2*LP gatefold sleeve

This first volume of a two-volume series presents a selection of the best of early Syliphone recordings.

Cuba, Jazz, Highlife

(High quality records in gatefold sleeve with extended liner and song notes) This first volume of a two-volume series presents a selection of the best of early Syliphone recordings. The songs demonstrate not only the essence of Guinea’s authenticité policy and of its subsequent Cultural Revolution, but of a confluence of musical styles from Cuba, jazz, highlife and the diverse influences of Guinea’s cultural groups.

On October 2 1958, after over 60 years of colonial rule, Guineans voted overwhelmingly for their independence, and Guinea was declared a Republic with Sékou Touré as President. Guinea was the first of West Africa’s Francophone colonies to gain independence. To free Guinea from its colonial legacy, president Touré sought to restore dignity to his nation and give cause for Guineans to take pride in their culture, history and newfound freedom. To achieve this, he instructed his government to implement new cultural policies that were intended to revitalise and celebrate indigenous culture. The focus of these new policies was on music.

In 1961, President Touré launched authenticité, the name of his new cultural policy for Guinea. One of its first acts was to assemble the best Guinean musicians into a new state-sponsored orchestras that were tasked with presenting traditional Guinean music in a new and modern style. All musicians in Guinea’s orchestras were officially designated as members of the public service. During the years of Sékou Touré’s presidency (1958 – 1984), the government’s cultural policy of authenticité was applied strictly to the creative arts. Guinea’s sole political party, the Parti Démocratique de Guinée exercised complete authority over artistic production. The scale of the Guinean government’s commitment and efforts to invigorate its indigenous musical cultures was unmatched in Africa, and it presented a clear contrast to the minimal endeavours undertaken by Guinea’s former colonial rulers.

From 1967 to 1983, Guinea’s government presented selections of songs from the Voix de la Révolution catalogue on its own recording label, Syliphone. These recordings were described as ‘the fruit of the revolution’. Syliphone was revolutionary in many aspects: it was the first recording label to feature traditional African musical instruments such as the kora and balafon within an orchestre setting; it was the first to present the traditional songs of the griots within an orchestre setting; and it was the first government-sponsored recording label of post-colonial Africa. Syliphone represented authenticité in action, and over 750 songs were released by the recording label on 12-inch and 7-inch vinyl discs. All are highly sought after by collectors worldwide.

This first volume of a two-volume series presents a selection of the best of early Syliphone recordings. The songs demonstrate not only the essence of Guinea’s authenticité policy and of its subsequent Cultural Revolution, but of a confluence of musical styles from Cuba, jazz, highlife and the diverse influences of Guinea’s cultural groups.



Tracklist
A1. Orchestre Du Jardin De Guinée : Sakhodou
A2. Orchestre De La Paillote : La Guinée Moussolou
A3. Bembeya Jazz National : Guantanamera-Seyni
A4. Bembeya Jazz National : Sabor De Guajira

B1. Balla Et Ses Balladins : Sakhodougou
B2. Balla Et Ses Balladins : Samba
B3. Orchestre De La Paillote : Kankan-Yarabi
B4. Myriam’s Quintette : Solo Quintette

C1. Pivi & Les Balladins : Ka Noutea
C2. Horoya Band National : N’Banlassouro
C3. Orchestre de la Garde Républicaine : Sabouya
C4. Keletigui Et Ses Tambourinis : Samakoro

D1. Keletigui Et Ses Tambourinis : Miri Magnin
D2. 22 Novembre Band : Kouma
D3. Les Frères Diabaté : N’Fa


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(2LP gatefold) This album takes you back to Colombia of the 50s and 60s. In those days, the tropical music of the Caribbean and Pacific coasts took over the country's mainland music scene by storm. One of the key figures during this period was Edmundo Arias. Together with Lucho Bermúdez and Pacho Galán, Arias is seen as one of the ‘big three’ composers of Colombian tropical music.

He was a rather introverted person who avoided being in the spotlight at all cost, leading to his work being less known than his contemporaries. With this album we hope to highlight the amazing legacy Edmundo Arias has left us. Think of big bands with sharp dressed musicians playing the finest cumbias, porros and other tropical sounds in fancy ballrooms on a hot evening in Medellin or Bogota.

