Back catalogue: International

Review: Ever-reliable funk fusionist Bosq has scored another hit here, this time with the help of Favourite Recordings regular Pat Kalla, a talented French poet and singer. 'Mouna Power' is another great example of Bosq's ability to successfully meld together elements of Afrobeat, Afro-Cuban music and tropical grooves, adding layers of colourful instrumentation (bass, keys, horns, guitars and so on). The excellent original version comes backed with a longer, slightly tougher but no less warming and kaleidoscopic 'Dancefloor Dub'. It contains most of the vocals, more percussion and a greater role for the killer bassline and is probably our pick of the mixes

Review: This is a global single with a great story that starts with an afro-funk groove made by Italian Jah Sazzah. He wanted a vocal for it so turned to Nickodemus who handed his own touches and then sent it Grammy-nominated Colombian vocalist Jimena Angel. The result is a vibrant Afro tune with vivid melodies. Remixer Poirier is a legend in Latin music circles. The Montreal man has formerly been associated with Ninja Tune and is synonymous with lots of classy remixes and fresh takes on a modern Afro-Caribbean sound. This is another one that reworks the ring into a more bouncy and infectious sound with gorgeous vocals and a clean arrangement that allows the drums and perc to shine.

Review: This a unique release that features a song that was released by two different bands during within the same year. The song 'Meshkalina' was by a psychedelic and prog band from Peru called Traffic Sound and then, soon after, by Latin duo Paco Zambrano and Reynaldo Murrieta under the name Paco Zambrano Y Su Combo. The latter version is more traditional and Latin while the Traffic Sound version is more psychedelic garage rock band-like. Two formidable and very different versions featured on limited splattered 7" vinyl.

Review: Recorded in a single weekend, 'Yagana' is a choice afro-disco and synth collab from Margate 5-piece Pigeon. With the band drunkenly forming after a pub session, it's got Guinean singer Falle Nioke heading up frontman duties, while Graham Godfrey on drums, Steve Pringle on keys, Tom Dream on guitar and Josh Ludlow on bass take up phat instrumental space. The result is a cosmic space jam and call into a cold universe, facing eternity with a friendly, synthy, and even grungy sonic greeting: "it's been a while".

Review: Populous's Moonbaton Vol. 1 marks a strong return to Wonderwheel Recordings, offering a tantalizing glimpse into the darker realms of instrumental reggaeton and moombahton. With tracks like 'Flauta Magica, which intricately weaves brooding synths and dembow beats with ethereal flute melodies and 'Sapo,' a foreboding journey layered with monstrous basslines and whimsical melodies, Populous demonstrates his mastery in crafting atmospheric soundscapes. Hailing from Southern Italy, Populous's global approach to music-making shines through, reflecting his diverse influences and musicological background. With previous releases like Night Safari and Azulejos, Populous has established himself as a versatile artist, while also making waves in the fashion world as a sound designer for renowned brands. Moonbaton Vol. 1 sets the stage for an eagerly anticipated series, promising an enchanting fusion of cosmic inspiration and rhythmic exploration.

Review: Irishman Peter Power has become quite a well known figure in Berlin since moving there several years ago and has been one of the figures behind some of the city's now legendary haunts like Kleine Reise (RIP) and the successful Loftus Hall/Bertrams: which has had a great run thus far too. Now the man behind the Ufordia imprint returns with his second outing on Thomas Von Party's Multi Culti, which itself has also made the move to the German capital. Power delves deep into the exotic here, borrowing heavily from African music and getting very atmospheric and esoteric in the process. The life affirming raindance of "Adama Waro" (original mix) is certainly geared for some moments of truth on the dancefloor. Equally spiritual is the traditional percussion based journey of "Mori Baka" (original mix). There's some great remixes by label manager Dreems and Bucharest duo Khidja: the latter's contributions which shine the most, particularly on their balearica infused/Second Summer of Love sounding remix of "Dansakoni".

Review: The popular Spanish ensemble Pyramid Blue come back, and do so in brilliantly fantastic fashion with this red-hot new 7" featuring a captivating mix of Afrofunk and Ethio Jazz. Oscar Martos is the composer and producer who heads up this group and is fresh off big collabs with Tito Ramirez. He manages to draw from modern sounds as well as classic genre tropes here and push both into all new ground with 'Lince Rojo' opening up with an enchanting lead and raw rhythms. On the B-side, 'Doctor One' brings a hint of hip hop edge to psyched-out guitars and cosmic synths.

Review: Comet's "Disco Highlife" re-edit series continues with an EP that draws together original tracks and reworks from two of the Highlife scene's biggest stars: Ebo Taylor and Pat Thomas. The latter can be found on side A, with the tipsy, synth-driven highlife-boogie fusion of "Enye Woa". This is in turn re-edited by LeonxLeon, who has not only extended the original track but also added some superb new spacey synth solos. Turn to the flip for Ebo Taylor's richly percussive, Hammond-laden disco-highlife bubbler "Atwer Abroba" and Leo Nanjo's brilliant remix, which re-imagines the track as a rubbery chunk of Highlife-house drenched in dub delays.

Review: With this CD edition to complement the main LP reissue, we're once again met with the beauteous multi-instrumental talents of Agustin Pereyra Lucena, Argentina's finest. His self-titled debut record from 1970 is quite literally a 'bossa nova' (direct translation, 'novel swelling', 'new upswell'), doing justice to the genre name with a dialectical, pioneering regional take on already-established styles like samba and the aforementioned, informed by his outsider status as an Argentinian looking in on Brazil. Atypical for its time, Agustin's guitar playing never quite settles into any looping riff, instead revelling in free-associative improvs and overdubs of the crispest quality, both low and high in pitch range.