Katalog

Tipps

  • 01. Sunshine
    02. Warzone
    03. Steady Boy
    04. Politics At The Bar
    05. Depending on the Sky
    06. Cinco de Mayo
    07. Ferguson
    08. No Angel
    09. 8th and 3rd
    10. Play of God

    KALEB STEWART

    Tropical Depression

    Mit Tropical Depression ist Kaleb Stewart ein Singer- Songwriter-Album fu?r die Hardcore Kids der 90er Jahre gelungen.?Die Erinnerungen sind präsent und doch, die Welt hat sich weitergedreht, an allen Ecken brennt es. Gru?nde, die einen fru?her dazu brachten eine Band zu gru?nden und seinen Unmut in die Welt zu schreien, sind heute um ein Vielfaches vorhanden und doch stagniert die Rebellion im Paradies. Und mit ihr ihre Kunst. Lethargie macht sich breit und weitet sich zur Depression aus. Und genau da setzt „Tropical Depression“ an. Dabei geht es bei dem Album um so viel mehr als um die Verklärung der fru?hen Jahre, es geht um die Reflexion des Ist-Zustandes, um Artikulationen, um den Wunsch der Vera?nderung und dem gleichzeitigen Verharren im goldenen Ka?fig. Kalebs Mittel der musikalischen Beschreibung ist Pop. Dass die Tu?r des Ka?figs weit offen steht und sie trotzdem nicht durchschritten wird, ist dabei ein Aspekt. Dass die Texte animieren sollen daru?ber nachzudenken und vielleicht doch den Schritt hinauszuwagen, ist ein anderer Aspekt und diesen ko?nnte man dann im geschichtlichen Schluss auch wieder Punk nennen. Aber vielleicht ist das dann auch nicht mehr wichtig, denn die Welt hat sich weitergedreht.
    Format
    CD
    Release-Datum
    12.10.2018
    EAN
    EAN 4260016921850
    Format
    LP [incl.DC]
    Release-Datum
    12.10.2018
    EAN
    EAN 4260016921843
     
  • 01. Colosse De Rhodes
    02. Sous La Mer C'est Calme
    03. Samarcande
    04. Sayyara
    05. La Ville
    06. Le Vide
    07. Tamam
    08. El Bahr
    09. Ultra Moderne Solitude 2
    10. Yaaa Yaaa Yaaa

    CYRIL CYRIL

    Certaines Ruines

    [engl] Of all the Cyrils born in the city of Calvin at the dawn of the 80s, these two were bound to find each other. Two Cyrils like two dizygotic souls whose contingencies have brought their meeting forward. Cyril Cyril. A liberated hydra, born in this city of diplomats where Borges duplicated his rejuvenated ego in “The Other”. On the ruins of their worn out bands, they put together an innately cosmopolitan empire. Because these Cyrils have devoured miles, away from their Genovese haven. A muezzin without borders, Cyril Yeterian came to the disheveled world through Mama Rosin, a three-piece that stirred the ghosts of the rogue bayou, the clammy Mardi Gras of some electric Louisiana. Soon, the world fell in love with their flair. The BBC celebrated them, Jon Spencer produced them, records proliferated. And then in 2017, the honeymoon period passed. Cyril was alone. Well, not quite: music kept popping up around him. Inside his Bongo Joe record store, on the label of the same name, in the underground DJ sets he stirred up, Yeterian explored like crazy, in a binge of exiled grooves. Within the same space-time, Cyril Bondi hit the road. Diatribes, La Tène, Insub Meta Orchestra, the most adventurous projects of the Geneva scene all had a bone to pick with this percussionist in search of unheard beats. He, as well, traveled, experienced the ascent, the euphoria of the peaks and then the fall. Plaistow, his mediumistic, hypnotic jazz band, heckled the saturated world of piano-bass-drums trios and won hearts through Europe and the East. Until the breaking point. So Bondi started looking for premises to drop his equipment. He found better: an accomplice for musical prospecting, another Cyril in tune with his rebellious instinct. Enough with leaning upon solid piers like a Colossus of Rhodes. This adventure required new baggage, a new language. Cyril and Cyril were in the same boat, and both took the plunge. A guitarist and an accordionist, Cyril Y. took on the banjo, adding effect pedals to it to turn it into a puny bouzouki, an epic ba?lama or a krar. Cyril B. cobbled some cannibal drum kit together, with massive jingle bells and tropical nut shells embedded in his marching bass drum. You should have seen these two, on a populous festival night, bringing a narrow club to fever pitch by summoning utopian Neguses. Playing new Berbers, provoking unlikely seismic soukous in a trance that has as much to do with the hippie giddiness as with Fraggle Rock. Indeed, for Cyril Cyril, music is a way of the world, a joyful decentration offering new keys to comprehend chaos. The point here has nothing to do with some globalized country excursion nor some gluten-free exoticism. Beneath the beach lie the paving stones. Politics always end up showing on the surface of these exhilarating chants, of these skeletal grooves. Apart from tracing back the family pathway of some belatedly-adopted Lebanese dialect, Cyril Yeterian chants rhapsodies in French, the merciless terms of which say it all about coming insurrections. Thus, “La ville”, a Doorsian declamation in which the epic eloquence of a Goncourt Prizewinner – Texaco by Patrick Chamoiseau – meets the Invisible Commitee’s poetic prophecies. Thus, “Ultra moderne solitude 2”, that has more to do with Alain Péters than Alain Souchon, with this question "Where are the souls / to take up arms with”. Nothing yet likely to make Certaines Ruines a wordy lampoon of hoaxers, of neo-post-everything killjoys. Since, let’s face it, “the leviathan is intimidating” (“Sous la mer c’est calme”), Cyril Cyril knows the superior power of suggestion, of temperance, of happy sobriety. A single word, a single cry can say a lot, as long as it is soulful. The sound of a duo reduced to its simplest expression – rhythm, a riff, a voice – can bear within itself an infinitely luxuriant musical organism – the double helix of DNA. Cyril Cyril, so real, so rich.
    Format
    LP
    Release-Datum
    18.09.2018
    EAN
    EAN 3521381549904
    Format
    CD
    Release-Datum
    18.09.2018
    EAN
    EAN 3521383449899
     
