Soundway レコード& CD

Review: Oluko Imo is a legendary figure in Yoruba mythology as well as being revered as one of the progenitors of the Yoruba people. He is believed to be a descendant of Oduduwa, the mythical founder and first king of the Yoruba people, but it's also the name of a Trinidadian musician who blends calypso heritage with Afrobeat and jazz from Nigeria. He recorded his iconic album between Lagos and New York in 1988 and it has long been a cult classic. This reissue features the title track from it - a deep cut and steamy rhythm, and 'Were Oju Le (Eyes Are Getting Red)', a horn led Afro-funk workout.

Review: Soundway brings the West Indian funk from 1977 on the new and raw double-sider. King Wellington's 'Shango' goes first and is a tune taken from his Sooner Or Later album. It now finally makes it onto 45rom for the first time and is inspired by the ritual from which it takes its name with roots in Yoruba culture and hints of Calypso music all powered by hypnotic bass with Wellington's signature vocal adding to this unique Caribbean blend. Canadian musician Tony Springer fronts the B-side cut 'Mystery Man' which is a dreamy and psyched-out trip with electric keys and floating horns.

Review: The Lahaar is a Trans-Tasman collaboration between Julien Dyne, Horatio Luna and Surprise Chef's Lachlan Stuckey, featuring Mara TK and Toby Laing on vocals. Channeling a heady cocktail of inspirations from New York to Lagos, the supergroup easily moves through different styles in quick succession, from uptempo boogie to mega-ploddy dub. Seguing between original bangers and exploitation movie library music, the EP closes on the riveting 'Chase Scene (Part 1)', which casts evadign tjhe law in a surprisingly emotive light.

Review: Soundway Records' marketing team recently described Lord Echo's hook-up with Mara TK, "Sweetest Meditation", as a "high-rolling summertime opus". It's certainly rather good and well worthy of a dedicated 12" single release. The wonderful, jazz-flecked, vibraphone-heavy, dub-disco style original version is featured alongside a brand new Black Ark style instrumental dub (appropriately titled "The Sweetest Dub") which is almost worth the entrance money on its own. There are two fresh remixes, too, from old pal Julien Dyrne and the Lord himself. His "Club Mix", completed on a recent European tour, pushes it further towards leisurely vocal deep house territory whilst retaining many of the elements that made the original version such a sun-kissed summer treat.

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: Sai Galaxy is a collective that draws inspiration and influence from 70s and 80s Nigerian artists such as Nkono Teles, Jake Sollo and Mike Umoh. Australian multi-instrumentalist Simon Durrington leads the way with Olugbade Okunade - former trumpet player from Seun Kuti's Egypt 80 - as well and guests Gabriel Otu, Ray Ledon and Vanessa Baker also playing on these sessions. There is everything from West African funk to a touch of psychedelia, with dance floor ready tunes like 'Get It In The Sun' irresistible to all who hear it.

Review: The Yoruba Singers reinterpreted Guyana folk music and infused it with Afro-roots and culture on this double A-side 7". Now for the first time every it gets reissued on vinyl. This release came a year after the group's debut album Ojinga's Own and were recorded in Barbados and released on the Green Shrimp label. They were big regional has with dancers lapping the grooves throughout the Caribbean and South America. The sounds are said to be the building blocks for what went on to become known as the Champeta Criolla sound in the Caribbean coast of Colombia.