MUSIC

The “Polyphonic singing of the Aka Pygmies of Central Africa” was officially added to the UNESCO List of Intangible Cultural Heritage of Humanity in 2008, but four decades earlier the musicologist Simha Arom had already discovered the music of the Mbenga (Aka/Benzele), Baka and Mbuti (Efé) populations. He described their collective contrapuntal improvisations as being characterised by a level of polyphonic complexity that European music would only reach in the 14th century.

Starting from the 60s, when the records of the UNESCO Collection curated by Arom were released, Central African music has been internationally discovered, studied and used as a source of inspiration by composers such as Christian Wolff, György Ligeti, Steve Reich, Jon Hassell, and Herbie Hancock (with the famous opening track of the album Head Hunters), amongst others.

During its 2014 edition AngelicA hosted a concert by Ndima (a word meaning forest in the Aka language) a group of artists (singers, dancers and musicians) part of the Aka Pygmies tribe.
The concert was a huge success (it had to be replicated on the same night, due to high demand from the public) and like all concerts that are part of the festival it was recorded.
However, for this double album of i dischi di angelica, we decided to use the field recordings that Roberto Monari, sound technician and long-time collaborator of the festival, had carried out a few months earlier while being hosted for several days by two Pygmy tribes Mbenzelé and Aka, and living with them, in the far North of the Democratic Republic of Congo, in the North-eastern (Mbenzelé) and North-western rainforests (Aka) of Ouésso in the Shanga region respectively, near the border with the Central African Republic and Cameroon.

The complex musical technique of these populations is learnt orally since early childhood, and it is completely different from that of the surrounding populations: voices (including a peculiar use of yodelling, with an alternation of head and chest voice that creates an individual identity) and hand clapping are enough to create sophisticated polyphonies and counterpoints; occasionally simple string, wind or percussive instruments are used, or quite simply the water in the ponds which is skilfully played with the hands, traditionally by women and children.

The music of the Pygmies permeates every aspect of everyday life: music dedicated to forest spirits, rituals for hunting or to facilitate a rich harvest, nursery rhymes or lullabies for children, songs of grief or entertainment, or relating to divination or sexuality… singing takes place all day, and the rhythm of the stories and the voices is forged and developed – as proved by the original and continuous sequences on these records, which are the fruit of spontaneous events that took place during Monari’s stay with the tribes – in a sound context as rich and diversified as that of the sounds of the equatorial forest in which they live – an environment, and a culture, whose survival is nowadays increasingly endangered.

In 1979 "punk" music was all the rage. The Residents had gone though the punk stage three years earlier were ready for anything that was not punk. When it was finally released Eskimo was a hit, both in sales and in reviews. The album tells the story, without words, of the assimilation of a ritualistic society into consumer culture. This story unfolds as Eskimo fables set to the grinding of sound effects and music. Eskimo is, quite literally, a unique experience.

Jorge Ben is the sixth studio album by Brazilian singer-songwriter and guitarist Jorge Ben. It was released in November 1969 by Philips Records. The album was his first recording for a major label since 1965 when his first stint with Philips ended due to creative differences. Ben recorded the album alongside producer Manoel Barenbein, the vocal/percussion band Trio Mocotó, and an orchestral section arranged by José Briamonte and Rogério Duprat. It was written by Ben during his previous few years performing independently and developing his unique samba-based style. He incorporated psychedelic and soul music for this lively recording, while his quirky lyrics dealt with everyday life, romances with women, Afro-Brazilian identity, and self-awareness. Guido Alberi's iconic cover for the album also drew on psychedelic influences in its pop-art illustration of Ben and symbols of contemporary Brazilian culture.

Produced by Lee Perry, this release is in essence the Soul Rebels album first issued in 1970, omitting the instrumental track My Sympathy but adding two singles Mr. Brown and Duppy Conqueror.

Dry was conceived as a new journey among Vini inventions, through rarefied moods and subterranean streams of sound. The fifteen songs (lasting fifty-five minutes) were recorded in Manchester in 1990, Vini sits in on guitar and piano, while Mitchell is on electronic and acoustic percussion, other instruments such as the clarinet (played by Zinnia Mitchell-Williams, Bruce's daughter), harmonica, viola and keyboards are also featured on the session. Here, once again, Durutti Column 's music could be defined as half-way between melancholy rock and 'progressive' New Age.

