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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(2 LP + 16-page Booklet) 'The Coastal Invasion’ highlights the golden age of big band cumbia and the maestro who is often seen as Colombia’s most influential composer, Lucho Bermudez. This compilation contains a selection of the music of Lucho Bermúdez y su Orquesta recorded during the years that they lived and worked in Medellín, probably the best work the orchestra ever recorded.

TRACKLIST

A1. Mi Cumbia
A2. Mi Pueblo
A3. Colombia Tierra Querida
A4. Nelly
A5. A Orillas Del Chicagua
A6. Gaita De Las Flores
B1. Fiesta De Negritos
B2. Que Caña Dulce
B3. Roberto Mendez
B4. Tambores De Chambacu
B5. Prende La Vela
B6. Santa Marta

C1. Danza Negra
C2. Gaiteando
C3. Arroz Con Coco
C4. Plinio Guzman
C5. Navidad Negra
D1. Tolu
D2. Taganga
D3. La Buchaca
D4. Irma
D5. Mi Cumbia (alternative version)

INFO

'The Coastal Invasion’ highlights the golden age of big band cumbia and the maestro who is often seen as Colombia’s most influential composer, Lucho Bermudez.

Bermudez was a key figure who modernised the tropical music of Colombia's Caribbean coast. At the beginning of the 20th century, this music was largely looked down on. Bermudez changed all that by injecting a modern, jazzy big band sound to the Afro-Colombian sounds from his native region.

The infectious Afro-Amerindian dance rhythms of Lucho Bermudez y su Orquesta took over the elite nightclubs of Bogota and Medellin and from there, his music spread all over Latin America. For many Colombians, the songs of Lucho Bermudez and his wife and starlet singer Matilde Diaz represent the sound of their nation.

This compilation contains a selection of the music of Lucho Bermúdez y su Orquesta recorded during the years that they lived and worked in Medellín, probably the best work the orchestra ever recorded.

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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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Black Vinyl LP (Record Store Day Exclusive)
Dear Children of Our Children, I Knew is a new EP recorded by Alabaster DePlume in the middle of his March 2025 US tour and in a sense serves as an epilogue to A Blade, which makes it all the more appropriate that the B side of its RSD-exclusive vinyl release contains the three song EP Cremisan: Prologue to A Blade, which was released (digital only) in fall 2024.
Listen: https://listen.k7.com/de8e6469-ea94-4fde-b576-435b650eabee


Side A - Dear Children of Our Children, I Knew
1) Bringing Up The Nakba
2) I Play A Role In It And I Know
3) It's Only Now Once (Elbit Systems Windowpane)
4) Glass
Side B - Cremisan
5) Honeycomb
6) Cremisan
7) Gifts of Olive
8) What Did The Child Say / Facing Reality

Info text
Dear Children of Our Children, I Knew is a new EP recorded by Alabaster DePlume in the middle of his March 2025 US tour. DePlume had been playing shows with bassist Shahzad Ishmaeli and drummer Tcheser Holmes, performing music of his critically-acclaimed album A Blade Because A Blade Is Whole (released March 2025). The trio's rapport was so strong that DePlume chose to use an off day in Brooklyn to record this collection of instrumentals, which were inspired by experiences he had sharing, performing and improvising off the music of A Blade for audiences across the US. Dear Children in a sense serves as an epilogue to A Blade, which makes it all the more appropriate that the B side of its RSD-exclusive vinyl release contains the three song EP Cremisan: Prologue to A Blade, which was released (digital only) in fall 2024. As with almost everything that DePlume has put forth in recent years, the connection of this work to Palestine is deep: the Cremisan EP itself was recorded in Palestine; Dear Children includes samples of children recorded in Bethlehem; and the album's cover art depicts wheatpaste posters of a drawing made by a 13 year old boy from Gaza (used with permission).

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Repress!

Tadao Sawai & Kazue Sawai & Hozan Yamamoto & Sadanori Nakamur & Tatsuro Takimoto & Takeshi Inomata - Jazz Rock

They say you can't judge a book by its cover, and going by 'Jazz Rock’, nor a record by its title. Though entering into jazz territory and featuring some distorted guitar, 'Jazz Rock' is more a beautiful marriage of funky breakbeat drumming and spiritual jazz instrumentation, combined with traditional Min'yo music performed on the koto and shakuhachi.

Originally released in 1973, the record sounds simultaneously vintage and contemporary. It is akin to something Madlib might dream up whilst lost in Japan collaborating with Min'yo players at a recording session. The record features some amazing shakuhachi (bamboo flute) playing by Hozan Yamamoto, which gives the music a haunting, dreamlike atmosphere. You can almost visualise the long grass blowing in the wind, and hear the bamboo rustling in the distance on a long hot summer’s day. Takeshi Inomata, Tadao Sawai and Kazue Sawai anchor the session. Takeshi’s exceptionally funky-drum work will almost certainly get some producers dusting off and firing up their MPC's. Whilst Kazue and Tadao work their magic on the koto (a traditional string instrument).

Though certainly not an ambient record, 'Jazz-Rock' has the same meditative, other-worldly quality that invites you to sit back, listen and be transported somewhere else. Unfortunately, until now the 'Jazz Rock' album is a scarcity that commanded a high price-tag only for the most hardened of record collectors. So it is pleasure to make it accessible to all, and we hope you dig this lost, obscure future-classic as much as we do.

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Two forward-thinking cuts, pressed loud and unapologetic, straight from the Bristol-based producer who knows exactly how to move a system.

“Paisley Breaks” is a break-driven speaker melter — restless drums, nuff low-end pressure, and just enough chaos to keep the dance on edge. Flip it over and “Sunday Monday”switches the mood: laid-back, hazy, and reflective, capturing that slow-burn feeling after a weekend that went a little too far (in the best way).

From the shadowy edges of Limbo into the basscomesaveme universe, this release balances raw energy with late-night introspection — made for sound systems, afterhours, and everything in between.

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Monsieur Van Pratt is one of the leaders of the edit game and his Illegal Disco is all the proof you need. This latest drop finds him tap into vintage Japanese rare grooves and flip them with his signature style. 'Space Scrapper' is up first and is the sort of comic cut that will have you wide-eyed as it reworks a celebrated Japanese musician and vocalist. 'Time Machine' is a big, stomping disco cut with rubbery bass riffs and Japanese city pop vocals riding next to cursing synths. It's a bright but steamy sound for when things really heat up. Last but not least is another showstopper with 'Feel So Fine' layering wispy cosmic melodies with cool-as-you-like disco drums and carefree vocals. Lovely stuff.

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Soul Prophet feat. Omar/BACK TO DILLA 7" GROOVA003 EXCLUSIVE $12.99 UPCOMING. PLEASE ORDER NOW.
Dreamy soundscapes & dusty beats take center stage on this 7" from SOUL PROPHET with vocals from UK soul legend OMAR, flute from NATHAN HAINES and scratching by SCISSORHANDS. Dedicated to the one and only J DILLA. Support from GILLES PETERSON, PATRICK FORGE and DJ SPINNA. Full pic sleeve.

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Disco-funk edits by the mysterious Lecca, lethal weapons for dj's and diggers!

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Stedit is back with 08 in the series. This time taking on a couple of 90’s bangers, twisting them inside out, and bringing you something directed for the floor.

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