Tracklist

A1. Juanita Bonita
A2. Cumbia Candelosa
A3. El Mecanico
A4. Tus Ojos
A5. Que Te Pasa
A6. Brisa, Mar Y Arena

B1. Venenosa
B2. Uey’ Je’ Je’ Pa’
B3. El Canje
B4. Dime Pa’ Quien
B5. El Guarachero
B6. Solo Estoy

C1. La Luna Y El Pescador
C2. Noche De Fiesta
C3. Acuarela Cumbiambera
C4. Las Diez Velas
C5. El Chontaduro
C6. Orlandito

D1. Fiesta Tropical
D2. Cumbia Del Caribe
D3. Guepa…Je
D4. Buenas Noches Diciembre
D5. Alma Quibdoseña
D6. Asi Se Baila Cumbia

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(2Lp/Gatefold with Liner Notes). Lost recordings that defined the modern sound of the Sahara. Ahl Nana changed the folk music of the Sahara to modern, cosmopolitan music by using Western instruments like the electric guitar. They paved the way for artists like Ali Farka Touré, Tinariwen, Mdou Moctar or Bombino. Although the group is still active today, they only recorded 2 LPs and a handful of singles. All these recordings took place in 1971 at the Boussiphone studios in Casablanca.

TRACKLIST

A1 Adji Kar Teri Miri
A2 Yer Sabou Yerkoy
A3 Emolli Tidwall Eheme
B1 Bayna Daouali
B2 Zeinab Moussa

C1 Ahlane Ouassahlane
C2 Timidawane Hewana
D1 Ya Llali Ya Ouichi
D2 Hob Mene
D3 Nahnou Sigharou El Ouatane

INFO

Lost recordings that defined the modern sound of the Sahara.

This album contains the first recordings of modern music from the Sahara and mark the birth of the genre that is known in the West as ‘Desert Blues’ or ‘Desert Rock’. Ahl Nana changed the folk music of the Sahara to modern, cosmopolitan music by using Western instruments like the electric guitar. They paved the way for artists like Ali Farka Touré, Tinariwen, Mdou Moctar or Bombino. Although the group is still active today, they only recorded 2 LPs and a handful of singles. All these recordings took place in 1971 at the Boussiphone studios in Casablanca. The records were never distributed and therefore remained unknown for almost 50 years, until Radio Martiko discovered a batch of unsold factory stock a few years ago. On this album, you will find a selection of these revolutionary recordings.

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(LP, printed innersleeve) Cosmic Gypsy Sounds!


TRACKLIST

A1 Robot
A2 Zov Gitare
A3 Brankov Cocek
A4 Zoranov Cicek
B1 Japanka
B2 Miletova Gajde
B3 Cocek Ajd’mo u Planine
B4 Moj Mihone
B5 Niški Disko

INFO

Cosmic Gypsy Sounds!

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High Quality pressing in vintage silk screen sleeve. Latin orchestra meets Greek bouzouki!!! A true hybrid musical dream, emerging and blending the sound from the migrant communities of 60’s New York. Greek bouzouki wizard Yannis Tatassopoulos inject this electrifying playing into the Latin beats of Roger 'King' Mozian. Together these dukes of sound generate a tornado! Non-conventional and ultra refined crossover madness from the Space-Age. Mambo Gi-tano!


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High Quality pressing in vintage silk screen sleeve. Surfing on the shores of Java and Casablanca! 2 un-expected tales from the Beat generation. Tony Turpijn and his Evergreens fulfill the dream of every pantropical music lover with a silky instrumental rhythm ’n blues take on the Sundanese love song “Es Lilin” (Ice Lolly). Link Wray meets Mulatu Astatke meets Oslan Husein in Rotterdam, 1965.

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High Quality LP. Comes in 4 different hand-made sleeves. Incl. download code. Ten swirling and euphonic Afro-Latin gems from the Congolose band Ry-co Jazz, recorded between 1961 and 1966 for the Disques Vogue series "Dansons avec…".