Saved from the dust of time, here is a truly rare and obscure piece of vinyl by one of the most enigmatic bands in the whole history of British progressive jazz. Originally released in 200 copies in 1973 and reissued here for the first time, Quincicasm's only release stands as a brilliant document of the '70s British underground electric jazz scene. Somewhere at the crossing of open form jazz and art rock explorations. Ken Eley - saxophone, Dick Pearce - flugelhorn, Julian Marshall - vibraphone, keyboards, Malcolm Bennett - bass guitar, flute, Michael Ormerod, Nigel Smith - drums, percussion, Katy Zeserson - vocals. RIYL: Soft Machine, Nucleus.

Reissue on vinyl for this classic album originally released in 1982 on Daddy Kool Rec. Jah Thomas was an important figure on the Jamaican music scene during both the roots era of the '70s and the subsequent dancehall decade of the '80s. Besides releasing several DJ sides of his own in the latter half of the '70s, Thomas also came into his own as one of the island's top producers for both singers and DJs. Many of these sides found their way to the dub studios of King Tubby, who transformed a wealth of Thomas' rhythms into a some of the best dub tracks to emerge from Jamaica.

Following their collaboration on the Alice Through The Looking Glass and Agincourt projects, Sussex-based Peter Howell and John Ferdinando formed Ithaca, another project recorded in Ferdinando’s spare-room studio. Howell had just joined the BBC (where he would later work on the Doctor Who theme), and inspired by the Moody Blues, conceived a prog-rock project exploring life’s grander themes, with Ferdinando handling producer duties; Lee Menelaus of Agincourt is present on select songs, along with other colleagues. A Game For All Who Know is a beautiful slice of pastoral prog that is ripe for rediscovery, this edition made more appealing through the inclusion of several rare bonus tracks.

Early Future Records is proud to present the official reissue of the iconic 1979 spiritual jazz classic Visions Of The Third Eye, newly remastered for limited vinyl release and digital download. - Including a 20 page zine featuring an in-depth testimonial and interview with Brandon Ross, and an essay by Andy Votel, as well as archival photos, scores and reviews.

