Quitate El Sosten (Javi Frias extended disco edit) (6:56)
Quitate El Sosten (James Rod rework) (5:50)
Gozame Ya (Mr Absolutt feat Beauty Spot Excited version) (6:25)
Review: Cosmic Records Store is a brand new label with just a touch of mystery around the team behind them. If this launch release is anything to go by, there's a touch of class, knowledge and connections too. Celebrating the phenomenon that is the Muse Of Transition, Susana's allure is compounded by her political sexuality in the wake of Franco's demise. Sultry, silky and playful throughout, CRS have enlisted three key Spanish editors to join the party as Mr Absolutt, James Rod and Javi Frias all add groove extending, dubbed out magic to the originals. We can't wait to hear what Cosmic Record Store have up their sleeves next...
Review: Earlier in the year, Italian reissue specialists offered up a tidy reissue of Ahmed Fakrun's "Nisyan", a sought-after chunk of Arabic blue-eyed soul that originally appeared as a seven-inch single in 1977. Here they offer up a new edition of its predecessor, which the Lebanese musician recording during the same recording sessions in Milan. With its flanged guitars, lolloping reggae-funk swing, spacey synths and warm bass, "Auidny" is particularly inspired, though the West Coast AOR-influenced warmth of flipside "Njoo El Leyl" is arguably equally as addictive. Both are superb, though, so it's great that Groovin' has slung them out again.
Review: Faze Action last teamed up with Zeke Manyika, formerly of 80s funksters Orange Juice, for the effervescent "Mangwana" back in 2016. Now they're back in collaboration for more classically rooted house music with a deeply infectious African twist. "Kubatana" is punchy where it counts, but it's a light and springy proto house burner first and foremost, with Manyika's vocal sounding as smooth as silk in the middle of the mix. "Hapana" is equally rich in musicality and personality, albeit on a more simmering, meditative tip. On the B side, "Kubatana" gets reworked by Rudy Midnight Machine and Paradise, who turn in distinct versions without losing the overall 80s aesthetic that powers the release.
Review: The love of all things Soviet and disco has been established by French/German duo Fulgeance and Scientist for several years now, having reached a peak last year with their album The Soviet Tape on First Word. Now they return with their own edit series on brand new label Excursions. With eyes squared fully on the floor, each obscurity is given some serious groove muscle for the floor... Charaunitsy's soulful croons and yearning horns are given an additional kick/snare swing, Latvia's Mirdza gets a deliciously camp turbo charge while Ukraine's Tatyana Kochergina gets a full-on Philly treatment with lavish strings and a bassline that won't say nyet.
Review: To stay in tune with the heatwave France just went through, Guts brings you two remixes from Poirier + Voilaaa and two unreleased tracks in the Afro-tropical train of it's 'Philantropiques' album. Best served under a scortching sun, to live the full musical experience.
Review: Philophon is a Berlin-based label run by Max Weissenfeldt. Part of Philophon is the Tonstudio Bluetenring in Kreuzberg, operated by Benjamin 'Stibbo' Spitzmueller. The label's essential motivation is to support any form of local culture with reason, freedom and ludic drive. North-Ghanaian singer Guy One presents his first international release here. He promises what his name is saying: he is the number one artist of Frafra music, named after his people. "Everything You Do, You Do For Yourself" is a driving Highlife rhythm and his only song having a phrase in English. "Estre" features one of the leading voices of Frafra-Gospel named Florence Adooni. She interweaves perfectly with the horn arrangements by Weissenfeldt and the drummer. Washington's Hailu Mergia, San Francisco's Idris Ackamoor and the Pyramids and the legendary Scandinavian producer Jimi Tenor have also released on the label over the last year too.
Review: Following their surprise reunion and Strut-release album We Be All Africans last year, Idris and The Pyramids return... This time on Max Weissenfeldt's Philophon imprint. Laying down a spiritual arrangement so frenetic and full of its own life it takes up two parts, Idris's sax plays duet with Philophon's own vocalist Guy One. Gutsy, raw and full of surprises, it's another out-of-body experience from the longstanding jazz troupe.
Review: Four years on from their last outing, Japan's premier neo-Afrobeat band returns to the warm embrace of Soul Garden Records. A-side "Scarface" is arguably one of the band's most addictive and ear-pleasing tracks yet; a rousing Afrobeat workout that sees band members trading solos over a densely percussive, Fela Kuti style workout. In a bid to let us have a bit of a breather, flipside "This Day" is a more languid and laidback affair, with drunken trumpet solos and jammed-out keys relaxing over a shuffling, Afro-Latin groove. As ever, the playing is immaculate and the production authentically fuzzy. Worth a listen.
Review: Nu-wave afrobeat swingers, Jaribu Afrobeat Arkestra, touch back down on Masamichi Ishikawa's Soul Garden, and they have arrived just in time for what we hope to be a blazing hot summer of joyful Fela vibes. In fact, these guys have cited Kuti as their main inspiration - which is always a good thing, in our opinion - and the title track "Bomb" is clearly of that ilk, unleashing a driving bass surrounded by wild chanting and a little disco sensibility. On the flipside, "Panama" provides a deeper, cooler edge that's much more in line with Kuti's work alongside the Afrika 70 band, with booming horns guiding the jazzed-out percussion. LUSH!