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Compilation (LP + DL) Un-earthed latin and jazz-tinged tracks will let your mind drift off to the glamorous nightlife of 60's Cairo. Meet some forgotten souls of the Egyptian music scene and cinema world. Sensual voices and Bolly-wood-like orchestra sounds inflame the senses of the body with an in-tangible exotic twist! All music is remastered from original 45's pro-duced by Sono Cairo


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(LP+DL) Reissue of the belly dance holy grail from the organ king of Cairo, combining traditional rhythms with spaced out modern sounds.


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First issue of this previously unreleased Oriental psych monster from the organ king of Casablanca, combining traditional rhythms with spaced out modern sounds. Third part of Abdou El Omari's Nuits-trilogy. This album contains dazzlinginstrumentals spiced up here and there with some traditional vocals.

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(LP+DL) Re-issue of this ultra-rare Oriental psych monster from the organ king of Casablanca, combining traditional rhythms with spaced out modern sounds.First part of Abdou El Omari's Nuits-trilogy. Part 2 and 3 will be re-leased in the next few months.

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Suburban Base returns with a heavyweight release, delivering fresh remixes of the classic Melody Madness by Cool Hand Flex, reimagined by two of the most respected names in the scene—Bladerunner and Outrage. Bladerunner brings his signature rolling basslines and crisp production to the track, delivering a modern take while staying true to the original’s deep jungle roots. On the flip, Outrage delivers the AWOL Remix, a tribute to the legendary club night, channeling the raw energy of those iconic sessions with rugged breakbeats and deep, atmospheric textures. This double A-side includes the highly valued Original Version and the much sought after Roni Size Remix from 1995, the release bridges the old and the new, paying homage to a foundational anthem while pushing the sound forward.

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Frederiksberg Records is proud to announce the long-awaited reissue of Ambonisye Lord Shepherd’s 1981 debut album, Evidence For Real — a deeply personal and spiritual fusion of Soul and Jazz that has remained a hidden treasure for more than four decades.

Tracklist
1.124th and Lake Street
1.2Life and Times of Malcolm X
1.3Fight for It
1.4Death Land
1.5I'll Always Love You
1.6The Day the Little Shepherd
1.7Verline
1.8The Teachings of Don Juan
1.925TH

https://listen.k7.com/2d96dfe1-f81a-40a2-9c99-d3566d309f45

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Warp present the the first three full length offerings from Autechre; Incunabula, Amber & Tri Repetae. Having been unavailable on vinyl since 2001, these recordings reveal the geometry of the duo's early transcripts from post-acid house electronica through sparse, hypnotic ambience and into the b-boy flavour that characterised their mid-nineties excavations of jungle, industrial and hip-hop.

Amber, the second full-length from Autechre and considered by many to be their ambient opus (though we imagine they wouldn't call it that!) having been out of print on vinyl since 2001. Amber contains eleven tracks of sparse Ae minimalist machine modules that blur the boundaries between isolationist electronica and richly vivid techno soundscapes. Considered by many fans to be the most crucial recording from the group, it contains some of their most immersive soundscapes to date. Steering away from the post-hardcore dynamics that shone through on Incunabula, Amber moves further away from anything resembling 'techno' and moved into more territories of abstract ambience. These eleven crystal-like cubes of sound came together to produce some of the most mind-bendingly hypnotic sounds to be committed to wax during the 90's. Placing Ae up in the ranks of legendary composers such as Steve Reich and Manuel Gottsching as well as their Artificial Intelligence contemporaries with whom they were crafting the building blocks of the future.There is something uniquely immersive about Amber, it's almost as if as you are playing it the sounds are fading away before they even begin, when played from the start you can lose a lot of time within the endless gradients that adorn its cover, before the sounds just seemingly, disappear.

Spec: 2LP in paper inners in gatefold sleeve with postcard size download card

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Originally released in 2003, Marcos Valle’s Contrasts combined early noughties production techniques with his trademark Brazilian songwriting brilliance. The album quickly became one of Valle’s most in-demand, with tracks like the triumphant “Parabéns” (which was sampled by Childish Gambino, covered by Tom Misch and remixed by Misa Negra) and bossa beach classic “Agua de Coco”, both becoming firm fan favourites.