  • 01. Colosse De Rhodes
    02. Sous La Mer C'est Calme
    03. Samarcande
    04. Sayyara
    05. La Ville
    06. Le Vide
    07. Tamam
    08. El Bahr
    09. Ultra Moderne Solitude 2
    10. Yaaa Yaaa Yaaa

    V/A

    ANTILLES MECHANT BATEAU - Deep biguines & Gwo ka from 60’s french West-indies

    [engl] The West Indies – a sweet coastline subject to many clichés from another time. That postcard with coconut trees, a glass of rum to sip on, those so exotic madras dresses... Almost as many as in Compagnie Créole’s "doudouist" songs, that say a lot about the misunderstandings from both sides of the ocean. West Indians are still as stuck with this distorted outlook as in the good old days of the colonies. Because, underneath the veneer of moldy images, a completely different reality is woven. ‘They beat drums but were never number one’ – to misquote the chorus by a Martinique-born French singer. This is the subject of this collection – musicians drumming on percussion as a way of asserting their creolized identity. Songs that tell, in veiled terms, a different reality from what mainlanders were fed with. Special cases, with cries of joy and laments accompanied by cadences, as an invitation to trance, all immersed in the Caribbean melting pot of rhythm. “’Antilles’ Méchant Bateau”, a low-tempo number with a bolero feel, indeed a pure case of the blues, and a terrific saxophone solo. What else would you expect to set the tone for this selection, in which beguine regains its original colors, in the darkness of the gwo ka drums. This 45 by André Mahy, released under the Aux Ondes sublabel, was recorded in the 1960s at Célini’s, one of Guadeloupe’s two main houses. Through its drum rolls and harrowing chant, it recalled how, long before the mid-1960s, the Antilles’ history was written in an ocean of teardrops – namely the Black Atlantic, as so rightly put by Martinician philosopher and poet Edouard Glissant in L’Archipel des Grands Chaos. These “cursed boats” – slavers – carried millions of Africans to the American continent for centuries. All this sinister story had begun with the landing of a fleet of caravels steered by Christopher Columbus in 1492. It was the first step towards a colonization that was about to decimate the indigenous peoples of this terra incognita and deport the vital spark from the cradle continent of humankind. A year later, on November 4th, 1493, the same Colombus christened Guadeloupe after the Royal Monastery of Santa María de Guadalupe in Extremadura. The cross – a booming symbol – was there to justify the ordeal of peoples to whom even humanness was denied. Soon, once the Caribbean tribes were eradicated, the French would massively import workforce from Ghana, Togo, Dahomey, Ivory Coast, Nigeria, Cameroon, Gabon, Congo or Angola, as recalled by the Marches dedicated to the various ethnicities of slaves in 2012, which faced the Memorial of the ka drum on the Grande-Terre island in Guadeloupe. Hundreds of thousands of them would have to survive the nightmare of plantations, comparable to the plantation system in the American South: chains, leg irons, shackles, fetters, garottes, iron collars and branks, dungeons or lynchings set the tempo of everyday life. The sugar aristocracy (the brown gold of the time) set a reign of terror on plantations. The masters had full powers, including life and death, over the slaves who worked from four in the morning to sunset… until April 27th, 1848 – date of the second and definitive abolition of slavery thanks to the struggle of Victor Schœlcher, an MP who was close to Lamartine (the first one had been pronounced in the wake of the French Revolution, but soon repressed in blood by Bonaparte...). However, the path would still be long to see the newly-born Republic’s motto applied: Liberty, Equality, Fraternity ... The "post-slavery" society would perpetuate real economic segregation – a distinction that would be reproduced from generation to generation... And even if, a century later, the law of 19th March 1946 granted the four old colonies the status of Overseas Departments, nothing changed in the course of history. This gap would then widen, differently but surely, as the Republic implemented an assimilation policy that would deny identities and make a clean break with the past. In this fool’s game, the ka became, in the 1960s, the voice of identity for Guadeloupeans who couldn’t resolve being purely and solely disintegrated. Made from salting or wine barrels from the colonial era – boats keep coming back in this ebb and flow movement – the "quarter", or "ka" once creolized, was a powerful symbol of resistance since the colonial era. Even if its practice was quickly proscribed by masters, considering it contained the seeds of revolt, this great drum (long known as a ‘bamboula’, which means ‘pagan festival’ in Haiti, and became a popular expression in De Gaulle's France) inexorably wormed its way into the local culture, until becoming the essential melting pot for the movement of ‘root music’ against mainland France’s deaf hear. Or its beating heart, following the seven specific rhythms of gwo ka. More than just a matter of rhythms, this drum carried a speech full of history and stories, a message of memories and hopes. The gwo ka bore the stigmata of a slave society, from which all its associated chants were inherited. A medium of the voiceless, this drum would act like an ointment on mistreated bodies, but also as a stimulant for rebellious souls. Under the drummer’s fingers, the ka drummed up the ancestors’ spirits. Just like words convey the memory of a people that was long demoted to the status of a simple item of personal property – according to article 44 of the 1685 Code Noir draught by Colbert to regulate the status of slaves – before being governed by a system of identification booklets allowing to monitor the movements and work of the workforce in a Guadeloupe admittedly liberated from slavery, but still looking like a "banana" regime. This trauma appears through a repertoire that reflects the pain of cane cutters and the euphoria of pay day, the oppression of racism and the recourse to the myth of a promised land. Songs burst with all the bestiary that populates the countryside and the many fish that feed stews, acid satires on the daily reality and apposite witticisms on international events, chronicles anchored in the local soil as well as biting plays on words. One may sing to keep vigil over a dead person, or launch into long, saucy tirades at a bibulous party. At the turn of the 1960s, while some bars were still for whites only, while speaking Creole was forbidden in schoolyards, while drum music was considered a "mizik vié neg" (“old negro music”), while the church saw a symbol of degeneration in it, the Maroon spirit – from the name of the slaves who fled plantations to live free in the woods – rose from its depths, in another form. In this decade and the one that followed, this movement, that gave its place back to percussion, accompanied more precise claims as English-speaking islands gained independence. By playing the ka (which was banned from official studios), one actually chose their side. From 1963, the freshly-instituted Bumidom (Office for Overseas Migration) organized a strong West-Indian emigration towards low-skilled jobs and a dull suburban life. In response, the Gong (group for Guadeloupe’s National Organization) called for Guadeloupe’s independence, and two years later, the Guadeloupean Front for Autonomy appeared. Those years were punctuated by strikes and repressions, culminating in May 1967 with a real massacre in the public square in Pointe-à-Pitre, the toll of which would not be disclosed until 2012. Many would denounce the bloodbath operated by the Bumidom among Guadeloupe’s lifeblood. Slogans flourished on walls, including the iconic: Jeune, ne quitte pas ton pays ("Young people, do not leave your country”). Part of the youth got the message, choosing to take the drum back in hand as a symbol of the emasculated identity of this "entirely apart" people, to quote Aimé Césaire, the father of Negritude. The ka became the soundtrack of this generation, who sped up the tempo with the 70s and definitely transplanted it to town, while the plantation economy – the original soil of the ka drum – was in crisis. From then on, the old tambouyés (drummers) finally went celebrated as they should be: Anzala, Carnot, Serge Dolor, Ti Seles, Robert Loyson, Arthème Boisban, Esnard Boisdur ... and especially Velo – born Marcel Lollia – who nevertheless died in misery, in the street, in 1984. “Champs de canne, champs de coton !” ("Cane fields, cotton fields!) Guy Konket roared, one of the great champions of the Guadeloupean cause, whose path followed on from this legacy, moving it onto the asphalt of Carénages, Pointe-à-Pitre’s hot district. The poet sure had a good turn of phrase, that hit the spot just like his mouth drum. No doubt, blues and ka fought the same battle – centuries of oppression, of negation, before finding the path to possible redemption. Between them, the same language – the language of the Creole spirits, flooded in the great ocean. This is what this selection is about, and its good, inborn sense of humor shouldn't hide the implicit commentaries. There, jazz instills an emancipating energy from established formats, giving these songs a musicality that rhymes with spirituality. From infernal cadences borrowing from the "latin" rhythms of neighboring islands, to beguines with percussion-spiced tempos, to more laid-back – nonetheless dark – ballads, this compilation takes us back to the early hours of a movement of rebirth synonymous with recognition. A rejuvenation in which all the musics from the Black Atlantic diaspora naturally intertwine. Like a wave of sounds, of sense and blood, reminding us that an original culture emerged from the holds of these ‘wicked boats’, the trace of which remains starkly persistent in 2018.
    Format
    LP
    Release-Datum
    18.09.2018
    EAN
    EAN 3521381548716
    Format
    CD
    Release-Datum
    18.09.2018
    EAN
    EAN 3521383448700
     
