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Back in stock Cover of I Only Did These For Myself But Now It's For Everyone by Lipelis.

Lipelis

I Only Did These For Myself But Now It's For Everyone

Animals Dancing takes another swipe at the dance floor with a dope double A-side from Russia's king of weirdo disco and tripped out house Lipelis. Plucked from his private arsenal of over-powered club cuts, "Children's Song" and "Video Track" are further examples of the producer's penchant for edit-not-edit / sample-based bangers, first evidenced on his L.I.E.S. Black release or recent Beard In Dust 12" on Bahnsteig.
Lipelis brings the party to the village square with the fireside antics of A-side cut "Children's Song", fusing a grooving proto-house rhythm section with field recorded chants and addictive mallets. It's techno-tropical pop at its finest, and should find favour with open minded house DJs, the weirdo disco fringe and the acid house survivors on the Balearic dance floors. The B-side sticks with the African inflection, offering village chants and and sanza psychedelia atop a tough b-boy rhythm. Everything we've ever had from the producer or label has flown out the door, so get on this one ASAP.

STAFF COMMENTS

Patrick says: Personal favourite Lipelis lets a couple of his secret club cuts slip into the collective consciousness with a dope two tracker on Animals Dancing. Tropical and tribal, but with plenty of nods to vintage funk and proto house, these cuts are destined for the setlists of all your DJ heroes. Buy now or spend double in six months...

For its third release, Chuwanaga goes back in the past with the reissue of “(Where Is The) Sunshine” by Kalima, a rare 7” originally released in 1981 and produced in Baltimore by Afro-American pianist and producer Derrick Amin. Part I on the A side and part II on the B side form a real journey, a beauty in its own style fusing jazz, soul and spirituality as well as political values.

Back in the mid-seventies Derrick Amin brought together young musicians from his Afro-American Muslim community in Baltimore. He told them that “all black music in America is a response to racism and slavery” and “(Where Is The) Sunshine” was their own answer, “a plaintiff query of one immerse in darkness. The darkness of lies, lies that deny the humanity, justice, and equality of people. It’s the impetus of this song”. 
With its splendid vocal parts (thanks to vocalist Sabreen Shareef), a unique major-to-minor chord progression, subtle synthesizer melodies in the chorus and amazing electric piano and sax solos, it really is a very special release. It’s been discovered in a Motor City Drum Ensemble’s jazz set with Gilles Peterson at the J.A.W. Family Reunion in Berlin back in 2016. Still, one must not forget its yet poetic still political message now shared once again with the world. The question asked by Kalima sadly still remains as relevant in 2018: Where is the sunshine?

STAFF COMMENTS

Patrick says: Oooof! Big reissue here for the MCDE / Gilles / Floating Points crowd, as Chuwanaga excavate and recreate this spiritual soul / jazz fusion gem from Kalima.

Back in stock Cover of Concrete Jungle Dub (feat. Riley All Stars) by King Tubby.
Take heed dub fans! Rare-as-hen's-teeth, 1976 dub album, considered by many to be one of the holy grails of the genre and certainly a high watermark in both Winston Riley and King Tubby's catalogue. Consisting of robust Techniques rhythms, produced by Winston before being dismantled and reconstructed by King Tubby, it was originally released as an edition of only 300, making it one of the most sought after trad dub albums in history!

Re-issued with all the love and care we've come to expect from Dub Store, Japan, this is a truly breathtaking set, showing just how pioneering Winston and Tubby where - laying down the foundations for another 40 years of dub. Recording and mixing techniques used here make the vinyl sound years, if not dimensions ahead of its time; the hats fizz and crackle, the bass booms and rumbles and delicate tape delays gust around the recesses; vinyl never breathed so heavily until now! It's perfect in every way - don't delay!


The third release on Alma Negra Records is dedicated to the music of Eritrea, a small (in African terms, that is) country nestled in between Sudan and Ethopia on the south end of the Red Sea. Drawing from its native spiritual roots as well as the christian and islamic influences of conquering factions, this multiethnical country is home to an amazingly diverse plethora of cultures and musical styles.
The Swiss outfit showcase the music of the Saho People from the Region of Zula, which is located in between the coastal lowlands close to the Dahlak archipelago. The word "Saho" roughly translates (translated?) as "Nomad", pointing towards a lifestyle where tradition and culture is being passed on orally over generations. The exact source for these edits of the Saho Sound are thus lost to the murky depths of history, as they are based on traditional folksongs.
Complete with that global clarion call of partying it up, the ululate trill (google it), A-side offering "Haleto Late Lalo" is a spiritual house stomper which sees a call & response vocal pattern ride a somber backing track. Exploring a deeper, jazzier mood, the crew added moody piano chords and a balafon, with a subtle but big bassline and some hefty 808-thud holding everything together. The B-side packs a previously unreleased edit of the band SOL.The cut starts life as a minimalist percussion belter, driven along by an eerie vocal-loop which ratchets the tension throughout. Finally a male vocal introduces a main melody that eventually bursts into a full call & response chant with a female choir. Never underestimate the power-combo of nothing but drums and vocals. No more words needed, feel for yourself.

STAFF COMMENTS

Patrick says: Stunning, stomping and spiritual, the third edition of Alma Negra's new series is nothing but Afro-house fire. Certain to sell out, I'd recommend you nab a copy asap.