Produced by Roc Hunter, and executive produced by Joe Davis, with musicians including Robertinho Silva (percussion), Alex Malheiros (bass), and Marcos’ wife Patricia Alvi (vocals), Contrasts encapsulated Valle’s ever evolving musical vision, bringing together samba, baião, bossa pop, broken beat, house, trip-hop and more, on one era-defining record.

After 22 years, Contrasts is finally set for a double LP vinyl and CD reissue, with the original mix of “Valeu” and “My Nightingale” making it onto the vinyl edition for the first time.

Credits:
Marcos Valle: Vocals, Acoustic Guitar, Piano, Fender Rhodes, Organ, Melodica, Keyboards
Alex Malheiros: Bass
Renato Franco: Flutes, Saxophones
Trick: Trumpet, Flugel, Trombone
Patricia Alvi: Vocals
Robertinho Silva: Percussion, Drums
Leandro Sapucaí and Layse Sapucaí: Percussion
Roc Hunter: Programming

All arrangements: Marcos Valle and Roc Hunter
Producer: Roc Hunter
Co-Producer: Marcos Valle
Executive Producer: Joe Davis

Studios & Engineers:
Recording: Luis Claudio @ Castello Studio, Rio De Janeiro
Additional recording: Lula @ Century Studio, Rio De Janeiro
Mixing: Roc Hunter @ Rocit Studio, London
Mastering: Pete @ Heathmans, London
Vinyl Remaster by Stuart Hawkes @ Metropolis Studios

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Caribbean-Belgian composer, producer and musician Nala Sinephro announces her debut album Space 1.8 with lead track “Space 3”. Space 1.8 will be released on 3rd September via Warp Records.

The instrumental “Space 3” is a short clip from a 3 hour improvised session with drummer Eddie Hick (Sons of Kemet) and producer/multi-instrumentalist Dwayne Kilvington on synths bass (Wonky Logic, Steam Down) culminating in a synth driven, particle-splitting, rapture. Speaking about the track, Sinephro explains: “We recorded it in the start of spring, it was a magical day. The day after recording I collaged the drums, added fifteen synths, produced and mixed it at home and it was all done.”

Sinephro’s music fuses meditative sounds, jazz sensibilities, folk and field recordings. Her musical practice is rooted in the study of frequency and geometry and guided by the premise that sound moves matter. Her debut album Space 1.8 takes shape as a metaphysical structure, where each curative space is a womb-like cocoon created by Sinephro in service of relief and affirmative, ecstatic freedom. Space 1.8 was composed, produced, performed, engineered, recorded, mixed by Sinephro at age 22. On the album, she plays modular synths and pedal harp alongside her friends James Mollison, Shirley Tetteh, Nubya Garcia, Eddie Hick, Dwayne Kilvington, Jake Long, Lyle Barton, Rudi Creswick and more.

Following electrifying live performances across the London scene, word of Nala Sinephro’s playing quickly spread throughout the UK jazz scene, consequently landing her performances as part of the celebrated jazz night Steam Down, alongside playing with and supporting the likes of Demae, Eun, Coby Sey, Rosie Turton, Robert Ames, London Contemporary Orchestra, Touching Bass, Spitfire Audio, Nadeem Din-Gabisi. She was touted as one of The Guardian’s artists to watch in 2020, has garnered support from the likes of Gilles Peterson; and is a resident DJ on NTS sharing monthly selections of celestial sounds. In 2021, she joined the innovative Warp Records roster where she continues to weave her unique sound world.

- Specs Black vinyl 12" in printed inner in printed 3mm spine outer with download card insert

TRACKLIST:
A1. Space 1
A2. Space 2
A3. Space 3
A4. Space 4
A5. Space 5
B1. Space 6
B2. Space 7
B3. Space 8

QUOTES:
“A benchmark in ambient jazz featuring outstanding players and delicately woven arrangements” - 8.3 - Pitchfork (Best New Music)
“Space 1.8 is a healing sound bath full of rigorous psychoacoustic knowledge and elegant playing” - The Observer (One to watch)
“Very few records have this capacity to make you temporarily fearless, but on Space 1.8, Sinephro harnesses the power of sound to move and heal the listener in ways that are real, and expansive.” - 9/10 - Loud & Quiet
"What sticks with Space 1.8 is the focus of its vision: precise like mathematics but imbued with a rich cosmic breadth." - 9/10 - UNCUT
'Her debut album sits at a slight angle to anything else you may have heard coming out of the UK in recent years” - Stereogum
"A calming, restorative and mind-expanding blend of jazz and ambient" - Resident Advisor (RA Recommends)