  • 01. Legend
    02. Song of Galadriel

    MELNYK, LUBOMYR

    The Song of Galadriel

    [engl] "Reading Tolkein´s LORD OF THE RINGS saga was one of the greatest experiences of my life ... his amazing talent for words was mindboggling ... and the great topics he touched upon remain forever as the most important topics of life ... they are still most valid today .. and will be for all eternity. Everything he described through his magical words came to life before my eyes ! So it was most natural that he would inspire music within me ... music that I can not describe in words how it relates to the Saga .. but deep inside me, it all shines clear as a lamp-post on a dark street ... and it shines into my soul in many, many dimensions....." .... and on a technical note, this piece marked the first time I created Arpegge Melodies within Continuous Music !" In the ”Song of Galadriel” Lubomyr Melnyk has created one of the great epics of piano music in our century, a work of visionary character, filled with haunting and delicate melodies that evoke the mystical world of Tolkein's ”Lord Of The Rings”. Arthur Rankin Original Release: 1983 Limited All Analog Remastering Recording 29 min, per side
    Format
    LP lim
    Release-Datum
    01.09.2018
    EAN
    EAN 4260016921829
     
  • 01. Concert-Requiem
    02. -Islands-

    MELNYK, LUBOMYR

    Concert-Requiem / -Islands-

    [engl] Limited All Analog Remastering Recording This is one my most beloved albums ... it always reminds me of the horror that occurred in my homeland, Ukraine, in 1933. And I am always thankful when I hear it. It is good to remember the suffering of other people ! Otherwise, life is not worth living..... This album came about in an interesting way .... there came to me a melody at some point that year ... I was not even at the piano .... a melody that I just began to sing ... When I played it on the piano for my friend, the artist Dmitri Farkavec, he right away loved it and suggested that it would be a great opening for a piece dedicated to the multi-millions of Ukrainians who suffered a terrible and deliberate extinction at the hands of the Russians who had invaded my country. As he said to me, "1983 is the 50 year commemoration of the Terror Famine --- it would be a good year to make this piece." And so it came to be ! "CONCERT-REQUIEM" is dedicated to the over seven million Ukrainians who were killed by the Forced Starvation of 1933 who watched in agony as Communist police destroyed grain as they and their children lay starving to death. This album also contains "ISLANDS" for solo piano --- a remarkable bass-oriented piece depicting enormous masses of mystical and murky islands moving through an imaginary sea.. It was inspired by and created for a dance performance by Windwitches of Stockholm. Original Release: 1984 Limited All Analog Remastering Recording
    Format
    LP lim
    Release-Datum
    01.10.2018
    EAN
    EAN 4260016921812
     
  • 01. Palisade Nr. A3
    02. Vocalize Nr. 29

    MELNYK, LUBOMYR

    Supersense Session

    [engl] Strong Limited All Analog Direct Cut Recording & Acetat
    Format
    LP
    Release-Datum
    01.09.2018
     
  • LP 1
    01. NKR: 24 Opening
    02. NKR: 24 Concluded
    for solo piano

    LP 2
    03. NKR: 24 / NKR: 22
    04.NKR: 24 / 22 Concluded
    for two pianos

    MELNYK, LUBOMYR

    The Lund - St.Petri Symphony

    [engl] " In 1978 I arrived for my first time to Sweden, to the town of Lund .. and there I met a remarkable man named Jean Sellem who ran a tiny gallery in the middle of the town, "The Galleri St.Petri: Dedicated To Modern Art and Thought "... and he was one of the few and first people who saw the greatness and beauty of Continuous Music .. and since I was a complete "unknown" at that time, I really needed his moral support ! --- and he created with me, the idea of a huge work for multiple pianos ... three pianos .. in stages ... and it became as he had envisioned ! and was first performed on a small upright piano in 1978 in his gallery, and the piece was called THE LUND.St.PETRI SYPMPHONY .. becuase it was so symphonic in grandeur (once the three pianos came together ...) The Lund - St. Petri Symphony, from 1979, is the second album from Lubomyr Melnyk and the first composition for double piano which he released. In this work, the early minimalist tendencies which played such a major part in the emergence of Continuous music, are very significant and clearly evident. This Double LP set sold out within 1 year of production, Only 1000 copies were made. Original Release: 1980 Limited All Analog Remastering Recording
    Format
    DoLP
    Release-Datum
    07.09.2018
    EAN
    EAN 4260016921836
     