The album TICHAZOMUONA by Dumisani Abraham “Dumi” Maraire was a pioneering effort to promote mbira music. It is a family effort involving his wife Chengeto Linda “Mai Chi” Nemarundwe and their daughter, Chiwoniso “Chi” Maraire. Maraire was a mbira and marimba player, who taught for many years on the west coast of the United States, and was the moving spirit behind the popularity of Shona music in the USA and more widely. Born in 1944 in Chakohwa Village in Mutambara, Eastern Zimbabwe, Dumi began learning music from family members early. In his late teens, he began to pursue music more seriously; in 1966, Dumi went to the Kwanongoma College of Music in Bulawayo and started to learn instruments like the nyunganyunga mbira and the marimba. The nyunganyunga mbira is a 15-Note kalimba (or lamellophone), named after the community from which it originated; thousands of youths learnt traditional songs on this instrument at Kwanongoma. Before colonialism, the mbira was considered sacred; though vital to Shona culture, its importance in traditional ceremonies suffered during and after colonialism. With the arrival of the settlers, many locals converted to Christianity, where the colonialist missionaries preached that mbira music was connected to evil spirits. The rise of pan-Africanism and patriotism in the postcolonial era brought a more tolerant and respectful stance towards musical instruments like the mbira. At independence in 1980, traditional Zimbabwean music, following heavy Rhodesian censorship, began receiving more airtime on radio and television. After independence, artists like Thomas Mapfumo, Zexie Manatsa, Marshall Munhumumwe, Jonah Sithole, and Robson Banda started performing popular guitar music that replicated the mbira’s sound. Dumi and others, including Ephat Mujuru, Beulah Dyoko, Cosmas Magaya and Stella Chiweshe, played traditional mbira music, sometimes accompanied by the ngoma (drum) and hosho (shakers) as well. Dumi is credited with developing the 1–15 number notation used on the nyunganyunga mbira, and notating the song Chemutengure; this song is used to teach mbira learners the technique of playing the instrument. Dumi was a visiting professor in the University of Washington’s ethnomusicology department from 1968 to 1972. Composing in Shona, he specialised in marimba, singing, dancing and drumming. He taught at The Evergreen State College in Olympia in the 1970s, giving private lessons and touring the Pacific Northwest and British Columbia with several marimba groups he founded. After watching a young Linda Nemarundwe perform one of his mbira arrangements at a 1972 workshop in Zimbabwe, Maraire offered to teach her more, and they worked together for the rest of the conference, playing together at a final performance. Dumi eventually married Mai Chi in 1975, and she joined him in Seattle, where he continued teaching and performing Zimbabwean music, while she earned her BA in Early Childhood Education. In 1982, the family returned to Zimbabwe; Mai Chi worked for the Save the Children Fund, while Dumi developed the ethnomusicology programme at the University of Zimbabwe. During this time, in 1986, they recorded the album TICHAZOMUONA, featuring their 10-year-old daughter Chiwoniso on the title track. The entire recording is a masterpiece of traditional mbira playing, combining the intimate with the spiritual to fashion a genre-defining sound. When you pick up a mbira, you feel you are picking up the history of a part of Africa, a complete way of making music, a whole social system of music and religion and history. As such, it can be confusing as to who is, in fact, playing who. In Dumi’s own words: “When a mbira player plays his instrument, he is not playing it for the world. He is not trying to please people, nor is he performing. What he is doing is conversing with a friend. He teaches his friend what to do, and his friend teaches him what to do... To me, a mbira is a lively instrument. It amazes me when I hear all these different things in my way of playing. This is not because I am playing different patterns without knowing what I am doing, but because, as I give the mbira more, I get more from it. So, in simple terms, I can say that the mbira is always in front, giving the materials to the player, and the player follows behind, emphasising these while at the same time asking for more. What more can one say of such an instrument but that it is a friend indeed?” Indeed, this personal relationship with his instrument led Dumi to credit the Nyunganyunga Mbira separately on the original album cover (even while his daughter’s name, Chiwoniso, was slightly misspelt). Four years later, he was back in Seattle, teaching and earning his doctorate in ethnomusicology at the University of Washington. When Dumi finally returned permanently to Zimbabwe in 1990 to take a position at the University of Zimbabwe, Mai Chi remained in the US, making her home in Portland, Oregon, where she developed her renowned love of cooking into a catering business. Mai Chi was a multi-dimensional musician in her own right - vocalist, marimba player, drummer, dancer - who involved herself deeply with the African music community in the Pacific Northwest, sharing her musicality freely and openly until she died in 1997. Dumi himself died in 1999, having inspired thousands to explore Shona culture by providing a vivid example with his own family. Chiwoniso also passed away in 2013 after an inspirational career of her own. The first-ever release of Nyami Nyami Records was the song Zvichapera by Chi, which she recorded a few weeks before she passed; this song was the reason this label was created. Dumi similarly influenced countless musicians. From his years of residence in the US as a visiting musician, Maraire catalysed a network of Americans playing Zimbabwean music across the United States, focused primarily on the West Coast in Oregon, Washington, and California, with other communities in Colorado and New Mexico. During his years spent teaching in Zimbabwe, many important mbira players crossed Dumisani Maraire’s path, and many musicians inspired by him have worked to perform, teach, and spread Zimbabwean music around the world. Several of Dumi’s surviving children have also gone on to be musicians themselves.

Recorded live at Morden Tower, Newcastle-upon-Tyne 8th. June, 1983. Originally released together with Changez Les Blockeurs as part of a 2LP box set, has since been released as a single LP. Limited edition of 349 hand-numbered copies.

The popular work is repressed! Coco María, a Mexican DJ / musician based in Amsterdam, the Netherlands, who also hosts the program at the online radio station operated by Gilles Peterson, the "music preacher", has been cued for . Introducing "Club Coco", a compo board with a unique perspective. Summery outer national Latin & Afro Roots Music Nuggets packed with the essence of the community that gathers in your own broadcast frame! Nico Mauskovic brings together creative acts such as Meridian Brothers, Graham Mushnik and Romperayo that harmonize both pride in Latin American and Afro culture with an interest in cosmopolitanism in the big European cities. Introduction! A masterpiece that Bongo Joe presents “Club Coco”, a summery outernational Latin and afro rooted music compilation curated by Coco María. An attempt to give back something to music lovers around the world and print on an object a piece of the essence of the community that has been gathering around her weekly radio show at Worldwide FM. In many ways, the tracks of the album showcase how these artists use music to reconcile both their pride in Latin American and Afro culture as well as their interest in being part of the cosmopolitanism of big European cities. Thus, each track adds a particular detail into building a perfect soundtrack for a community that is always travelling back and forwards between both regions, always looking for songs that explore the furthest frontiers of tropical music while staying true to the roots of their genres. This LP gathers some of the inescapable artists that have been part of Coco María’s shows. The list includes Nico Mauskovic, La Perla, Meridian Brothers y Grupo Renacimiento, Graham Mushnik, La Redada, Alex Figueira, Frente Cumbiero, Les Pythons de la Fournaise, Romperayo, Malphino, Max Weissenfeldt and even Coco María herself.