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Altercat proudly presents the definitive reissue of one of the crown jewels of South American jazz. Essentially the brainchild of Argentinian jazz's leading figure Jorge López Ruiz, the project Viejas Raíces marked López Ruiz's departure from the traditional forms of jazz. The trio that recorded this album, consisting of López Ruiz joined by his life-long friend drummer Pocho Lapouble and gifted Chilean pianist Matías Pizarro, created a thrilling blend of jazz and Uruguayan candombe, surrounded by an undeniable cinematic feel spurred by López Ruiz's long experience in the soundtrack field. When read as one element, the cleverly chosen combination of group name and album title (in English: 'Old Roots of the Colonies of the River Plate') readily hints at the kind of sounds the listener will be challenged with when diving into this LP. Recorded in 1976 in the wake of the "Proceso de Reorganización Nacional", the bloodiest period of dictatorship in Argentina, the album was initially frowned upon by critics and public alike, both still firmly rooted in jazz traditionalism and obviously not ready for the new ideas that musicians like López Ruiz were experimenting with. Despite being a commercial flop upon its release, the album has been enjoying a growing reputation over the last two decades, acclaimed by jazz enthusiasts who value it from a different historical perspective and embrace its experimentation during this revolutionary period of change. Fourty-five years after its release, the album receives the Altercat treatment with a much deserved deluxe reissue, with sound direct from the master tapes and an accompanying 12-page booklet with previously unpublished pictures and bilingual liner notes telling everything you ever wanted to know about the album and those who made it possible.

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Thirty years after its original release, Main Source’s debut album Breaking Atoms has lost none of its capacity to surprise or delight. It remains a prime example of a classically styled hip-hop LP - two DJs, one MC, 11 tracks, no flab or filler. It wasn’t a slow burner - it was adored on release and hasn’t left the top ten of any serious rap fan ever since.

What makes it so special? Perhaps it’s in the group’s ear for a hook and sample, with Large Professor mounting a whole, celebrated career off the back of this gem. Perhaps it’s in the way he manages to balance bragging with more political, thematic tracks such as ‘Just a Friendly Game of Baseball’ and ‘Peace is not the Word to Play’ without ever coming across as preachy.

Few albums of this length are able to spawn four singles - all of them must-haves - while still having material galore on the album that could have been pressed as a 12”. ‘Snake Eyes’ ‘Vamos a Rapiar’ and ‘He Got So Much Soul (He Don’t Need No Music) could have been singles in their own rights, an embarrassment of riches.

Sample-wise, it’s all about the skillfully woven mixture of the obvious and the obscure, with a tapestry of samples approach that’s just not legally possible anymore. So while you might recognise a snatch of Donald Byrd’s ‘Think Twice’ on the timeless ‘Looking at the Front Door’, it’s layered with elements from Ken Lazarus, Detroit Emeralds, The Third Guitar and more. It’s an approach that pays constant dividends and rewards repeated listens. Presented in its original format, this is the essence of Breaking Atoms, one of the best albums in the long history of this genre.