  • 01. Father And Grandpa
    02. Black Noise
    03. Dense
    04. Chitita
    05. Yaka Muziek
    06. Bafia
    07. Zaire
    08. Shouts
    09. Cannavaro
    10. Dawn

    KHALAB

    Black Noise 2084

    Khalab ist ein italienischer Elektronikproduzent. Mit "Black Noise 2084" räumt er endgültig mit dem abgenutzten und oberflächlichen Klischee auf, "black music" wäre ein Konzept, das sich auf Soul beschränke. Da Soul einen letztlich affirmativen und besänftigenden Charakter besäße, gelte es stattdessen, all den Terror und die Unterdrückung, welche die Bewohner Afrikas und deren Nachfahren in der "Neuen Welt" erleiden mussten, im Sinne einer Katharsis hörbar zu machen. Dabei gingen Khalab prominente Mitstreiter wie Shabaka Hutchings, Moses Boyd, Tamar "The Collocutor" Osborn, Gabin Dabire, Tenesha The Wordsmith, Tommaso Cappellato, Prince Buju und Clap! Clap! zur Hand. Für seine loopbasierten Sounds nutzte Khalab Feldaufnahmen aus dem Archiv des Königlichen Museums für Zentral-Afrika in Brüssel, in dem zahlreiche ethnografische Zeugnisse der europäischen, insbesondere belgischen Kolonialgeschichte gelagert sind. Rein musikalisch gesehen vereinen die zehn Stücke auf "Black Noise 2084" tribalistische Perkussion sowie Sprach-, Gesangs- und Chor-Beiträge, bei denen es sich teilweise um Samples handelt, mit elektronischen Klängen, die durchaus auch im Clubkontext funktionieren würden, und jazzigen Sounds.
    Format
    LP
    Release-Datum
    20.07.2018
    EAN
    EAN 4012957760315
     
  • Kema
    Ghetto Ghetto
    Love Family
    Oxala Kuanboté
    Don't Stop
    Diculo
    Bitch My Love
    NCrazy (feat. Spoek Mathambo)
    LM
    Help

    ANIMAL, DIRON

    Alone

    Angolanische Tanzmusik mit Ansage: Solodebüt des Frontmanns von Throes + The Shine. Mit "Alone" legt der Sänger Diron Animal, bekannt als energiegeladener und extrem stilbewusster Frontmann der Band Throes + The Shine, sein Solodebüt vor. Diron Animal wuchs im Ghetto von Cazenga auf, das in der angolanischen Hauptstadt Luanda liegt. Mittlerweile lebt er in Portugal. Von traditionellen afrikanischen Sounds beeinflusst, bringt Diron Animal in den neun Stücken von "Alone" auf Basis moderner elektronischer Produktionsmittel faszinierende Rhythmen, satte Basslines und Vocals in Portugiesisch, Englisch und Kimbundu zusammen. Dabei thematisiert Diron Animal die harschen soziökonomischen und kulturellen Verhältnisse, unter denen er aufwuchs - und die für viele Bewohner Angolas auch heute noch bittere Realität sind: Trotz der boomenden Wirtschaft und stetigen Urbanisierung geht der Aufschwung am Großteil der angolanischen Bevölkerung vorbei. Nach wie vor haben zum Beispiel die Meisten keinen Zugang zu medizinischer Versorgung oder sauberem Trinkwasser. Für Diron Animal kein Grund klein beizugeben, er kanalisiert seine Frustration in Kreativität, um so den Menschen Hoffnung zu geben: ein besseres Leben ist möglich.
    Format
    LP
    Release-Datum
    20.10.2017
    EAN
    EAN 5056032310735
     
  • BIXIGA 70

    III

    Unwiderstehlich und so frisch wie am ersten Tag: Auch fünf Jahre nach ihrer Gründung bahnt sich die rhythmische Instrumentalexkursion der brasilianischen Gruppe Bixiga 70 unaufhaltsam ihren Weg ins Ohr der Hörer. Oder vielmehr: in die Beine aller Tanzfreudigen dieser Welt. Denn eines wird bei dem zehnköpfigen, in Sao Paulo beheimateten Orchester groß geschrieben, und das ist Energie. Ihr treffend "III" betiteltes drittes Album mäandert vom Regenwald Westafrikas zum Amazonas und von den Stränden Kubas über die heißen Pflaster von Rio de Janeiro. Auf neun Stücken gehen Einflüsse aus Jazz, Funk, Samba und afro-brasilianischen Stilen Wahlverwandtschaften mit Dub und Reggae, Elektronik und World, Cumbia und Carimbó ein. Was einander scheinbar fremd ist, schenkt Bixiga 70 eine unverwechselbare, hyperaktuelle musikalische Identität. Diese gründet auf einer ungemein ausdrucksstarken Bläser- und Perkussion-Sektion und ist durch inspirierte Soli, Harmonie, Dynamik, Beats und Improvisation charakterisiert. Alle Kompositionen wurden im Kollektiv geschrieben und arrangiert und live im Studio aufgenommen.
    Format
    LP
    Release-Datum
    11.09.2015
    EAN
    EAN 4030433602614
     
  • 01. Obaa Sima
    02. Adagya

    ATA KAK

    Obaa Sima

    Die zweite 12"-Single von ATA KAKs mittlerweile legendären Solokassette ,Obaa Sima". Nachdem das Tape im Frühjahr nach einer großangelegten Suche nach dem Musiker selbst endlich veröffentlicht wurde, hat die Musik unter Mithilfe von Awesome Tapes From Africa als CD und LP weltweit Freunde gefunden. Mit dieser limitierten 12"-Edition für DJs und andere Nerds sprechen die Songs ,Obaa Sima" und ,Adagya" eine Einladung zu tieferer Betrachtung aus. Die beiden über Toronto aus Ghana importierten Dance Tracks tanzen sich in Rage und klingen wie nichts, das man je gehört hat. ATA KAK baute sein eigenes Studio aus Second Hand Equipment auf und brachte sich selbst bei, wie man eine Platte produziert. Die 12" vereint ATA KAKs Idealbild der Frau, ,Obaa Sima" und die B-Seite ,Adagya", die hier auf eindrucksvolle Weise New Jack Swing, Rap und Scatting vereint, die von eine minimalen Keyboardmelodie und einem zeitlosen Sinn für Highlife Soul zusammengehalten werden. ATA KAK hat diese visionäre Aufnahme vor mehr als zwei Jahrzehnten aufgenommen, doch der freudige, ungekünstelte Geist des Albums war seinen Zeitgenossen viele Meilen voraus.
    Format
    12''EP
    Release-Datum
    27.10.2015
     
