Limited edition 7" vinyl of "La Mujer Serpiente" on the A side and "Selam (Bass Mix)" on the B side. La Mujer Serpiente/Cumbia Serpiente is the 1st single from Earthtones' upcoming LP on Wonderwheel. This collaboration with longtime friend & co-producer, Oliwa, features vocal delivery and heartbreakingly beautiful songwriting by Colombian Canadian artist/singer, Lido Pimienta. Behind the live cumbia rhythms, bass synths, analog keys, 808 drums & guitars, the vision of this track is one of upliftment of womxn and femmes everywhere. Selam is a vision of peace. This collaboration between producer/DJ Earthtones and Ethiopian musician/vocalist Etsegenet Mekonnen features haunting vocals sung in Amharic. Analog & semi-modular synths combine with 909 drums and afrobeats percussion by Earthtones, to weave grooves for Etsegenet's depth in songwriting, voice and soul. The main version has a dancehall bassline that calls one to movement, while the dub versions evoke mystery amidst long modulated leads + filtered pads.

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Gitkin is a multi-instrumentalist, Grammy nominated producer hailing from Brooklyn but living & working in New Orleans. Golden Ageis a ten song showcase of the latest evolution of his lyrical guitar-driven sound, exploring the endless expanses of cumbia, North African, and Middle Eastern music. He is the bandleader & front man of New Orleans soul music band The Pimps of Joytime, who have been active since 2005 and are festival favorites playing the likes of Bonnaroo, Outside Lands, Forecastle, Lightning in a Bottle, Electric Forest and many more Some of Gitkin's production credits include Corey Henry & the Treme Funktet, Bernard Purdy, and he produced, recorded, and mixed the albumBenton County Relicby Cedric Burnside, which was honored with a nomination for "Best Traditional Blues Album" at the 61st GRAMMY Awards.



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In anticipation of Gitkin's upcoming album in October, Wonderwheel drops a cheeky little 7" with two Latin covers from the man himself. The A-Side finds an instrumental Cumbia cover of the eternal 80s classic by The Human League. Leading with the guitar for the verses, the song chugs along nicely with a faithful interpretation of the original with Simon Moushabeck's accordion leading the chorus. On the flip, Gitkin covers Peru's infamous Grupo Celeste's 1975 classic "Mi Lamento" with friend and collaborator Gabe Case on vocals. Keeping with the Tropical Andean sound of the original, Gitkin's funky, wah wah guitars drive the track set over uptempo, cumbia inspired drums while Case's melodic vocals float on top. Two fun, happy tunes to light up dancefloors this summer!

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Originally released digitally as two separate volumes in 2022, Wonderwheel is happy to present a 12" release of Populous' "Moonbahtons" - a collection of dark reggaeton and moonbahton style dance floor tracks influenced by the magic & mystery of the zodiac. cuts inspired by the zodiac, magic, and mystery of the universe. Things kick off with "Flauta Magica," focusing around the clave and a brooding synth line and a dembow style beat interweaving itself with the flute & a little bit of acid vibes for good measure, while "Sapo," a distant, foreboding track with a monster of a beat & bassline complimenting a childlike fairy tale melody on top. On the flip, "Glass Dubplate" is a percussive track with emotive pads, a melody reminiscent of finger piano and synth bleeps, while "Berlinese Dubplate" goes into tougher, late night territory with deep bass, roiling percussion and dubby electronics.

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"&Chakib" is the debut album from Swiss Producer, DJ, and Live-Act Dominik Traub aka Dandara. Having released numerous EPs and singles on European dance music labels with his signature sound weaving influences from Africa, Asia and Latin America with sophisticated European Techno and House, this new album finds Dominik going back to his roots after a serendipitous encounter at a festival in Basel, Switzerland with Algerian vocalist and multi instrumentalist Chakib Bouzidi.

Working in collaboration during a intensive one-week studio session that spanned Algeria and Switzerland the album began to take shape before taking an unexpected turn. Tragically, soon after the initial recordings, Chakib Bouzidi passed away, leaving an irreplaceable void in the hearts of those who knew him and the project itself. After a period of mourning and reflection, Dominik continued work on the album, honoring Chakib's memory by using the existing material and forging ahead to complete the album.

The album, infused with the essence of Chakib's voice notes detailing his final days and the collaborative recording process serves as a heartfelt tribute to their collaboration. The production seamlessly integrates elements from Chakib's existing contributions and fills in the gaps left by the unrecorded portions, as a community of artists rallied together to contribute drums, keys, horns, guitars, and vocals, adding layers to the album's mosaic-like composition.