Another Interplanetary Star Creature team up for a Chicago <-> Tokyo expedition across a fusional soundscape ranging from bossa nova lounge to pre-vaporwave exotica; new age city pop to minimal library boogie. June Chikuma is best known now for her ground breaking Video Game soundtrack throughout the late 1980s and early 90s, most notably the now cult-classic status Bomberman Hero OST for Nintendo. During this same period of the late , she produced many recordings for a wide variety of clients including Japanese Public Transit Commercials, Video Game Arcades and VHS Nature Documentaries. We reached out to June in 2019 with the hopes of combing her archives to present the modern listener base here on Earth. We selected a nice mix of tracks as entry point in June's work. These tracks have been rescued from obscurity, remastered and waxed up for contemporary universal enjoyment. Hear Chikuma & Co. interpret influence's from Kraftwerk to Steely Dan, Herbie Hancock to Eric Dolphy, and Composers Ali Sriti to Paul Hindemith across a legendary line up of hardware synths ranging from Yamaha DX7, Korg Polysix, Roland D-550, and Oberheim Matrix-1000.

Ethereal, sensual, subtle. Maria de Fátima is that new favourite singer you think you just discovered, but had actually always been there. This Brazilian muse from Tijuca (Rio de Janeiro) has worked and recorded with artists such as Milton Nascimento, Gilberto Gil, Arthur Verocai, Airto Moreira & Flora Purim, Chico Buarque and Lincoln Olivetti amongst many others. We're immensely proud to bring you a deluxe reissue of her only solo album Bahia com H. Recorded in 1981 in Uruguay where Maria had settled with her then husband and synthesizer wizard Hugo Fattoruso (OPA), who also takes on production duties. The album combines Maria's own compositions with her unique takes on some Brazilian classics by Ary Barroso, Denis Brean and Gilberto Gil amongst others, compositions which gain a new significance with Maria's ethereal interpretation and the blended elements of Candombe, in part provided by the all-star line-up of Uruguayan musicians recruited for the recording. First reissue on vinyl format, preserving the original artwork in its gatefold sleeve, with sound sourced from the original analogue tapes, and with a 12-page booklet with photos from Maria's private archive and liner notes by the mighty producer, journalist, Grammy voting member and living jazz encyclopedia Arnaldo DeSouteiro.

