colonialism. 

Horace Andy has always commanded a place high on the list of reggae singers from Jamaica. His distinctive, haunting vocal style stands strong on any rhythm, song, or style he chooses to cover. He has managed to crossover to a new generation of listeners due to his individual style, helped also by his collaborations with the likes of Massive Attack. Born Horace Hinds in 1951, Kingston Jamaica, he began his musical career at Coxsonne Dodd's Studio One. So impressed with the young Horace, Coxsonne decided on a name change and named him after his top songwriter at the time, Bob Andy. His first tune for Coxsonne ("Something on My Mind") was a slow burner in Jamaica, but his belief in his young protégé paid off later with "Skylarking," a tune that put the singer all over the radios and sound systems of Jamaica. After numerous singles and two albums worth of material, Horace moved on to work with many of the topflight Jamaican producers, among them Keith Hudson, Augustus Pablo, and Niney the Observer, but it was his work with producer Bunny Lee in the '70s that produced most of his hits, which we have compiled for this set. Some of his late '60s classics are recut in the popular 1970s style, working with the rhythm kings themselves, Sly Dunbar and Robbie Shakespeare. They have added some shine to "Something on My Mind" and "Skylarking" and made them hits all over again. Horace also adds his signature to covers of Delroy Wilson's version of the Tams's "Riding for a Fall," the Heptones' "My Guiding Star," John Holt's "Man Next Door," and Bill Withers' "Ain't No Sunshine." A bass-heavy cut of Bob Marley's "Natural Mystic" is also present. This fine set of 1970s classics represents some of the best music ever made in Jamaica.

double LP version. 180 gram vinyl; includes CD. Tak:Til/Glitterbeat present the first ever reissue and remastering of Jon Hassell and Farafina's prescient, "Fourth World" masterwork, Flash of the Spirit, originally released in 1988. Propulsive Burkinese rhythms meet revelatory, ambient soundscapes. Co-produced with the legendary studio team of Brian Eno and Dainel Lanois. Composer and trumpeter Jon Hassell has been an elusive, iconic musical figure for more than half a century. He's best known as the pioneer and propagandist of "Fourth World" music, mixing technology with the tradition and spirituality of non-western cultures. In 1987 he joined with Farafina, the acclaimed percussion, voice, and dance troupe from Burkina Faso, to record Flash of the Spirit. While the album is a natural extension of those "Fourth World" ideas, and a new strand of Possible Musics, it also a distinctive outlier in the careers of both artists; an unrepeated merging of sounds whose influence still reverberates today. The eight members of the band -- who had also collaborated with the Rolling Stones and Ryuichi Sakamoto -- brought their long apprenticed, virtuosic drumming, and melodic textures (balafon, flute, voices) to the sessions. They built up layers and patterns of rhythm, while producers Brian Eno and Daniel Lanois (fresh off the success of U2's Joshua Tree) created a sonic atmosphere in which they could creatively intertwine with Hassell's digitally processed trumpet and keyboards. Despite their initial skepticism, the musicians from Farafina ended up relishing their interaction with the studio team and the trumpeter/conceptualist Hassell. The music that emerged was rich and groundbreaking, a move to transcend the boundaries between jazz, avant-garde classical, ambient and the deep rhythmic tradition embodied by Farafina. On "Out Pours", the groove simmers softly, led by shifting patterns on the balafon, while Hassell's heavily treated trumpet creates breathy swirls of sound that play and dance around them. Percussion leads on "A Vampire Dances," pushing and probing and seeming to force electronic shrieks as a response from Hassell's trumpet, while the keyboard creates a bed of sound that refuses to hold still. "(Like) Warriors Everywhere" takes that idea even further. Over Farafina's surging rhythms, Hassell's electric piano and trumpet dig deep into abstract, melodic ideas hinted at by the Bitches Brew-era Miles Davis band. Farafina create the rhythms and counter-rhythms that spring and move. A new, natural trans-cultural harmony is apparent on the final track, "Masque", where percussion and treated trumpet draw the listener along on a journey through shifting landscapes.