Review: Fela Kuti fans Jaribu Afrobeat Arkestra last came to our attention in 2014 via a fantastic sophomore set on Soul Garden. Here, the Japanese neo-Afrobeat combo returns to the same imprint with the first of two simultaneously released 7" singles. A-side "Eastern Comfort" is a typically jaunty and undulating affair, with bold, Fela-esque tenor sax motifs and delay-laden spoken work vocals dancing around Nigeria '70 guitars and loose, Tony Allen style drums. Flipside "Eko Ile" is an altogether more forthright and up-tempo affair whose rasping horns and JuJu guitars are slightly overshadowed by some elongated organ action.
Review: Jonny 5 can rightly be considered a mainstay of Bahnsteig 23 now, as he returns to the label for the third time. It seems that the main source of inspiration for this latest opus from the intermittent producer has been the Indian sub continent, and he's channeled those vibes into three wild and wicked tracks for the weird dance party. "Bengali Dub" channels the proto electro vibes of 80s synth pop and shoots it through with some illustrious sample drops, while "Simha" works more like a particularly bold edit loping in a polyrhythmic fashion that will have the floor hopping like mad to keep up. "Tum Tum" turns up the heat on the B side with a deadly electronic revision of an Indian classic.
Roger Damawuzan - "Loxo Nye" (Pushin Wood remix) (5:39)
Napo De Mi Amor - "Cacatchoule "Berceuse Bassari"" (3:04)
Sewavi Jacintho - "Miade Dua" (5:35)
Review: Hot Casa's latest must-have release is a veritable smorgasbord of Togolese treats. It focuses specifically on obscure soul music made in Togo in the 1970s, with two hard-to-find original cuts being joined by two contemporary re-edits of similarly obscure classics. The EP opens with Bosq's smooth, dancefloor-focused tweal of Yta Jourias's breezy, horn-heavy tropical soul workout "Adome Nyueto", before Pushin Wood takes over and adds a little contemporary electronic bounce - and some particularly colourful synths - to Roger Damawuzan's "Loxo Nye". Over on side B, Napo De Mi Amor's "Cacatchoule Berceuse Bassari" is a fuzzy soul shuffler rich in bright, Juju style guitar solos, hazy vocals and Hammond organ stabs, while Sewavi Jacintho's "Miade Dua" is a sweatier and heavier concoction powered by loose-limbed drumming and sun-kissed instrumentation.
Review: The Polyversal Souls are renowned for the strength of their collaborative singles, which to date have featured all manner of legends and rising stars from the underground African music scene. This time around, the German-Ghanaian band provides high-grade backing for guest vocalist Frank Karikari, son of legendary Highlife musician Ralph Karikari. The A-side medley of "Siakwaa/Nana Agyei" is particularly good, with Karikari's confident lead vocal rising above shuffling, soft-focus drums and ear-catching juju guitars. Flipside cut "Odo Agye Gye Me" is great, too, offering a slightly more upbeat and undeniably percussive fusion of highlife/Afrobeat fusion.
Review: The Mushi 45 label doesn't release all that much, but what it does put out is invariably insanely good. For the avoidance of doubt, this two-track missive sits in that category. It serves up two rare, sought-after 1970s gems from Rinsyoe Kida, Akira Ishikawa & Count Buffaloes, who made some of the tidiest Japanese funk, jazz-rock and jazz-funk of the period. A-side "Tan To Setsu" is superb, with the assembled players brilliantly blending traditional Japanese style melodic motifs - played on traditional instruments - with a riotous, high octane funk backing track rich in heavy bass and fiery horn lines. "Jongara Bushi" is similarly inclined and every bit as raucous.
David Tapfuma - "Magamba" (Esa Zimtronix Direct mix) (5:19)
Review: This compilation style outing from Southern African music enthusiasts Nyami Nyami is billed as "an ode to the music of Zimbabwe past and future". Side A boasts cuts from two Bulawayo-based "Kwela" outfits: a terrific, heavily percussive future dub interpretation of Bulawayo Kwela's "Mysterious Africa" by The Comet Is Coming producer Danalogue, and the sparse, sun-kissed acoustic bliss of Elliot Phiri's "Nomalanga". Turn to the flip for two versions of Hararre-based David Tapfuma's beautiful "Magumba". There's the original version, where Tapfuma sings over a solo mbira melody, and a superbly glassy-eyed, synth-heavy 21st century club version by Auntie Flo collaborator (and hugely talented producer) Esa Williams. As good as the rest of the EP is, his version is worth the admission price on its own.
Review: Juan Laya and Jorge Montiel pay homage to the heartland with this beguiling album. A deep trip up and down the amazon, hopping off as and when they see fit, the album sees them paying homage to Latin standards such as "Fruta Fresca" and "Manduco". Rebuilding them electronically with, no doubt, a fair few classic synths in the mix. From disco to blues with just a touch of Latin folk magic, it's yet another unique and vital trip from the Los Charly's Orchestra lads.