Dandara, assuming the roles of both guitarist and producer, combined and reworked the diverse material recorded, resulting in an album that encapsulates the spirit of collaboration, resilience, and a celebration of Chakib's enduring creative influence. This album is not just a collection of globally influenced dance music tracks that could stand alone or on an EP; it's a story of artistic collaboration and a tribute to the enduring legacy of Chakib Bouzidi.

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Limited edition 7" vinyl of "La Mujer Serpiente" on the A side and "Selam (Bass Mix)" on the B side. La Mujer Serpiente/Cumbia Serpiente is the 1st single from Earthtones' upcoming LP on Wonderwheel. This collaboration with longtime friend & co-producer, Oliwa, features vocal delivery and heartbreakingly beautiful songwriting by Colombian Canadian artist/singer, Lido Pimienta. Behind the live cumbia rhythms, bass synths, analog keys, 808 drums & guitars, the vision of this track is one of upliftment of womxn and femmes everywhere. Selam is a vision of peace. This collaboration between producer/DJ Earthtones and Ethiopian musician/vocalist Etsegenet Mekonnen features haunting vocals sung in Amharic. Analog & semi-modular synths combine with 909 drums and afrobeats percussion by Earthtones, to weave grooves for Etsegenet's depth in songwriting, voice and soul. The main version has a dancehall bassline that calls one to movement, while the dub versions evoke mystery amidst long modulated leads + filtered pads.

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El Buho's fifth studio album may be his most personal yet. Strata draws from Robin's attempts to grapple with the tension of experiencing happiness, joy and gratitude in our daily lives with loved ones or through sharing music while the world falls apart around us. This dynamic of trying to live in the moment and enjoy the privileged life we have yet in the back of your mind there is an overwhelming sense of dread that the world will never be the same and, as climate change really starts to hit home, there are incredibly difficult times ahead. It is about our attempts to find a place of peace, balance and fulfillment between these powerful strata above and below us. This is an album heavy with intimate and personal music that moves between personal joy and the anguish of our modern world. Timini is dedicated to Robin's second son Oscar who earned the nickname Petit Mini (Little Mini) which became 'Timini'. The track was inspired by the rustling wind and shaking leaves as Robin walked home from the hospital the evening after Oscar's birth, writing the whole track in one exhausted and emotional sitting. Gentle Breeze was inspired by the feeling of a warm early summer's afternoon with the family at home. Beautiful simplicity. On the other hand, Alarma de Emergencia is a cumbia for the endless alarm that has been ringing, unheard across our planet for decades. Fuel Fandango singer Nita's beautiful lyrics to its sister track Cenizas de Agua reference the need to "open our hearts, look for our own reflection and break the silence" While on Brujería Bomba Estereo frontwoman Li Saument implores us to sanar (heal) and limpiar clean above Robin's trademark floating flutes and an organic dem-bow beat. Meanwhile tracks like Piañuco show a new direction, blending the deep bass and unique rhythms of amapiano music with huayno folk melodies, featuring a whole host of musicians, including over 50 saxophone lines, meticulously recorded by argentine saxophonist Leandro Guffanti and his students in Barcelona. The album ends with Ley de Origen where we see El Búho reunited with his long-time collaborators Minük (Corazon de Rubi, Mirando El Fuego) for another moving and delicate song this time mixing Alumnis and Marcus' beautiful vocals with a deep, warm sub bass and percussion and marimbas from Colombia's pacific coast.