  • 01. Obaa Sima
    02. Moma Yendodo
    03. Adagya
    04. Medofo
    05. Daa Nyinaa
    06. Yemmpa Aba
    07. Bome Nnwom

    ATA KAK

    Obaa Sima

    Die Kassette mit dem Titel ,Obaa Sima" von ATA KAK stieß zunächst auf taube Ohren, als sie das erste Mal in Ghana und Kanada in Eigeninitiative und limitiert auf sehr wenige Exemplare veröffentlicht wurde. Die Musik auf der Aufnahme - ein Amalgam aus Highlife, bi-lingualem Rap, Funk und Disco - wird mit der Leidenschaft eines PRINCE-Albums und dem DIY-Charme der frühen House Music aus Chicago präsentiert. Das clevere Songwriting und die visionäre Mischung aus Geräuschen und Rhythmen macht dieses Album zu einer Left-Field-Kult-Veröffentlichung weltweit. Brian Shimkovitz, der Gründer von Awesome Tapes From Africa, entdeckte das Tape im Jahr 2002 in Ghana und stieß damit auf eines der wenigen hergestellten Exemplare. Es war dieses Tape, das ihn zur Gründung des Awesome Tapes From Africa-Blog inspirierte und das dort natürlich prominent erwähnt wurde. Es folgten Hunderttausende Downloads und Youtube Klicks sowie Tributes an die Musikvideos und Remixe. Das Mysterium um ATA KAK gipfelt nun in dieser Album-Veröffentlichung, inklusive seltener Fotos und der ganzen Hintergrundgeschichte eines der rätselhaftesten Musikers des digitalen Zeitalters.
    Format
    LP
    Release-Datum
    27.10.2015
     
  • 01. Ask Your Mama
    02. Evil Queen Of Diamonds
    03. Good Bye Little Baby
    04. Red Tape Blues
    05. A Little Bit Friday
    06. I Shouldn't Have Done
    07. Wooten Stomp
    08. Frenchmen Street Rag
    09. That's My Sugar
    10. I'll Never Come Back Home
    11. A Stroll With Mr. Roll
    12. The One That Is Always True
    13. Nagging Blues

    BLACK PATTI

    Red Tape

    Format
    LP
    Release-Datum
    28.01.2018
    EAN
    EAN 4260072722330
     
  • 01. Come Around
    02. Something To Say
    03. Love Is All
    04. Icarus
    05. Strange Roads
    06. Things You Cannot See
    07. Brain
    08. Look At The View
    09. Climbing Up The Wall
    10. Really Doesn’t Matter
    11. I’m A Stranger
    12. Little Boy
    13. Follow Me
    14. In My Dream

    ACTION

    Rolled Gold

    [engl] The legendary 1967–68 recordings by UK mod band THE ACTION, registered when they were in transition from mod–beat to full–blown psychedelia, just prior to becoming MIGHTY BABY. Originally recorded as a set of demos with the intention of obtaining an album deal which inexplicably never materialized, "Rolled Gold" is a collection of brilliant songs, melancholic yet powerful. The Action’s classic line–up of Reg King, Alan ’Bam’ King, Michael Evans and Roger Powell is augmented with the inclusion of new members Martin Stone on guitar and Ian Whiteman on flute / organ. All of them are playing their hearts out: superb harmonies, great guitar work and clever arrangements which show the influence of bands like The Byrds and the psychedelic sounds that were coming from the West Coast and UK as well as jazz giants like Coltrane. Always the stuff of legend, The "Rolled Gold" tapes were shelved at the time, not released until 1997 when the Dig The Fuzz label discovered them and did a limited LP/CD run. Out of print on vinyl for many years, we present a new vinyl edition. If you dig the psychedelic era of SMALL FACES, PRETTY THINGS, THE WHO, plus THE CREATION, NAZZ, TOMORROW, BLOSSOM TOES, THE END or TRAFFIC...look no further.
    Format
    LP
    Release-Datum
    26.06.2018
    EAN
    EAN 4040824088071
     
  • 01. Cuasares
    02. Transmigración
    03. Colisión
    04. Mutación
    05. Ancestral
    06. Vertical
    07. Evanescente
    08. Amalgama
    09. Pentatonik
    10. Simbiosis

    CUASARES

    Afro–Progresivo

    [engl] A wild, esoteric mix of psychedelic funk, afro–latin grooves, jazz and Italian / French styled library sounds courtesy of CUASARES, an enigmatic studio project created by pianist / arranger / visionary Waldo Belloso. Acid fuzz guitar, cosmic synth splashes, distorted organ, flute, vibraphone, trippy studio effects... Originally released in Argentine in 1973 as a micro–edition, here’s the first ever reissue. Includes insert with photos and detailed liner notes by Eduardo A. Elizalde Pietruczyk (a.k.a. Bubbling Minds) and Mike Wallace.
    Format
    LP
    Release-Datum
    07.06.2018
     
  • 01. Dawn Defender (part 1)
    02. Dawn Defender (part 2)

    PYRAMID

    Pyramid

    [engl] 33 minutes of pure, unadulterated, psychedelic Krautrock courtesy of PYRAMID: an obscure studio project produced by Toby Robinson aka The Mad Twiddler. These sessions were recorded circa 1975–76 in Cologne for the underground Pyramid label, which was operated by Toby and his friend Robin Page (the Fluxus artist). During that time, Toby worked as engineer and assistan at varios studios in Cologne, including the famous Dieter Dierks studios, where most of the albums from the Ohr/Pilz/Cosmic Courier catalogue were registered. Having access to the studios during dead hours, Toby recorded lot of sessions just for fun without any commercial interest, featuring friends and musicians who frequented the studios and the underground art/music scene of Cologne. Some of these sessions were later relesed as hand–made vinyl micro pressings on his Pyramid label with help from artist Robin Page.
    Format
    LP
    Release-Datum
    07.06.2018
     