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London-based keyboardist and composer Greg Foat is back with his new album, 'The Rituals of Infinity'. Greg's first memory with the piano goes all the way back to his Aunt's house at aged 3 - where he fell off the piano stool. Since then, his relationship with the piano has evolved into a fulfilling, and successful career. He began taking an interest in composing at the age of 11, and truly ignited his love for Jazz after attending a workshop with Jeff Clyne, Olaf Vas, Trevor Tomkins and Nick Weldon at the age of 15. He then studied jazz at Middlesex University, followed by 6 months in Sweden on an Erasmus grant which lead to his first professional studio session there at 21. Greg has worked as a professional musician ever since, and has moulded a wonderfully multifaceted career within the Jazz music genre. Greg is planning a debut performance of 'The Rituals of Infinity' at Ronnie Scotts in January.'The Rituals of Infinity' album is inspired by many things. Some titles are named after iconic science fiction books such as The Rituals Of Infinity, A Private Cosmos, The Dark Labyrinth and The World of the Red Sun. Minerva's Owl, on the other hand, is about the Ancient Greek Legend. "The owl of Minerva takes flight only at dusk." so wrote G. W. F. Hegel, the nineteenth century's major philosopher of history. By that, he meant that any given phase of history can be understood only in retrospect — after it's over. A beautifully fitting closing of the album. The album features the legendary Art Themen on Soprano and Tenor Saxophones, and Trevor Walker on Trumpet and Flugel Horn in a fine supportive role harmonising with Katherine Farnden on Cor Anglais. Natcyet Wakili has such a fluid approach to the drums which really makes the album special, alongside Jasper Osbourne on Bass Guitar. Shawn Lee also stopped by the studio with his horror movie classic waterphone - adding some eery atmospheric finishing touches to the album.

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FIRST OFFICIAL REISSUE OF ONE OF THE MOST SAMPLED TURKISH RECORDS IN 45 YEARS! SAMPLED BY RAP LEGENDS LIKE SCARFACE OF THE GETO BOYS. TURKISH PSYCHEDELIC MASTERPIECE FROM 1980

Licensed from "Warner Records Sweden" and remastered from original material in Warner Record's vaults by Shawn Joseph at Optimum Mastering Bristol. 180 gr heavyweight vinyl Manufactured in Optimal Berlin.
Recorded between Istanbul and Stockholm, it captures the era between Okay Temiz's Don Cherry Trio touring and his own band Oriental Wind's sensational debut.
Mentioned distinctive elements have elevated the record to 'cult' status among record collectors, sample enthusiasts, and diggers around the world.
By 1980, Okay Temiz had already embarked on a series of dynamic collaborations and sound experiences with Don Cherry as a member of the Don Cherry Trio. This period included a noteworthy summer in the early '70s at Dartmouth College in New Hampshire, hosted by Jon Appleton, a notable American composer and visionary in electro-acoustic music.
"During that summer, Jon asked me, 'What kind of sound do you have in mind?' I had already given this considerable thought, using a tape recorder to capture sound frequencies influenced by the moon's position. Jon Appleton's question made me think about the extension of 'Organic Music Theory,' which we were exploring with Don Cherry at the time."
In 1982, Okay Temiz recorded the most comprehensive answer to 'What is Turkish Jazz?' at the Montreux Jazz Festival (CAZLP 004) with his band Oriental Wind, featuring Bobo Stenson (of the Jan Garbarek - Bobo Stenson Quartet), Palle Danielsson (of the Peter Erskine European Trio), and Lennart Åberg (of the Scandinavia New Jazz Group).
In 1980, without fully realizing he was navigating between these two worlds, Okay Temiz entered Stockholm's renowned Metronome studios to record the 'sound in his mind' as a solo artist.

`Drummer of Two Worlds` is a star map of Okay Temiz's musical worlds. Blending elements from the grand piano to his handmade drums, and from the amplified Berimbau to his cowbell array, weaving Turkish rhythms like 9/8 and 7/8 with the universality of 4/4, it presents a unique sound narrative that resonates with the dimensions of a well-traveled mind."

Haluk Damar

A1 - Eastern Breeze
A2 - Penguin
A3 - Galaxy Nine
A4 - Savsat Bari
A5 - Repercussions
B1 - Drummer Of The Two Worlds
B2 - Sipsi
B3 - Ocean Rolelr
B4 - Fantasia Drive

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Marc Mac back with another high grade Bruk, Electro Boogie monster. This is the fourth and final piece of the series. From Africa to Jamaica, Brazil and now Japan Marc Mac has explored the international fusion and cultures that has been an influence on his style of Broken Beat. The four track EP is under-pinned with Jazz/Funkiness and a hint of Jungle in the subs can be felt on "Kambei". 'Yasuke Soul" and "Tokyo Nightlife" feel like a head nod to Ryuichi and Akiko, so buckle up and get ready for a Journey eastbound. Brilliant cover art is supplied by Mitchy Bwoy.

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