“Yīn Yīn hop and bound along, being whisked up by the pure joy of their experimentation, unafraid to see how far from home it takes them...eccentric, boundary-bashing, genre-melding groove.” – The Line of Best Fit YĪN YĪN’s dazzling second album dives even deeper into dancefloor propulsion and space travel atmospherics than their lauded debut The Rabbit that Hunts Tigers (2019). While there is an expanded sonic richness on the new album as samples, drum computers and otherworldly synthesizers intertwine with the band’s taut playing, more than anything The Age of Aquarius is a simple, direct appeal to dance. The record’s groove manifesto can be put down to YĪN YĪN’s experiences on the road, where the positive energies picked up from their audiences fed back into a sound that increasingly “kept people moving.” Funk and disco beats. Electro experimentation. Global retro vibes. A shimmering, cinematic sweep. --------------------------------------------- YĪN YĪN’s new long player, The Age of Aquarius, is a simple, direct appeal to dance. It is also a record blessed with a considerable hinterland; with cosmic time, long studio hours and a determination to transcend the daily ennui of living in the Dutch city of Maastricht all playing their part. YĪN YĪN see themselves as a bunch of musical dreamers. The track ‘Declined by Universe’ references the fact that “we’re all kinds of drop outs.” The beautiful, old and somewhat staid city of Maastricht, where the band is based, isn’t really conducive to setting up a bustling music scene: and it’s a place where the outsiders quickly recognize each other. YĪN YĪN are all “nightlife people”, which meant their friendship initially came about through co-organizing and deejaying DIY parties. Before the band formed, none had carved out a conventional career, or done the “very Dutch thing” of completing their studies. Things started to move for real when Yves Lennertz and Kees Berkers decided to make a cassette tape that drew on references to Southern and South East Asian music. Once the idea was formed, Lennertz and Berkers wasted no time in taking “a lot” of instruments to a rented rehearsal room in a small village near Maastricht. There the pair set up a couple of mics and recorded a number of songs in three days flat. Yves: “When we put it [the recorded session] out on tape, the reactions were very positive. So we decided to do a live show in Maastricht. We asked our musical friends to help us out, and from that night on we became a full band: with Remy Scheren on bass, Robbert Verwijlen on keys and Jerome Cardynaals and Gino Bombrini on percussion.” This “united against the world” stance is also heard at the end of ‘Declined by Universe’, where the band claps their own music, making the track initially sound like a live track. It’s a funny, maybe surreptitious statement of belief in what they do. YĪN YĪN also wanted to create an illusion of strength in other ways: ‘Declined by Universe’ sounds as if there is a large group of people playing, not just the core band. This was done by passing over sampling in favour of live recording multiple layers of percussion. Yves: “In the end we were getting kind of silly and started applauding every take. We decided to keep that reaction in. I still visualize a sort of school building in Thailand where people are playing this when I hear the recording.” Maybe YĪN YĪN also see their position of a band hiding in plain sight in their own land reflected in the legend of Chong Wang. Kees: “Chong Wang is a historical mystical figure. Very little is known about him and some people even deny his existence. But we wrote a ballad for him on the first album and now dedicated another track for him.” Regardless of attitude, the new record is bags of fun. Mainly because YĪN YĪN make dreamers music, in the sense that everything can happen, sometimes all at once. The working title was YĪN YĪN In Space, one that referenced the band’s inner vision of an entity that travels through space, encountering different planets, aliens, parties and galaxies along the way. Despite the name change, the music is still the soundtrack for that vision. And the intergalactic party vibes are strong. Nods to brilliant, invigorating dance music abound, some of the thumping beats in numbers like ‘Chong Wang’ the title track and ‘Nautilus’ drop some thumping 1990s-style electric boogie and italo disco chops along the way. Then there is ‘Shēnzhou V.’, which plots a stately course between eastern-inflected pop music, Italo and Harmonia-style electronic meditations. The record’s party vibe can also be put down to YĪN YĪN’s experiences on the road, where the positive energies picked up from their audiences fed back into a sound that increasingly “kept people moving”. The expansive richness in sound and feel may also be down to the fact that more samples, drum computers and synthesizers are used on The Age of Aquarius than in their previous records, a process that intertwines with real-time playing in the studio. ‘Faiyadansu’, for example, started with a sample found on an old traditional Japanese koto record. Kees: “I first programmed a beat with 808 drums. Yves recorded guitars over that. Then we found some great vocal samples from a lady on YouTube who teaches the Thai language. These phrases and words all have something to do with enjoying food. The last step was to record some extra percussion on top.” Cosmic appropriations of time also crop up in the titles, which may give the lie to some of the band members’ preoccupations with the state of the world. The Age of Aquarius is seen as a time when humanity takes control of the Earth and its own destiny as its rightful heritage, with the destiny of humanity being the revelation of truth and the expansion of consciousness. An old trope musically the Age is most famously referenced in the hippie musical, Hair. For YĪN YĪN it seems to denote the time when this record first took shape during the previous January, when the Age was meant to finally dawn. Other direct references to cosmic times are in the track names ‘Kali Yuga’ and ‘Satya Yuga’: the Kali Yuga, in Hinduism, is the fourth and worst of the four yugas (world ages) in a Yuga Cycle, preceded by Dvapara Yuga and followed by the next cycle's Krita (Satya) Yuga. It is believed to be the present age, which is full of conflict and sin. Who said this was just a party record?