  • 01. Catch Up
    02. Bordun
    03. Onkel Joe
    04. Moonlight On A Baldhead
    05. Lydia
    06. Blues For The Kaiser
    07. A Night Without Dreams / The Little Things That Makes Us Happy
    08. Spinning Wheel

    CATCH UP

    Vol. 1

    [engl] One of the best Jazz–Funk–Fusion albums from the 70s Euro scene, featuring such giants as Charly Antolini (famous for his MPS recordings) on drums, Max Greger jr. on electric piano, Moog, Hammond, Mellotron and Milan Pilar on electric bass. Top notch jamming & soulful funky–jazz sound with some kraut–prog touches, recorded at the legendary Studio 70 in Munich and originally released in 1975 on the Calig label.
    Format
    LP
    Release-Datum
    07.06.2018
     
  • 01. Phil Barney - Funky Rap
    02. JM Black - Lipstick
    03. Ettika - Ettika (Version Maxi Inédite)
    04. Sammy Massamba - Propriété Privée
    05. Shams Dinn - Hedi Bled Nous
    06. Alfio Scandurra - Qu'est Ce Qui Ne Va Pas ?
    07. Philippe Chany - Cairo Connection
    08. Noureddine Staïfi - Dansez Le Raksi
    09. Brigitte & Michot - Ta Face Préface
    10. Alec Mansion - Trop Triste
    11. Marie José Fa - C'Est Tabou
    12. Hamidou - Jawla Feli
    13. Ganawa - Yamna
    14. Créole Star - Break Magic Dane
    15. Manu - La Rage Du Funky (Remix)
    16. Ethnie - De Chagrin En Chagrin
    17. Joel Ferrati - Pourqoui Tant De Haine?

    V/A

    CHEBRAN – FRENCH BOOGIE – 82/89 VOL2

    Zweiter Teil der Hammercompilation aus dem Hause Born Bad voll mit französischen Disco Boogie.
    Format
    DoLP
    Release-Datum
    07.06.2018
    EAN
    EAN 3521381547207
    Format
    CD
    Release-Datum
    07.06.2018
    EAN
    EAN 3521383447192
     
  • 01. Remains
    02. Claudette
    03. And When You Fall
    04. Blood
    05. Old Girl
    06. Irony. Utility. Pretext.
    07. But She Was Not Flying
    08. Black Eunuch
    09. Games
    10. In Parallax

    ALGIERS

    Algiers

    Atemlos - so kann man wohl Algiers tiefschwarzen Gospel nennen. Er erinnert mit seiner durchdringenden und fauchenden Wucht an den Prostest-Soul der 60er-Jahre, der damals zum Symbol unterdrückter Minderheiten wurde. Algiers vermischen den urgewaltigen Sound mit Post-Punk-, Industrial- und No-Wave-Einflüssen und verleihen ihm so eine neue Dringlichkeit. Die Musik der ursprünglich aus Atlanta stammenden Band erinnert dabei an The Birthday Party und The Gun Club und unterwirft sich keinem aktuellen Zeitgeist - das macht Algiers gerade im Hier und Jetzt so besonders. Algiers zelebrieren den traditionellen Sound des US-amerikanischen Südens mit modernen Mitteln und verleihen ihm so die Eintrittskarte in eine große Zukunft. Sänger Franklin James Fischer klingt dabei wie eine Reinkarnation von Screamin’ Jay Hawkins. Beschwörend und rastlos wird er zum versöhnlich grollenden Seelenbrecher. Aufgenommen wurde das selbst betitelte und von Tom Morris produzierte Debütalbum in den 4AD- und Gunfactory-Studios in London.
    Format
    LP
    Release-Datum
    02.06.2015
    EAN
    EAN 744861106715
     
  • 01. Doc Watson Dream
    02. Floaters
    03. Please Slow Down
    04. The Change of The Weather
    05. Which Side Are You On
    06. Words Can Be Wrong
    07. Hundred Times A Day
    08. We Don't Want To Hang Out With You
    09. Theres Nothing Wrong With Love
    10. December
    11. Grey Grey Sky Nightmares (Demo)

    GREEN APPLE SEA, THE

    Directions

    "The Green Apple Sea verstehen es wie kaum eine andere Band, Melancholie und Bitterkeit mit perlenden, Country-infizierten Popsongs zu verbinden. Aber es ist nicht allein der innere Widerspruch, der herrlich irritierende Kontrast zwischen Text und Musik, der diese Band so besonders macht. Natu?rlich sind es auch die Songs. Diese geschnitzten, gedrechselten Songwriting-Prototypen. Falls jemals jemand fragen sollte, was eigentlich genau Songwriting bedeutet, spiele man dieser Person einen beliebigen Titel von TGAS vor. Damit sollte die Frage beantwortet sein. Jedes der Stu?cke auf „Directions“ hat eine solch entwaffnende Strahlkraft, dass man beim Hören allmählich begreift, warum Komposition und Produktion acht Jahre gedauert haben. Und es scheint, als wollten TGAS hiermit dem Begriff „Album“ seine urspru?ngliche Bedeutung zuru?ckgeben. War doch ein Album fru?her nichts anderes als eine Sammlung zuvor erschienener Singles. Genau so klingt „Directions“, nämlich, wie eine Zusammenstellung von Stu?cken, die jedes fu?r sich allein stehen wollen. Die keine Nachbarschaft und eigentlich auch keinen Zusammenhang brauchen."
    Format
    LP
    Release-Datum
    18.05.2018
    EAN
    EAN 4260016925537
     
  • 01.Fils du Sahel
    02. Boy Cuisinier
    03. Mariétou
    04. Je suis un Salaud
    05. Ouaga affaires
    06. Mam ti fou
    07. Lucie
    08. Missé issa
    09. Je demande ma démission
    10. Tond Yabramba
    11. Yamb ney capitale

