latin . african . world


Genre pick of the week Cover of Black EP by Black.
Portuguese disco warrior Tiago launches a soul sister to his edit imprint Interzona 13 in the form of Outerzona 13. The new label will play host to a rotating cast of groovy cats who dig deep and cut sharp, flipping hidden gems into dancefloor workouts. First up is the minimally titled Black, aka Nelson Gomes, a former bandmate of Tiago's in the excellent, Golf Channel approved Gala Drop. His latest moniker is reserved strictly for edits and DJ sets, and off the back of this three tracker of African excellence I reckon he's gonna get plenty of work. Stretched across the A-side in one giant, hypnotic hip shaking groove is the percussive dancefloor killer "Black". The track evolves from a killer conga, lin and kit drum groove into an irresistible funk workout with sexy clav, chanted vocals and hot brass working in perfect harmony to tear the floor apart. I've already bagged a copy on the strength of this track alone. But that's not all folks, because the flip boasts another two upfront Afro grooves that'll work their magic on the crowd everytime. Up first is the raucous and off kilter vocal cut "Van III", a snaking and swaying shoulder roller with tight guitar work and effortless bass brilliance. From the giant snare and twinkling sequences, I'm gonna date this to about 84, but I've been wrong before. And what better way to finish than with a sunblushed boogie roller in the form of "Tabanka". The sweet vocals, perfect for an unknowing singalong, ride a languid west coast groove dropping out here and there to make room for some dope solos. Buy this record or deeply regret it.

Coober Pedy University Band


Melbourne party enthusiasts Animals Dancing launch their self titled label with the sophomore release from Krautback duo Coober Pedy University Band (Tornado Wallace & William Paxton AKA Tom Moore of Otologic). This completely bonkers ode to Australia's workshy, snake eating laughter bird is the best example of dancefloor didgeridoo since that Aphex Twin single I can't remember the name of... Once described as "a bit too mental for me", "Kookaburra" sees our intrepid composers pick up exactly where their Moon Plain release left off, that is at the ridiculous, silly and amazing end of the dancefloor spectrum. Essentially little more than an undulating didgeridoo line, a solid kick, bongo clatter and the maniacal laugh of the Kookaburra, the track is perfect in its simplicity. Also included is the hilariously named, Kookapella", an exotic tool which drops the didger to give more room to our feathered friend. A prominent member of our mail order department is sat sharpening the knives as I type this, but I think this is the most fun record I've heard in ages. Unique, a certain mood changer, tone setter and future classic you've gotta get on this.

Originally recorded for the EMI Nigeria label and produced by legendary producer Odion Iruoje 'Keyboard' was a one-off studio project formed by Brodricks Majuwa and Isaac Digha from circa 1978. These two session men were often used at the EMI studio and played in multiple recordings that Iruoje produced throughout the era.

The LP is released again after 35 years and strictly limited to only 1000 vinyl copies on 180gram vinyl in a rigid paste-on sleeve. It also has a free download code.

This extremely scarce and obscure record features amongst others Ignace de Souza of the Black Santiagos from the city of Cotonou, Benin and Jonni Wood from the band SJOB movement.

Lilting, laid-back, solid, soul-funk grooves and beautiful horn arrangements with synth effects combine for a unique sound but one that is unmistakably from the sound forge of Odion Iruoje and his two front-line studio engineers Emmanuel Odenusi and Kayode Salami. The album is licensed directly from Broderick Majuwa (hailing originally from the Delta region of central southern Nigeria) who played with many bands in the 1970s: starting out with The Severe 7 (a Santana - influenced rock band from Benin City) followed by The Thermometers with Emma Dorgu who cut one 45 for Afrodisia records. Later on he had stints with more famous Nigerian artists Ebenezer Obey and Bongos Ikwue amongst others.

Meridian Brothers

Salvadora Robot

Meridian Brothers are back with a new studio album, the bizarre and wonderful 'Salvadora Robot'. Heading deeper into the tropical rhythms of Latin America and the Caribbean each song on the album focuses on a different style and playfully twists it into Meridian Brothers's surreal landscape.