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Brazilian psych soul wunderkind, producer and singer Tagua Tagua has joined the Wonderwheel Recordings family with a tender selection of cuts on his second album Tanto. Recorded in the rural outskirts of Sao Paulo there is a sense of yearning that permeates throughout the set list of ten unapologetic love songs that fly between lush psychedelic pop to warm, beat-laden neo-soul with Brazilian flavor. The album maneuvers subtly between the different dynamics, and purposefully so, as it was 'a vibe' that Tagua Tagua AKA Felipe Puperi wanted to instill from start to finish - channeling soul heroes past and present like Bill Withers, Shuggie Otis & Sault. The album title and first single Tanto translates to Portuguese as 'so much', and Felipe sees the track and entirety of the album as "a feeling of falling in love for the sake of falling in love". The track is a slice of horizontal soul music and possesses a sweet, almost drug induced fervor, simple on arrangements. Felipe sings in a melismatic tenor, at times tipping into falsetto, with subtle effects enriching his delivery. Based in the city of São Paulo, Felipe previously fronted the group Wannabe Jalva and has an extensive musical resumé, having played at Lollapalooza Brazil, supported shows for Pearl Jam and Jack White, and created a name for himself as one of the most promising breakout acts in Brazil. Yet there was a break-out moment of self discovery, a re-connection with his language that led to a personal and musical revolution culminating in his debut solo album in 2020, Inteiro Metade. Whereas his previous longplayer had changing musical personalities from tropical psychedelic to funk and soul, Tanto only flirts outside of the mellow psychedelic soul prism and whilst there are ebbs and flows, it delights in its sparse and sweet minimalism. "Pra Trás" opens proceedings, and aptly, as Tagua Tagua moves from one album to the next, it's about leaving things behind. There are strings and orchestrations, a killer guitar hook and Tagua Tagua's seductive delivery. "Colors" is full throttle future-soul, squelchy synths pulsed by a lazy, yet insistent shuffler of a beat. Further dreamlike timbres are found in "Barcelona", a journey of a song and Brisa, perhaps the body-mover of the collection, with silky synths and a chorus you're sure to repeat.

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Wonderwheel Recordings is proud to announce a long-awaited repress of Chancha Vía Circuito's (aka Pedro Canale) 2014 LP "Amansara," which has been out of print for over 5 years (and is currently selling on Discogs for upwards of $300!). Originally coming out of Buenos Aires's famed digital cumbia scene, Chancha has notoriously broken way outside those boundaries to forge unprecedented mergers between Brazilian rhythms, Paraguayan harp, Andean mysticism and the solitude of Argentinian folklore – all processed through his own electronic lens. Chancha's sound is without question truly unique and instantly recognizable, to the point he has become a key reference point for an entire generation of artists. Hailed by the Washington Post, the New York Times, Pitchfork, NPR and countless others, he is, on one hand, something of a cult artist within micro-circles of electronic music, having been invited to perform at Montreal's MUTEK as well as the Roskilde and Vive Latino Festivals. At the same time, Chancha's music has found broad appeal outside of the avant-garde, most notably his magnificent remix of José Larralde's "Quimey Neuquén," which was heavily featured in 2013 as part of the final season of the critically acclaimed television series Breaking Bad. Fans of the show undoubtedly remember Walter White burying his millions in the desert, soundtracked by the wide and gentle grooves of Chancha Vía Circuito.

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Argentinian artist Chancha Via Circuito (aka Pedro Canale) makes his return to Wonderwheel Recordings with his fifth full length: "La Estrella." Cutting his teeth early at Buenos Aires's legendary ZZK digital cumbia parties, the Chancha moniker became known worldwide as the originator of the cumbia-inspired electronic music that takes cues from environmental sounds and South American folkloric traditions. Pedro's musical progeny include names such as Nicola Cruz, El Búho, Dengue Dengue Dengue, King Coya and many more. Texturally rich and highly emotive, the album spans 11 songs that meander between lush instrumental soundscapes and upbeat vocal numbers, all tied together by Chancha's signature production style. "La Estrella" - meaning "the star" in Spanish - opens with "Dandeleon," which plays like a meditation of fluttering vocalesque pads and sonorous bass; while Pedro is joined by the acclaimed Argentinian trio Fémina on "Cometa," where his refined beat offers an ideal space for the three singers' voices to inhabit. "Cometa" ("comet") also furthers the album's celestial themes, which also touch on spirituality, love, ephemerality, and nature. Frequent collaborator, (Polaris Prize-winning / Grammy-nominated) Lido Pimienta offers her vocal chops on "Amor en silencio," which showcases the Colombian-Canadian's harmonizing prowess over an instrumental of panning percussion and syncopated xylophone chords. Additional features come by way of artists such as the Meridian Brothers (recently acclaimed in a longform New York Times piece) on "El pavo real", as well as Las Añez ("Ese peso"), Manu Ranks ("Ouh Lord ouh Dios"), and María José Montijo ("Aguacero"), whose various nationalities, backgrounds, and styles help give the album a pan-Latin feel as refracted through Pedro's mystical, multi-colored lens.