    SANDWIDI, PIERRE

    Le Troubadour de la Savane - 1978/1982

    [engl] For many decades until quite recently, little was known about music from Burkina Faso (which was formerly known as the Upper Volta). It is still one of the lesser known forms of popular music from West Africa. A few years before the country changed its name to Burkina Faso, thanks to Thomas Sankara’s dream of a new society, Voltaic music emerged as some kind of true cultural revolution in the wake of the country’s independence in 1960. Remote, poor and isolated, Upper Volta musicians coveted the orchestras and artists from abroad while creating a music of their own, based on rich cultural traditions. Popular music that sprung up from Burkina Faso owed much to the music from neighboring countries like Mali, Ghana, Ivory Coast or Benin, and to the longing for “cultural authenticity” conveyed through Guinean music. In capital city Ouagadougou, as well as in Bobo-Dioulasso (Burkina’s cultural capital until the 1980s), the first two decades of independence saw the upcoming of such orchestras and artists as Amadou Balaké, Georges Ouedraogo, Volta Jazz, l’Harmonie Voltaïque, Les Imbattables Léopards, Abdoulaye Cissé, Tidiane Coulibaly or Pierre Sandwidi. Nicknamed “the troubadour from the bush”, Pierre Sandwidi stands as one of the finest Voltaic artists from the 1970s. He belonged to an unsung elite of Francophone artists such as Francis Bebey, G.G. Vickey, Amédée Pierre, André-Marie Tala, Pierre Tchana or Mamo Lagbema. His entire released output consists of less than ten 7 inches, two LPs and a bunch of cassettes. A man from the provinces, he always favored social engagement and carefully crafted lyrics over instant fame. His words and music challenged General Lamizana’s dreary presidency, which ruled the country from 1966 to 1980. Born in 1947 in Boulsa, a small village in central Upper Volta, Pierre Sandwidi studied at the Zinda Kaboré high school in Ouaga in the early 60s. He learned to play the guitar, like many other young men of his generation, influenced, among others, by pioneer Beninese folk singer G.G. Vickey. After graduating, he worked for some time as a nurse, before applying for a job at the national radio – while developing his guitar abilities. Along with his friends Jean-Bernard Samboué, Abdoulaye Cissé, Oger Kaboré, Joseph Salambéré or Richard Seydou Traoré, he was part of the “vedettes en herbe” movement. Their songs were played on the national radio before even getting the chance to be released on a single, recorded live in the studio – a straightforward technique favored by most Voltaic musicians over the decade. In 1970, Pierre Sandwidi traveled across the country, working for the state and learning much from the Upper Volta’s many cultures and history. Involved in trade unions, he followed his own musical path. He observed changes at stake in his native country. In 1971, he won the first prize in the ‘modern singers’ category of a national competition. He also joined as a guitar player the National Ballet of Upper Volta, modeled after Guinea’s “African Ballets”. With them, he traveled to Niger, Ivory Coast and Benin, before visiting Canada in 1973. Back home, he met Bobo-Dioulasso cultural entrepreneur and Volta Jazz boss Idrissa Koné, who offered him to record a few songs for his own imprint, Disques Paysans Noirs. Sandwidi then delivered Lucie, a romantic song in the classic mandingo vein (‘diarabi’ or ‘love song’), while combining Afro-Cuban influences (by way of Congo) with French songs. He only had his bicycle and a guitar to conquer his young love, while others drove cars or rode motorbikes. Penniless but full of love, he walked in the steps of both Abdoulaye Cissé’s L’homme à la guitare and Amadou Balaké’s Bar Konon Mousso. As a trade unionist and a member of the African Independence Party, he opposed General Lamizana’s politics, denouncing the lack of morality and the corrupted new administration in Ouagadougou, while praising the virtues of the working class and the wisdom of farmers. In 1975, Pierre Sandwidi recorded two more singles at the Maison du Peuple for CVD (Compagnie Voltaïque du Disque). Using an Akai recorder as a soundboard, he was backed by Super Volta’s mighty guitar player Désiré Traoré. In spite of such a raw recording environment, his mature voice revealed new harmonic possibilities. In 1976, he recorded 3 more 45s with L’Harmonie Voltaïque as a backing band. Tond yabramba (“Our ancestors”) was the peak of this fruitful collaboration. A sinuous organ allowed Sandwidi to reach new heights, with a stunning melody that became instantly familiar. Recounting his country’s chaotic history, it stood as one of the continent’s best political songs. A true lesson of history, this song has been played enough on the radio to gain cult status. On his next single, Sandwidi sang about rural migration to the city, especially Ouagadougou. A true anthem, Ouaga affaires was another instant classic favored by the Voltaic audience. In the same vein, Je demande ma démission is one of his most beloved songs. A fine observer, Sandwidi tackled the fast evolution and modernization of the Voltaic society. In 1977, he delivered the amazing Yamb ney capitale (“You and your capital”), one of his best songs, with masterful guitar by Super Volta’s Désiré Traoré. Once again, he fought against ailing morality and rising individualism in the country’s capital. Sandwidi praised the virtues of country dwellers, enhanced by Ghanaian lo-fi keyboards wiz Father Ben. The b-side Mam ti fou is another instant classic, dealing with the loss of identity and an ever-increasing race for profit. This single sold over 3,000 copies, a true achievement in one of the world’s most destitute countries. In 1979, while in Abidjan, Pierre Sandwidi recorded his first full length LP with the help of Voltaic Prince Edouard Ouedraogo. It confronted once again his country’s true state of affairs. He launched his own ‘callao’ dance, as a homage to this Sahelian bird that bounces instead of walking. A standout track, Boy cuisinier dealt with the adventures of a cook confronted to European stark realities, with synths on the brink of collapsing, in a Bebey or Onyeabor mode. Confronted with many temptations, Sandwidi sang about his will to stay true to his values, being first and foremost an African; a genuine plea in those harsh years. A true callao song, Marietou sounds like genuine French Sahelian pop. It was released on Kouri Productions, his own label. The b-side Missie Issa denounced nepotism and corruption. With the help of his Super Volta friends, among which guitar player Zon Boukary, rhythm guitar player Tiemoko ‘Pacheco’ Traoré and Father Ben on keyboards, Sandwidi produced his second LP in Ouagadougou. Troubadour de la savane is a vibrant testimony of the Upper Volta, just before Thomas Sankara’s revolution changed the country’s name to Burkina Faso. On Fils du Sahel, Sandwidi delivered a true political slogan : “Friendship and solidarity in peace and justice.” On a more romantic note, Je suis un salaud is a deep, heartfelt Sahelian ballad – one of the key tracks from this album and one of his most cherished songs to this day. During the Sankara years (1983-1987), Sandwidi took part in the cultural animation of his neighborhood as a militant of the mighty CDR (Comité de Défense de la Révolution). After Sankara’s fall in 1987, Sandwidi distanced himself from politics, focusing on writing new songs and plays. In 1995, he delivered his last piece of music: Cousin Halidou, released through Moussa Kaboré’s Bazaar Music. Being of fragile health, Pierre Sandwidi passed away in 1998, leaving a beloved and dedicated family behind. His funeral had a national echo, while new generations are slowly rediscovering a great body of work. Sandwidi used to tell his family that one day, some interest would come from abroad regarding his artistic legacy. Twenty years after he died, this compilation stands as a vibrant tribute to one of West Africa’s most outstanding and adamant artist.
    Format
    LP
    Release-Datum
    18.04.2018
    EAN
    EAN 3521381546248
    Format
    CD
    Release-Datum
    18.04.2018
    EAN
    EAN 3521383446638
     