A few short months after volume 1 blew everybody's mind (limited repress copies still in store..) Cult Edits returns with more secret weapons from the stage hypnotists and voodoo priests of the international DJ scene. This time round Inigo Vontier, Pletnev, Dreem Lion and Alexis Le Fan run the rituals, hitting us with the best in rhythmic weirdshit. 
Cloaked and hooded, Inigo Vontier lights the ceremonial pyre with the stomping EBM of "Cha Cha Cha", a dislocated scream of afterlife chants, trancey keys and Belgian drum programming, before Lithuania's Pletnev knuckles down for some polyrhythmic wrongness via the mallets, militaristic percussion and frazzled chants of "Nathan". Skipping onto the flip and Dreem Lion inject a little acid thrust and techy percussion to Roberto De Simone's finest hour, while Piccadilly favourite Alexis Le Fan goes full tribal rite with the jungle rumble of "Mambo Jambo". 

STAFF COMMENTS

Patrick says: Channelling the unbridled intensity / insanity of Mad Mel's Apocalypto, the Cult Eds crew come through with a killer 12" of head twisting tribalism. Very voodoo, clatter and chant...

Ebo Taylor

Yen Ara Remixes Part 1 - Inc. Ron Trent / Natureboy Flako / Nick The Record Remixes

Those reliable folks at Mr Bongo hit the shelves with the first 12" in a series of remix packages curated from Ebo Taylor's brand new album 'Yen Ara'. The 81-year-old composer, arranger, guitarist and vocalist has been a key figure in the evolving afro-funk sound since the Seventies, working with the likes of Apagya Show Band, CK Mann and Pat Thomas. For the first in the series, the Bongo crew enlist production experts Ron Trent, west coast talent Flako, and disco connoisseur Nick The Record. Chicago OG Ron Trent kicks the set of with an extended A-side mix of "Krumandey", adding hard hitting percussion, shades of his jazz-funk experiments and system ready sound design to Allen's Afro-beat original. Over on the flip West Coast beat freak Natureboy Flako brings sunkissed synth licks, warming psychedelia and sultry echoes to "Mumudey Mumudey", while London digger "Nick The Record" twists the same track into a hypnotic proto-house / dub disco stomper perfect for Idjuts / Harvey play back in the day.

STAFF COMMENTS

Sil says: Here is a true summer record. If only summer was really summer in this island. You get three cuts. A house mix by Nick the Record - tropical vibes are there. And two broken beat / world music combos that are funky, warm and even if it is totally overcast, they make you feel alive. Ace release.

Informed by a love of repetition, rhythm and the transcendent power of dance, Berlin's DISK finds a kindred spirit in Jakarta's DIVISI62, a collective who draw from the rich musical heritage of Indonesia whilst also embracing global club culture and bass-music. This collaborative EP sees three of DIVISI62's leading lights deliver four cuts of mind-bending rhythm hypnotism showcasing their unique approach to sound and structure. 
Marsesura opens the set with the polyrhythmic pulse of "Asmoro", a slow and low sway through twisted field recordings, ritualistic sound design and exotic synthesis. Uwalmassa follows suit with the post gamelan clatter of "Untitled 10", an otherworldly assault of rhythmic intricacies, warped mallet sounds and disorienting effects. Staying in the hotseat for the B1, Uwalmassa serves up the stand out cut with "Untitled 6", a shoulder rolling hit of unpredictable rhythms, warped vocal snippets and hallucinatory sound scaping that finds the middle ground between Tolouse Low Trax and Mala. Last up, Wahono weaves a loose, wall melting spell with the gradually unfolding "Pakar Gula Gending", a post-minimal, machine funk freakout which incorporates all the sounds of a traditional Indonesian orchestra into a totally spangled DMT trip. 
All of this adds up for the most intriguing listening experience: Strange virtual spaces mixing with all-too-real ones, creating a hyperreal spacial feel in which musical structures unfold in a highly unpredictable and deeply entrancing way!

STAFF COMMENTS

Patrick says: Totally unhinged, off kilter rhythm business from a trio of top Indonesian producers. Taking the hypnotic rhythms of gamelan and soaking them in a massive vat of LSD, the DIVISI62 crew serve up exactly the kind of club weirdshit I can't get enough of.

FORMAT INFORMATION

12" Info: All artworks were delivered by DIVISI62, the covers were silkscreen-printed in Bandung, Indonesia and the inner sleeves are stamped in Berlin.

Örtmek comes back round, digging deep into the crates to turn out another trio of top notch Turkish delight for a vinyl only pressing. Following the raw, percussive experiments of the first release. Opening track 'Özil Dans' rains down crashing cymbals and freak-out-worthy wah guitars, maintaining an irresistible and authentic groove that doesn’t falter for five minutes of Eurasian hypnosis. 'Dokuz Sekiz' weaves traditional string elements alongside bursts of wild chanting. Finally, 'Mozart'in Davul' stitches a frantic, dense rhythm from the fuzz and feedback of an unknown slab of Turkish psychedelia.



STAFF COMMENTS

Patrick says: Ortmek swings through with volume 2, twisting our melons with more tripped out Turkish tackle. Packed with far out FX abuse and twisted sound design, the three cuts boast tough funk breaks, wild guitar licks and hypnotic bass. It's everything you need to turn a dancefloor inside out!

Conjunto Jovens Africanos

Nhu Djon / Volta Pa Terra

Continuing Ostinato's series of Cape Verde 45s showcasing diasporan bands that are staples in Europe's Cape Verdean communities, Ostinato Records presents timeless dance music for the summer by Conjunto Jovens Africanos, founded by Ze Orlando, a respected producer originally from São Tomé. Formed and originally based in Lisbon, the band fused raw Funaná rhythms from the Cape Verdean island of Santiago with syncopated electric guitars, raucous synthesizers, relentless percussion, and addictive vocals that kept their compatriots on their feet across little known Krioulu nightclubs in Europe's major cities. First released in 1984, Conjuntos Jovens Africanos' "Nhu Jhon" and "Volta Pa Terra" are stellar representations of modernized Funaná's endless energy.

STAFF COMMENTS

Millie says: Energetic percussion makes this upbeat seven inch on fire!


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