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The second volume of El Búho's "Tributaries" remix compilation series brings together 14 more remixes from UK born producer and remix extraordinaire Robin Perkins aka El Búho. Building on 2018's first volume, the evolution of the producer's sound and influences becomes clear. The album is threaded together by reinterpretations of traditional music in a new electronic-organic context. Be it Galician, Estonian, Colombian, Irish, Garifuna, Reunionnaise or Frenchfolkmusic, El Búho makes his own unique tribute to the originals, bringing them into his owlish universe.The album mixes club-ready bangers with beautiful and moving interpretations, easily making sense both in your living room or behind the decks. We are treated to a wide delta of influences, styles and sounds, moving between the slow, psychedelic electronic cumbia take on Chadian group Pulo NDJ's Dabadji Am Alcorama across the Atlantic to the upbeat, dancefloor fire remix of Garifuna Collective Ideruni, from an anthemic version of No Más Velorio by Colombia's Plu Con Pla to a refreshing, driving remix of up and coming Reunionnaise producer Eat My Butterfly.Tributaries offers both a nod to the past, paying tribute to traditions andfolkmusic around the world, and a vision of the future, carving out new channels and directions, transporting the flows of the past into the future.

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Arriving 6 years after the release of his breakout EP, El Bu´ho returns to Wonderwheel with a very special Deluxe Version of said Cenotes EP including 3 previously unreleased tracks: "Manana Tepotzlan (feat. Gotopo) [Vocal Version]," "Tecolotin (Chancha Via Circuito Remix)," and "Tecolotin (Dub Version)." The EP is also set to be pressed to vinyl for the first time with a special splatter 12" invoking the cover art. "Cenotes" was originally released in 2015 to widespread fan acclaim, firmly planting El Bu´ho in the upper echelons of the Latin Electronic pantheon. Recorded in Mexico City after relocating from Amsterdam, "Cenotes" marries his influence of Dub, IDM and Electronic vibes with the rhythms, traditions and melodies of Latin American & Andean folk and the organic sound of waterfalls, birdsongs and crackling leaves, resulting in a dreamy, deep, melodic journey that entrances as much through headphones as it does on the dancefloor. Having studied Latin American Studies in Glasgow, El Bu´ho (aka Robin Perkins) spent time living, studying and working in Argentina and travelling throughout the continent. Alongside his music, El Bu´ho is also an environmental activist, having worked for over eight years at Greenpeace, being a member of DJs For Climate Action and coordinating the non-profit project "A Guide to the Birdsong" a series of albums that raise funds and awareness for endangered bird species through electronic music.

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Arriving two years after his last full-length effort ("Jallalla"), Lagartijeando (aka Mati Zundel) once again returns to Wonderwheel with an expansive new album, "La Tercera Vision." A maturation of the Lagartijeando sound, "La Tercera Vision" ("the third vision") sees the Argentinian wade into uncharted, if sonically familiar waters, bridging his Andean inspired electronic-folk with psychedelic ambience, West African instrumentation, and even a few moments of pop melodies. The beauty of Lagartijeando's work is its ability to marry seemingly unrelated styles and sounds to something seamless and wholly original. "Isla de Sol," the opening track, introduces the album with a taste of Mati's classic sound: Andean pan flute, the familiar chugging rhythm of a cumbia beat, luscious string arrangements, and a sampled vocal. Moving on, "Mano de Fatima" (the project's second single) sees a fusion of traditional Moroccan Gnawa instrumentation with digital cumbia rhythms, featuring the work of Khalil Mounji on vocals and guembri (aka sintir, the three-stringed, skin-covered lute used in Gnawa music). Eva de Marce - a singer-songwriter-producer based in Madrid - takes centre-stage on "Tierra Natal," with her vocals coming through in a rich whisper, singing a melody reminiscent of a lullaby. At the album's halfway mark, Lagartijeando introduces a new direction for his sound with "Onda," a collaboration with the Brazilian artist Tagua Tagua. An earworm of a melody is sung over a joyous beat that nods to pop sensibilities while being satisfyingly infused with Zundel's sonic DNA. It's a gem of a tune that suggests an exciting new sound for the Argentinian. A few more collaborations close out the album, two with Mexican singer-songwriter Madeleine Bachan Kaur ("Crepúsculo" & "La Montaña Sagrada"), "Magaleña" with Javier Arce, and the album closer "Ware" featuring Sajra. Also included in the album is "Sideral Cumbia," the first single released earlier this Summer, which has seen extensive press and radio support from the likes of Vice / Noisey, Electronic Groove, Sounds And Colours, KCRW ("Today's Top Tune" & "Morning Becomes Eclectic"), and KEXP, as well as landing a spot on Spotify's "Fresh Dance" playlist.