  • 01. There’s Nothing Like You
    02. Pretty Perfect
    03. The Secret of Happiness
    04. Terrible Luck
    05. Drift to Death
    06. Men of the Women
    07. The Revenge of Teeth
    08. The Shape of your Face in Space
    09. This Storm will Last
    10. The Fatigue of Passing the Night

    PETER KERNEL

    The Size of the Night

    [engl] What is the size of the night? How can we measure the night? The night is a very personal moment. It can be majestic; spent indulged in love and joy or terribly frightening; filled with nightmares and fear. The size of this moment is hidden in the details that shake our bodies and keep our hearts beating. In this album we took off the darkest and most mysterious part of our persons and transformed it into songs. We don't have instructions to not make mistakes or not hurt people around us or to love in the most proper manner. We just live. We do good and bad. Sometimes we learn but often we don’t, and simply go ahead doing mistakes. We're complex. We can act stupid and feel lost inside. We can miss each other yet not talk to each other when we're together. This album express this new consciousness we found ourselves exploring throughout these past months. There are some very serious songs and others seem surreal, but each one of these creations form The Size Of The Night in it's greatness and in its darkness. Through this album we’re trying to accept that we can be very sensitive people and at the same time we can be asshole. And that it’s alright.
    Format
    LP
    Release-Datum
    06.05.2018
    EAN
    EAN 5425016133507
    Format
    CD
    Release-Datum
    06.05.2018
    EAN
    EAN 5425016133514
     
  • 01. Monster man
    02. Shut up!
    03. Sweet revenge
    04. Heaven & hell
    05. Gimme diversity
    06. the eternal beauty of life & death

    DEVIL IN MISS JONES

    Cliffhanger

    Die Devils werfen mit voller Wucht das blutbefleckte Handtuch. Wenn man geht, sollte man es SO tun. Mit der Weisheit von 27 (!) Jahren Bandgeschichte, der Energie eines nicht durch Tour Leben und R’N‘R Exzesse ausgemergelten Geistes und dem Hall einer, mit Postern der richtigen (Anti)Helden ausgekleideten Garage. In alter DEVILS Tradition, wieder eine LP im 10“ Format, diesmal mit 6 Krachern, zwischen 2 minütigem „teenage hate“ (shut up!) und 12 minütigem Instrumentalepos (the eternal beauty of life and death). Eingängig und wild, geradeaus und verdreht, vertraut und vorbei. Für die Hölle, für Diversität des Seins und gegen den feuchten Rocktraum. „and when we sit down, I’ll do all the talking, I will tell him for hours, about my miserable life, and if he’s the creature, I expect him to be, I guess we’ll be friends, forever and ever“ (aus Heaven & Hell)
    Format
    10''
    Release-Datum
    04.05.2018
     
  • 01. Hoodoo Hop
    02. Time is Ticking
    03. Come Inside
    04. Nobody but You
    05. T-C-H-A-U
    06. Strawberry Boy
    07. Voodoo Doll
    08. All About You
    09. The Way you walk
    10.TheTeens are Square
    11. Boom! Dynamite!
    12.Fool Fool Fool

    COURETTES, THE

    We are the Courettes

    „Here are the Courettes“ - das erste Lebenszeichen Von The Courettes schlug 2014 ein wie eine Bombe. Die erste Auflage war innerhalb eines Monats ausverkauft und musste bisher dreimal nachgepresst werden. Ihre Musik führte das brasilianisch-dänische Duo durch ganz Europa. Einladungen auf allen wichtigen Sixtiespunk Festivals folgten. Die zahlreichen Shows beweisen das naheliegende - die beiden sind für die Bühne geschaffen. Erinnert sei hier stellvertretend an ihre legendäre, höchst laute und illegale Balkonshow auf dem Reeperbahnfestival (mit nachfolgender Straßensperrung durch die Polizei) oder ihr Auftritt keine 24 Stunden nach der Geburt ihres Sohnes Lennon. Man kann es einfach nicht bestreiten The Courettes sind eine geborene Liveband. Und umso schöner, dass sie sich für ihr zweites Album "We are the Courettes“ Zeit genommen haben. Zusammen mit Produzent Kim Kix (einigen sicherlich bekannt durch seine Band Powersolo) haben sie eine dermaßen Knallerscheibe in die Runde geworfen, dass einem nichts anderes übrig bleibt, als seine Chelsea Boots aus dem Schrank zu kramen und stilecht das Tanzbein zu schwingen. The Courettes haben ihr musikalische Spektrum mit etwas sechziger Jahre Girl Pop und Soul verfeinert, ohne dabei den ihnen typischen dreckigen Fuzzsound zu verleugnen. Und so watet "We are the Courettes“ dermaßen tief im Sixties Sound, dass es sich selbst die brasilianische Horrorfilm-Legende Coffin Joe nicht nehmen ließ, ein paar Zaubersprüche in dieses Album einfließen zu lassen. PS: Und weil dem nicht genug ist, wird es am 17.3. vorab mit „Voodoo Doll“, der ersten Single vom Album, eine echte Sensation, vielmehr Revolution geben. Mehr dazu später, haltet also die Augen offen.
    Format
    LP
    Release-Datum
    30.03.2018
    EAN
    EAN 4260016921676
    Format
    CD Digipack
    Release-Datum
    30.03.2018
    EAN
    EAN 4260016921683