Recorded from 1984 to 1986, The Impossible Humane is the sole album from The New Blockaders side project Mixed Band Philanthropist. Originally released on the German Selektion label in 1987 and impossible to find nowadays, Staubgold makes this rare gem of industrial-goes-musique concrète available again in a strictly limited edition of 400 copies. Furthermore, the reissue contains two bonus tracks taken from the 7" single The Man Who Mistook a Real Woman for His Muse and Acted Accordingly. The album is assembled of exclusive source material by the who's-who of the industrial music scene of the time, including contributions from Nurse With Wound, Organum, Andrew Chalk, The New Blockaders, Etant Donnes, H.N.A.S., P16.D4, Asmus Tietchens, Controlled Bleeding, Smegma, Merzbow, and many more. "A classic chunk of destroyed concrète. Assembled from a variety of musical and spoken sources, this is a nonstop barrage of genius. Filled with headsnapping changes, sexual innuendo and general confusion, it's a totally great listening experience," said The Wire. Idwal Fisher wrote: "This car-crash tape collage still stands today as one of the best examples of the genre. Its perpetual barrage of split-second samples are a dizzying mess of '60s pop songs, scrapes, industrial whirr, uncategorizeable racket, ghostly voices, electronic beebles and burrs, sped-up records, tape whizz, machine rumble, snatches of reggae, bucket damage, kazoo farts, disco spots and about three-thousand or more (I'm guessing) other samples that really shouldn't work, but, by some sleight of hand or genius, actually do. On paper, snatches of steel bands shouldn't be found on the same side of tape as Geordie MCs, Michael Jackson, pneumatic drills, early Merzbow and '50s doo wop, but here they are and it works. Totally. Then comes the added bonus of being able to listen to this to the point of ad nauseam, mainly due to the fact that there are so few reference points that every listen brings something new."

¡ÆA sea of clouds casting silent shadows on frozen time A sky of flickering waters curling over the immense permanence Fractured light shrouded in mist dissolving into shaded pigment The frontier of solitude melting in the winds of patient eternity.¡Ç

Le Manteau D'Etoiles is the fifth album by Andrew Chalk & Timo Van Luijk, the UK/Belgium project of Elodie, and was recorded live in Leuven, Belgium in November 2012. The album is based on a live performance in Leuven, Belgium in November 2012. The four-piece ensemble includes Tom James Scott on piano and Jean Noel Rebilly on clarinet, two of Andrew Chalk's most recent collaborators. The deepening of each of the two core members in their solo works is also evident here, with the peaceful beauty of the water in "Cristaux De Lumiere," the simply transparent "L'Aurore," which needs no explanation, and "Le Manteau d' Etoiles," which whispers of Elodie's forest psychedelia. Etoiles," which transcended time and scene, one could not help but listen to the great big improvised picture scroll of light that transcended time and scene. The dignified wind and keyboard colors of the two guests were also wonderful. This is a great example of Elodie's ever-deepening and matured musical vision. This is one of the best works of this project.

A vinyl reissue of a 2016 cassette-only release by Andrew Chalk x Timo Van Luijk's unit Elodie, featuring Tom James Scott on piano. A beautiful work, ambient and avant-garde, but with the depth that only Elodie can bring to life. Limited edition of 300 copies.

Eclectic ensemble of 18 instrumental arrangements evoking an epic and existential 
soundtrack determined by the power of momentary destiny and reflective sentiment. 