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Ceremonia ("Ceremony") is the first collaborative release between singer songwriter Luvi Torres, and producer Chancha Vía Circuito. Combining exceptional voicework with powerful creative rhythms typical of Chancha, the lyrics include mantras Luvi uses in their therapeutic exercises, thereby immersing us in a healing musical world.Taken as a whole, the album's four tracks, Abro ("I Open"), Creo ("I Believe" or "I Create"), Sano ("I Heal"), Amo ("I Love") encourage sensitive receptivity. Luvi's vocals are enveloped by lush ambient dub. Chancha's rhythms and vibrations create a comforting and calming soundscape that invites a sense of timelessness and expansion.At times Ceremonia spirals hypnotically, blurring the distinction between inner and outer worlds. This music calls for attentive listening and encourages active individual and collective reinvention.

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With endless Afro-latin percussion & drums patterns woven throughout ten tracks of tropical dance floor heaters, Italian multi-instrumentalist and master percussionist, Worldwide FM presenter and director of the Yoruba Soul Orchestra, Gabriele Poso is to release his seventh LP, Tamburo Infinito, via New York record label Wonderwheel Recordings. Recorded in Lecce in the south of Italy and almost entirely on his own (unlike previous productions), the undisputed star of the show is once again the drum and the percussion, the Tamburo Infinito. Although born in Italy, Gabriele has always looked across the Atlantic for inspirations and rhythms, and this album is no different. This time his sonic adventures took him to the French West Indies and the French Caribbean island like Guadeloupe Martinique, "I'm in love with everything about the sound of their drums, it's very unique warm and deep sound." The album kicks off with the hot & sticky Ritmo, setting the tone for the record with a kaleidoscope of tropical rhythms and influences. First single La Bola is jammed full of exultant horns and syncopated drum beats carried on the back of a driving, funky bassline. By the time the horns drop in on the aptly named Party People the carnival is in full swing over jubilant percussion and spaced out synths. Gabriele Poso's musical passion has taken him around the world, initially to Rome, then to Puerto Rico, Cuba, and most recently, Berlin. Between 1998 and 2001, Gabriele delved deep into the study of Afro-Cuban percussion, first at the "Timba" School Of Music in Rome, under the guidance of the most important representative of Afro-Cuban culture in Italy, Roberto "Mamey" Evangelista. Later in 2001, he moved to San Juan, Puerto Rico to attend the "Universidad Interamericana De Puerto Rico" to continue his studies, finally culminating in a masterclass at "Escuela Nacional De Arte" in Havana, Cuba. 2008 saw the release of Poso's debut solo album, From The Genuine World, released on Yoruba Records, Osunlade's label, which sparked a career performing around Europe and the rest of the world. His second solo album, Roots of Soul arrived in 2012 on the German label INFRACom!, his third solo album entitled Invocation in 2014, on the German label Agogo Records with other full length efforts released on renowned British labels, Barely Breaking Even (Awakening - 2018) and Soundway Records (Batik - 2019), culminating in an impressively deep and diverse catalogue of solo work.

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Útera is the exceptional and hypnotic sophomore studio album from Buenos Aires native Kaleema (aka Heidi Lewandowski). The album flirts between disparate styles, weaving together elements such as dub with andean flutes, or classic string melodies with ambient overtures that allow the listener to float freely in a sea of emotions. A departure from the gritty urban compositions and tribal vibes of her first album Nómada, this record reveals Kaleema's emotional evolution. Útera is a product of her creative space, a high tech sanctuary wherein she has refined not only her sophisticated electronic production but also her characteristic and beguiling voice. Moving from forceful techno-like rhythms (such as on Rama Negra or Utera) that take us through deep dark jungles, into demure yet rapturous passages on tracks like Portales and Invoco, Útera is ultimately an album that taps into Heidi's deep sense of connection to the natural world, and how her growth as an individual reflects the growth around her. Kaleema is Heidi Lewandowski - a multi-instrumentalist, composer, producer, and singer from Buenos Aires who's planted herself deeply in the potent Latin American electronic scene. She released her debut album Nomada in 2017, receiving an array of critical acclaim for how she seamlessly and hypnotically weaves together contemporary electronic elements and tradition Latin American instrumentals. Since the release of the album, she's been catapulted onto renowned stages such as MUTEK Montreal, Lollapalooza Chile among others and has collaborated with artists such as Chancha Via Circuito, Mateo Kingman, Lido Pimienta, and many more

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