Originally formed in 1998 it was the previous album 'Deseperanza' that brought Álvarez's Meridian Brothers to the attention of the wider world. Released worldwide in 2012, the album's unique aesthetic and freaked-out blend of Latin rhythms and psychedelic grooves won him new fans the world over. DJ and tastemaker Gilles Peterson selected 'Guaracha UFO (No Estamos Solos...)' as his favourite track of 2012.

'Deseperanza' focussed heavily on salsa rhythms but on his new release Álvarez based each track in a different Latin American style. For example 'Somos los Residentes' finds it inspiration in Dominican Republic merengue while 'Baile ultimo....' is a slow and sad reggaeton. The lyrics talk of a man who has been sent to the electric chair because he was dancing too much reggaeton, a style that isn't accepted as "good taste" within Colombia.


Miltinho E' Samba - LP+CD Edition

Milton Santos de Almeida aka MILTINHO has a respectable resume in Brazilian music. Singer and instrumentalist, leader in several sambas ensemble with great success. His instrument before the microphone was the tambourine. He was one of the first panderista vocal ensemble in Brazil combining two skills: singing and playing. And speaking of bands, Miltinho was present in one of the most successful group in the 1940s, the Anjos do Inferno, who came to tour with Carmen Miranda.

In this “Miltinho E’ Samba” has the accompaniment of Orquestra RGE with arrangements and musical direction of Maestro Rubens Perez (Pocho) and Nelsinho.

Various Artists

Autonomous Africa Vol. 3 - Midland / Auntie Flo / JD Twitch / General Ludd Edits

Autonomous Africa returns with the third instalment of future thinking dancefloor action inspired by the mother continent. The returning cast of Midland, Auntie Flo and JD Twitch are joined this time round by Glasgow funksters General Ludd, who've been on an upward trajectory since their killer cut on Mister Saturday Night. Midland wins the toss and takes kick off, marrying clattering African drumming and chant with the most ribshaking bass house you'll hear all year. "Safi" is a straight up peak timer made for big rooms with proper systems. I can just see a floor going wild as those crashing ceremonial drums duel with the round synthlines; completely massive. General Ludd take a circuitous route to the club, opting for the deep and dubby realm of the backroom or basement over the glitz and glare of the mainroom. "Burning Mack" is a subby and dubby percussive groove with a hint of vintage Noid thrown in, which heads deeper and deeper until arriving at the cacophonous reverb chamber where all manner of fx hell breaks loose. Kickin Pigeon tackle I reckon. On the flip Huntley & Palmers man Auntie Flo steps into the fray with the hypnotic pulse of "Daabi". The producer lays an insistent vocal over a minimal backing, gradually building up the drum track with 808 claps, gentle jacks, and jungle bleeps until you've got a stomping and psychotic floor burner on your hands. That leaves Optimo boss JD Twitch to bring the curtain down, or the sun up with the deep and dense "Maya". Twitch opens the track with a polyrhythmic groove made up of clattering bells, taut conga and stuttering drum machines before introducing the slightly out of place synth melody and subby bassline. The track evolves through this madcap musical collage into a sunrise hymn of swelling synths and sampled vocal, preaching a sermon of identity and equality. Four cuts of Afro influenced brilliance with all proceeds donated to the Mtandika Mission in Tanzania, which is run by Midland's parents. This third edition keeps the quality sky high and paves the way for an Autonomous Africa compilation later in the year.

It seems like no part of the world has evaded disco’s ubiquitous influence, including the Caribbean. The Caribbean in the late 70s and early 80s was a hotbed of musical activity and this compilation focuses on the best disco-influenced tracks from Trinidad and Tobago, Jamaica, and the Bahamas. All of the tracks here are officially licensed and reissued for the first time ever. Highlights of the 13 tracks included on this compilation are: the under-the-radar cosmic disco tune "Got To Have You" by Joanne Wilson, Mavis John's sexy disco-funk slinker "Use My Body", a rare P&P Records-influenced track "Dance With Me" by Odessey One, the icy cool synth-drenched "Living On A String" by Wild Fire, the incredible dancefloor-friendly "Instant Funk" by Merchant, and the disco reggae cover of "Rapper's Delight" by Prince Blackman. This compilation was compiled and researched by Deano Sounds and includes edits by Al Kent, the Whiskey Barons, and Waxist Selecta.

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