Originally released on LP in 2014

1972-1985 KATEBEGIAK Prog-Rock, Psych-Folk & Jazz-Rock Music from the Basque Country [Compiled by DJ Makala] Music produced in the 70’s in the Basque Country got trapped between two earth shattering artistic currents; Ez Dok Amairu in the 60s and Basque Radical Rock in the 80’s, and unfortunately, most of the lovely discs and tunes created at that magical time have been pushed to a remote (and sometimes even despised) corner of our collective memory. 60’s and 80’s music currents are almost opposite, and both work as magnetic poles with a very strong power of attraction, and maybe also as a burden for any of the later artistic currents. 60’s generation of artists searched within their rich and ancient cultural roots to acknowledge and update them, in proud, hopeful and unforgettable folk songs. The 80’s one on the other hand, worked in a ammable environment in constant social and political con ict and found in punk the perfect way to express their anger and weariness for so many unful lled promises and the lack of opportunities into short, noisy, direct and corrosive songs, technically sparse but full of energy and expressive power. Most of the “classic” names engraved in our memory come from one or the other like Benito Lertxundi, Mikel Laboa, Lourdes Iriondo and Xabier Lete or Kortatu, Hertzainak, Zarama, Las vulpes, Eskorbuto or Cicatriz. 70’s generation and their music works somehow as the “missing link” (“katebegia” in Basque) between the two. They loved folky tunes and don’t forget their ancient roots, but they also look outside for inspiration and experimentation. Just as the 80’s boys and girls found punk the 70’s guys found a completely di erent sonic and aesthetic landscape in the works of Grateful Dead, Fairport Convention, King Crimson, Soft Machine, Gong,... and worked closely with keen souls in other neighboring regions such as Maquina!, Pau Riba or Sisa in Catalonia or Smash and Triana in Andalusia. This resulted in more abstract and poetic lyrical content, much longer psych-folk-prog-jazz tunes, full of complex instrumental passages and mesmerizing structures of sheer ambition and masterful execution in many cases. But, most important of all, they found a voice of their own, rich, unique, and fascinating, and that’s what makes them so valuable to us. Not only to us, but also to lots of vinyl collectors and crate-diggers around the world, who have in many cases paid fortunes for some of the original editions of LPs that are the source of tunes in this compilation. Mikel Unzurrunzaga Schmitz aka DJ Makala, Dj and producer of worldwide scope and wisdom, noticed this fact rst and decided to pay homage to these wonderful tunes through this masterful and dedicated selection for your pleasure and as an open invitation to dig deeper into your adventures in the dark and hidden side of Basque popular music. (Text: Antton Iturbe)

The Music of the Lamista Kechwas: Recordings of Native Communities of Lamas The Music of the Lamista Kechwas: Recordings of Native Communities of Lamas compiles various recordings made by Los Abuelos del Wayku, a traditional group made up of the oldest musicians from the native communities of Lamas: Medardo Cachique, Reynaldo Amasifuén, Misael Amasifuén, Daniel Sangama, Remigio Sangama and Pedro Cachique. The selection and recording process has been carried out by the Tarapoto musician and researcher Percy Alexander Flores Navarro. These performances seek to recreate the most indigenous musical performance styles of the various musical genres practiced throughout the Lamista Kechwa nation since colonial times, as well as the foreign and national musical trends incorporated by these communities during the first half of the 20th century. Thus, this album aims to be a chronicle of the historical processes that took place in the region, as well as a guide to the cultural diversity of the Peruvian Amazon. Some of the musical genres present in these recordings are: the Christmas Carol brought by the Jesuit missionaries during the 16th century; the Amazonian pandilla and the various musical forms that comprise it since colonial times; the marinera, adapted to the Andean-Amazonian ensemble at the beginning of the 20th century; rock and roll, which was reinterpreted as the Lamista twist in the middle of the last century, and many other musical genres that constitute the repertoire of traditional and popular music of the native communities of Lamas. After the success of the anthology The Fabulous Sound of Andrés Vargas Pinedo, and the launch of the anthology Around the Húmisha: The music of the traditional Amazonian groups of Peru, Buh Records presents this new volume, dedicated to the music of the native communities of Lamas, and this time with the launch of a collection and platform called Central Amazónica, which will be dedicated exclusively to the rescue of various musical expressions of the Peruvian Amazon. This album is released on vinyl LP format, with extensive information and visual documentation. Compilation and notes by Percy Alexander Flores Navarro. Art by René Sánchez. This album is possible thanks to the Proyecto Especial Bicentenario fund

Following a 1997 compilation album on Carl Craig's Planet E label, Moodyman's virtually first album, released in 1998 on the prestigious UK label Peacefrog, is being reissued on limited edition clear vinyl.

For years it was known that the master tape of ‘No Sub Reino dos Metazoários’ had been lost during two floods that wrecked the Rozenblit Studios. Lots of equipment were damaged and plenty of material gone. However what no one expected was that the tapes were kept on the highest shelves in the studio where the water did not reach with the thought of "equipment can be replaced, master tapes are unique".

Notaro's daughters inherited and rescued the tape and made it available so that Fatiado Discos could release the first and remastered version from the original tapes since 1973.
 
The lysergic highest moments come with nature elements textures as water and wind mixing together with the unmistaken sound of the Tricórdio Acústico - which is a very unique instrument that Lula Côrtes brought himself from India and then adapted it with the help of a local luthier to the regional sound of the Brazilian northeast.
 
The gatefold designed by Lula Côrtes is portrayed in this release and it also has its inner side designed by Cátia Mezel, apart from an extra insert with unpublished photos of Marconi provided by the musician's family.